Early-stage investors increasingly impact the surging video game industry. Thus, understanding their thought processes provides vital insight for entrepreneurs. This thesis explores how early-stage investors assess investment opportunities in the Swedish game industry by presenting semistructured interviews with three prominent angel investors. Thematic analysis was performed on the interview data to extract significant themes regarding investors’ thought processes. Themes were then contrasted with previous research on investor decision-making to establish emergent patterns in the game industry. Results indicate that investors regard the composition and reliability of the team and pursue long-term involvement in companies. It is particularly important for teams to inspire trust. If investors can connect to teams personally, it facilitates successful long-term collaboration. Future research should focus on interviewing investors in other flourishing game markets, such as the U.S. or Chinese. Congruent results may lay the foundation for a framework to aid developers with acquiring funds in the broader game industry.

There are several studies on the video game industry in Iran, and most of them are primarily focused on state-funded organizations which produce politically motivated games to push the geopolitical and domestic goals of the government. However, there is a lot more to the Iranian video game industry, one of which is the dichotomic nature of the private enterprises and their contrast with the mentioned state-funded products. To contextualize, we require the expression of concrete historical and cultural elements while exploring this dichotomic nature alongside many other paradoxical factors that shape the modern video game industry in Iran. The purpose of this paper is to, for the first time, shed light on the history and the current state of the video game industry in the Islamic Republic of Iran. I’ve used an ethnographic approach in my paper by doing numerous interviews to get a clear picture of cultural narratives and cultural responses that correspond and result in creating art. This digital ethnography could be of help to many to seek knowledge on the mentioned topics.

Japanese games have received extensive attention in academic and non-academic research. However, there has been a noticeable lack of study on Japanese adult games, despite their significant presence within the industry. Given the growing popularity of adult games in the Western market in recent years and the increasing incorporation of gender and sex studies in gaming research, it is crucial to investigate this overlooked aspect of gaming.This thesis aims to conduct a comparative study of Japanese adult games, recognizing their unique significance and contrasting presence with the Western gaming landscape, where adult games have not gained the same level of prominence as in Japan. The research will explore the underlying reasons for this disparity and employ an ethnographic approach, incorporating interviews and surveys, to uncover the cultural, economic, and societal factors that have contributed to the existence of this anomaly.

The remarkable growth of the video game industry has triggered an interest for the capabilities that video game companies need in order to seize opportunities in the market. Companies that continuously provide product innovations are arguably better equipped to succeed in the dynamic, digitized video game landscape. Market sensing capabilities have been brought forward as particularly useful in environments with these characteristics and research suggests that user communities could be critical sources of external knowledge for video game companies. Hence, the aim of this study is to provide a framework where these concepts are combined into a unified dynamic capability, Community Sensing Capability, and to quantitatively test its effect on product innovativeness. An interview-administered questionnaire was used to gather data, resulting in a sample of 72 observations. The capability builds on three different sub-processes; sensing, sensemaking and response. Reliable measurements were developed for Community Sensing Capability, sensing and response respectively. The regression analysis indicate that sensing and response are positively related to product innovativeness, while Community Sensing Capability is not significantly related. This study contributes to literature by shedding light on a new phenomenon and giving initial insights to how the Community Sensing Capability can be exploited in innovation processes.

The diploma thesis entitled "The position of video game industry among the creative industries in the Czech Republic" brings up a complex view on the Czech video game market. It has been created based on data acquired from numerous local and international scientific studies and also using interviews with selected representatives of the Czech video game market. It has turned out that the Czech video game industry builds up its economical position step by step. Its year-on-year turnover grows and thus gradually counts up to even larger portion of the return of cultural and creative industries. This happens spontaneously, without systematic support from the national or local governments. However, such a support is common in other European countries. Interested parties that play a part in the Czech video game market would be (according to conducted interviews) very interested in this kind of support, mainly in form of tax relief and the promotion of local developers abroad (which would also bring foreign investors into the country). Thus, the claim that the implementation of institutional support of Czech video game would solve its two most acute problems, is valid. All addressed representatives (coming from different segments of video game market) have confirmed that these two issues are the lack of financial and marketing support. In case these barriers of market development are removed, the process of growth of the Czech video game market as a strong member of the industry would speed up significantly. All abovementioned facts, along with other aspects of the problematics, are reflected in SOAR analysis that brings the thesis to an end.

