Monstrous Women in Comics, Samantha Langsdale and Elizabeth Rae Coody (eds) 2020

Review of: Monstrous Women in Comics, Samantha Langsdale and Elizabeth Rae Coody (eds) (2020)Jackson, MS: University Press of Mississippi, 295 pp., 35 b&w illustrationsISBN 978-1-49682-763-0, p/bk, $3

Sweden's female-forward creative industries

In April 2022, my research trip to Stockholm, Sweden was funded by the SGSAH and Scottish Funding Council’s Saltire Emerging Researcher Scheme. I spent one month in Stockholm interviewing people about Sweden’s Creative Industries and what made them unique. I also got to experience the unique culture surrounding the creative industries first hand. Because of this, I can offer unique insights into Sweden’s creative industries, including videogames, comics, fanzines and boardgames, from the outside looking in. This was truly a life-changing experience both personally and professionally. I cannot thank everyone who helped me enough. A special thank you to Dr Mirjam Palosaari Eladhari for being my mentor throughout this project and for inspiring me to think of myself as an artist.The main findings from this study include:• Sweden’s unique combination of Culture, Education, Infrastructure, and Investment in the creative industries has led to their continued success;• Though compared to the United Kingdom there is a smaller percentage of women working in the Creative Industries, Sweden’s Creative Industries have more women in leadership positions;• Maternity and paternity leave as well as other forms of social care have contributed to the amount of women staying in Sweden’s Creative Industries;• (Fan)Zines and boardgames are both previous uncredited and integral parts of the Swedish Creative Industries

Sweden's female-forward creative industries

In April 2022, my research trip to Stockholm, Sweden was funded by the SGSAH and Scottish Funding Council’s Saltire Emerging Researcher Scheme. I spent one month in Stockholm interviewing people about Sweden’s Creative Industries and what made them unique. I also got to experience the unique culture surrounding the creative industries first hand. Because of this, I can offer unique insights into Sweden’s creative industries, including videogames, comics, fanzines and boardgames, from the outside looking in. This was truly a life-changing experience both personally and professionally. I cannot thank everyone who helped me enough. A special thank you to Dr Mirjam Palosaari Eladhari for being my mentor throughout this project and for inspiring me to think of myself as an artist.The main findings from this study include:• Sweden’s unique combination of Culture, Education, Infrastructure, and Investment in the creative industries has led to their continued success;• Though compared to the United Kingdom there is a smaller percentage of women working in the Creative Industries, Sweden’s Creative Industries have more women in leadership positions;• Maternity and paternity leave as well as other forms of social care have contributed to the amount of women staying in Sweden’s Creative Industries;• (Fan)Zines and boardgames are both previous uncredited and integral parts of the Swedish Creative Industries

Feeling the narrative control(ler):casual art games as trauma therapy

Through a combination of aesthetics and game mechanics, casual art games offer unique engagements with trauma, allowing players to practice grief or empathise with the traumatic experiences of others. Both “Spiritfarer” (Thunder Lotus Games 2020) and „Mutazione” (Die Gute Fabrik 2019) utilise similar aesthetics (2D art, pastel colours and calming music) alongside agency-driven gameplay mechanics (choosing when to let spirits go or how to react to a character’s trauma) that create a safe space. This is possible because neither game is competitive, nor does it allow the player to lose. Instead, agency is given to the player through narrative choice and exploration of the beautiful storyworld. We argue that games like “Spiritfarer” and “Mutazione” can be used as models for the further development of casual art games that can be used as art therapy through their emotional connections embedded in both the aesthetics and gameplay

Editorial

Games are complex systems that operate at the intersections of science and art, leisure and sport, complex and simple, academic and practice, among others. In an increasingly connected and interdependent world, games continue to transcend borders and reach international audiences everywhere, often instantly. Despite this almost unfettered access to games, the global nature of game development and distribution has also resulted in complex economic ties across and between companies, countries and continents. Large media conglomerates design, develop and produce their AAA games in multiple locations around the world. Each location brings its own significant challenges, opportunities and barriers to entering particular markets, be it from a localization or legal point of view. This Special Issue of the Journal of Gaming and Virtual Worlds, 'China and the World: Navigating Video Game Localization and Copyright Challenges', brings together experts from different fields providing insights into the Chinese games market from an interdisciplinary and international perspective. This Special Issue is dedicated to analysing and understanding the Chinese games market from interdisciplinary perspectives, particularly the ways in which video game localization rationale and copyright law differ globally. The five contributions to this issue demonstrate the complex internationality and intersectionality of the Chinese games market together with the challenges and opportunities associated with entering the market

Transnational development cultures:navigating production, market, and cultural difference within European-Chinese game development teams

Discourse on the global games industry draws attention to the growth of China, in terms of both its consumer market and the games publishing landscape. Trade associations and government agencies have sought routes for Western games studios, publishers, and rights holders to connect with similar organisations in China. However, there has been limited focus on how Western and Chinese game developers understand and navigate the challenges of transnational collaboration and creativity in games production. This article presents a case study of five transnational game development teams, all of which were composed predominantly of developers from the UK and China who were tasked with producing game prototypes for both markets. Data gathered during game production included development diaries, interview data, game prototypes, and production documentation. Three themes emerged from analysis of the data: production practices and transnational working, navigating regulations and restrictions, and market and cultural differences. Findings highlight that developers encounter challenges around political and cultural difference that could inhibit production or lead to uncertainties in design decision making, but also that developers can quickly establish routes to collaboration and knowledge sharing that can help to overcome these barriers

Feeling the narrative control(ler): Casual art games as trauma therapy

Through a combination of aesthetics and game mechanics, casual art games offer unique engagements with trauma, allowing players to practice grief or empathise with the traumatic experiences of others. Both “Spiritfarer” (Thunder Lotus Games 2020) and „Mutazione” (Die Gute Fabrik 2019) utilise similar aesthetics (2D art, pastel colours and calming music) alongside agency-driven gameplay mechanics (choosing when to let spirits go or how to react to a character’s trauma) that create a safe space. This is possible because neither game is competitive, nor does it allow the player to lose. Instead, agency is given to the player through narrative choice and exploration of the beautiful storyworld. We argue that games like “Spiritfarer” and “Mutazione” can be used as models for the further development of casual art games that can be used as art therapy through their emotional connections embedded in both the aesthetics and gameplay