The four faces of creative industries: visualising the game industry ecosystem in Helsinki and Tokyo

Lehtonen, Miikka J.; Ainamo, Antti; Harviainen, J. Tuomas

doi:10.1080/13662716.2019.1676704

Cited by 27 publications

(18 citation statements)

References 136 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…For example, using the example of Lithuania, Jurene and Jureniene (2017), or Kozina and Bole (2018) using the example of Slovenia have noticed that creative clusters are created in the largest urban centres. Similarly, Lehtonen et al (2020), Murzyn-Kupisz and Działek (2021) and Boix et al (2015) saw the same regularity; the latter found that as many as 75% of creative clusters in the European Union are located in metropolitan areas.…”

Section: Final Conclusionmentioning

confidence: 75%

Spatial concentration of creative industries and location of creative clusters in Poland

Namyślak

2021

GeoJournal

View full text Add to dashboard Cite

The authors compared the geographical distribution of creative clusters in Poland with the spatial distribution of LQ (Location Quotient) measuring the concentration of creative entities in a given area. The study aimed to answer the following questions: what is the spatial distribution of clustering potential for creative industries?, which municipalities are home to entities forming creative clusters?, and, above all, are creative clusters actually formed in areas offering the greatest potential in this respect? In order to find answers to the above questions, the authors carried out two sub-analyses. The first led to the conclusion that only 1.9% of municipalities in Poland offer conditions for creative specialisations, including the formation of creative clusters (LQ > 1.25). The next step involved a comparison of geographical distribution of areas with clustering potential with areas being home to actual creative clusters. The authors did not observe any relationship between the value of LQ reflecting clustering potential for creative industries and the distribution and size of active creative clusters. The correlation coefficient between LQ and the number of cluster members was positive but weak. It shows that creative clusters in Poland are not formed in locations offering best conditions in terms of the number of potential members. Therefore, there are other factors behind the formation of cluster structures. Nevertheless, local potential should be the main driving force because it is one of the crucial components of favourable conditions for building economic specialisation and a foundation on which proper cluster structures should be built on.

show abstract

Section: Final Conclusionmentioning

confidence: 75%

Spatial concentration of creative industries and location of creative clusters in Poland

Namyślak

2021

GeoJournal

View full text Add to dashboard Cite

show abstract

“…In the 1990s, personal computers, laptops and digitalization had begun to take a big chunk of the home console market, enabling ‘hardcore’ or expert users to develop games on their own. By the early 2000s, many games would be technologically advanced, complex and highly sophisticated (Aoyama & Izushi, 2003; Lehtonen et al, 2020). In this context, North American studios as a rule were already specializing in coming up with battle and competition games for which they would be known: Activision Blizzard with Call of Duty, World of Warcraft; Electronic Arts with FIFA, Battlefield, Mass Effect; Take‐Two Interactive with Civilization, NBA 2K series, Grand Theft Auto; ZeniMax Media with Doom, Fallout, The Elder Scrolls and Niantic with Ingress.…”

Section: Resultsmentioning

confidence: 99%

Radical circles and visionary innovation: Angry birds and the transformation of video games

2021

Self Cite

View full text Add to dashboard Cite

Radical circle is an innovation approach, alternative in comparison to innovation teams and innovation communities, superior to these when detailed managerial guidance is not readily available because of high uncertainty, high ambiguity, or both. Through an empirical case analysis of Angry Birds, the video game, we strengthen earlier radical‐circle research findings on how a common sense of malaise with a current situation and dominant visions sometimes a small group of creative individuals meaningfully together, each volunteering to contribute much to change situation and dominant meaningfully vision. We find in this case that radical circles were more fluid in their membership and boundaries than what these earlier studies have found. There was considerable change over time in both the radical circles and visionary innovation. After Angry Birds's launch, a huge and very active brand community ensued, with radical creativity, with innovative community members contributing meaningful new inputs both for free and for global market and industry transformation. We call for further research on why and how line‐up changes in radical circles in between times of original visionary innovation and later‐phase market and industry transformation may matter. We also call for further research to study in what kinds of situations, why, and how radical circles are a good approach to mobilize extra‐organizational volunteers for visionary innovation of new‐to‐the world products or processes.

show abstract

“…While other cultural industries in Finland still address local audiences, most game companies have been forced to design their products for international markets. Since local companies do not operate in the same tiny market, it has been documented that they do not primarily see each other as competitors, but instead actively collaborate and share information with each other (Komulainen & Sotamaa, 2020;Lappalainen, 2014;Lehtonen, Ainamo & Harviainen, 2019).…”

Section: Formation Of the Finnish Game Industrymentioning

confidence: 99%

Studying Game Development Cultures

Sotamaa

2021

Games and Culture

View full text Add to dashboard Cite

By analyzing and contextualizing different aspects of the Finnish game development scene, this article provides concrete examples of why we need cultural studies of game development and how game development cultures can be studied. The article follows a three-layer approach, first exploring some of the historical and political developments that have shaped forms of local game production. Second, a focus is placed on working cultures within the industry and attitudes toward crunch time, work–life balance, and workplace regulation. Third, everyday strategies of organizing creative work are analyzed to better understand game studio cultures. The lessons from this empirical study directly contribute to the larger scholarly discussions around game production and creative labor.

show abstract

The four faces of creative industries: visualising the game industry ecosystem in Helsinki and Tokyo

Cited by 27 publications

References 136 publications

Spatial concentration of creative industries and location of creative clusters in Poland

Spatial concentration of creative industries and location of creative clusters in Poland

Radical circles and visionary innovation: Angry birds and the transformation of video games

Studying Game Development Cultures

Contact Info

Product

Resources

About