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The purpose of this study is to identify and evaluate the video game ecosystem development in the context of socioeconomic and technological progress while analyzing the role of stakeholders in the video game industry for regional markets' growth.

The paper exploits technological and socioeconomic data in 25 countries grouped into the regions, as a methodological approach that allows identifying and evaluating the determinants of the video game industry's ecosystem development. The authors applied econometric modeling to understand technological, economic and social determinants forming video gaming industry growth in regional markets.

Different types of stakeholders are involved in the video game industry performing particular functions. Using econometric modeling for advanced and developing economies countries, we have found that different stakeholder groups and their engagement dynamics in the video gaming industry directly depend on socioeconomic and technological effects in certain regions of the world.

This study contributes to the knowledge within forming creative clusters around video gaming industry in developed and developing economies countries. The findings bridge the gap between quantitative and qualitative research in stakeholder-related characteristics, and key factors affecting the development of the video gaming market. The analyzed database of industry revenues within specific global regions shed the light on the future functionality of the ecosystem development in the new normal world.

Indie developers are part of the creative fringe of the video game industry, fashioning an identity for themselves as a community committed to the development of video games as a cultural expression and art form. In playing this role, money-making is ambiguous inasmuch as economic return is honorable if such interests remain unarticulated and execute minimal influence on the development work process, while the possibility of producing a successful commercial video game is simultaneously one of the primary motivations for new industry entrants. The paper aims to discuss this issue.

The paper reports on the empirical material drawn from a study of indie video game developers in Sweden, a leading country for video game development.

To reconcile tensions between video game development in terms of being both cultural/and artistic production and business activity, easily compromising the perceived authenticity of the subject in the eyes of audiences (e.g. hardcore gamers), indie developers distinguish between monetary motives ex ante and compensation ex post the release of the game. Indie developers thus emphasize the metonymic function of money as this not only indicates economic value and currency but also denotes a number of business practices that indie developers have otherwise avoided in their career planning as they believe these practices would restrain their creativity and skills.

The study contributes to the scholarship on video game development, the literature on creative industries, and the economic sociology literature examining the social meaning of money and how social norms and values are manifested in professional ideologies and practices.

This paper aims to shed some light on the role of video games within the media industry and IT sector, on its contribution to the production and distribution of digital content in emerging economies. It offers a case study on the role of mobile devices as a factor of transformation and shows how under changing socio–economic conditions, the transformations enabled the creation of digital ecosystems and innovative business models.

The paper is based on desk research, a review of literature and trade press and comments from experts and industry players.

The paper argues that as the internet is going mobile, driven by data – mostly video – the new mobile platforms are becoming the key for the distribution of content and mobile games. Whether it is the history of browser games in China, mobile games in India or PC games in Russia, each national gaming industry has required a unique strategy for making money, building on some prominent cultural factors and adapting to the local economic conditions. The paper reveals that video games are now clearly a vital part of digital content production in these countries, while stressing upon the role of public policies.

The paper relies mostly on industry and consultancy data, as in such a fast-changing environment official data even when accessible are in most cases too old to remain relevant to identify the trends and the fast changing stakes. This calls for some caution about the data. Therefore, the data used should be treated as just signals of potential trends, sufficient to provide an appropriate overview of the evolution of the global mobile ecosystem.

This paper shows that the video games industry can serve as a pivot for the ICT industry. Besides, this prompts upstream and downstream industries of the entire digital entertainment market to thrive.

The paper shows that companies from emerging markets companies have been betting on a combination of factors: the development of the economies, the growth of the mobile market, emerging middle-classes and young customers. It provides a growth model that appears to be close to a “regular” industrial growth model.

Although there is a growing academic literature on the video games industry, few research have been devoted to specific issues of emerging economies and to the role of video games within the media industry and IT sector.

This chapter analyses the marketing management practices for the video games industry in Turkey. To identify the extended value chains and define the critical success factors in this local environment, we invited the members of OYUNDER – Game Developers, Designers and Publishers Association in Turkey – to participate in an online survey. The following three main research questions guided this survey: (1) How video game developer companies resolve marketing decisions, decide on their marketing mix and create marketing plans; (2) how they perceive the importance given to marketing in their industry and (3) how they measure and judge the success of their marketing activities. Results indicate that Turkish video game developers are predominantly male and young. They organise and work in small teams. They lack marketing planning as indicated by actualised versus expected revenues and marketing spendings. Only 23.7% of the participants report employing marketing-related staff and their opinions of marketing-related business partners – such as advertising and PR agencies – are negative due to these institutions’ perceived lack of industry experience. The developers mainly use social media channels and digital advertising for their marketing needs. Above-the-line advertising is the least used channel, with content, influencer and below-the-line marketing channels ranging in the middle. They report confidence in managing campaigns for social media, digital marketing and content marketing. However, they believe that they lack the skills to manage above-the-line and below-the-line marketing activities, reporting lack of capital and human resources as the main barriers. Although they believe that marketing can help them reach new customers, they are also afraid to take risks and admit to being conservative in marketing practices.