In 2012 and 2014, two hashtags, #1ReasonWhy and #GamerGate, exposed a highly sexist video game industry that was not welcoming female participation. This was affecting women working or wanting to work in it. Feminist technoscience studies explain this phenomenon by applying theories concerning the masculine domination of our society and the perception of women as “others.” Despite the numerous challenges and struggling for inclusion, women still create video games, many as independents, taking advantage of free game engines. Hence, my aim in this thesis was to understand the interconnections between technology, specifically in the video game industry, and its social impact. I focus on the balance of male and female participation in the video game creation, the role of game engines, and the enablers and inhibitors for female inclusion, as an important component of decision making for organizational change in this industry. I conducted an inductive qualitative research approach with eight semi-structured interviews with female video game creators from the Latin American region. My findings reveal that using free/affordable technology, such as game engines, is not enough to guarantee female inclusion in the video game industry. This industry is resistant to change and tends to reinforce male predominance by hiring only a specific type of worker that matches the perfect gamer, usually young males. The participation of women in the video game creation teams (which include developers, designers, artists, testers, among others) would bring balance, diversity, new voices and fresh/new ideas, as well as women empowerment to the table. In addition, eleven inhibitors and eight enablers were identified as factors for female inclusion in the video game industry.

Information Technology (IT) enables organizations to involve consumers as co-creators of new products. By facilitating increased interaction between consumers and developers. IT allows consumers to influence and tailor product designs, but also allows developers to make use of distant knowledge to enhance and extend their product offerings and marketing. However, while much is said about the promises of IT-enabled co-creation, little is known of the strategic challenges associated with such IT use. To address this gap, we drew on IT literature to conduct a qualitative case study of IT-enabled co-creation in four video game development firms. In particular, we tried to understand how IT is affecting relationships between consumers and developers and when and why IT can be strategically used to enable co-creating coalitions in development processes. In so doing, it became clear that the promises of IT-enabled co-creation are associated with key strategic challenges. In particular, we identify three challenges that organizations must address in order to harness the strategic value of IT-enabled co-creation: the silent majority, quality assurance and managing expectations. We conclude this paper by discussing the future of IT and digital product development as well as implications for research and practice.

Digitalization has given rise to new opportunities for small and medium-sized video game development studios. No longer bound by physical products and creative restrains, the de-veloper has been empowered with independency. This qualitative study is aimed to under-stand how a development studio develops their business model and how underlying strate-gy is formulated. Additionally we evaluate the degree of innovativeness of the business model in terms of radical and incremental innovation according to Damanpour (1991). To achieve this we present a comprehensive literature review as to gain a more theoretical un-derstanding of industry mechanics and to be able to comprehend reasoning behind existing business models. We structure the dynamics of the business model by analyzing nine busi-ness model aspects as suggested by Osterwalder, Pigneur and Clark (2010). Following our theoretical framework we gain practical input from four separate case studies. An interpret-ative research method is used to gain better understanding of reasoning and choices made. We interpret our findings following a narrative approach which shows that the digitaliza-tion has preluded a paradigm shift in the sense that development studios have started to adopt activities otherwise performed by key partners. As barriers dissipate small and me-dium-sized development studios try to make sense of the current industry, but struggle in doing so. Having to reinvent themselves we conclude that a focus towards creating thicker customer relationships is considered and the idea of seeing games as a service is acknowl-edged to depict the future of the industry. The conclusions of this study contribute to both academic science and industry practice.

