tag:theconversation.com,2011:/es/topics/gaming-industry-41125/articlesGaming industry – The Conversation2023-12-19T10:39:03Ztag:theconversation.com,2011:article/2199902023-12-19T10:39:03Z2023-12-19T10:39:03ZE3: why the world’s biggest video game event just closed for good – and what’s next for the industry<p>The Electronic Entertainment Expo (E3), an annual trade event for the video game industry, has been permanently cancelled by its organisers, who cited the <a href="https://www.ign.com/articles/why-e3-died-a-failure-to-evolve-huge-costs-and-too-much-competition">COVID pandemic and changes in company marketing techniques</a> as the reason for the closure. </p>
<p>Stanley Pierre-Louis, CEO of the Entertainment Software Association who organised the expo <a href="https://www.washingtonpost.com/entertainment/video-games/2023/12/12/e3-permanently-canceled/">told the Washington Post</a>: “We know the entire industry, players and creators alike have a lot of passion for E3. We share that passion … We know it’s difficult to say goodbye to such a beloved event, but it’s the right thing to do given the new opportunities our industry has to reach fans and partners.”</p>
<p>The expo has historically been regarded as the largest and most prominent event in the <a href="https://www.bbc.co.uk/news/technology-67695639">video game business</a>. Since its inception in 1995, E3 has been a yearly ritual, where developers and publishers gathered to reveal new games and technology. The expo fostered a sense of community in the gaming world as industry people, fans and the media all came together under one roof. </p>
<p>The event’s competitive nature pushed game makers to be more innovative and speed up their <a href="https://venturebeat.com/games/why-the-esa-couldnt-save-e3-stanley-pierre-louis-interview/">research and development</a> to impress the audience, accelerating progress in the industry. </p>
<p>While disappointing for fans who looked forward to E3 celebrations each year, its death seems to symbolise the <a href="https://www.wired.com/story/e3-death-end-of-era-streaming/">game industry’s increasing transformation</a> in reaction to digitilisation. Many see the closure as a signal that the industry <a href="https://www.gamesindustry.biz/e3-is-dead-now-what">needs to adapt to meet the demands of a new era</a>. </p>
<p>This is being demonstrated by the move of game producers to deliver streaming sessions en masse, such as Nintendo Directs, Sony State of Plays, Xbox Showcases and <a href="https://theconversation.com/all-the-video-games-shortlisted-for-the-2023-game-awards-reviewed-by-experts-217843">The Game Awards</a> among others.</p>
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Read more:
<a href="https://theconversation.com/baldurs-gate-3-wins-game-of-the-year-at-2023s-game-awards-an-expert-review-219519">Baldurs Gate 3 wins game of the year at 2023's Game Awards – an expert review</a>
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<h2>The hybrid gaming era</h2>
<p>The cancellation of E3 highlights how in-person presentations are losing significance <a href="https://www.wired.com/story/e3-death-end-of-era-streaming/">to virtual events and live streams</a>. These online formats offer instant global reach, generating more revenue and attracting a broader audience. </p>
<p>As virtual worlds like <a href="https://theconversation.com/what-is-the-metaverse-and-what-can-we-do-there-179200">the metaverse</a> grow, it’s likely that fewer people will attend physical gaming events. Instead, fans may prefer to meet up and play games in immersive spaces, using headsets. </p>
<p>And gaming brands are interested. Microsoft’s major partnership deal with Meta which was <a href="https://blogs.microsoft.com/blog/2022/10/11/microsoft-and-meta-partner-to-deliver-immersive-experiences-for-the-future-of-work-and-play/">announced in 2022</a>, for example, signals their interest in this new way for people to connect and interact. </p>
<p>Several big game producers, including <a href="https://www.ign.com/articles/playstation-showcase-2023-everything-announced">PlayStation</a>, <a href="https://www.forbes.com/sites/paultassi/2023/05/31/xbox-will-show-off-fable-at-its-showcase/?sh=534768b56de1">Xbox</a> and <a href="https://www.digitaltrends.com/gaming/every-summer-gaming-livestream-2023/">Nintendo</a>, have concentrated efforts in recent years on building their own showcases for game launches, such as <a href="https://blog.playstation.com/2023/09/14/state-of-play-september-2023-all-trailers-and-complete-recap/">State of Play</a>, outside of E3. </p>
<p>Streaming platforms like YouTube, Twitch and TikTok have become the main places for sharing and promoting video game content, meaning the importance of a big gaming convention like E3 has decreased. </p>
<p>This shift away from physical gatherings, however, risks losing the unique thrill that E3’s yearly event inspired. E3 played a crucial role as an anchor and focus point for large developers to catch attention and generate engagement, from unexpected revelations of <a href="https://www.gamesradar.com/best-e3-moments/">legendary franchises like</a> Metal Gear Solid, Final Fantasy and Halo, or to announce big budget product launches like the Nindendo DS. </p>
<p>E3’s extinction event begs the question of how smaller independent studios can maintain widespread recognition without depending only on streaming networks. While internet events like BlizzCon eliminate geographical limits and decrease physical obstacles to entry, they run the danger of diluting promotional efforts for non-AAA titles (AAA titles are video games made by big or medium-sized companies with large marketing budgets).</p>
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<figcaption><span class="caption">A compilation of some of the most memorable E3 reveals.</span></figcaption>
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<h2>The road ahead</h2>
<p>In essence, the conclusion of E3 cements the gaming industry’s inevitable transition towards <a href="https://www.emerald.com/insight/content/doi/10.1108/14684520310510127/full/html">direct, online, creator-to-consumer </a> connection, a pattern mirrored in <a href="https://venturebeat.com/games/gamings-direct-to-consumer-pipeline-is-shifting-to-webstores/">most, if not all entertainment industries</a>. </p>
<p>A good example of that is <a href="https://digiday.com/marketing/why-five-prominent-gaming-influencers-are-teaming-up-to-build-the-top-fortnite-creative-experience/">the Fortnite Creative experience</a>, where five top gaming influencers are collaborating to create Project V, a custom Fortnite game. They are aiming to make it the leading experience in the platform. </p>
<p>This project leverages their combined 120 million followers and draws inspiration from successful Roblox games, a platform where people <a href="https://www.thedrum.com/news/2022/03/31/the-most-social-ecosystem-the-planet-roblox-s-new-generation-makers-and-buyers">mix work and fun</a> by making and selling digital experiences, learning about trade and investment in a social, creative community and hosting their own events to promote their own games. The project is supported by Epic Games’ new <a href="https://digiday.com/marketing/why-five-prominent-gaming-influencers-are-teaming-up-to-build-the-top-fortnite-creative-experience/">creator revenue-sharing model</a>. </p>
<p>While the gap that was created by E3 puts an end to an iconic gaming conference, it does pave the way for future growth in community interaction and game marketing which is suitable for an increasingly virtual age. Businesses should leverage internet platforms to innovate event and announcement experiences, ensuring they are engaging and accessible to all.</p>
<p>There are several ways businesses could adapt to these changing trends. One approach could be to hold digital conventions over several weeks instead of short, packed events. </p>
<p>This would give more time for individual games to get noticed. Another strategy could be expanding networks of influencers and content creators, which could aid in the discovery of new games. Additionally, pursuing integration with the metaverse could create virtual social experiences, even when participants are in different locations.</p>
<p>The end of E3 heralds a seismic shift for the gaming industry and players alike. As players migrate away from physical gaming events and seek more online interactions, there will be an increasing need to move away from 2D displays and presentations and towards more immersive, 3D, or mixed-reality experiences. </p>
<p>As the industry navigates this new terrain, it must strike a balance between the thrill of conventional events and the inclusion of online and immersive platforms – all while ensuring diverse voices flourish in an increasingly virtual, but fragmented, gaming world.</p>
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<img alt="" src="https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=600&fit=crop&dpr=1 600w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=600&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=600&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=754&fit=crop&dpr=1 754w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=754&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/536131/original/file-20230706-17-460x2d.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=754&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
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<p><em>Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. <a href="https://theconversation.com/uk/newsletters/something-good-156">Sign up here</a>.</em></p>
