Creation is a significant factor in the achievement of cultural legitimacy for an industry in France. This was the case for the film industry, as it is currently for the video game industry, which likes to emphasize that its revenue exceeded that of cinema. The analysis of creation in the video game industry was essential at a time when the national video game industry in France occupies a significant position on the global stage, but is weaker and potentially more fragile in the terms of productivity and financial stability than one might assume. How a Game Publisher Built a Community-Driven Business Model, This study complements the research and development in video games conducted by the ministry responsible for Industry and concentrates on the economy of the intangible in this sector, including the nature, economic organization, and legal framework of the creation processes.
The video game industry, which is jointly the subject of industrial and cultural policy, necessitates consolidation. In fact, the organization of creation implies forms of sustainability, as it now perceived as the enduring ferment of industrial success. Although numerous actors are capable of managing the uncertainty of their professional qualifications and career trajectories, it is still crucial to organize them. Finally, the means to accomplish legal security and recognition of creation are not beyond reach, despite the fact that the pursuit of these goals is essential.
How a Game Publisher: A new era of creation
The examination of the video game industry’s creative process, as demonstrated by the technological advancements and advancements in interactivity that have led to the renewal of games, sparks an interest in the recognition of a work as both individual and collective by successive generations of creators. Production is currently impossible without the labor of individuals, as it performed by creation companies. Therefore, the entrepreneurial perspective is also considered when examining creation: how does it mesh with the value chain, from design to distribution, and with the participants themselves?
Consequently, the creator’s inspiration can derived from technology without the need for direct prompting; rather, the creator engages in an act of transformation and invention that is distinct from the technology. If “each creative profession has its own tools (Word for writers, Photoshop for image artists, 3DSmax for animation, Cubase for musicians), the interactive author has nothing,” but they do have a variety of software tools (middleware). Additionally, there is currently no universal method or approach for the development of interactive writing and games. It quite natural for each studio and creator to empirically develop their own instruments and tools, sometimes sophisticated ones, as creation does not tolerate being formatted by a tool. However, this can be detrimental to the productivity of studios and the ability to achieve economies of scale from one game to another.
In the interim between the development and duplication of standards
The initial demonstration of the uniqueness of video game creation was that the game and its interactivity inextricably linked to the art forms that previously known. The downstream industrialization of the sector subsequently facilitated its evolution: the aspiration to test, devise, and create breaks in style or form was diminished as a result of its access to the mass market. Creation is once again the focal point of concern, despite the fact that the sector has now reached a state of maturity. This is due to the fact that the internet is becoming more accessible to player participation, even in content creation (mod and machinima), and new radically disruptive technologies are emerging (mobility, virtual reality, augmented reality, robotics).
The economic future of studios is contingent upon the issue of renewing creator teams. This requires consideration of the international nature of the industry and the majority of its products, as well as the reality of the production process and the salary relationships that bind the majority of creators to the companies that employ them. The industry’s reality is harsh: “Video games are extremely exhausting,” testifies an art director, while the rewards are not always equitable to the personal investment. Consequently, the sector frequently abandoned employees over the age of 35 due the high risk and inadequate compensation, a phenomenon that currently causing concern for companies. In order to mitigate this phenomenon, studios are implementing a new approach to employee careers that allows for ample opportunities for training and compensation bonuses to retain teams by providing enduring support to the initial enthusiasm and passion.
How a Game Publisher: Recognition For Creators individual or collective
Video games unite creators from a variety of fields, including architecture, architecture, animation, set design, 2D and 3D graphic design, photography, editing, music, screenwriting, and game design. The function of game designers is most closely analogous to that of a screenwriter-director in the film industry. How a Game Publisher Built a Community-Driven Business Model, However, the creators of video games remain virtually unknown, with only a handful of exceptions, despite the creative and industrial maturity that they have undoubtedly attained. How a Game Publisher, A significant portion of the industry and certain creators are content with a creative landscape in which only a handful of names have achieved a certain level of recognition, and the majority of communication centered around game titles, trademarks, or the names of studios or publishers.
Outside the conventional frameworks of classical culture, video games have emerged as an art form on the periphery of contemporary culture. The gratification of being acknowledged by their community has derived by game creators from this rare circumstance. Nevertheless, is this still the case in the current era of the media society and the widespread adoption of gaming? The massification of the market and the emergence of new generations of authors may result in the individual recognition of creators, which is not incompatible with the valorization of studios. Recognizing creators can be a means of affirming the value and originality of creative work, which would be advantageous to both individuals and creation companies.
Conclusion
The development of a video game is a collaborative endeavor that necessitates the integration of authors into studios and provides limited opportunities for independent work. The creators immersed in the technical context provided by these studios. Consequently, creation is the responsibility of creation enterprises. Video games replace the traditional triangular relationship, which is common in cinema, audiovisual, comics, and literature, with a relationship that is based on the studio. The studio serves as both a technical provider and a creative hub, providing support for entrepreneurs.
The studios must implement a true management of creation due to the multiplicity of required skills, including management, technical direction, artistic direction, directing, production, development, programming centers, graphic design, and game design. Throughout the years, the talented and empirical tiny structures of the first generation have replaced by organized companies that are eager to embrace creation as a fully-fledged dimension of management. The primary areas in which they must adapt and occasionally innovate are recruitment, work methods, training, and compensation.
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