The professional identity of gameworkers revisited. A qualitative inquiry on the case study of German professionals

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Wimmer Jeffrey Sitnikova Tatiana
2011 DiGRA '11 - Proceedings of the 2011 DiGRA International Conference: Think Design Play

The phenomena of computer games and the plethora of game cultures have already been drawing attention of researchers for many years, whereas the people behind computer games – the gameworkers – undeservingly remained in the shadows until quite recently. The lack of information about this workforce and its professional identity makes this research object especially interesting. The analysis relies on a pilot study about the issue of the professional identity of gameworkers, which aimed to dig deeper with the means of qualitative research. During that project nine German gameworkers were interviewed and an attempt to give an in-depth description of their professional identity was made. The study shows that the respondents have a very strong coherence with their profession and perceive themselves as a part of their profession and the team/studio they work with/at. The most salient reason for this is the deep interest the respondents have in computer games (for both making and playing games).

 

Where Do Game Design Ideas Come From? Invention and Recycling in Games Developed in Sweden

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Hagen Ulf
2009 DiGRA '09 - Proceedings of the 2009 DiGRA International Conference: Breaking New Ground: Innovation in Games, Play, Practice and Theory

The game industry is often accused for not being original and inventive enough, making sequels and transmediations instead of creating new game concepts and genres. Idea creation in game development has not been studied much by scholars. This paper explores the origin of game design ideas, with the purpose of creating a classification of the domains the ideas are drawn from. Design ideas in 25 games, developed by the four main game developers in Sweden, have been collected mainly through interviews with the designers and through artifact analyses of the games. A grounded theory approach was then used to develop categories “bottom-up” from the collected data. This resulted in four main categories and a number of sub categories, describing different domains that game design ideas are drawn from. The analysis of the game design ideas also showed that all games consist of a recycled part and an inventive part, and that the ideas in the recycled part mainly come from domains that are closely related to games. This indicates that games perhaps would be more inventive if design ideas were drawn from more distant domains.

 

Player as Author: conjecturing online game creation modalities and infrastructure

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Tavares José Pedro Gil Rui Roque Licinio
2005 DiGRA '05 - Proceedings of the 2005 DiGRA International Conference: Changing Views: Worlds in Play

As we outline a movement beyond the apparent creative stagnation in the videogames industry we envision possible transformations, beyond the gridlock a producer-consumer dichotomy, that propose to mobilize players as creative actors in a holistic experience. We propose to recognize the authoring roles players develop in their relation to the industry and the gaming community, that configure an emancipation from the current producer-consumer dichotomy. Building on this conjecture we review possible meanings of a player as author perspective and conjecture modalities of authorship and participation. We close by outlining some of the design challenges for an infrastructure to support those roles.

 

Real-Time Sweetspot: The Multiple Meanings of Game Company Playtests

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Niedenthal Simon
2007 DiGRA '07 - Proceedings of the 2007 DiGRA International Conference: Situated Play

Game design, like gameplay, is situated. Though we find ourselves in a period of global growth and consolidation in the games industry, marked by broad changes in how design work is organized, our understanding of game design as it is currently practiced needs to be rooted in local contexts of production. One useful way to explore the situated-ness of game development is by tracing the implementation of playtesting of prototypes in game companies. The implementation of playtesting serves as an acknowledgement of the complexity of designing for the emergent properties of games, and also reveals attitudes towards the player. This case study of playtesting a real-time strategy (RTS) game under development at a Swedish game company is based upon observations of test sessions and interviews with employees from March 2006-February 2007. Specifically, this study will trace the various outcomes of a single game-balancing (“Sweetspot”) playtest conducted in March of 2006. This test serves as a locus of playtest meaning, and demonstrates that playtesting at the company is used to achieving clarity in the game design process, to support an evolutionary design methodology, and as a means of communicating the state of the game to outside actors. In short, playtesting has meaning in several contexts, both within and beyond the immediate design task at hand. Whether the results of a playtest session take the form of a numerical figure, a written report, or a fast scrawl in the lead designer’s notebook, they need to be interpreted carefully in the light of their complex nature.