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<p class="fine-print"><em><span>Theo Tzanidis does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>The end of E3 heralds a seismic shift for the gaming industry and players alike.Theo Tzanidis, Senior Lecturer in Digital Marketing, University of the West of ScotlandLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1667292021-09-08T17:26:42Z2021-09-08T17:26:42ZActivision Blizzard’s sexual harassment scandal is not a one-off for the gaming industry<figure><img src="https://images.theconversation.com/files/419804/original/file-20210907-26-jf2tqc.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C4399%2C2930&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The Activision Blizzard Booth is seen during the Electronic Entertainment Expo in Los Angeles. </span> <span class="attribution"><span class="source">(AP Photo/Jae C. Hong)</span></span></figcaption></figure><p>A growing number of major digital gaming studios face allegations over their “frat boy” cultures. <a href="https://www.nytimes.com/2020/06/23/style/women-gaming-streaming-harassment-sexism-twitch.html">These aren’t isolated accusations.</a> They reflect a culture of sexism and discrimination that senior management and human resources departments perpetuate and allow. </p>
<p>Activision Blizzard, maker of successful franchises like <em>World of Warcraft</em> and <em>Call of Duty</em>, has been <a href="https://aboutblaw.com/YJw">sued by the State of California</a> for alleged discrimination against female employees, sexual harassment and failing to take steps to prevent discrimination, harassment and retaliation. </p>
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<a href="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A man in a dark jacket and white shirt" src="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=481&fit=crop&dpr=1 600w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=481&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=481&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=605&fit=crop&dpr=1 754w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=605&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/420020/original/file-20210908-23-1wn1hw4.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=605&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Activision Blizzard CEO Robert Kotick, who’s been harshly criticized by a group of employees for his response to the allegations.</span>
<span class="attribution"><span class="source">(AP Photo/Nati Harnik)</span></span>
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<p>Following a company statement denying the claims, more than <a href="https://www.nbcnews.com/tech/tech-news/activision-blizzard-workers-walk-sexual-harassment-lawsuit-rcna1525">3,000 former and current employees</a> at Blizzard <a href="https://www.forbes.com/sites/paultassi/2021/07/27/heres-the-letter-1000-activision-blizzard-employees-signed-and-sent-to-their-managers/?sh=29fe93444542">signed a letter</a> calling the response “abhorrent and insulting.” </p>
<p>Employees staged a <a href="https://www.theguardian.com/us-news/2021/jul/28/activision-blizzard-walkout-allegations-harassment-frat-boy-culture">walkout and virtual protest</a>. <a href="https://www.polygon.com/22608372/activision-blizzard-lawsuit-explainer-sexual-harassment-frat-boy-discrimination-gender-fired">The president of Blizzard and the head of HR resigned</a>.</p>
<h2>Ubisoft, Riot Games</h2>
<p>Last summer Ubisoft, maker of top games like <em>Assassin’s Creed</em>, also faced <a href="https://kotaku.com/ubisoft-ceo-and-others-blamed-for-institutional-harassm-1847306435">allegations of sexual harassment and misconduct</a>. Senior executives and the company’s global head of HR resigned.</p>
<p>And let’s not forget Riot Games, maker of <em>League of Legends</em>. Allegations of a sexist culture <a href="https://kotaku.com/inside-the-culture-of-sexism-at-riot-games-1828165483">emerged in 2018</a>. This led to a <a href="https://kotaku.com/over-150-riot-employees-walk-out-to-protest-forced-arbi-1834566198">company walkout</a> in 2019 and <a href="https://www.latimes.com/business/technology/story/2019-12-02/riot-games-gender-discrimination-settlement">class-action lawsuits for gender discrimination</a>. This January, <a href="https://www.washingtonpost.com/video-games/2021/02/09/riot-games-laurent-lawsuit/">Riot’s CEO was sued</a> for allegedly creating a hostile work environment and making unwanted sexual advances. </p>
<p>Data from the International Game Developers Association (IGDA) <a href="https://igda.org/dss/">Developer Satisfaction Surveys</a> show that these cases are not a one-off. There is a growing perception among the game developers surveyed that there’s no equity in the industry.</p>
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<a href="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph showing perceptions of equal treatment over four survey years" src="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=463&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=463&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=463&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=582&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=582&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418129/original/file-20210826-6105-elzkn5.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=582&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Is there equal treatment for all in the game industry?</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
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<p>Survey respondents also regularly say that they have experienced inequities or witnessed them toward others. </p>
<p>In the 2021 Developer Satisfaction Survey, only 44 per cent had never experienced inequity and only 29 per cent had never witnessed an incident of inequity.</p>
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<a href="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph of the types of inequity experienced by game developers" src="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=588&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=588&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=588&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=739&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=739&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418134/original/file-20210826-4978-1gvqtqq.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=739&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Experiences of inequity reported in the Developer Satisfaction Surveys.</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
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<p>Companies are responsible for creating inclusive workplaces. The gaming industry is behind the curve in establishing and enforcing policies to prevent discrimination, harassment and exclusionary practices. </p>
<p>In the 2021 Developer Satisfaction Survey, eight per cent of respondents said that their companies had no equity, diversity or inclusion policies at all, and 22 per cent did not know if they did. Only one-quarter said that their companies had a safe space policy. </p>
<p>The numbers look better for policies on sexual harassment and general discrimination, but there is far from universal adoption. Worse, less than half of respondents said that there was a formal disciplinary process or a formal complaint procedure. </p>
<h2>Situation worsening</h2>
<p>Crucially, only 41 per cent of respondents felt that these policies were adequately enforced. Almost half were not sure. These numbers are worse than in previous survey years.</p>
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<a href="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Bar graph of equity, diversity and inclusion policies in place at game studios" src="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=388&fit=crop&dpr=1 600w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=388&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=388&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=488&fit=crop&dpr=1 754w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=488&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/418135/original/file-20210826-25-h84tmc.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=488&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
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<span class="caption">Equity, Diversity and Inclusion Policies at Game Studios.</span>
<span class="attribution"><span class="source">IGDA Developer Satisfaction Surveys original data</span></span>
</figcaption>
</figure>
<p>This data helps to explain the concerns raised by developers in the recent gaming industry scandals. At best, issues are ignored or mishandled by senior management and HR. At worst, senior executives are complicit in misconduct and coverups. The Developer Satisfaction Survey data show an informal and often arbitrary environment where employees have limited leverage or recourse.</p>
<p>Ample evidence suggests companies won’t change on their own. Employees must keep up the pressure. </p>
<p>An Ubisoft developer <a href="https://kotaku.com/ubisofts-metoo-reckoning-two-months-later-1844717203">quoted in Kotaku</a> expressed demoralization: </p>
<blockquote>
<p>“I’m so jaded at this point that, no matter what they do, it’ll feel like lip service to me.” </p>
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<p>But others are speaking out. They are filing lawsuits, mobilizing their colleagues and, perhaps most importantly, unionizing. Unions give workers a voice and role in the regulation of their workplaces. The <a href="https://ir.lib.uwo.ca/cgi/viewcontent.cgi?article=1019&context=mospub">momentum for unions</a> in the gaming industry is growing.</p>
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Read more:
<a href="https://theconversation.com/the-advantages-of-unionization-are-obvious-so-why-dont-more-workers-join-unions-164475">The advantages of unionization are obvious, so why don't more workers join unions?</a>
