Aphra Kerr

New media – new pleasures?

The promotional and academic discourse surrounding new media suggests that they offer more fun and more pleasure than existing or traditional media. However, academic work within media and cultural studies has failed to interrogate these claims empirically. This article critically assesses the conceptualization of pleasure as it is deployed in media audience research and attempts to update these conceptualizations by drawing upon game design theory and key concepts from new media theory. The article goes on to evaluate these concepts through an empirical examination of the varied experience of digital games, DVDs and digital television in a variety of households in Dublin, Ireland. Central to the findings is that while pleasure and displeasure are largely undertheorized, these terms, when deployed empirically, afford a useful entry point into evaluating media experiences. The article identifies key differences between the experience of online and offline new media and calls for more research into the pleasures of play and control in relation to both new and more established media use.

Revisiting Globalisation Through the Movie and Digital Games Industries

The 1990s saw the digital games console industry adopt similar commercial strategies to the cultural industry which for 80 years has been most closely associated with the process of globalisation - the Hollywood-based movie industry. The major console players, Sony, Nintendo and more recently Microsoft, expanded on a global scale, vertically and horizontally integrating through alliances and take-overs as they sought to control platforms, content development, publishing and distribution. Moreover the relationship between the two industries has become increasingly symbiotic. Vivendi-Universal has moved into the exploitation of both game and film assets on a global scale and would seem to exemplify what we understand by a global firm. This paper considers globalisation through an analysis of the movie and digital game industries both globally, and from the perspective of a small country like Ireland, which has a high level of cinema attendance and game sales but is struggling to establish domestic movie and game industries.

INNOVATION AND KNOWLEDGE IN THE DIGITAL MEDIA SECTOR

Academic research on service innovation has highlighted the distinct characteristics of services innovation, the knowledge complexes involved, and how services can be autonomous sites of innovation. It also highlights that successful services innovations are often not technology based but can depend on new organizational or managerial practices or marketing and distribution strategies. This paper makes an empirical and a conceptual contribution to this literature by focusing on one sub-sector of the services sector: digital media applications and services. Conceptually, this paper is interdisciplinary and draws upon a range of work on innovation and production in media and communication studies, innovation studies, evolutionary economics, and sociology. Empirically, this paper draws on ten years of qualitative case study research focused on innovation in the digital media sector in Ireland and, to a lesser extent, Europe. More specifically, we draw upon research on the internet, mobile, and games sectors. A key finding emerging from this research is that, despite the widespread popular and academic focus on technology and codified knowledge, a much broader knowledge base (particularly tacit, creative and non-technological knowledge) underpins successful innovative practices in digital media firms. This paper examines the combination of creative ideas and skills, social learning processes of content creators, management, market and business knowledge that underpin the development new digital media applications and services. It argues that a better understanding of the character of knowledge inputs and the innovative practices in digital media companies may contribute to a better understanding of innovation in the knowledge economy.

The spatialisation of the digital games industry: lessons from Ireland

This article draws on the concept of spatialisation to better understand the development of a digital games industry on the periphery of mainland Europe, on the island of Ireland. Positioning digital games within the cultural and creative industries, we explore how global networks of production in this industry get territorialised, negotiated and shaped by local factors. Drawing upon an industry-wide survey in Ireland we found that employment has grown by 400% in the last decade but that this rate of employment growth and its concentration in large urban areas masks significant ruptures and shifts which more detailed spatial, occupational and social analysis reveals: in particular, how the state, multinational game companies, and physical and human capital interact to shape an industry which is strong in middleware, localisation and support but weak in content development. An understanding of global digital games production networks and of occupational patterns in this industry is, we believe, crucial for national and European cultural policies for the digital games industry and for the cultural and creative industries more generally.

Social and Spatial Structures of Innovation in the Irish Animation Industry

This paper assesses the relevance of the knowledge base conceptualization and the relationship between the symbolic knowledge base and the spatiality of knowledge flow in the context of the animation industry in Ireland. The paper draws on findings from a study of four innovation case studies. In broad terms, the findings provide further support for the applicability of the knowledge base approach and the association of the animation industry with the symbolic knowledge base. However, in relation to the spatiality of knowledge flows, the findings contradict the theoretically deduced postulations. Nearly all of the knowledge sources are located overseas. In addition, the study finds little support for the role of local buzz in knowledge flow. The local animation community “buzzes globally” at international events.

