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Games and gamers: the cultural context
Transcript of Games and gamers: the cultural context
games software - 57%,
consoles - 43%
hardware accessories - 68% #1 gaming category = family games
increased 137% The average age of computer and video game players in Australia is 30 years old 70% of parents in game households play computer and video games and 80% of these parents play them with their children. 67% of mothers and 69% of fathers agree that they play computer and video games as a way to spend time with their children. A third of parents play games with their children as a way to monitor what their children play. In 2008, 88% of Australian households had a device for playing computer games. Of these households, 39% had one device, 27% had two devices and 16% had three devices. 18% of game households had four or more devices for gaming. The majority of installed game devices are consoles (43%), followed by PCs (39%) and handhelds (18%); however, point of sale data shows that handhelds dominated sales of new devices in 2007-2008. 90% of game households have PCs and these are used by most gamers 46% of the players in 2008 were female
up from 41% in 2007 ABS Australian Bureau of Statistics 2007 numbers 45 businesses in Australia involved in digital game development employed over 1,400 people the majority were male
89.2% generated a total income of $136.9m which represented an average of $3m per business artists and animators accounted
for 34.3% programmers accounted
for 29.1% Managerial/administrative/clerical workers accounted for 14.8% games developed for PC and Mac formats
accounted for 14.6% ($17.1m) Track down an Australian games developer, publisher, games magazine, distributor or retail company and provide a short referenced encyclopaedic style article – be sure to check your research but do not use Wikipedia at all during this part of the task. Examine the Wikipedia entry for the company you selected – is there anything you can add? Find one piece of information you can add then sign up to Wikipedia and make your changes – then document the process on your blog. (Remember to do this task in the correct order – no peaking at Wikipedia first!) Q: Q: Q: KOREA circulation of marketable versions
of traditional culture (Herz, 2002) in (Chan, 2006) What makes Lineage a distinctly Korean experience is that when players assemble to take down a castle, they do so in person, commandeering a local PC baang for as long as it takes. In the middle of a battle, these people aren’t just text-chatting. They’re yelling across the room. Platoons sit at adjacent computers, coordinating among themselves and taking orders from the Blood Pledge leader. Lineage has a fixed hierarchy, unlike American role-playing games, in which leadership structures emerge organically. At the outset, you choose to be either royalty
or a commoner. If you are a prince or princess, your job is to put together an army and lead it. If you’re a commoner, your job is to find a leader. You pledge loyalty and fight to take over castles, and no matter how great you are at it, you can never be in charge. This kind of tightly defined clan structure, which mirrors the Confucian hierarchy of Korean society, would be anathema to American players, who generally want to be the hero-king Lone Ranger. tailoring to cultural variations (Tan, 2004) in (Chan, 2006) We found important differences between Korean, Malaysian, Singaporean and Taiwanese players. Developers who lump all Eastern players together are in for a rude shock. For example, many Taiwanese hate losing belongings, while Southeast Asians don’t mind if the risk/reward is high enough. So, we had to disable a pick-pocketing feature in Taiwan, while leaving it for Southeast Asia. Both regions enjoy PvP [player versus player combat], but the magnitudes of punishments and rewards were different. Queensland and Victoria accounted for the majority of game development income (40.4% and 33.2% respectively) and employment (48.6% and 33%) Total expenses incurred for the year were $128.5m
Almost two-thirds of this amount was attributable to labor costs ($83.8m) games developed for console formats accounted for 71.1% ($83.2m) of total income pre-GFC numbers remember, this was 2007 - the year the iPhone came out Australian gaming industry snapshot development, publishing, manufacturing, distribution, retail game studio structure labor practices during crunch time, 80-hour work-weeks can become the norm in game studios cultural variations If EULAs are considered as ‘informal’ labor contracts for the work that consumers do in the game industry, the formal contracts used with professionals inside development studios are in fact quite similar. In most cases, all intellectual property created by game developers remains the property of the development studio or publisher, regardless of whether the work was created at the office during work time or at home as personal exploration. fruits of labor Deuze Deuze Developer: Team Bondi Cost: ~$50 million http://www.teambondi.com/ now defunct labor exploitation scandal Sega Studios Australia formerly The Creative Assembly http://www.segastudios.com.au/
Halfbrick Studios http://www.halfbrick.com/ http://www.bluetongue.com/ Blue Tongue defunct since December 2011 Firemint http://firemint.com/ owned by EA Interactive Flight Control Real Racing Fruit Ninja The Binary Mill http://www.thebinarymill.com/ RedTribe http://www.redtribe.com/ BigAnt http://www.bigant.com/ Wicked Witch http://wicked-witch.com.au/ [pre-GFC] game project countdown 2 weeks to go grew to 3.6 bn$ in 2010 also see>> Working in Australia's Digital Games Industry Consolidation Report https://plus.google.com/u/0/b/113660335012972047495/113660335012972047495/posts/9QgbtstqHqe