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<h2>Not just talk, but action is needed</h2>
<p>As #Metoo becomes part of our daily discourse, it’s easy to think that equity issues are finally being appropriately addressed. </p>
<p>Companies seem to publicly advocate for equity. In response to scandals, organizations like Activision Blizzard, Ubisoft and Riot hire consultants, issue public commitments to equity, diversity or inclusion policies and fire problematic staff.</p>
<p>But behind closed doors, there is still a lot of work to be done to achieve proper accountability at companies that are historically homogeneous in their demographic makeup and structures. Companies must realize that a commitment to equity, diversity and inclusion on paper is worthless without real action and change.</p><img src="https://counter.theconversation.com/content/166729/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Johanna Weststar has received funding from the Social Sciences and Humanities Research Council of Canada, the International Game Developers Association and the IGDA Foundation.</span></em></p>The gaming industry is plagued by accusations of discrimination and harassment. Companies must realize that a commitment to equity and diversity on paper is worthless without real action and change.Johanna Weststar, Associate Professor of Labour and Employment Relations, DAN Department of Management & Organizational Studies, Western UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1601822021-05-04T06:49:09Z2021-05-04T06:49:09ZSure, video games want to get you hooked on spending. But there’s no evidence they can manipulate you<figure><img src="https://images.theconversation.com/files/398574/original/file-20210504-19-1k0i8h3.png?ixlib=rb-1.1.0&rect=0%2C2%2C1605%2C1057&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">YouTube/Screenshot</span></span></figcaption></figure><p>The ABC’s latest Four Corners <a href="https://www.abc.net.au/news/2021-05-03/video-games-you-play-are-using-sneaky-tactics-four-corners/100098826">report</a> is an investigation into how videogames are “deliberately designed to get people hooked”.</p>
<p>It describes the use of gambling-like <a href="https://linkinghub.elsevier.com/retrieve/pii/S0306460318315077">“loot boxes” in games</a>, the hotly debated <a href="https://pubmed.ncbi.nlm.nih.gov/29529886/">notion of videogame addiction</a> and, to a lesser extent, the “predatory techniques” of using user data and AI to increase spending in freemium games (free to play games which are monetised through in-app transactions and advertising).</p>
<p>The process of monetising and collecting data through videogames does require scrutiny, as it can be problematic for some users. But in working out what the harms are, we shouldn’t lose sight of the fact videogames are enjoyable and valuable for the vast majority.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=338&fit=crop&dpr=1 600w, https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=338&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=338&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=424&fit=crop&dpr=1 754w, https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=424&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/398506/original/file-20210503-17-1ddo3hp.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=424&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">The Four Corner’s program asks, ‘are you being played?’</span>
<span class="attribution"><span class="source">via ABC 4 Corners program</span></span>
</figcaption>
</figure>
<h2>How do game companies use data?</h2>
<p>Videogame production is increasingly supported by collecting large amounts of player data. Game developers use this data to optimise game design and, perhaps more commonly, how games are monetised.</p>
<p>Historically, data about players’ actions and gaming experiences have been collected through quality assurance testing, or by game developers trawling through online forums. This has changed with the rise of data mining and analysis, referred to as <a href="https://www.amazon.com/Game-Analytics-Maximizing-Value-Player/dp/1447147685">telemetry</a>, or more commonly as “data analytics”. </p>
<p>Such approaches were once limited to large “<a href="https://www.g2a.com/news/features/best-aaa-games/">Triple A</a>” companies such as <a href="https://www.gdcvault.com/play/1014406/The-Data-Cracker-Building-a">EA</a> or social gaming giants like <a href="https://www.gamasutra.com/blogs/BenWeber/20201026/372498/The_Zynga_Analytics_Platform_in_2020.php">Zynga</a>. Only the biggest game designers could afford in-house software engineers to create these systems, and data analysts to use them.</p>
<p>Today data analytics are relatively cheap, accessible tools aimed at both <a href="https://cmr.berkeley.edu/2020/05/62-3-werder/">big</a> and small <a href="https://journals.sagepub.com/doi/abs/10.1177/1527476419851086">independent</a> developers. Data analytics suites are a core feature of game development <a href="https://unity.com/features/analytics">software</a>, are offered by tech giants such as <a href="https://aws.amazon.com/gametech/">Amazon</a> and are also sold by standalone analytics providers such as <a href="https://gameanalytics.com/">GameAnalytics</a>.</p>
<p>Analytics might involve simple data such as the number of downloads, or may provide more complex insights, such as in-game behaviour, playing time and frequency of play. </p>
<p>The shift to freemium play, encouraged by smartphone platforms, has made it particularly important to collect data on in-app purchasing. This could include players’ geographic location, their device and operating system and their spending habits.</p>
<p>In turn, this can help game developers to determine which players are more likely to spend money while playing, and how to optimise the placement of in-game ads — a major source of revenue in freemium games.</p>
<figure class="align-center ">
<img alt="" src="https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=472&fit=crop&dpr=1 600w, https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=472&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=472&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=593&fit=crop&dpr=1 754w, https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=593&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/398504/original/file-20210503-13-u7ps59.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=593&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px">
<figcaption>
<span class="caption">GameAnalytics interface tracking a game’s new users over time.</span>
<span class="attribution"><span class="source">GameAnalytics</span></span>
</figcaption>
</figure>
<p>The software <a href="https://www.gameofwhales.com/">Game of Whales</a> —
named after the industry’s practice of calling big spenders “whales” —
claims to use AI to track players’ behaviour in real-time and interact with them in a way that maximises “lifetime value”, which is the total amount of revenue a player will generate while playing a game.</p>
<p>These tools are framed as allowing both large and smaller developers to create conditions which increase player spending. For example, they might minimise ads and encourage increased playing time for a high-value “whale”, while providing more ads for users who are unlikely to make in-app purchases.</p>
<p>This is the subset of the gaming industry that frames itself as being able to “control” players through data analytics. </p>
<h2>What’s the data on the data?</h2>
<p>However, while analytics companies would suggest their products <a href="https://gameanalytics.com/blog/shooting-for-the-stars-how-the-devs-behind-crossy-road-and-shooty-skies-became-mobile-masters/">work as promised</a>, we lack scholarly evidence that data capture allows videogame companies to control our minds or our wallets.</p>
<p>As critics of Harvard Professor Shoshana Zuboff’s <a href="https://www.amazon.com.au/Age-Surveillance-Capitalism-Future-Frontier/dp/1610395697">surveillance capitalism</a> <a href="https://www.theguardian.com/books/2019/oct/04/shoshana-zuboff-surveillance-capitalism-assault-human-automomy-digital-privacy">theory</a> would argue, just because game companies collect our data, that doesn’t mean they can automatically control how we behave. Data does not rob us of our agency, writes Virginia Tech’s <a href="https://sts-news.medium.com/youre-doing-it-wrong-notes-on-criticism-and-technology-hype-18b08b4307e5">Lee Vinsel</a>:</p>
<blockquote>
<p>[…] it seems that Mark Zuckerberg can’t sell me fucking socks, let alone purposefully/significantly change my politics or self-concept.</p>
</blockquote>
<p>Research on how developers use data analytics reflects this ambivalence. <a href="https://cmr.berkeley.edu/2020/05/62-3-werder/">One study</a> of French videogame company Ubisoft, and its use of data, suggests data collection “augments” (or enhances) products, rather than necessarily manipulating users into continued spending via microtransactions.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/facebooks-virtual-reality-push-is-about-data-not-gaming-145730">Facebook's virtual reality push is about data, not gaming</a>
</strong>
</em>
</p>
<hr>
<h2>Are you being manipulated?</h2>
<p>The recent Four Corners report frames the gaming industry as a largely manipulative one. It attacks the industry’s calculated pricing strategies, which can affect how we value in-game purchases. </p>
<p>But these same strategies are also widely used in the <a href="https://bettermarketing.pub/4-pricing-strategies-restaurants-use-to-make-you-spend-more-money-1ab5a1a86c29">restaurant industry</a>. Even supermarkets are designed so <a href="https://www.sciencetimes.com/articles/27561/20201002/supermarkets-manipulate-people.htm">customers spend as much time as possible</a> inside. </p>
