This article draws on over 60 interviews and 120 surveys with indie game developers to illustrate relational labour and entrepreneurship practices in cultural industries and their relationship to 'good work'. We first outline the changing organization of games work, the shift towards so-called indie production, and the associated rejection of creatively constrained, hierarchically managed production models. In the move towards small-scale games making, indies jettisoned producers because producers represented industry modes of work, values and creative constraints. But indies are now struggling to manage production processes without producers. We use developer narratives to highlight how this 'missing producer' work is redistributed in the form of cultural entrepreneurship, cultural intermediation and relational labour. This relational labour simultaneously supports and undermines sustainable production practices, as developers take on impossible workloads associated with networking and connecting with others. We next illustrate how the inherent valorization of growth and expansion in cultural entrepreneurship discourses may force developers
The double stapling technique (TA-55 and EEA staplers) was used to perform low anterior resections for rectal carcinomas in 79 patients (49 men, 30 women). The mean age was 66 years (range, 38 to 85 years). Curative resections were performed in 68 patients, and palliative resections in 11 patients. The mean level of the cancer from the dentate line was 9 cm (range, 5 to 16 cm). The mean follow-up has been 29 months (range, four to 58 months). Perioperative mortality was 2.5 percent (two patients). Technical problems related to the stapling technique occurred in 6 percent (five patients). The clinical anastomotic leak rate was 8 percent (six patients). There were 11 local recurrences among 68 curative resections (16 percent). Local recurrence according to individual surgeon showed marked variability (range, 0-43 percent, P greater than 0.05). There were no differences in location, differentiation, or stage in those that recurred. The mean distal resection margin for the recurrent cancer group was 3.0 cm and for the nonrecurrent group, 2.9 cm. Disturbances of continence were seen commonly (56 percent) in the first three months after surgery, but 85 percent of patients became fully continent with an acceptable bowel habit at later follow-up. The double stapling technique is useful for the restorative resection of suitable mid and low rectal cancers. The anastomotic leak rate, local recurrence rate, and functional results are acceptable.
This article considers the history, practices and impact of the Indie Megabooth and its founders in terms of their role as a 'cultural intermediary' in promoting and supporting independent or 'indie' game development. The Megabooth is a crucial broker, gatekeeper and orchestrator of not only perceptions of and markets for indie games but also the socio-material possibility of indie game making itself. In its highly publicized outward-facing role, the Megabooth ascribes legitimacy and value to specific games and developers, but its behind-the-scenes logistical and brokerage activities are of equal if not greater importance. The Megabooth mediates between a diverse set of actors and stakeholders with multiple (often conflicting) needs and goals and in doing so helps constitute the field of production, distribution, reception and consumption for indie games. 'Indie-ness' and independence are actively performed in and through intermediaries such as the Megabooth.
Background Independent or “indie” games play a significant role in the contemporary game industry, and Canada is home to several prominent hubs of indie gaming activity. Analysis Drawing on 34 interviews with developers and community organizers across the country, this article examines how Canadian indie game developers construct their identities and communities on three levels: global, national, and local. Conclusions and Implications While online and local indie gaming communities provide a variety of material and symbolic benefits to participation, national identification is conspicuously absent, except in certain contexts tied to cultural policy and government support. This article argues that the intersection of the global and the local is the primary site of indie identity and community and considers the implications for Canadian cultural industries more generally. Keywords New media; Globalization; Cultural industries policy; Arts policy; Production/co-production RÉSUMÉ Contexte De nos jours, les jeux en ligne indépendants occupent une place significative dans l’industrie du jeu vidéo, et il y a plusieurs centres de jeux indépendants au Canada. Analyse Cet article se fonde sur 34 entrevues avec des créateurs et des organisateurs communautaires partout au pays afin d’examiner comment les créateurs de jeux vidéo indépendants au Canada construisent leurs identités et leurs communautés à trois niveaux : mondial, national et local. Conclusions et implications Au niveau local, les communautés de jeux indépendants en ligne ont beau offrir un éventail de bénéfices matériaux et symboliques aux participants, l’identification nationale brille par son absence, sauf dans quelques contextes établis grâce à certaines politiques culturelles et à un appui de la part du gouvernement. Cet article soutient que l’intersection du mondial et du local est le site primaire de l’identité et de la communauté indépendantes et il considère plus généralement les implications des jeux indépendants pour les industries culturelles canadiennes. Mots clés Nouveaux médias; Mondialisation; Politiques sur les industries culturelles; Politiques sur les arts; Production/coproduction
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