Online Gaming in Post-Soviet Russia: Practices, Contexts and Discourses

Total Page:16

File Type:pdf, Size:1020Kb

Online Gaming in Post-Soviet Russia: Practices, Contexts and Discourses ONLINE GAMING IN POST-SOVIET RUSSIA: PRACTICES, CONTEXTS AND DISCOURSES A thesis submitted to the University of Manchester for the degree of in theDoctor Faculty of Philosophyof Humanities. 2015 Catherine Goodfellow E School of and Cultures Arts, Languages Contents Contents…………………………………………………………………………………………………………………………2 List of tables and images ...................................................................................................................................... 5 Abstract........................................................................................................................................................................ 7 Declaration ................................................................................................................................................................. 8 Copyright ..................................................................................................................................................................... 8 Acknowledgements................................................................................................................................................. 9 Introduction .......................................................................................................................................................... 10 1. Research context ......................................................................................................................................... 12 1.1 Russian gaming through Western eyes ...................................................................................... 12 1.2 Russian new media and internet studies ................................................................................... 16 1.3 Russian studies: globalisation and youth culture .................................................................. 20 1.4 Game studies ......................................................................................................................................... 24 2. What does ‘normative’ gaming look like? On global gaming and ‘the West’ ...................... 26 2.1 Playing ‘properly’, playing ‘normally’ ......................................................................................... 26 2.2 Play spaces ............................................................................................................................................. 28 2.3 Language barriers ............................................................................................................................... 29 3. Research objectives and questions ...................................................................................................... 32 4. Thesis structure ........................................................................................................................................... 33 Methodology ................................................................................................................................................. 33 Games played in Russia ............................................................................................................................ 33 Discourses about gaming in Russia ..................................................................................................... 33 Practices, perceptions and experiences of the Russian-speaking gaming community .. 33 Conclusions .................................................................................................................................................... 34 Chapter One: Methodology ........................................................................................................................... 35 1. Scope of study ............................................................................................................................................... 35 2. Research design ........................................................................................................................................... 36 2.1 Survey ....................................................................................................................................................... 37 2.2 Media discourse analysis .................................................................................................................. 38 3. Reflections on the research process .................................................................................................... 41 3.1 Gender and language .......................................................................................................................... 41 3.2 Privacy and community authorship............................................................................................. 42 3.3 Fielding questions and critiques from respondents ............................................................. 43 4. Data collection and archiving ................................................................................................................. 44 5. Summary ......................................................................................................................................................... 45 Chapter Two: Russian games and gaming in a global context .................................................. 47 1. Strategies for access to games ............................................................................................................... 47 2 1.1 Economics ............................................................................................................................................... 48 1.2 Language ................................................................................................................................................. 49 1.3 Internet access ...................................................................................................................................... 50 2. The scope and variety of gaming in Russia ...................................................................................... 52 2.1 Global industry involvement in Russia ....................................................................................... 52 2.2 The Russian gaming industry and audience ............................................................................. 55 2.3 Movers and shakers: developers, events and associations ................................................ 58 2.4 Games and government .................................................................................................................... 59 2.5 Events, associations and conferences ......................................................................................... 60 2.6 Publications and conventions for fans ........................................................................................ 63 3. The ‘Russianness’ of Russian games: three case studies ............................................................ 67 3.1 A brief look at genres and styles ................................................................................................... 67 3.2 Allods Online ......................................................................................................................................... 73 3.3 Metro 2033 and S.T.A.L.K.E.R: Shadow of Chernobyl ........................................................... 80 3.3.1 Central themes and parallels in plot ........................................................................................ 