Handbook on the Digital Creative Economy

Towse, Ruth; Handke, Christian

doi:10.4337/9781781004876

Cited by 41 publications

(9 citation statements)

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“…In industry, HBF has lead to several successful titles [24] where it has become part of the studio's culture. These long term outcomes are the result of strategically using game jams, such as practice lead research through design [39], or as part of a larger innovation strategy [36].…”

Section: Long Term Outcomesmentioning

confidence: 99%

“…Some of the specific GGJ sites include university classrooms, such as in the Melbourne site 8 . Industry jams, such as HBF [36], typically take place within the company's studio. GJ4R [6] took place in a workshop space at an academic conference (CHI).…”

Section: Placementioning

confidence: 99%

“…These events provide an opportunity for personally motivated game making where industry game makers can work on their game ideas or participate outside of their disciplinary expertise [24]. With less expectation of immediate commercial success, these events are used for experimentation, innovation, and rapid prototyping [10,36]. For example, Valve Corporation, a prominent game development and distribution company, shut down the studio's standard production in order to facilitate "Directed Designed Experiments" [10].…”

Section: Industry Game Jamsmentioning

confidence: 99%

“…About five to seven times a year Halfbrick designates Fridays for this event, which start with brainstorming new ideas [24]. "Halfbrick Fridays" (HBF) have been used to facilitate innovation, leading to successes such as Fruit Ninja [36].…”

Section: Industry Game Jamsmentioning

confidence: 99%

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Playful Game Jams

Goddard

Byrne

Mueller

2014

Proceedings of the 2014 Conference on Interactive Entertainment

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Game jams are social events involving the integration of various game making disciplines (e.g. programming, art, design) to make games under constraints, such as a short fixed time. Game jams are emerging in areas such as research, education, and industry as events to facilitate game making for designed outcomes; i.e. outcomes elicited from appropriately designed game jams. Game jams continue to grow and be appropriated to new contexts, however, little is known about how to design game jams to facilitate designed outcomes. We identify participation in game jams as a constructive form of play defined as ludic craft. Consequently, we investigate the properties (e.g. rules) of game jams under the lens of play on the playful vs. gameful continuum. Reflecting on our experiences as facilitators and participants of jams in indie, industry, and academic contexts, we have derived a set of guidelines for game jams to facilitate ludic craft in its playful and gameful forms. We present this set of guidelines for jam facilitators to cultivate experiences that support designed outcomes in contexts such as research, education, and industry.

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Section: Long Term Outcomesmentioning

confidence: 99%

Section: Placementioning

confidence: 99%

Section: Industry Game Jamsmentioning

confidence: 99%

Section: Industry Game Jamsmentioning

confidence: 99%

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Playful Game Jams

Goddard

Byrne

Mueller

2014

Proceedings of the 2014 Conference on Interactive Entertainment

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“…Today, Spotify is often described as a platform business, or two-sided market, that brings two or more distinct groups of users (such as advertisers and consumers) together, making a profit through the interaction thus established. The company is said to have positively affected supply and demand by providing more music to more listeners, decreasing per-unit marginal costs, and exploiting the so-called indirect positive externalities between the different sides of the market (Towse 2017; Towse and Handke 2013; Wikström and DeFilippi 2016, 196–98). In this view, Spotify has enabled advertisers to benefit from the presence of many consumers, while consumers benefit from many advertisers in their discovery of products and services.…”

mentioning

confidence: 99%

The Spotify Effect: Digital Distribution and Financial Growth

Vonderau

2017

Television & New Media

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This article analyzes Spotify as a media company that operates at the intersection of advertising, technology, music, and finance. In doing so, this article contributes to media industry studies as a field that investigates the relation between various industrial and economic actors. Given that the media industries, as any other industry, can be defined as a set of markets, one of which is the leading market, and to which other markets are auxiliary, the question asked is what market is leading in the case of Spotify. What the article describes as the “Spotify effect” is the company’s ability to fold markets into each other: to make disappear an aggressive financial growth strategy and business set-up based on ad tech engineering by creating an aura of Nordic cool and public benefit around its use of music. Spotify’s financial strategy has implications for the digital distribution of cultural content more generally.

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Future: Global Development in Media Uses and Effects

Bruns

2017

The International Encyclopedia of Media Effects

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Changing technological, economic, and social contexts for media production and usage, associated not least with the continuing transition of media to digital formats and platforms, are causing significant disruptions and transformations in how media are used and what implications for individuals and society result from such usage. Although specific developments are difficult to predict, this entry outlines a number of broad trends that are likely to affect global practices.

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Handbook on the Digital Creative Economy

Cited by 41 publications

References 0 publications

Playful Game Jams

Playful Game Jams

The Spotify Effect: Digital Distribution and Financial Growth

Future: Global Development in Media Uses and Effects

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