Why We Should Think Beyond Commercial Game Production
Understanding the precarious reality of videogame production beyond the corporate blockbuster studios of North Americawith insights from 400+ game developers.The videogame industry, we’re invariably told, is a multibillion-dollar, high-tech business conducted by large corporations in certain North American, European, and East Asian cities. But most videogames today, in fact, are made by small clusters of people working on shoestring budgets, relying on existing, freely available software platforms, and hoping, often in vain, to rise to stardomin short, people working like artists. Aiming squarely at this disconnect between perception and reality, The Videogame Industry Does Not Exist presents a much more accurate and nuanced picture of how the vast majority of videogame-makers worka picture that reveals the diverse and precarious communities, identities, and approaches that make videogame production a significant cultural practice.Drawing on insights provided by over 400 game developers across Australia, North America, Europe, and Southeast Asia, Brendan Keogh develops a new framework for understanding videogame production as a cultural field in all its complexity. Part-time hobbyists, aspirational students, client-facing contractors, struggling independents, artist collectives, and tightly knit local scenesall have a place within this model. But proponents of non-commercial game making don’t exist in isolation; Keogh shows how they and their commercial counterparts are deeply interconnected and codependent in the field of videogame production.A cultural intervention, The Videogame Industry Does Not Exist challenges core assumptions about videogame productionideas about creativity, professionalism, labor, diversity, education, globalization, and community. Its in-depth, complex portrayal suggests new ways of seeing, and engaging in, the videogame industry that really does exist.
About Artists & Writers:
Brendan Keogh is a senior lecturer in the School of Communication and a chief investigator of the Digital Media Research Centre at the Queensland University of Technology. His books include of A Play of Bodies: How We Perceive Videogames and, as coauthor, The Unity Game Engine and The Circuits of Cultural Software.