In less than three decades the entertainment software industry has emerged as a huge industry, with sales larger than Hollywood movie box office sales. Yet, little is known about this industry. Stereotypes about the industry may not be correct. This paper seeks to address this knowledge gap.

The paper identifies what is known, and what needs to be known. The paper reviews the literature and adds data from the most recent reports available.

The literature has been slow to address this industry. It has not even been clear what to call this industry. (Some people still call it the video game industry.) The most basic marketing issues still need to be researched, i.e. customer benefits sought and segmentation. A typology of game genres is proposed.

This paper is the first overview of the entertainment software industry from a marketing perspective.

The purpose of this paper is to identify, characterize, and discuss paradigm shifts that have occurred in the video game industry with some emphasis on competition and competitiveness.

Basically, the paper depends upon a review of the literature associated with video game development. Past history is taken from texts and academic papers dealing with the subject. More current observations are taken from the business and popular press. These observations are placed within a context associated with the classic papers on industry evolution, paradigms, paradigm shifts, competition, and competitiveness.

It is difficult to capture present shifts in such a fast‐growing industry, but these shifts seem clear: the original entry of video games into the arcade sector that led to the industry and the demise of pinball; the development of the home cartridge and console that made the industry a home‐based phenomenon; the entry of independent game‐publishers that made the industry a two‐tiered one; and the development of massively multiplayer online role‐playing games (MMORPGs) that changed the way games are played.

The video game industry is an interesting one to follow. To an extent, its development characterizes our generation – fast paced, technologically oriented, and targeted toward the young and young at heart. This paper takes the subject away from a historical or anecdotal approach and places it within the context of industry evolution, paradigms, and paradigm shifts. It thus should be of value to students of not only video games, but also the evolution of rapidly growing industries and establishment of competitive advantages.

This work discusses gender issues related to the video game medium, addressing its production, consumption, and media repercussions. It begins with an overview of the emergence of the video game with the targeting of audiences that focused on sales campaigns to consumers along gendered lines that amplified the dominance of men in the space. The discussion then focuses on numerous ways that the gaming industry as a whole perpetuates a culture of misogyny. Empirical examples are provided of harassment, attacks, and the controversial event known as GamerGate. Subsequently, the complicated history of Brazilian video gaming development is presented to draw parallels with the development of the industry and the market in the United States. Finally, the chapter concludes with suggestions to stimulate new producers, developers, and video game scholars who are committed to building a more aware and diverse community.

The objective of this paper is to present an empirically founded outline of value creation and the orchestration of this process.

A qualitative study of the video game industry was undertaken for which data were collected through use of both primary and secondary sources. The gathered data enabled a categorization of the industry, from both a user and a firm perspective, into different archetypical modes of value creation.

The study adds to the understanding of value creation by illustrating that a firm can orchestrate the process through which value is created by being: an inspirator; a facilitator, and an attendant. In illustrating the continuity of this process, the paper introduces the orchestrating firm and the value emergence process.

In describing the modes through which interaction occurs within the video game industry, the paper provides an outline which can be used for further investigations of value creation. This industry holds, however, certain features making the arguments presented in need of further research.

Based on the empirical findings, an outline is provided for the allocation and deployment of internal resources in order to enable continuous value creation.

The paper empirically exemplifies how value creation is orchestrated by developing firms within the video game industry and illustrates value creation as a continuous process; a value emergence process.

The Thai video game domain has witnessed substantial growth in recent years. However, many games enjoyed by Thai players are in foreign languages, with only a handful of titles translated/localized into the Thai locale. Some Thai video game enthusiasts have taken on the role of unofficial translators/localizers, contributing to a localization domain that accommodates both official and unofficial translation/localization efforts. This general review paper aims to outline the author's experiences in collecting data within the domain of video game translation/localization in Thailand.

Using a descriptive approach, this general review paper employs the netnography method. It sheds light on the complexities of video game translation/localization in Thailand and incorporates semi-structured interviews with a snowball sampling technique for the selection of participants and in-game data collection methods.

The netnography method has proved instrumental in navigating the intricacies of this evolving landscape. Adopting the netnography method for data collection in this research contributes to establishing more robust connections with the research sites. “Inside” professionals and individuals play a significant role in data gathering by recommending additional sources of information for the research.

While netnography is conventionally applied in the market and consumer research, this paper demonstrates its efficacy in unraveling the dynamics of video game translation/localization in Thailand.