Artikkeli tarkastelee Remedyn pelijulkaisujen käsittelyä sanoma- ja pelilehdissä vuosina 1997–2019. Analyysin kohteena ovat yhtiön Death Rally, Max Payne, Alan Wake, Quantum Break ja Control -pelit. Käymme läpi, miten lehtikirjoittelussa käytetyillä mediakehyksillä on rakennettu Remedyn menestystarinaa osana suomalaisen peliteollisuuden kehitystä. Kiinnitämme huomiota näiden rakenteiden kulttuuriseen jatkumoon eli siihen, miten kyseiset mediakehykset ovat muuttuneet kolmen vuosikymmenen aikana. Tarkastelemme myös, miten pelijournalismi määrittelee menestyksen, miten Remedyn yrityskuva on kehittynyt vuosien saatossa ja miten peliteollisuutta verrataan muihin kulttuuriteollisuuden aloihin.
Epäonnistunut yritys suomalaisen digitaalisen peliteollisuuden käynnistämiseksi: Amersoft 1984–1986Amer-yhtymä teki lyhytkestoisen ekskursion pelialan julkaisutoimintaan vuosina 1984–1986. Sen perustama tytäryhtiö Amersoft oli ensimmäinen suomalainen yritys, joka pyrki laajamittaisesti julkaisemaan kotimaisia tietokonepelejä. Liiketoiminta osoittautui kuitenkin nopeasti kannattamattomaksi. Artikkelimme tarkoitus on syventää suomalaista pelihistorian tutkimusta käsittelemällä sittemmin valtavaksi kasvaneen digipeliteollisuuden hapuilevia kotimaisia varhaisvaiheita.Kirjallisen tutkimusaineiston lisäksi lähteemme koostuvat Amersoftin entisten työntekijöiden haastatteluista. Kartoitamme ja analysoimme osatekijöitä, jotka johtivat epäonnistuneeseen yritykseen suomalaisen peliteollisuuden käynnistämiseksi 1980-luvun puolivälissä. Liiketoiminnan kannattamattomuus johtui pääasiallisesti kotimaisten pelimarkkinoiden pienuudesta, johdonmukaisen yritysstrategian puutteesta, laajalle levinneestä ohjelmistopiratismista, ulkomaisten pelien maahantuonnista, aineettoman pääoman puutteesta sekä julkaistujen pelien puutteellisesta laadusta. A failed attempt to launch Finnish digital game industry: Amersoft 1984–1986The Finnish conglomerate Amer Group made a short-term excursion into computer game publication business in 1984–1986 by founding Amersoft. The subsidiary was the first Finnish company that aimed to produce and publish domestic computer games. However, the business proved to be unprofitable quite quickly. The objective of this article is to delve into the precarious initial steps of Finnish game industry.In addition to the literary research material, our sources consist of interviews of former Amersoft employees. We will examine, explicate, and analyse factors that led to the failed launch of Finnish game industry in the mid-1980s. These multifaceted constituents comprised primarily of the small size of domestic game markets, lack of coherent corporate strategy, importation of foreign games, all-encompassing software piracy, absence of intellectual capital, and low quality of game design.
In his seminal work on social contract theory, Leviathan, Thomas Hobbes described the anarchic pre-societal condition of the state of nature. In this predicamentaptly named as "the war of all against all"people lived poor, short and brutish lives. The dystopian world simulated in the survival horror game DayZ mirrors this natural state of man. The game invites players to roleplay survivors of a zombie apocalypse. The present paper examines the factors contributing to pervasive violence, moral ambiguity and degeneration of human condition, which are prominent features of DayZ's gameplay. The article will situate DayZ into the context of Hobbesian state of nature and explicate elements that render this hypothetical condition perpetual.
The present article examines the first politically motivated computer game controversy in Finland that followed the release of Raid over Moscow (1984), and its subsequent review, published in the MikroBitti magazine in February 1985. The game's open anti-Sovietism and certain expressions in the review trespassed on the most notable taboo in the Cold War era Finland, and thus, the case quickly gained both interest and notoriety in the Finnish media. The events took a political turn when a leftist MP proposed a written parliamentary question concerning the distribution of the game. It triggered a chain of events that started with an unofficial Soviet entreaty to restrict the marketing and sales of the game, culminating into a diplomatic protest about recurrent anti-Soviet expressions and material presented in the Finnish media. The Soviet officials considered Raid over Moscow as war propaganda that advocated a space war against the USSR and the review as an intentional provocation that harmed the Finno-Soviet relations. The Finnish Ministry of Foreign Affairs (MFA) conducted a series of enquiries, but outdated legislation concerning preliminary inspection of computer games prevented the ban. The paper is based on a series of declassified MFA documents that handle the unofficial, political course of the controversy. The documents became open to public in 2010, after their 25 year confidentiality period expired under the freedom of information legislation. The Raid over Moscow controversy was genuinely a Finnish phenomenon. Finland's geopolitical location, its special status between the Cold War blocks, and the erstwhile tensions between the superpowers makes the case unique in the history of popular culture.
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