This article is a chronicle and analysis of a community crisis in digital space that took place on Valve Corporation's digital distribution platform, Steam. When Valve and Bethesda (publisher and developer of Skyrim) decided to allow mods to be sold by mod makers themselves, there ensued a community revolt against the commodification of leisure and play. I put this crisis of play and work in dialogue with Harvey's (2004) concept of "accumulation by dispossession", firmly placing it within a longer history of disruptive capital accumulation strategies. I then conduct a discourse analysis of community members on reddit, as they make sense of and come to terms with this process of dispossession. Arising in the discourse was not class consciousness per se, but instead a pervasive feeling of helplessness and frustration as games, play, and leisure began to feel like work.

To critically engage with the political economy of platformization, this article builds on the concepts of platform capitalism and platform imperialism to situate platforms within wider historical, economic, and spatial trajectories. To investigate if platformization leads to the geographical redistribution of capital and power, we draw on the Canadian instance of Apple’s iOS App Store as a case study. App stores are situated in a complex ecosystem of markets, infrastructures, and governance models that the disparate fields of business studies, critical political economy of communications, and platform studies have begun to catalog. Through a combination of financial and institutional analysis, we ask if Canadian game app developers are effective in generating revenue within their own national App Store. Given Canada’s vibrant game industry one would expect Canadian developers to have a sizable economic footprint in the burgeoning app economy. Our results, however, point toward the US digital dominance and, therefore, we suggest the notion of app imperialism to signal the continuation, if not reinforcement of existing instances of economic inequalities and imperialism.

This article brings distinct strands of the political economy of communication and economic geography together in order to theorise the role digital technologies play in Marxian crisis theory. Capitalist advances into digital spaces do not make the law of value obsolete, but these spaces do offer new methods for displacing overaccumulated capital, increasing consumption, or accumulating new, cheaper labour. We build on David Harvey's theory of the spatial fix to describe three digital spatial fixes, fixed capital projects that use the specific properties of digital spaces to increase the rate of profit, before themselves becoming obstacles to the addictive cycle of accumulation: the primitive accumulation of time in the social Web, the annihilation of time by space in high-frequency trading, and affect rent in virtual worlds. We conclude by reflecting on how these digital spatial fixes also fix the tempo of accumulation and adjust the time-scale of Marxian crisis theory.

This article investigates the origin, circulation and consumption of a new commodity – the “battle pass” – in the complex ludic economies of contemporary digital games. The article dives deep into the history and political economy of battle royale shooters and the game Apex Legends (2019), a free-to-play example of the genre monetized in part by a battle pass. Inspired and in dialogue with Nieborg and Poell’s (2018) theory of platformization, this article asks questions related to how digital games like this operationalize their status as ‘contingent commodities’. The article then engages in an ‘app walk-through’ ( Light et al., 2018 ) of Apex Legends, analysing its vision, operating model and governance. The focus here is on revealing the ‘mediator characteristics’ that structure in-game commodities like avatar skins, loot boxes and the battle pass. There is then a discussion and theorization of these monetization strategies and the industry-wide tendencies for consumerism they signal. A key takeaway is that digital consumption in games is at once both easy to ‘see’ but also highly abstracted, making it very difficult to pull apart what people are actually consuming when they engage with the monetization layer of contemporary digital games.

This commentary discusses the political economy of apps. The authors found that Canadian-made game apps are notably absent in the Canadian App Store. This should be both worrying and surprising, as Canada has a relatively sizable game industry. While policy conversations on digital transformation focus on emerging technology, the authors point toward the power and politics of digital platforms as one of the key issues preventing growth in the Canadian digital economy.Ce commentaire discute de l’économie politique des applications. Les auteurs ont observé que les applis de jeu fabriqués au Canada sont absents de l’App Store canadien. Cette situation devrait surprendre et inquiéter, puisque le Canada a une industrie du jeu relativement grande. Les conversations sur les politiques relatives à la transformation numérique portent en grande partie sur les technologies émergentes, mais les auteurs tiennent à souligner que le pouvoir et les politiques relatifs aux plateformes numériques sont parmi les raisons clés pour lesquelles l’économie numérique au Canada ne croît pas autant qu’elle le pourrait.

In this paper, we introduce the notion of app imperialism by exploring the political economy of the Canadian iOS App Store. Building on Dal Yong Jin's concept of "platform imperialism", we argue that US companies dominate global app stores through the systematic acquisition of capital resources. App imperialism marks the outsized economic footprint and influence of US companies in national app stores. Using a longitudinal financial dataset, we qualitatively coded the top-50 of revenue-generating game apps in April 2015 and 2016. Distinguishing between value creation (generating revenue) and value capture (appropriating profit) allowed us to determine the plight of Canadian app developers. While the Canadian App Store exhibits a large degree of source diversity, featuring a high number of active app developers, we found the ability of Canadian developers to both create and capture value negligible. US owned developers, publishers, parent-organizations, and intellectual properties, on the other hand, were overrepresented. These initial findings suggest that any potential growth in the Canadian app economy will be increasingly captured by US-owned companies. These results question the effectiveness of Canadian cultural policy frameworks, which have been particularly proactive in supporting Canada-based game studios. While our initial analysis offers just a temporal and regional snapshot of the App Store's political economy, it gestures towards broader critical material issues related to platform capitalism and app diversity.

This paper explores Disco Elysium’s first major expansion, “Working Class Update” as emblematic of the potential fracture between the game’s themes and its politics of production and distribution. Our central claim is that in this update, the studio has reacted to the audience’s appreciation for the game’s labor themes within broader dissatisfaction with the industry’s otherwise exploitative practices, yet was constrained by the contemporary dynamics of said industry. First, we examine Disco Elysium’s radical political orientation and the platformized political economy of digital game distribution through ZA/UM’s origins within the Estonia-specific ICT scene. Second, we describe the current state of videogames distribution, in critical dialog with Dyer-Witheford and De Peuter’s concept of a “game of multitude.” We show the limits and contradictions of Disco Elysium to enact radical political stance in a grow-ingly consolidated and platform-dependent video games market. Finally, through a qualitative empirical analysis of the community’s responses to the Worker’s Class Update on Reddit and Steam, we examine the game’s fit into the above-mentioned framework through key themes of dissonant development, tactical games and software commons.

Valve Corporation’s digital game distribution platform, Steam, is the largest distributor of games on personal computers, analyzed here as a site where control over the production, design and use of digital games is established. Steam creates and exercises processes and techniques such as monopolization and enclosure over creative products, online labour, and exchange among game designers. Stuart Hall’s encoding/decoding framework places communication at the centre of the political economy, here of digital commodities distributed and produced by online platforms like Steam. James Gibson’s affordance theory allows the market Steam’s owners create for its users to be cast in terms of visuality and interaction design. These theories are largely neglected in the existing literature in game studies, platform studies, and political economy, but they allow intervention in an ongoing debate concerning the ontological status of work and play as distinct, separate human activities by offering a specific focus on the political economy of visual or algorithmic communication. Three case studies then analyze Steam as a site where the slippage between game-play and work is constant and deepening. The first isolates three sales promotions on Steam as forms of work disguised as online shopping. The second is a discourse analysis of a crisis within the community of mod creators for the game Skyrim, triggered by changes implemented on Steam. The third case study critiques Valve Corporation’s positioning of Steam as a new space to extract value from play by demonstrating historical continuity with consumer monopolies. A concluding discussion argues Steam is a platform that evolves to meet distinct crises and problems in the production and circulation of its digital commodities as contradictions arise. Ultimately, Steam shows how the cycle of capital accumulation encourages monopolization and centralization.