<p>Push notifications that encourage play and consumption have a real-world equivalent, too, such as <a href="https://foodbabe.com/the-behind-the-scenes-marketing-tricks/">scent machines at Disneyland</a> used to boost cotton candy and caramel apple sales.</p>
<p>Yet, we don’t think of these subtle techniques as completely robbing us of our agency. So why does the gaming industry draw so much criticism? </p>
<h2>Are there solutions?</h2>
<p>Many of the mobile and freemium games discussed in the Four Corners report are designed for children who do need greater protection since, according to some psychologists, they don’t “<a href="http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.459.1736&rep=rep1&type=pdf">comprehend commercial messages in the same way as more mature audiences</a>”.</p>
<p>In part, concerns about spending in games can be attributed to parents and non-players misunderstanding how virtual goods can actually have real value for players. </p>
<p>A virtual outfit can still help someone express their identity. A helpful strategy could be for parents to discuss with their kids what it means to spend real money on virtual goods and why they want to. </p>
<p>Although, the way some games target whales to <a href="https://www.gamasutra.com/view/feature/195806/chasing_the_whale_examining_the_.php?print=1">encourage unlimited spending</a> is a source of genuine concern. When it comes to monetising responsibly, game platforms and developers both have a role to play.</p>
<p>The solution may be to introduce spending limits, which research has found helps gamblers avoid <a href="https://link.springer.com/article/10.1007/s11469-018-9892-x">problem gambling</a>.</p>
<h2>Looking after children</h2>
<p>It’s important not to conflate issues with how game companies encourage in-game spending with gaming addiction, about which there is <a href="https://akjournals.com/view/journals/2006/6/3/article-p267.xml">significant disagreement among scholars</a>.</p>
<p><a href="https://www.abc.net.au/news/2021-05-03/video-games-you-play-are-using-sneaky-tactics-four-corners/100098826">Speaking to</a> the Four Corners team, one psychiatrist frames gameplay through language such as “detox” and “relapse”. This approach, which critics refer to as a form of “<a href="https://psycnet.apa.org/record/2016-08154-001">concept creep</a>”, can result in children’s play being unnecessarily pathologised.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/gaming-addiction-as-a-mental-disorder-its-premature-to-pathologise-players-89892">Gaming addiction as a mental disorder: it's premature to pathologise players</a>
</strong>
</em>
</p>
<hr>
<p>In <a href="https://journals.sagepub.com/doi/abs/10.1177/1329878X20921568?journalCode=miad">our research</a>, we found reason to be concerned by how this type of discourse can negatively affect children with healthy digital play habits, by stigmatising their play, causing parent-child conflict and devaluing concern about drug and alcohol addiction. </p>
<p>Children have the <a href="https://www.unicef.org.uk/what-we-do/un-convention-child-rights/#:%7E:text=The%20Convention%20has%2054%20articles,can%20enjoy%20all%20their%20rights.">right to play</a> and this <a href="https://childrens-rights.digital/fokus/index.cfm/topic.274">extends to the digital world</a>.</p><img src="https://counter.theconversation.com/content/160182/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.</span></em></p>There’s not enough scholarly evidence to suggest game companies can control our minds or our wallets.Ben Egliston, Postdoctoral research fellow, Digital Media Research Centre, Queensland University of TechnologyJane Mavoa, PhD candidate researching children's play in digital games, The University of MelbourneMarcus Carter, Senior Lecturer in Digital Cultures, SOAR Fellow., University of SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1500572020-11-19T18:52:44Z2020-11-19T18:52:44ZThe war between Xbox and Playstation is no longer about consoles. It’s about winning your loyalty<figure><img src="https://images.theconversation.com/files/370001/original/file-20201118-23-yub2qv.jpg?ixlib=rb-1.1.0&rect=59%2C37%2C2415%2C1610&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">Shutterstock</span></span></figcaption></figure><p>In the latest salvo of an almost two-decade console war between Microsoft and Sony, both Sony’s Playstation 5 and Microsoft’s Xbox Series S/X were launched last week. </p>
<p>With <a href="https://www.weforum.org/agenda/2020/09/covid19-coronavirus-pandemic-video-games-entertainment-media/">increased spending on videogames</a> due to ongoing quarantine and travel restrictions, the launches have <a href="https://www.gamesindustry.biz/articles/2020-11-12-xbox-series-x-s-is-biggest-console-launch-in-microsofts-history">been described</a> as historically significant. Head of Xbox Phil Spencer tweeted:</p>
<p><div data-react-class="Tweet" data-react-props="{"tweetId":"1326693095954550784"}"></div></p>
<p>As is typical for a “next-generation” launch, both consoles sport significant boosts to computing power, support 4K graphics and offer <a href="https://www.theverge.com/2020/3/18/21185356/sony-ps5-playstation-5-ssd-load-times-mark-cerny-developer-gdc">faster performance</a> and loading times. But unlike previous launches, they present starkly different visions for the future of video gaming. </p>
<p>Sony continues to focus on providing exclusive content. Meanwhile, Microsoft yesterday launched its Project <a href="https://www.xbox.com/en-AU/xbox-game-streaming/project-xcloud/register?irgwc=1&OCID=AID2000142_aff_7593_10078&tduid=%28ir__dtth6vda1kkftzdokk0sohzw0f2xsnfd2i0qkayq00%29%287593%29%2810078%29%28press-start.com.au%29%28165880X1633394X95cf0104a42193ee4477b2098d5022b5%29&irclickid=_dtth6vda1kkftzdokk0sohzw0f2xsnfd2i0qkayq00">xCloud</a> game streaming service <a href="https://www.kotaku.com.au/2020/11/xbox-project-xcloud-australia-release/">in Australia</a> — the most recent step in a wider trend towards embracing a subscription-based business model.</p>
<h2>Sony’s focus on exclusivity</h2>
<p>For a long time, new consoles had been primarily marketed around “platform exclusive” titles available only for that console. </p>
<p>Sony and Microsoft have in the past paid millions to developers for exclusivity deals. In 2010, Microsoft paid <a href="https://www.gamespot.com/articles/microsoft-paid-75-million-to-stop-gtaiv-ps3-exclusivity/1100-6262370">Rockstar Games US$75,000,000</a> to stop Grand Theft Auto IV from becoming a Playstation 3 exclusive.</p>
<p>Sony’s recent PS5 launch carries on this tradition. The console is marketed in terms of first-party exclusives, such as those developed by <a href="https://www.naughtydog.com/">Naughty Dog</a> (Uncharted, The Last of Us) and Sony Computer Entertainment’s <a href="https://sms.playstation.com/">Santa Monica Studio</a> (God of War).</p>
<p>Sony has also had great success selling hardware peripherals that make its consoles more attractive, evident in recent <a href="https://www.theverge.com/2020/10/28/21537806/sony-q2-results-playstation-sales-ps5-demand">quarterly revenues</a>. The PlayStation virtual reality headset sold more than five million units worldwide during the last generation.</p>
<p>In contrast, Microsoft <a href="https://www.theverge.com/2017/10/25/16542870/microsoft-kinect-dead-stop-manufacturing">quickly abandoned the Kinect</a>. This motion-sensing device bundled with the Xbox One never won over its audience.</p>
<h2>The rise of subscription gaming</h2>
<p>That said, although Sony vastly outsold Microsoft with the PS4 last generation, it seems in 2020 Microsoft has shifted the goalposts of success.</p>
<p>As Phil Spencer notes, Microsoft’s aim is no longer to sell the most consoles, but to <a href="https://www.theguardian.com/games/2020/nov/11/xbox-phil-spencer-interview-microsoft-series-x">accumulate the most players</a>, irrespective of where they’re playing. The console itself is now almost secondary. </p>
<p>For instance, Microsoft’s Game Pass subscription service, launched in 2017, provides access to Xbox titles across both Xbox consoles and PC. Game Pass follows a similar model to Netflix, wherein users pay a monthly fee to access a library of content. </p>
<p>And although having a Game Pass membership isn’t mandatory, Microsoft reports <a href="https://news.xbox.com/en-us/2020/11/13/the-biggest-launch-in-xbox-history/">70%</a> of X/S console users do.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Game Pass home screen" src="https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=391&fit=crop&dpr=1 600w, https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=391&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=391&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=492&fit=crop&dpr=1 754w, https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=492&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/369992/original/file-20201118-21-vqxwmo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=492&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">In Australia, Game Pass memberships for either PC <em>or</em> console gaming are the same price. The ‘ultimate’ membership, which includes both PC and console games, costs extra.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>On the surface, subscription gaming seems to offer better value for money in terms of access to content, as gamers don’t have to buy the games outright. </p>
<p>But as has been the case with competing television and film streaming services, should subscription gaming become more common, paying for a range of subscriptions may become costly — especially if certain games are exclusive to certain services.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/apple-google-and-fortnites-stoush-is-a-classic-case-of-how-far-big-tech-will-go-to-retain-power-144728">Apple, Google and Fortnite's stoush is a classic case of how far big tech will go to retain power</a>
