Video Game Development and Production

Puzzle Art in Story Worlds: Experience, Expression and Evaluation

by Veli-Matti Karhulahti

Presented at The Philosophy of Computer Games Conference, Madrid 2012.

This paper discusses the aesthetic value of a specific video game challenge, the fiction puzzle, though cases such as... more This paper discusses the aesthetic value of a specific video game challenge, the fiction puzzle, though cases such as L.A. Noire, Grim Fandango and Leisure Suit Larry. The discussion is carried out through John Dewey's pragmatist aesthetics.

Mobile Gaming: An Engineer Puts an Arcade Cabinet on Wheels (Popular Science)

by Garnet Hertz

Popular Science (February 2012). Story by Gregory Mone. Photographs by Jeff Newton. Edited by Doug Cantor.

In the late 1980s, millions of arcade-addicted kids sat in the faux racing seats of Sega's OutRun videogame, grabbed... more In the late 1980s, millions of arcade-addicted kids sat in the faux racing seats of Sega's OutRun videogame, grabbed the rubber-covered wheel of the imitation Ferrari Testarossa, pressed down on the pedals, and imagined they were roaring down the street. Twenty-five years later, one of those kids, Garnet Hertz, has realized that fantasy, modding an 1,100-pound arcade machine to ride on pavement.

Design and engineering of game-like virtual and multimodal environments

by Juan Manuel Gonzalez Calleros

Workshop

This workshop brings together a number of researchers that are involved in the design, engineering, evaluation and... more This workshop brings together a number of researchers that are involved in the design, engineering, evaluation and applicability of game-like virtual and multimodal environments. It is a forum to discuss experiences, best practices, and design and engineering approaches with a particular focus on those aspects that are related to the interactivity of the game.

The organic nature of game ideation: game ideas arise from solitude and mature by bouncing

by Annakaisa Kultima

Casual Game Design Values

by Annakaisa Kultima

published in 'Proceedings of the 13th International MindTrek Conference: Everyday Life in the Ubiquitous Era'

In this article, I examine the phenomenon of casual games and the underlying transformation of digital play which the... more In this article, I examine the phenomenon of casual games and the underlying transformation of digital play which the rise of this particular segment of the games industry is exposing. I argue that instead of a genuinely new phenomenon, we are facing a change that can be more accurately characterized as “the normalization of digital play”. The expansion of the player basis as well as the instrumental and functional approaches to games concurs with the transformations of other digital environments. As digital environments have become more accessible to large populations and are increasingly part of everyday lives, the ways and means of using them are becoming multifaceted and part of wider experiences. In order to respond to the changes, I propose a framework of casual games design values. Transformation in the games cultures requires transformation in design approaches.

BASICS IN THE MARKETING OF VIDEO GAMES – THE NATURE OF THE OFFERING, INTERNAL MARKETING OF PROJECTS, AND A PRODUCT MANAGER’S VIEW OF THE OVERALL PROCESS

by Peter Zackariasson

This paper treats the marketing of video games from initiation to post sale evaluations. It is somewhat conceptual in... more This paper treats the marketing of video games from initiation to post sale evaluations. It is somewhat conceptual in capturing the nature of video games, but very much field oriented in their development and distribution. Three levels of marketing are treated – the “usual” interaction between marketer and user, the nature of the offering itself, and the internal marketing that is required to get projects initiated. It is thought that this paper, although specialized in its application, is very much within the framework of understanding “normal business” in this sector, which is the theme of this conference.

Competition and competitiveness in the video game industry

by Peter Zackariasson

Playing the Game: Leveraging artistic freedom, technical demand and financial pressure in video game development

by Peter Zackariasson

Co.authored with Ulf Sandqvist.
Originally prepared to be presented at NFF conference 20-24 Aug, 2011, but I was unable to presnt this.

The development of video games has grown from a playful activity at universities, and military research, in the early... more The development of video games has grown from a playful activity at universities, and military research, in the early 1950s to a professional and profitable industry. Today, the video games industry is one of the major cultural industries with a turnover from sale in the video game industry exceeding that of box office revenues in the film industry. Despite this size is this industry, apart from a few publications (Cadin et al. 2006, Cadin and Guérin 2006, Kerr 2006, Readman and Grantham 2006, Tschang and Szczypula 2006, Walfisz 2006, Zackariasson et al. 2006a, Zackariasson et al 2006b), much ignored in academic research this far. This is about to change, not least in Sweden where theses about video games industry arouses a growing interest (Dymek 2010, Sandqvist 2007, 2010; Zackariasson 2003, 2007).
In this paper we aim to contribute to the discussion about leadership in the borderline between artistic freedom, technical limitations and financial pressure. Today, this is very much where the video game industry is situated. Leadership in cultural organizations, such as video games developer, has a significant role to capture the creativity and channel it towards innovations in production, video games, in this case. Guillet de Monthoux et al. (2007) argues that there is a certain fuzzyness in this type of organization, which places special demands on the leadership to encourage this flow and steer them towards a common goal. This argument is supported by Byrne et al. (2009) who suggests that leadership has an impact on an innovative process in which creative people can express their knowledge. Compared with the assumptions of the individual creative person and its driving force. The reason for the leadership and creativity in computer game development is a very good case to study is that this industry represents the output of today's cultural and technological society. Video game industry is also an industry which is heavily dependent on -the creativity and artistic creation (Tschang 2007, Zackariasson et al 2006), video games, like other cultural products, designed to stimulate our senses and arouse emotions. The process in which the game develops commute thus between artistic creativity and technical craft.
The reason for writing this text at this time is to put forth a number of thoughts for a research project on leadership in the Swedish video game industry that has just been initiated. For this project we are using both qualitative and quantitative data in order to create knowledge about leadership in this industry. The results of the project will be published in 2014.