Space Wars: The Politics of Games Production in Europe

Exploring the relationship between the global and the local in media and communications studies has been a focus for international communication scholars for decades. Scholars have focused on where production takes place, on the ownership and control of corporations, on flows between nations, and on the impact of content on audiences and cultures. Theories of dependency and media imperialism gave way in the 1990s to theories of cultural globalization and hybridity. Empirical studies of production and consumption have developed new insights into what happens on the ground and contemporary scholars have become more interested in concepts that attempt to overcome the dichotomy of the global/local and instead focus on the transnational and the translocal. In related fields, like economic geography, the focus has been on regional and local innovation economies. The relationship between place and cultural production has become more complex with globalization and some scholars have become more attuned to the social and political construction of place as a result.

The Recruitment of Passion and Community in the Service of Capital: Community Managers in the Digital Games Industry

Globalization and technical change have had a significant impact on work in the cultural industries. Online games are services that are networked, operate around the clock and require ongoing player and company input. The industrys content production networks are dispersed internationally, and many of its services are offered transnationally. These new services have generated new forms of work, like community management, which are often outsourced to near-to-market locations. Much of the research on media work is focused on high status creative occupations or the free labour of amateurs. This paper draws upon the findings of a content analysis of job advertisements and face-to-face interviews with community managers to examine the recruitment and work of community managers. Using scholarship on media production, media work and emotional labour this article argues that recruitment and organizational practices surrounding community managers appropriate passion, community, and experience in the service of capital, but also marginalize these workers. While community managers see themselves as creative workers, their visibility and creative autonomy are limited by organizational and workplace cultures.

On crimes and punishments in virtual worlds: bots, the failure of punishment and players as moral entrepreneurs

This paper focuses on the role of punishment as a critical social mechanism for cheating prevention in MMORPGs. The role of punishment is empirically investigated in a case study of the MMORPG Tibia (Cipsoft 1997–2011) (http://www.tibia.com) and by focusing on the use of bots to cheat. We describe the failure of punishment in Tibia, which is perceived by players as one of the elements facilitating the proliferation of bots. In this process some players act as a moral enterprising group contributing to the reform of the game rules and in particular to the reform of the Tibia punishment system by the game company. In the conclusion we consider the ethical issues raised by our findings and we propose some general reflections on the role of punishment and social mechanisms for the governance of online worlds more generally.

Integrating players, reputation and ranking to manage cheating in MMOGs

In this paper, we propose an approach that uses in-game reputation as a solution to the problem of cheating in massively multiplayer online games. What constitutes cheating is however quite context-specific and subjective, and there is no universal view. Thus our approach aims to adjust to the particular forms of cheating to which players object rather than deciding a priori which forms of cheating should be controlled. The main feature of our approach is an architecture and model for maintaining player-based and context-appropriate trust and reputation measures, with the integration of these into the games ranking system. When an avatar loses reputation, our approach intervenes to reduce its ranking. It is envisaged that players will come to attach value to reputation in its own right. We also present the results of relatively large-scale simulations of various scenarios involving sequences of encounters between players, with an initial implementation of our reputation and ranking model in place, to observe the impact on cheaters (and non-cheaters).

Beyond billiard balls: transnational flows, cultural diversity and digital games

Current mass media policy and regulation in Western Europe is primarily state‐based and increasingly based on the presumption that a competitive market will maximise individual choice and diversity. Policy interventions are primarily justified in terms of specific market failures including concentration of producers in the marketplace, the need to financially reward content developers financially for their work and issues related to distribution bottlenecks.1 Nevertheless, it is clear that at the national and European levels, public interest and cultural arguments also inform policy development and regulation. New media, including online and offline digital games, represent a new area for policy makers at the national and international levels. This chapter aims to contribute to our understanding of how digital games operate as markets and as social and cultural activities in order to inform discussions about the need for policy interventions.