</strong>
</em>
</p>
<hr>
<h2>Gaming on the cloud, everywhere</h2>
<p>The Game Pass service uses “cloud gaming” technology. Whereas consoles provide the local computing hardware needed to play games, cloud gaming involves streaming games over the internet, from a host’s remote servers to the user’s device.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Illustration showing software running across various devices" src="https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=420&fit=crop&dpr=1 600w, https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=420&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=420&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=527&fit=crop&dpr=1 754w, https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=527&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/369993/original/file-20201118-15-37jsx2.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=527&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Cloud gaming enables seamless cross-platform gaming, which has come leaps and bounds in the past few years.</span>
<span class="attribution"><span class="source">Shutterstock</span></span>
</figcaption>
</figure>
<p>In the past, this hasn’t worked well due to “high latency”. This refers to the delay between making an input (such as shooting a character) and seeing the result (the character being shot). </p>
<p>However, with improved computing power, internet speeds and clever design tricks, cloud gaming is becoming a crowded market, with big tech companies including <a href="https://stadia.google.com/">Google</a> and <a href="https://www.amazon.com/luna/landing-page">Amazon</a> joining in, too.</p>
<p>Sony began experimenting with cloud gaming in 2014 with PS Now. This service allows the streaming of older titles, such as PS3 games. And while Sony continues to offer PS Now for the PS5, and at a <a href="https://www.theverge.com/2019/10/1/20893111/sony-playstation-now-price-cut-gta-v-god-of-war-subscription-games">cheaper</a> price point than Microsoft’s Game Pass, the PS Now is still focused on old games.</p>
<p>On the other hand, Microsoft is aggressively pushing its new Project <a href="https://www.theverge.com/2020/9/14/21436006/microsoft-xbox-xcloud-game-list-pass-ultimate-streaming">xCloud</a>. This service, which comes bundled with the GamePass, allows users to stream certain newer Xbox games directly to their smartphone or tablet, without even needing to own an Xbox console.</p>
<p><div data-react-class="Tweet" data-react-props="{"tweetId":"1328898581369999360"}"></div></p>
<p>Clearly, Micosoft’s focus is on players, not consoles. Considering the massive impact smartphones are having on who plays games (and how often), Microsoft may be setting itself up to engage a much larger audience than ever before.</p>
<h2>An evolving market</h2>
<p>The 2020 console war looks quite different to those of the past, when a single winner often took it all (or at least the majority of it). Think Nintendo in 1990s North America, or Sony’s domination last generation with the PS4.</p>
<p>In light of Microsoft’s shifting approach, we’re now in a situation where two winners will likely take large chunks of different markets, by doing different things. </p>
<p>On one hand, this might help diversify the market and provide greater variety for consumers. On the other, Sony and Microsoft’s divergence might have gamers spending more than ever. </p>
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<em>
<strong>
Read more:
<a href="https://theconversation.com/no-youre-probably-not-addicted-to-your-smartphone-but-you-might-use-it-too-much-89853">No, you're probably not 'addicted' to your smartphone – but you might use it too much</a>
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<img src="https://counter.theconversation.com/content/150057/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Marcus Carter has previoulsy consulted for Telstra Ltd, and was previously a post-doc in the Microsoft Research Centre for Social Natural User Interfaces at The Univeristy of Melbourne. Marcus Carter is a board member of the Digital Games Research Association of Australia.</span></em></p><p class="fine-print"><em><span>Ben Egliston does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Sony and Microsoft are straying from traditional video game service models. While it might help diversify the market, it could also force avid gamers to empty their pockets.Ben Egliston, Postdoctoral research fellow, Digital Media Research Centre, Queensland University of TechnologyMarcus Carter, Senior Lecturer in Digital Cultures, SOAR Fellow., University of SydneyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/1233592019-09-17T04:25:01Z2019-09-17T04:25:01ZApple Arcade and Google Stadia aim to offer frictionless gaming, if your NBN plan can handle it<figure><img src="https://images.theconversation.com/files/292734/original/file-20190917-19059-xioc33.jpg?ixlib=rb-1.1.0&rect=9%2C21%2C2035%2C1339&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Google's Stadia will be available through the Google Chrome web browser, on smartphones, smart televisions, tablets, and through Chromecast.</span> <span class="attribution"><a class="source" href="https://commons.wikimedia.org/wiki/File:Stadia_Cloud_gaming_Gamescom_Cologne_2019_(48605890597).jpg">dronepicr/Wikimedia Commons</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span></figcaption></figure><p>Two of the biggest tech companies in the world, Apple and Google, are launching cloud-based gaming services this year. </p>
<p>Apple Arcade, due for release in two days, will ultimately go head-to-head with Google’s Stadia when the latter launches in November. And both will also be battling a surprising foe: friction.</p>
<p>In this context, “friction” means anything that increases inconvenience for the user. Friction makes you take extra steps, think more than necessary, or work harder to get the service you want. In designing a gaming platform, friction is bad. </p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/gaming-through-the-ages-older-australians-are-embracing-video-games-44899">Gaming through the ages: older Australians are embracing video games</a>
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</em>
</p>
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<p>Both companies will attempt to reduce friction by using <a href="https://azure.microsoft.com/en-au/overview/what-is-cloud-computing/">cloud technology</a> to store digital resources and services on their own servers, and deliver them to clients through the internet. </p>
<p>The game files will thus be stored and shared in much the same way that documents or photos are currently handled via DropBox, Google Drive, and Apple’s iCloud.</p>
<p>Specifically, Apple Arcade will use a model called “infrastructure as a service”. As long as you have an Apple device, you can play hundreds of games at any time, from any location, including offline (once you’ve downloaded the game). </p>
<p>This model outsources the problem of data storage to remote data centres around the world. The user’s device remains responsible for the operating system, maintenance of the software (such as <a href="https://www.techopedia.com/definition/24537/patch">patches</a> and graphics drivers) and real-time processing of data.</p>
<p>Google Stadia is planning to use a slightly different model, called “platform as a service”. This means Google will take care of all the maintenance and processing requirements too, so the user’s device acts only as a receptacle for hosting the application and user data.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=295&fit=crop&dpr=1 600w, https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=295&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=295&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=370&fit=crop&dpr=1 754w, https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=370&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/292149/original/file-20190912-190031-15mafrz.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=370&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Google’s Stadia has a ‘platform as a service’ model which requires the user to maintain only certain aspects of data and the application on their device.</span>
<span class="attribution"><span class="source">Laura Bernheim / Author provided</span></span>
</figcaption>
</figure>
<h2>Budget-friendly gaming?</h2>
<p>Both services will use a flat rate, monthly subscription model to let users play a multitude of games that would otherwise cost hundreds, if not thousands, of dollars. </p>
<p>For Apple Arcade all games are included in this fee, but you need suitable Apple hardware. </p>
<p>Ambitiously, Google’s Stadia promises to eradicate the limitation of hardware cost. Google will handle the hardware requirements, software processing and maintenance. </p>
<p>Instead of needing an expensive PC with the latest hardware and software, or dedicated gaming console, Stadia users simply need an inexpensive computing device such as a phone, Chromecast, or smart TV. All of the heavier processing requirements will be handled by Google, and the games simply beamed to your device. </p>
<p>However, unlike Apple Arcade, Stadia requires payment for individual games (neither of the services will have in-app purchases requiring additional payment).</p>
<p>When it comes to mobility, both Stadia and Apple Arcade will offer gameplay across multiple devices, from any location with all progress saved. </p>
<p>Sounds great right? What could possibly be the downside of these services?</p>
<p>We should heed culture critic Neil Postman’s <a href="https://mcluhangalaxy.wordpress.com/2012/03/04/neil-postman-on-technologys-faustian-bargain/">warning regarding technology</a>:</p>
<blockquote>