Real Time Solutions - The Application of Games Technology within Business

by Kane Forrester

In today's rapidly progressing increasingly competitive technological world, many businesses look to technology to... more In today's rapidly progressing increasingly competitive technological world, many businesses look to technology to improve efficiency within the workplace. Greater efficiency reduces wasted time and increases productivity which positively affects profitability.
Architectural Visualisation is the business of selling images and has operated under the same techniques and methods for over a decade without any evolution in methods or technique. The software used to create such images has improved greatly and as a result the visual fidelity and realism has increased; However artists spend a considerable amount of time creating art that under current business methodology is used for the singular purpose of creating a renders from different angles.
Some businesses and studios have already begun to adopt or replace their old practices with new ones based on games technology but the advancements have yet to permeate the mainstream of industry.
The goals of this thesis are to analyse current business practices and services through research and communication with industry professionals then document how games technologies could be utilised to realise a greater potential within current business workflow.
Testing of the artefact will allow this thesis to conclude upon the viability of integrating games technology within industry, creating a real-time solution in replacement of offline architecture visualisation.

It’s Anarchy! Translating Beliefs and Desires into Prescription for Participation

by Peter Zackariasson

This paper explored the production on an MMORPG using an ANT vocabulary. The production of games can equally be... more This paper explored the production on an MMORPG using an ANT vocabulary. The production of games can equally be understood as building networks and finding allies to make the game idea durable. When filling this game with content developers translate their beliefs about the world that surround them and desires in this into the virtual game world. This results in game worlds that are distilled copies of a physical world, as seen be a small number of video game develpers.

Publisher Value in the Video Game Industry

by Peter Zackariasson

The purpose of this paper is to explore the activities of a video game publisher as a value creator in the video game... more The purpose of this paper is to explore the activities of a video game publisher as a value creator in the video game industry. The topic is important because it provides an opportunity to understand a key actor in an industry that is relatively young, entrepreneurial, international, large, culturally important and fast moving. Stabell and Fjeldstad’s (1998) value network is used as the element of analysis and some preliminary data are analyzed with this background. Preliminary results suggest that publishers see themselves primarily as network infrastructure operators.

Heroines and" pink plots": The representation of gender in video games

by Peter Zackariasson

The Online Consumption of Identities: Heroes and Heroines in Gaming and Online Entertainment

by Peter Zackariasson

Marketing of video games 'A'–A product manager's view

by Peter Zackariasson

Marketing in MMOGs: Market Segmentation, Virtual Identities and Product Positioning

by Peter Zackariasson

It has been asserted that the emergence of virtual worlds has changed the ways that business may be conducted. In... more It has been asserted that the emergence of virtual worlds has changed the ways that business may be conducted. In Massively Multiplayer Online Games (MMOGs) a participant is given the opportunity to not only create an identity of how he/she would like to appear but also select individual activities. Clearly, this opportunity may carry marketing implications because marketers are given the opportunity to consider potential customers as they might like to be. Background in self-identity and buying behavior, the nature of massively, multiplayer, online games (MMOGs), taxonomy of gamers, and the construction of identity is sketched. Five propositions are developed that summarize our observations from this foundation.

ENTREPRENEURSHIP INSIDE AND OUTSIDE OF VIDEO GAMES

by Peter Zackariasson

The history of the video game industry is one in which development and growth has been driven by entrepreneurial... more The history of the video game industry is one in which development and growth has been driven by entrepreneurial activity, and this activity has been international in nature. Maturity has brought growth of some firms and so entrepreneurship has evolved into intrapreneurship in certain cases. Nevertheless, conventional entrepreneurship remains active in the industry. Hardware developers, in fact, commonly depend upon small, creative firms for a certain portion of their game portfolios. The paper looks at platforms, games themselves and facilitators. At present, the future in video games appears to be in Massively Multiplayer Online Games (MMOGs). Special note might be made of activity in Korea, which is disproportionate to country size and previous contributions. Attention is also paid to in- game activities and the association they may have with entrepreneurship. Gaming itself may encourage creativity and thus entrepreneurship. Player originated activities within these games, in particular, may be purveyors of future developments. The future “outside of games” is likely to bring greater intrapreneurship, further globalization, entry of more women into the field and furtherance of creative destruction. “Inside of games,” one can expect extension of applications, for instance into therapeutic uses.

