Soldiers, survivors, 3 a.m. fathers—Anthony Smith looks at families in recent video-game advertising and finds a “gamer dad” who’s gamer first, dad a distant second (while gamer mom is first and always a mom).
It isn’t difficult to find feminist game studies, or feminist gamers. The reputation of misogyny in video game culture, lack of women and racial minorities in the industry, the perpetuation of player stereotypes in games marketing and the popular press,…
Last week, Viacom announced that it was planning to sell Harmonix and had already classified the Cambridge-based development studio as a “discontinued operation.”
As avid mediavores and media scholars, how should we consider our consumption of media products in light of the labor and environmental conditions of production?
In the past few weeks, a fresh controversy about the working conditions in the industry of game development has arisen, this time centered on Rockstar San Diego.
What makes a game important? Is it commercial sales, the ways a game showcases how skilled a designer or studio is at their craft, the visceral response a game gives you, the player communities spawned by a game, the ways designers construct character/story/space, or the ways that games open up new genres, new modes of play, or new sectors of the industry?