De nos jours, la notion d’immersion est largement utilisée, voire galvaudée, par l’industrie du jeu vidéo pour décrire les nouvelles expériences de jeu vécues par les joueurs, notamment lorsqu’ils utilisent des contrôleurs de mouvement. Il est donc intéressant de comprendre comment cette notion s’insère dans le processus de conception des jeux vidéo et comment les concepteurs de jeux vidéo mobilisent cette notion. Pour essayer de comprendre comment les concepteurs de jeux vidéo conçoivent leurs expériences de jeu dans ce contexte, nous avons réalisé une série de cinq entrevues avec des concepteurs de la région montréalaise. Nous avons porté une attention particulière à recueillir le discours de concepteurs indépendants et de concepteurs œuvrant dans de grands studios afin d’obtenir une diversité dans le type d’approches. Nous avons relevé que les concepteurs de jeux vidéo sont loin de partager la même définition de la notion d’immersion. Qui plus est, cette notion n’est souvent pas directement mobilisée par les concepteurs. En effet, les résultats de notre recherche ont démontré que les concepteurs recherchent plutôt à intéresser les joueurs par des stratégies d’engagements plutôt que de les « immerger ». Selon nos concepteurs, un joueur engagé signifie qu’il éprouve un plaisir sincère dans l’acte même de jouer. / Nowadays, the concept of immersion is widely used or overused by the video game industry to describe new gaming experiences for players, especially when using motion controllers. It is therefore interesting to understand how this concept fits into the process of designing video games and how game developers mobilize this notion. To try to understand how video game designers design their gameplay experiences in this context, we conducted a series of five interviews with designers in the Montreal area. We paid particular attention to interview independent developers and designers working in major studios to obtain a diversity of approaches. We found that game developers are far from sharing the same definition of immersion. Furthermore, this notion is often not directly mobilized by the designers themselves. Indeed, the results of our research have shown that designers use strategies of engagement rather than "immersion". According to our designers, an engaged player means he feels a sincere pleasure in the act in itself of playing.

Le jeu vidéo est un produit qui ne cesse de gagner en popularité alors que les expériences ludiques tendent de plus en plus à se diversifier. Les recherches académiques sur l’objet vidéoludique se sont multipliées dans les dernières années afin de comprendre les particularités du nouveau média, surtout en ce qui concerne l’analyse du produit lui-même et sa réception, mais laissant peu de place à sa créa-tion et sa production. Montréal est un lieu idéal pour étudier le médium : en peu de temps, l’industrie du jeu vidéo est devenue l’un des fleurons industriels québécois. La présente étude s’est intéressée aux développeurs de Montréal, ville où se situe la plus grande partie des studios au Québec, afin de connaître leur perception du produit vidéoludique et de l’industrie. Au travers d’une perspective phénoménologique, un séjour ethno-graphique a été effectué dans un studio de production vidéoludique où plusieurs développeurs ont été observés et interviewés. Ce travail s’inscrit dans une anthropologie du travail et rend compte de la com-plexité qui émerge lorsqu’un travail essentiellement créatif vient se heurter à des motifs de production strictes. Plus encore, il rend compte d’un paradigme opposant directement la création et la production dans un milieu qui se présente comme une avenue prometteuse pour une jeunesse désirant vivre d’un travail créatif. Cette condition est attribuable à la nature du jeu vidéo lui-même qui se situe, selon Kline, Dyer-Witheford et De Peuter (2003), à mi-chemin entre la culture, la technologie et les visées commerciales (marketing). Les développeurs se trouvent donc entre deux eaux : d’un côté ils sont influencés par la culture du jeu, relevant de leurs pratiques, leurs préférences et des commu-nautés de développeurs et, de l’autre côté, par l’industrie qui dicte les façons de faire et viennent selon eux minimiser leur potentiel créatif. / The video game is increasing in popularity as the ludic experience is diversi-fying. Within the last few years, it became the research field of many academics trying to understand the new media either by studying the game itself or its recep-tion. However, they put aside its creation or production which is an important part of the cultural product. Montreal is an ideal place to study the video game since it rapidly became one of the most valued sectors in Quebec’s industry, and because most of the studios are in Montreal. This research focus on Montreal’s game developers and their vision of the product and the industry by using a phenomenological approach. Data were collected through an ethnographical fieldwork where many developers were ob-served and interviewed. This study inserts in an anthropology of work and focus on the complexity that emerges when creative work encounters productive work. We elaborate a paradigm opposing creativity and productivity in a workplace that is seen to be essentially creative for a youth wanting to be creative. The video game’s nature can explain this situation since it is directly influenced, as Kline, Dyer-Witheford et De Peuter (2003) argued, by culture, technology and marketing. Developers occupy a space that is primarily influenced, on the one hand, by their culture, practices, and the developers’ community but, on the other hand, they need to subscribe to the industry’s constraints and way to do a game that dimin-ishes their creative potential.