<p>New technology is a kind of Faustian bargain. It always gives us something, but it always takes away something important. That’s true of the alphabet, and the printing press, and telegraph, right up through the computer.</p>
</blockquote>
<p>The Faustian bargain in this context involves privacy and data, connectivity, and user control. </p>
<h2>Privacy and data</h2>
<p>As with any network technology, as soon as you opt into Apple Arcade or Google Stadia, your data becomes part of their system. </p>
<p>In digital games, it’s possible to track all kinds of user behaviour as you play. </p>
<p>While this might not lead to the building of psychological profiles and user manipulation on the scale of the Facebook <a href="https://www.theguardian.com/technology/2018/mar/17/facebook-cambridge-analytica-kogan-data-algorithm">Cambridge Analytica scandal</a>, Google and other Silicon Valley giants have <a href="https://www.wired.com/story/should-big-tech-own-our-personal-data/">an awful record of respecting user privacy</a>.</p>
<h2>Network connectivity</h2>
<p>Bad internet connection? Sorry, you’re out. </p>
<p>If you opt for Apple Arcade, this is less of a problem as you can download the game and play offline, but depending on your connection it can take minutes or hours before you can start playing - and let’s hope you don’t have a monthly data limit.</p>
<p>Meanwhile, to achieve 4K resolution streaming using Stadia, you require a steady flow of 20 megabits per second (Mbps). This will require a National Broadband Network (NBN) connection, but the <a href="https://www.whistleout.com.au/Broadband/Guides/what-nbn-speed-do-you-need">entry-level NBN plan achieves a meagre 7Mpbs average</a>.</p>
<p>Even for 720p resolution, <a href="https://www.videosolo.com/tutorials/screen-resolution-comparison.html">which barely qualifies as high-definition</a>, you need 10Mbps. Simply put, you’re going to need to pay for an upper-tier NBN plan, assuming that’s even possible in your area.</p>
<h2>Mods and extras</h2>
<p>Apple Arcade and Google Stadia also remove the potential for mods in gaming. </p>
<p><a href="https://www.pcgamer.com/au/a-beginners-guide-to-mods/">Mods</a> (an abbreviation of “user modification”) are extensions that offer new levels, items, quests, or characters. These are made by amateur game developers and made available, generally for free, across the internet on various platforms such as Valve’s Steam.</p>
<p>The mod scene has had an <a href="https://www.polygon.com/2013/9/2/4672920/moba-dota-arts-a-brief-introduction-to-gamings-biggest-most">enormous influence</a> on gaming culture. The World of Warcraft 3 mod, Defense of the Ancients (DotA), popularised the now enormously successful Multiplayer Online Battle Arena (MOBA) genre. Counter-Strike began as a mod for Half-Life.</p>
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<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/gamers-use-machine-learning-to-navigate-complex-video-games-but-its-not-free-114906">Gamers use machine learning to navigate complex video games – but it's not free</a>
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</em>
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<p>Both Apple Arcade and Google’s Stadia operate as closed systems, not allowing user modification in any substantial way. Any mod scene for these services is, at the moment, impossible by design.</p>
<p>And although Google is an enormous company, if the Stadia service is cancelled, all of its users will lose their individual game purchases.</p>
<h2>A frictionless bargain?</h2>
<p>We all want less friction in our lives. </p>
<p>We want things to be easy and accessible. In this sense, cloud technology offers a seductive bargain, encapsulated in one of Apple’s slogans: “it just works”. </p>
<p>Yet, in pursuit of things “just working”, we make sacrifices. We offer up our privacy, data and control.</p>
<p>The question becomes, what are we willing to lose in striking this bargain? Because, as Neil Postman reminds us, we will always lose something.</p><img src="https://counter.theconversation.com/content/123359/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Steven Conway does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Google’s Stadia and Apple Arcade will rattle the gaming world this year. Both aim to solve current limitations, but as user experience improves, issues around connectivity and cost arise.Steven Conway, Senior Lecturer - Games and Interactivity, Swinburne University of TechnologyLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/975182018-06-18T10:44:32Z2018-06-18T10:44:32ZWhat 40 years of ‘Space Invaders’ says about the 1970s – and today<figure><img src="https://images.theconversation.com/files/221249/original/file-20180531-69508-1jtguqa.JPG?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The iconic shooting game in its original stand-up arcade form.</span> <span class="attribution"><a class="source" href="https://commons.wikimedia.org/wiki/File:Space_Invaders_-_Midway%27s.JPG">Jordiferrer</a>, <a class="license" href="http://creativecommons.org/licenses/by-sa/4.0/">CC BY-SA</a></span></figcaption></figure><p>The “Space Invaders” arcade video game, <a href="https://www.giantbomb.com/space-invaders/3030-5099/">celebrating its 40th anniversary</a>, is an iconic piece of software, credited as one of the earliest digital shooting games. Like many early games, it and its surrounding myths showcase the cultural collisions and issues current at its creation by Japanese game designer <a href="https://en.wikipedia.org/wiki/Tomohiro_Nishikado">Tomohiro Nishikado</a>. </p>
<p>As a game designer and teacher of games, I know how meaning is carried from <a href="http://www.arts.rpi.edu/public_html/ruiz/EGDFall10/readings/RhetoricVideoGames_Bogost.pdf">designer to the mechanics of play</a>. As a <a href="https://scholar.google.com/citations?user=_8XOQRoAAAAJ&hl=en">game studies researcher</a>, I also know how games reveal myth, meaning and culture. </p>
<p>An <a href="https://doi.org/10.1080/14797585.2015.1021991">analysis of “Pac-Man,”</a> for instance, shows how that game embodies many values of its day – including consumerism, drug use and gender politics. The message in “Space Invaders” is as basic as the graphics: When faced with conflict, players have no option except to blast it away. </p>
<p>Avoiding an enemy only delays the inevitable; players cannot move forward or back, but can only defend their space. There’s not even a reason why the invasion is occurring. Players know only that the invaders must be destroyed. It’s a distinct cultural perspective, emphasizing shooting over everything else.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=484&fit=crop&dpr=1 600w, https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=484&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=484&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=608&fit=crop&dpr=1 754w, https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=608&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/221251/original/file-20180531-69508-1oenzpj.png?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=608&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Defense is the only option against a never-ending onslaught.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/bagogames/14750012323">BagoGames</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<h2>A historical pioneer</h2>
<p>The history of many shooting games can be traced to “Space Invaders.” It’s not the first – MIT’s “<a href="http://museum.mit.edu/150/25">Spacewar!</a>” was earlier, <a href="https://www.theverge.com/2013/2/4/3949524/the-story-of-the-worlds-first-digital-video-game">in 1961</a> – but “Space Invaders” is among the most copied. Even people who never played the original “Space Invaders” have likely played the more than <a href="https://www.giantbomb.com/space-invaders/3030-5099/similar-games/">100 clones of it</a> – including the first advertising game, “<a href="https://en.wikipedia.org/wiki/Pepsi_Invaders">Pepsi Invaders</a>.”</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/Rmvb4Hktv7U?wmode=transparent&start=5" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">‘Spacewar!’</span></figcaption>
</figure>
<p>The release of “Space Invaders” foreshadowed the growth of the Japanese games industry, which itself was seen as a fearsome <a href="https://www.nytimes.com/1992/02/09/books/is-japan-out-to-get-us.html">cultural invasion</a> of the U.S. by Japan. The tension was expressed in popular media as a defense of American individualism against the <a href="https://www.routledge.com/Superhuman-Japan-Knowledge-Nation-and-Culture-in-US-Japan-Relations/Thorsten/p/book/9781138629011">power and efficacy of Japanese collectivism and corporate culture</a>. This tension displayed itself in popular media like the comedy film “<a href="https://www.imdb.com/title/tt0091159/">Gung Ho</a>” as a combined Japanophobia and Japanophilia. </p>
<p>“Space Invaders” also highlighted how tenuous some elements of Western identity were. The U.S. had built its sense of self on being the greatest, but was being challenged by Japanese economic growth. But it was complicated: As Japanese automakers won customers from the American car companies, they began to build their <a href="https://www.nytimes.com/1985/03/31/business/japan-s-made-in-america-cars.html">cars in the U.S.</a> – so were they Japanese or American cars?</p>
<figure>
<iframe width="440" height="260" src="https://www.youtube.com/embed/D1jZaIPeD5w?wmode=transparent&start=0" frameborder="0" allowfullscreen=""></iframe>
<figcaption><span class="caption">A game of ‘Space Invaders.’</span></figcaption>
</figure>
<p>In the same way, if the American game maker <a href="http://www.rolentapress.com/">Atari’s biggest hit was a Japanese-made game</a>, how American was Atari’s success? In any case, millions of U.S. consumers bought the Atari 2600 game system to be able to play the hit arcade game “Space Invaders” at home. Five years later, in 1983, the games industry crumbled in large part because American-made games were <a href="http://www.arcadeattack.co.uk/david-crane/">not interesting and too similar to each other</a>.</p>
