Gaming Globally: Production, Play, and Place by Nina B. (Editor) / Aslinger, Ben (Editor) Huntemann

By Nina B. (Editor) / Aslinger, Ben (Editor) Huntemann

Games are inherently transnational by means of advantage of its business, textual, and participant practic....

Show description

Read Online or Download Gaming Globally: Production, Play, and Place PDF

Similar gaming books

Tradition Book: Virtual Adepts (Mage: The Ascension)

Booklet via Glass, Gary, Maxwell, invoice


Ebook by means of Steele, Lisa

Pathfinder Campaign Setting: Rival Guide

The Rival advisor provides 10 absolutely special rival adventuring teams, whole with really expert spells, gear, magic goods, and weird minions. those teams hide quite a lot of topics, from haunted pirates to drow loss of life cultists, giant slavers to nigh-unstoppable arch-villains, and lots more and plenty, even more!

Additional resources for Gaming Globally: Production, Play, and Place

Sample text

1 provides a comparison of average hourly compensation for workers in the computer manufacturing sectors across a number of countries and compares how many hours of work would have been required to purchase a single Xbox 360. 1 reveals, Chinese workers would have to work more than a month of eight-hour days to be able to afford a single console. 18 Source: Ashenfelter and Jurajda 2001; BLS 2009 and 2011. 32 RANDY NICHOLS of the chemicals used in assembly. Many workers are required to stand for the entirety of their shift, typically 12 to 14 hours per day.

This, in turn, makes the labor market for video games more volatile than other sectors of the industry, especially during recessed economic times for entertainment products. 2 billion in wages. At that time, games companies in the United States employed over than 220,000 people, more than any other country (Aoyama and Izushi 2004). For the first decade of the millennium, that number continued to grow robustly, but recently, the labor market for game development has slowed, reflecting downsizing occurring across the entertainment sectors.

One criticism of the first design was that it was too bulky for these markets, and so the company sought to design something fitting the assumed aesthetic tastes of nontraditional game markets (Tamaki 2005). As one writer explained, “The new Xbox had to look kindler and gentler . . welcoming but not wimpy, [it had to appeal to] soccer moms and NASCAR dads and Britney girls—without losing the Halo boys” (Grossman 2005). To do this, Microsoft first hired an industrial designer who was not an active gamer, and charged him with overseeing the redesign.

Download PDF sample

Rated 4.40 of 5 – based on 21 votes