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This global scope of the transformation of work includes call centre operators, miners in the global south, and the dagongmei in the high-tech factories of China, for example. Dyer-Witheford (2015: 42) has captured the broader changes in work with the concept of the ‘cyber-proletariat’ and ‘taking the ideas of cybernetic thinkers as a guide to how computers in general have altered the technological processes of capital’. In particular, this requires a focus on the labour process – the work that actually goes into making video games. My research intends to provide a topography of the industry in the United Kingdom, defining some of the key features and dynamics, and exploring what is behind these kind of statements. These comments, and indeed investments, from the political representatives of the ruling class in the United Kingdom signal the important role that the games industry now plays in contemporary capitalism. He cites the game industry as ‘one of the UK’s great strengths’ and remarks that now is a ‘golden age’ for the creative sector, also including films,high-end TV, and animation programming. In the introduction to the Olsberg-SPI and Nordicity (2015: v) report on the economic contribution of the creative industries, a foreword is included by the chancellor George Osborne.
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This newfound passion for the games industry is not limited to one member of the ruling Conservative party. Games London will be a three year program that will help the game sector shout louder and attract more investment.
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From NASA to the NHS, games software now influences the way we manage our health, educate our children, and even how we explore space but international competition remains fierce and we need to ensure our city can compete with our global gaming rivals. During the announcement for a new round of funding for the games industry in London – this time for £1.2m – Johnson’s tone had drastically shifted: We're home to fantastic software studios, like State of Play and Sports Interactive, who make world-leading games, like Lumino City and Football Manager. Fast forward a decade and Boris Johnson, now the Mayor of London, has noticeably changed his opinion on the topic, as Benson (2016) points out. His solution was to call for a violent response. Ten years ago Boris Johnson (2006) wrote this scathing attack on games, focusing particularly on the claim that they were linked to low literacy rates. My research takes this unusual quotation as a starting point to reinforce the need to critically analyse the games industry. And if they still kick up a fuss, then get out the sledgehammer and strike a blow for literacy. Steel yourself for the screams and yank out that plug. Summon up all your strength, all your courage. Can the DVD of Desperate Housewives, and go to where your children are sitting in auto-lobotomy in front of the console. They stimulate no ratiocination, discovery or feat of memory – though some of them may cunningly pretend to be educational… So I say now: stop just lying there in your post-Christmas state of crapulous indifference. Introduction They become like blinking lizards, motionless, absorbed, only the twitching of their hands showing they are still conscious. The conclusion suggests further inquiries are needed to understand how the struggle between labour and capital is shaping this industry. It focuses on how capitalism effects the production of video games, including the use of crunch time, the prevalence of sexism, and the widespread use of non-disclosure agreements. The approach taken here draws on Marxist theory and an examination of the labour process. Less is known about how work is being organized or the experiences of workers. Within this there are many new organizations, often shaped by start-up culture. Although the headline figures are impressive, the overall structure of the industry is less clear. This has attracted the interests of politicians, committing large investments and tax breaks. The video games industry in the United Kingdom is profitable and growing at a time when the broader economy is still failing to recover. (2016) ‘The work of play: Marx and the video games industry in the United Kingdom’, Journal of Gaming and Virtual Worlds, 8(2): 131-143.