<p>In 1985 the Japanese-made <a href="https://www.nintendo.com/nes-classic/">Nintendo Entertainment System</a> ushered in a <a href="http://home.bt.com/tech-gadgets/computing/gaming/nintendo-entertainment-system-facts-11364212370853">new era of home console play</a>. That continued the challenge to the American identity: U.S. companies failed to innovate and lead, and a Japanese company filled the innovation void. </p>
<h2>The myths of (space) invasion</h2>
<p>“Space Invaders” also has collected some myths around it, which reveal more about society than about the game itself. The most notable legend is that “Space Invaders” was so popular that the Japanese economy <a href="https://www.newyorker.com/tech/elements/the-space-invader">ran out of the coins</a> needed to play it in arcades. <a href="https://unrealfacts.com/did-space-invaders-cause-a-shortage-of-coins-in-japan/">It’s not true</a>, but like many myths about games, both positive and negative, it sounds so good it’s easy to champion anyway.</p>
<p>That fable is a prequel to larger popular fictions about games. People blame games for the <a href="http://www.nber.org/papers/w23552">decline of economies and for joblessness</a>. The innovations created in games support technological innovations that <a href="https://www.penguinrandomhouse.com/books/305501/reality-is-broken-by-jane-mcgonigal/9780143120612/">change society and the way people socialize</a>, yet people are also eager to blame large systemic issues like <a href="https://theconversation.com/its-time-to-end-the-debate-about-video-games-and-violence-91607">gun violence in schools on video games</a>. </p>
<p>Another tale is that “Space Invaders” demand was so strong that even with multiple game machines installed, there were <a href="https://www.bbc.com/news/technology-22714047">lines to play</a>. Whether or not they were queuing up for their own turns, it’s definitely true that people <a href="https://www.newstatesman.com/culture/2015/03/cultural-importance-video-game-arcade">watched others play</a>. That helped set the stage for the growth of arcades and LAN-gaming parties, precursors to professional players and today’s <a href="https://mitpress.mit.edu/books/raising-stakes">multi-billion-dollar industry of e-sports</a>.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=502&fit=crop&dpr=1 754w, https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=502&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/221253/original/file-20180531-69490-qhrd4o.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=502&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">An arena packed with people watching others play video games.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/samchurchill/14857571158">Sam Churchill</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<p>History shows that games change society, pointing it toward play and creating new economies. The advent of arcades was as novel as the contemporary use of the <a href="https://www.fool.com/investing/2018/03/30/can-video-game-companies-count-on-microtransaction.aspx">micro-transactions common in mobile games</a> now. Their incubation of community and spectator play spawned <a href="http://www.businessinsider.com/most-popular-gaming-youtube-stars-ranked-2018-2">countless YouTube gaming channels</a>.</p>
<p>Like the space invaders that descend on the player, unknown but always threatening, games scare some people. They seem to be unrelentingly approaching, different and hard to keep pace with. Games challenge players to adapt and dismantle the conventions under which people hide.</p>
<p>But, like playing “Space Invaders” itself, the joy comes in interacting with that change, mastering it and moving on to the next level.</p><img src="https://counter.theconversation.com/content/97518/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Lindsay Grace is director of the American University Game Lab and vice president of both the Higher Education Video Game Alliance and Global Game Jam®
</span></em></p>A reflection of its own time, the iconic arcade game planted the seeds of today’s video game culture.Lindsay Grace, Associate Professor of Communication; Director, American University Game Lab and Studio, American University School of CommunicationLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/966182018-05-14T22:18:41Z2018-05-14T22:18:41ZMarket for illegal sports betting in US is not really a $150 billion business<p>The Supreme Court on May 14 <a href="https://www.washingtonpost.com/news/sports/wp/2018/05/14/what-the-supreme-courts-sports-gambling-decision-means/">struck down</a> a 25-year federal ban on sports betting outside of Nevada. </p>
<p>The big question on many minds – particular state officials and companies like <a href="https://www.cnbc.com/2018/05/14/mgm-ceo-well-have-sports-betting-in-place-very-quickly-throughout-u-s.html">MGM Resorts</a> and <a href="https://www.legalsportsreport.com/18677/draftkings-hires-head-sportsbook/">DraftKings</a> looking to cash in – is how much money is at stake. <a href="https://www.nytimes.com/2018/05/14/us/politics/supreme-court-sports-betting-new-jersey.html">Many</a> of the <a href="http://www.chicagotribune.com/news/opinion/chapman/ct-perspec-chapman-sports-betting-new-jersey-supreme-court-nfl-1231-20171229-story.html">articles</a> <a href="https://www.forbes.com/sites/muhammadcohen/2018/03/22/bet-on-u-s-supreme-court-sports-wagering-verdict-to-change-the-game-in-asia/#463be628a825">on the decision</a> cite the same <a href="https://www.cbsnews.com/news/supreme-court-taking-up-new-jersey-sports-betting-case/">eye-popping figure</a>: Americans wager an estimated US$150 billion in illegal sports bets every year.</p>
<p>As a <a href="http://businessmacroeconomics.com/">macro economist</a>, I am used to dealing with big numbers. Still, $150 billion struck me as much too high. To put it in perspective, that’s <a href="https://www.statista.com/statistics/187069/north-american-box-office-gross-revenue-since-1980/">14 times more than Americans spend</a> going to the movies, <a href="https://www.bls.gov/cex/2016/aggregate/age.pdf">twice as much</a> as they put into grooming and feeding their pets and about the same as they pay for fruits, vegetables and dairy products. </p>
<p>The figure comes from the <a href="https://www.americangaming.org/about">American Gaming Association</a>, which represents the U.S. casino industry and works to reduce restrictions on gambling. It says it <a href="https://www.americangaming.org/newsroom/press-releasess/americans-wager-more-46-billion-illegally-super-bowl-52">based this number</a> on a <a href="https://govinfo.library.unt.edu/ngisc/reports/fullrpt.html">1999 government estimate</a> of about $80 billion in illegal sports betting. The group, which describes this as “the most conservative estimate,” then adjusted it to 2017 dollars using GDP growth. </p>
<p>I’m not the first to find fault with these figures. A <a href="http://www.slate.com/articles/business/moneybox/2014/11/adam_silver_says_there_s_400_billion_per_year_of_illegal_sports_betting.html">2014 article in Slate</a> questioned an even higher estimate, $380 billion, drawn from the same report. An examination of the underlying study showed that such estimates were not based on serious research.</p>
<p>While the figure has no real basis, it does have real impact. Numerous states need more tax revenue. If the potential dollars are big enough, then many states will rush to allow sports betting – as <a href="https://www.washingtonpost.com/news/sports/wp/2018/05/14/what-the-supreme-courts-sports-gambling-decision-means/">almost 20 are already doing</a>, including New Jersey, which was behind the lawsuit that resulted in the high court ruling.</p>
<h2>Real-world examples</h2>
<p>As I know from my work in economics, there are better ways to make estimates than pulling numbers out of thin air. </p>
<p>The first thing you do in such cases is look for a real-world example. In this case, data from the U.K., which has allowed sports gambling for decades, with thousands of betting parlors offering odds on everything from <a href="https://www.bbc.com/sport/football/40043129">Premier League matches</a> to when <a href="http://www.businessinsider.com/7-weirdest-things-you-can-bet-on-2013-7">royal babies are born</a>.</p>
<p>The U.K.’s Gambling Commission tracks betting statistics and <a href="http://www.gamblingcommission.gov.uk/news-action-and-statistics/Statistics-and-research/Statistics/Industry-statistics.aspx">issues an annual report</a>. The one released in January shows that Brits placed about 10 billion pounds in bets in the latest fiscal year.</p>
<p>To get a comparable estimate for the U.S., that figure needs to be adjusted by population and currency. The U.K. has only about <a href="https://www.cia.gov/Library/publications/the-world-factbook/geos/uk.html">66 million people</a>, compared with <a href="https://www.cia.gov/library/publications/resources/the-world-factbook/geos/us.html">327 million</a> in the U.S. And the pound was worth $1.36 on May 14. </p>
<p>After making both adjustments, this suggests that if people in the U.S. are allowed to make bets at the same rate as in the U.K., the size of the industry would be about $67 billion a year. While enormous, that’s a far cry from $150 billion.</p>
