Between a Rock and a Hard Place: Games Coverage and its Network of Ambivalences

It's as tough a time as ever for game critics, who seem to be stuck between a rock and a hard place—an industry that acts as gatekeepers to most of the information they cover and an increasingly combative readership. Because of these tensions, an exploratory study was conducted first of the emergence of game criticism and the historical role of critics in creating the conception of gamer identity and, second, the effect of that identity on critics’ self-perception of their profession. We find that throughout the late 1980s and the end of the 20th century the game press was complicit in reinforcing the notion of the hardcore, primarily male “gamer,” while at the same time wrestling with their role as mediators between the industry and audience to which they were beholden. Through a subsequent study of articles and public meta-criticism by prominent figures in the field, we describe a network of ambivalences over the basic elements of their practice—particularly style, content, and format—as well as what motivates their daily work. In order to cope with these ambivalences, game critics, in recommending changes to their craft, rely not on the occupational ideology—or a common set of shared professional values—but instead their personal background and ancillary careers. Finally, after reviewing this network of ambivalences and its effect on games writing, we suggest critics make efforts toward establishing a common critical authority for their field, particularly as their occupation enters the mainstream

Engineering culture:Logics of optimization in music, games, and apps

This article investigates the ways content producers, marketers, and other promotional stakeholders work to optimize cultural goods and services for platform-dependent production, distribution, and monetization. We are particularly interested in how content creators find novel ways to work within, around, and even against platform politics and policies by manipulating algorithms, business models, and guidelines, or otherwise readying their content for optimal circulation on multiple platforms. Through comparative cases of music, games, and apps that draw on trade press and industry discourse, institutional and financial analysis, and select interviews with musicians, we consider various forms of, and strategies for, what we call cultural optimization. We draw on these instances to better understand the similarities and differences in the optimization of cultural content and metadata for economic or cultural gains. We hope our comparative approach reveals different conceptions of the term optimization, and that this term—in all its digital, financial, and cybernetic connotations—might prompt new ways of thinking about the interactions between content, (meta)data, platforms, and culture that have long shaped the circulation of cultural goods

The Mainstreaming of US Games Journalism

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What is game studies anyway?

In this introduction, game studies is argued to be a force of innovation for cultural studies. While game studies, as it has developed over the last 10 years, fits well within cultural studies' methodology and theory, it does more than benefit from cultural studies as a 'mother discipline'. Game studies proves itself to be a strong force, especially in its productive use of political economy to analyse games and gaming as a (new) cultural form. Building on a descriptive taxonomy of games and gaming by both genre and 'platform', this is an introduction to games and gaming for those with a cultural studies background. While ideally, game studies will develop also as cultural critique, this is a far cry from dominant practice in the gamer community. Gamers tend to be 'hand-in-glove' with the industry. It is high time for game studies to turn a critical eye on itself

Lost in the App Store: The Political Economy of the Canadian Game App Economy

This commentary discusses the political economy of apps. The authors found that Canadian-made game apps are notably absent in the Canadian App Store. This should be both worrying and surprising, as Canada has a relatively sizable game industry. While policy conversations on digital transformation focus on emerging technology, the authors point toward the power and politics of digital platforms as one of the key issues preventing growth in the Canadian digital economy

The mod industries? The industrial logic of non-market game production

This article seeks to make the relationship between non-market game developers (modders) and the game developer company explicit through game technology. It investigates a particular type of modding, i.e. total conversion mod teams, whose organization can be said to conform to the high-risk, technologically-advanced, capital-intensive, proprietary practice of the developer company. The notion 'proprietary experience' is applied to indicate an industrial logic underlying many mod projects. In addition to a particular user-driven mode of cultural production, mods as proprietary extensions build upon proprietary technology and are not simple redesigned games, because modders tend to follow a particular marketing and industrial discourse with corresponding industrial-like practices

The Engine Is the Message: Videogame Infrastructure and the Future of Digital Platforms

On January 18, Microsoft revealed its $68.7 billion deal to acquire videogame publisher Activision Blizzard. The acquisition was pitched as an investment towards “metaverse platforms” that gaming would play a key role in developing. Journalists speculated about the increasing consolidation of the videogame industry and whether blockbuster franchises would be locked into Microsoft’s platforms and subscription services. Commentary on the metaverse weighed in on how toxicity and harassment in game industry workplaces such as Activision Blizzard might relate to issues of trust and safety in virtual worlds such as Meta’s Horizon Worlds. Seemingly above the fray of platform strategy, market speculation, and corporate scandal, New Yorker writer Kyle Chayka (2022) tweeted as a matter of fact: “video game infrastructure and tools are increasingly going to take over all digital platforms”. This panel contextualizes discussions about the business and aesthetics of 3D platforms in the infrastructural work of game engines, which routinely integrate databases, file formats, web protocols, and translational algorithms. We trace public debates and corporate statements over representation and governance, equity and inclusion (Bosworth 2021) to the techniques, technologies, and practices that enable massive real-time 3D digital spaces to flow and transact. We also highlight the growing intertwinement between game engine development companies and related content ecosystems, such as the Epic Games Store and the Unreal Engine, and Epic’s and Unity’s Asset Stores. This panel investigates how digital systems are designed to regulate technical interoperability and its implications for creative practice and cultural production. Together, these papers map how power and capital become centralized and distributed throughout the back end of the metaverse, and politicize how social practices and subjectivities are negotiated through technological architecture

First Supervisor: Prof. dr. William Uricchio

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