Relationships in Video Game Development

by Peter Zackariasson

As a sector, the video game industry has thrived within an environment of innovation, end user sophistication and... more As a sector, the video game industry has thrived within an environment of innovation, end user sophistication and technology advancement. The market is attractive to developers due to the opportunities that exist in a growing market and the fact that publishers have provided opportunities for independent game developers within a relationship context. This paper describes the aspects of proposal development within the context of the relationships that develop between publishers and developers in this industry. The inter-firm relationships tend to be close; publishers depend upon developers to pitch ideas and also may shop brand ideas they themselves own to developers. Group relationships between firms are the norm, and personal relationships are close in “an American way.” Individual relationships tend to be closest with one’s own firm, but an appreciation exists of the symbiotic nature of the interaction between firms at the two levels in the industry.

EPM in video game development: Life amongst Lindblomian Cyborgs

by Peter Zackariasson

The development of a videogame is an artistic endeavor dependent on a number of disciplines, and understanding the... more The development of a videogame is an artistic endeavor dependent on a number of disciplines, and understanding the creative nature of firms in this industry is tantamount to understanding the “skunk works” of the aerospace industry. Empirical information was collected as an ethnographic study of a game developer with approximately seven years experience in producing videogames. Our EPM observations at this particular firm, and gaming in general, fit into three categories – personnel, which forms the foundation of capabilities, management of the primary development project, and leadership. For its management and leadership, we needed to create, or adapt, some terms. Its management of its creative processes we called “Lindblomian” and the leadership, “Cyborg Leadership.”

Cyborg leadership: Including nonhuman actors in leadership

by Peter Zackariasson

Can we learn anything about leadership by including technical artifacts in this understanding? There are two arguments... more Can we learn anything about leadership by including technical artifacts in this understanding? There are two arguments why this might be the case. The first is that technical artifacts are many times implemented into organisations as a messiah, a general cure that has the ability to increase productivity and turnover. The second is that our understanding of leadership is still that of one person’s ability to bring any organisation to success, a perspective that is much too simplified. Thus, both technical artifact and leadership has impacts on organising, and are inscribed with importance.
In this pilot study the aim is to include technical artifacts, or nonhuman actors, in leadership. When doing this, leadership is defined as a process that involves both human and nonhuman actors, translating events to a goal. When doing this, constructing a cyborg leadership perspective mainly based on the work of Latour, but also other work from actor-network theory.
This is an ethnographic pilot study, based on participant observation in a Swedish company producing computer games. By applying a cyborg leadership perspective on the material constructed from these observations I first decontextualise the context, and later construct narratives from the actors, events, and translations lifted from the context.
The result from this pilot study is that leadership is indeed a process involving both human and nonhuman actors, a process that highlights the politics of ontology. In that respect this pilot study opens up a field for future studies where the need to include a deeper understanding of both actor-network theory and cyborg theory, as well as anchor cyborg leadership in present theorising about leadership.
Cyborg leadership has the ability to highlight the inseparability of the human and technical, no situation is only social, just as no situation is only technical. Cyborg leadership has also the capability of perceiving leadership as a process in its true sense, thus remove the leader from a position of ontological prerogative. How we perceive these managers, leaders, followers, and things will change. How they all interact with each other, and together, forms what will happen, here and now, and in the future.

World Builders: A Study on the Development of a Massively Multiplayer Online Role-Playing Game

by Peter Zackariasson

This dissertation is a study of the development of a video game called Anarchy Online. This game was developed by the... more This dissertation is a study of the development of a video game called Anarchy Online. This game was developed by the Funcom company between 1995 and 2001, and is a so-called Massively Multiplayer Online Role-Playing Game (MMORPG).
This genre of video games differs from traditional games in that it offers a persistent virtual world that gamers can access at all hours of the night or day. It is also a world where gamers make avatars that play with or against each other. All in all, it is as much a social sphere as a game. The popularity of MMORGPGs has continued to increase, and today there are several million gamers worldwide who participate in these virtual worlds.
Because virtual worlds are places where many people socialize, play, and spend a great deal of time, there is a need to form an understanding of them. In this thesis, I am studying how Anarchy Online was produced in order to understand the assumptions behind the rules governing the interaction in this specific virtual world were selected and organized. In doing so, I am using material from two sources: the developers and the game itself. This material was gathered through interviews, documents, and virtual ethnographic observations.
Ultimately, games consist of codes; but in order to program the code, they need to be specified by a game content. The analysis shows that the content of the game is defined by the developers’ view of a good society – the belief in a human being’s need for self-actualization and social interaction. The thesis thus concludes with the observation that the need to select
the discourses and/or philosophies for content and possible gamers’ actions requires the development of games and virtual worlds such as Anarchy Online to be more than the creation of an entertaining product. Rather, discourses were recreated from the physical world in which the developers live. In the end, gamers are locked into a discoursive prison created by the developers.