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However, I argue that the inclusion of the everyday gamemaker has simultaneously enabled local and grassroots norms and practices to transform the production process of digital game creation in the global video game industry. These developments have emerged because the video game industry perceives everyday gamemakers to be innovators in diversifying and producing products, creating jobs, and increasing profits. The simultaneous release of digital platforms such as Google Play, Steam, and itch.io, has also streamlined the process of distributing digital games into new and traditional communities of players. Game engines such as Unit圓D, GameMaker Studio, and Construct 2, which simplify the process of making a digital game using “drag-and-drop” tools and editors, have enabled a range of gamemakers with no programming or artistic experience and training to create digital games. Since the Apple App Store opened in 2008, game engines and digital venues have developed and enabled widespread production and distribution of digital games.
#Capitalism ii mods professional#
Everyday gamemakers are digital game creators who share multiple professional and leisure-based gamemaking identities, including developers, “indies,” modders, user-generated content creators, and writers of interactive fiction. This dissertation examines the emergence of everyday gamemakers and their roles in transforming the cultural norms and practices of the global video game industry. A key takeaway is that digital consumption in games is at once both easy to ‘see’ but also highly abstracted, making it very difficult to pull apart what people are actually consuming when they engage with the monetization layer of contemporary digital games.
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There is then a discussion and theorization of these monetization strategies and the industry-wide tendencies for consumerism they signal. The focus here is on revealing the ‘mediator characteristics’ that structure in-game commodities like avatar skins, loot boxes and the battle pass. The article then engages in an ‘app walk-through’ ( Light et al., 2018 ) of Apex Legends, analysing its vision, operating model and governance. Inspired and in dialogue with Nieborg and Poell’s (2018) theory of platformization, this article asks questions related to how digital games like this operationalize their status as ‘contingent commodities’. The article dives deep into the history and political economy of battle royale shooters and the game Apex Legends (2019), a free-to-play example of the genre monetized in part by a battle pass. This article investigates the origin, circulation and consumption of a new commodity – the “battle pass” – in the complex ludic economies of contemporary digital games. At the same time, this paper seeks to gain insight into the changing relationship between work and play in the creative industries, and the ideological ramifications of this change. Within this context, the questions of whether modders can be regarded in terms of a "dispersed multitude", and how the power that comes with this status can be realised more fully, deserve special attention. This draws attention to the fact that in the entertainment industries, the relationship between work and play is changing, leading, as it were, to a hybrid form of "playbour".The following paper analyses the relationship between the modding community and the games industry from a political economy perspective, without disregarding the pleasures and rewards individual modders may derive from their work. The precarious status of modding as a form of unpaid labour is veiled by the perception of modding as a leisure activity, or simply as an extension of play. While successful modders, such as Counter-Strike's creator, Minh Le, enjoy a celebrity status that enables them to find employment in the games industry, many modders are either uninterested or unable to translate the social capital gained through modding into gainful employment. The example of Counter-Strike, originally a modification of the first-person shooter Half-Life, and subsequently sold as a stand-alone product for Xbox and PC, shows that "mods" can not only increase the shelf-life of the games industry's products, but also inject a shot of much-needed innovation into an industry seemingly unable to afford taking commercial risks.Modders, however, are rarely remunerated for taking the risks the industry itself shuns. Computer game modification, or "modding", is an important part of gaming culture as well as an increasingly important source of value for the games industry.
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