<p>Will legal sports gambling be big business? Yes, but not as big as its proponents want you to believe.</p><img src="https://counter.theconversation.com/content/96618/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Jay L. Zagorsky does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.</span></em></p>Many states are pondering making gambling on sports legal after the US Supreme Court overturned a federal ban. But is the industry really worth as much as some say it is?Jay L. Zagorsky, Economist and Research Scientist, The Ohio State UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/798432017-07-25T00:10:22Z2017-07-25T00:10:22ZMore women are becoming game developers, but there’s a long way to go<figure><img src="https://images.theconversation.com/files/178738/original/file-20170718-31776-k0zbyr.jpg?ixlib=rb-1.1.0&rect=0%2C0%2C1000%2C562&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Women still only make up a small percentage of the Australian game development industry. What's being done to change this?</span> <span class="attribution"><a class="source" href="https://www.shutterstock.com/image-photo/sacramento-april-15-esports-athlete-hiddenbyart-626635895?src=48SMx2pPKXPcj0hXNKCxzg-1-29">from www.shutterstock.com</a></span></figcaption></figure><p>Recent data from the Australian Bureau of Statistics shows a rise in the number of women working in the Australian games industry. In 2011-2012, only 8.7% of game developers identified as female, with that amount almost doubling to <a href="http://www.abs.gov.au/ausstats/abs@.nsf/Latestproducts/8679.0Main%20Features52015-16?opendocument&tabname=Summary&prodno=8679.0&issue=2015-16&num=&view=">15% in 2015-2016</a>. Still, to put this in perspective, the ABS recorded just 734 people working in the industry as of June 2016. </p>
<p>I am one of them and while the figures are encouraging, I’d argue many challenges still remain. When 47% of video game players in Australia are female, we must consider why so few are employed to make them. </p>
<p>Attracting women to the industry can be a challenge. One reason for this is that STEM subjects (science, technology, engineering and mathematics) in education institutions are still seen as male-dominated realms and therefore, so are the careers associated with them. And as <a href="https://www.humanrights.gov.au/sites/default/files/document/publication/WIMDI_Toolkit_2013.pdf">the Australian Human Rights Commission</a> noted in a 2013 report, male-dominated industries create a culture that may have a “higher tolerance of behaviours that could be viewed as sexual harassment” and gender biases when it comes to hiring and promoting.</p>
<p>I have been asked by young women if I have experienced harassment or sexism working in the games industry. Underneath this question is another: will I be safe? I haven’t experienced harassment, but I have felt the effects of unconscious biases in the workplace. This has taken the form of being spoken over in meetings and sometimes feeling isolated. I am fortunate that I worked with people with whom I felt comfortable enough to voice my concerns and be heard.</p>
<p><a href="http://www.fishpond.com.au/Books/Women-Game-Development-Jennifer-Brandes-Hepler-Edited-by/9781138947924">In more extreme accounts</a>, prominent women working in the industry overseas have spoken of being paid dramatically less than male peers and blocked from opportunities to grow. Lead artist Jane Ng writes in the 2016 book <a href="http://www.fishpond.com.au/Books/Women-Game-Development-Jennifer-Brandes-Hepler-Edited-by/9781138947924">Women in Game Development: Breaking the Glass Level-Cap</a>, that her years of experience were often overlooked and noted how “well meaning professionals could still perpetuate a sexist culture where women were continuously put through trials to prove their worth …” </p>
<p>In 2013, games studies academic Dan Golding called for the industry <a href="http://www.abc.net.au/arts/blog/Daniel-Golding/Who-makes-videogames-Australia-gender-130627/default.htm">to fix its diversity problems</a>. Last year, in a book co-authored with Leena van Deventer <a href="http://affirmpress.com.au/publishing/game-changers/">Gamechangers: From Minecraft to Misogyny</a>, Golding wrote:</p>
<blockquote>
<p>It can be hard to break into the industry and stay there especially in an environment that ranges from ambivalent and unused to their [women’s] presence to outright hostility.</p>
</blockquote>
<p>Game communities can be toxic from both an industry and a consumer perspective. <a href="https://www.theguardian.com/technology/2014/sep/01/how-to-attack-a-woman-who-works-in-video-games">“Gamergate” in 2014 was a prime example</a>: women developers in the US and online were harassed and even threatened after speaking out about sexism in the industry and the objectification of female characters in games.</p>
<p>Still, Australia’s game industry has many amazing women. Recent examples of games released by Australian developers with women on their teams include <a href="https://www.youtube.com/watch?v=O_XGswdQKCQ">Putty Pals</a> (Harmonious Games), <a href="https://www.youtube.com/watch?v=6sN8CPLsuk0">Ninja Pizza Girl</a> (Disparity Games), and <a href="https://www.youtube.com/watch?v=A7QINFi8ZKM">The Sims Freeplay</a> (EA’s Firemonkeys).</p>
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<h2>What is being done?</h2>
<p>Initiatives such as <a href="http://widgetau.org/">WiDGET</a> provide resources and a community of support to encourage young women to study STEM subjects. Girl Geek Academy was also <a href="https://www.businessinsider.com.au/girl-geek-academy-scored-1-3-million-to-encourage-1000-women-to-establish-tech-startups-2017-1">recently funded</a> to continue initiatives like <a href="http://shehacks.com.au/">SheHacks</a> (which aims to recruit 1,000 women interested in establishing startups) and <a href="http://girlgeekacademy.com/shemakes_games/">She Makes Games</a>, which encourages women to learn code, design and business skills. Film Victoria offers a <a href="https://www.film.vic.gov.au/news/women-in-games-fellowship-launch">Women in Games Fellowship</a> and MCV Pacific, a games industry news outlet, actively showcases many outstanding <a href="http://www.mcvpacific.com/news/tag/mcv-pacific-women-in-games">women in games</a> each year.</p>
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<figcaption><span class="caption">#SheHacks encourages women to make their own tech startup.</span></figcaption>
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<p>When it comes to recruiting, there are already some games companies improving their strategies to employ a more diverse range of people. Lisy Kane, co-founder of Girl Geek Academy and Producer at League of Geeks, an Australian games company, told me, “I was the first female hired in the team back in 2014, now in 2017, we have 35% women in our team.”</p>
<p>Diversity has always been on the agenda at League of Geeks. When hiring, Kane said, “Studios need to get better at recruiting and stop the Rolodex syndrome”, ie reaching beyond those they know personally. </p>
<p>Another example of diverse hiring in the industry is Lumi Consulting, a games marketing company co-founded by Lauren Clinnick and Katie Stegs. When I asked Clinnick about hiring practices, she said: “Diverse teams can help a company gain a competitive advantage.” Diversity also fosters <a href="https://www.business.gov.au/info/run/employ-people/equal-opportunity-and-diversity">a thriving culture and better return on investment</a>. Regarding Lumi’s workforce, Clinnick said: “Most of our team are openly queer and none of us have degrees in game design, art and programming”. Indeed, many don’t realise that technical proficiency is not a prerequisite for working in the industry. </p>
<p>Retaining women already in the industry is vital as a means of ensuring they can reach <a href="https://www.wgea.gov.au/lead">senior roles and positions of leadership</a>. Giselle Rosman, Director of the International Game Development Association Melbourne, told me <a href="https://www.wgea.gov.au/completed-australian-research/flexible-work-small-firms">flexible work arrangements</a> are crucial to longevity: “They make roles and company culture more appealing as women are often primary carers.” </p>
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<figcaption><span class="caption">Armello is the debut game from Australian game studio, League of Geeks.</span></figcaption>
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<h2>Into the Future</h2>
<p>I believe that companies, event organisers and education institutions should adopt quotas to ensure women are more evenly represented among their staff, speakers, teachers and students.</p>
<p>Golding, meanwhile, would like the industry to work with organisations such as the Australian Human Rights Commission “that have experience and accountability in terms of solving these problems in other industries”. </p>
<p>And on an individual level, we can support our colleagues by lending our voice when they are spoken over, checking our biases and asking about appropriate pronouns. All of this is vital for a safe, more inclusive industry. </p>
<hr>
<p><em>ACMI’s <a href="https://www.acmi.net.au/events/code-breakers/">Codebreakers Exhibition</a> showcasing Australian and New Zealand Women in Games will run from 25 July – 5 November.</em></p><img src="https://counter.theconversation.com/content/79843/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Brooke is grateful to have received a Women in Games Fellowship from Film Victoria and a travel assist grant from the GDAA. This year she received the MCV Pacific Women in Games Creative Impact Award and she is featured in the ACMI Codebreaker's exhibition from July - November 2017.
She currently works in the Australian games industry as a writer, narrative designer and producer.
She has been on a panel for She Makes Games hosted by Girl Geek Academy.</span></em></p>Women are making inroads in the gaming industry but progress is slow. We need more flexible workplaces, and perhaps even hiring quotas, to fix the gender imbalance.Brooke Maggs, PhD Candidate in Writing and Literature, Deakin UniversityLicensed as Creative Commons – attribution, no derivatives.