80 3.4 Knock-knock .......................................................................................................................................... 83 4. Conclusion ...................................................................................................................................................... 87 Chapter Three: gamers and gaming in the Russian press and public discourse ............ 89 1. Youth cultures, Westernisation and moral panics in Russia ..................................................... 89 1.1 Understanding Russian youth culture ........................................................................................ 91 1.2 Young people and the internet: youth identity 2.0 ................................................................ 92 2. Video games in Russian public discourse ......................................................................................... 97 2.1 Academic discourse ............................................................................................................................ 97 2.2 Media discourse ................................................................................................................................... 99 2.2 Games for social benefit ................................................................................................................. 104 2.3 Video games and politics in the press ...................................................................................... 106 3. Presentation of gaming by video game websites ........................................................................ 107 3.1 Two types of video game coverage ........................................................................................... 107 3.2 Themes in video game site coverage ........................................................................................ 111 4. Conclusions ................................................................................................................................................
Recommended publications
  • Iamshocked Bertozzi Edits
    “I Am Shocked, Shocked!”: Breaking taboos in digital gameplay Elena Bertozzi University of Wisconsin Whitewater [email protected] Abstract This paper examines some examples of what the media have described as outrageous, dangerous or otherwise troubling content in videogames. The author suggests that allowing players to engage in taboo behavior within games such as Grand Theft Auto, Manhunt, and Dead or Alive Xtreme Beach Volleyball actually reinforces pro-social cultural norms. All cultures establish norms and also provide occasional opportunities for transgression of these norms. The author argues that breaking the rules, and understanding that rules are being broken, is necessary to test and reinforce the boundaries of acceptable behavior. Games provide players with arenas within which such transgressions can take place safely. Current videogames, however, provide these transgressive opportunities primarily for white males. Author Keywords Computer games, video games, taboos, transgression, gender, race, deviance Introduction The 1999 film Fight Club depicts a world where men can separate themselves from the meaningless, feminized, sanitized world of Western civilization and beat each other bloody with their bare hands. Films in the horror genre routinely explore a gamut of violence, perversion, and extreme anti-social behavior. Although extremely violent and troubling films are common, the public’s response to video game content is quite different. Video games are blamed for inciting school shootings (Anderson, 2004), destroying the fabric of society, and permanently harming the psyches of those who play them (Slevin, 2004). The city of Los Angeles and the State of Nevada have gone so far as to file lawsuits against video game companies (Jenkins, 2006; Sinclair, 2006).
    [Show full text]
  • 620-100531B E3 Emerge UL Installation Instructions.Indd
    PRINTER’S INSTRUCTIONS: e3 eMerge Access Control System Document Number: 620-100531, Rev. B Installation Instructions SIZE: FLAT 17.000” X 11.000”, FOLDED 8.500” X 11.000” - FOLDING: ALBUM FOLD - BINDING: SADDLE STITCH - SCALE: 1-1 SADDLE STITCH - SCALE: FOLD - BINDING: ALBUM - FOLDING: X 11.000” X 11.000”, FOLDED 8.500” 17.000” FLAT SIZE: MANUAL,INSTALLATION,E3 EMERGE,UL - P/N: 620-100531 B - INK: BLACK - MATERIAL: GUTS 80G WOOD FREE, COVER 157G COATED GLOSS ART 157G COATED FREE, COVER WOOD GUTS 80G - MATERIAL: BLACK 620-100531 B - INK: EMERGE,UL - P/N: MANUAL,INSTALLATION,E3 Notices All rights strictly reserved. No part of this document may be reproduced, copied, adapted, or transmitted in any form or by any means without written permission from Nortek Security & Control LLC. Standards Approvals This equipment has been tested and found to comply with the limits for a Class A digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the equipment is operated in a commercial environment. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of this equipment a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at his own expense. e3 eMerge systems are Level I UL 294 listed devices and must be installed in controlled locations. Corporate Office Nortek Security & Control LLC 1950 Camino Vida Roble, Suite 150 Carlsbad, CA 92008-6517 Tel: (800) 421-1587 / 760-438-7000 Fax: (800) 468-1340 / 760-931-1340 Technical Support Tel: (800) 421-1587 Hours: 5:00 AM to 4:30 PM Pacific Time, Monday - Friday Notice It is important that this instruction manual be read and understood completely before installation or operation is attempted.
    [Show full text]
  • Roll 2D6 to Kill
    1 Roll 2d6 to kill Neoliberal design and its affect in traditional and digital role-playing games Ruben Ferdinand Brunings August 15th, 2017 Table of contents 2 Introduction: Why we play 3. Part 1 – The history and neoliberalism of play & table-top role-playing games 4. Rules and fiction: play, interplay, and interstice 5. Heroes at play: Quantification, power fantasies, and individualism 7. From wargame to warrior: The transformation of violence as play 9. Risky play: chance, the entrepreneurial self, and empowerment 13. It’s ‘just’ a game: interactive fiction and the plausible deniability of play 16. Changing the rules, changing the game, changing the player 18. Part 2 – Technics of the digital game: hubristic design and industry reaction 21. Traditional vs. digital: a collaborative imagination and a tangible real 21. Camera, action: The digitalisation of the self and the representation of bodies 23. The silent protagonist: Narrative hubris and affective severing in Drakengard 25. Drakengard 3: The spectacle of violence and player helplessness 29. Conclusion: Games, conventionality, and the affective power of un-reward 32. References 36. Bibliography 38. Introduction: Why we play 3 The approach of violence or taboo in game design is a discussion that has historically been a controversial one. The Columbine shooting caused a moral panic for violent shooter video games1, the 2007 game Mass Effect made FOX News headlines for featuring scenes of partial nudity2, and the FBI kept tabs on Dungeons & Dragons hobbyists for being potential threats after the Unabomber attacks.3 The question ‘Do video games make people violent?’ does not occur within this thesis.
    [Show full text]
  • The Palgrave Handbook of Digital Russia Studies
    The Palgrave Handbook of Digital Russia Studies Edited by Daria Gritsenko Mariëlle Wijermars · Mikhail Kopotev The Palgrave Handbook of Digital Russia Studies Daria Gritsenko Mariëlle Wijermars • Mikhail Kopotev Editors The Palgrave Handbook of Digital Russia Studies Editors Daria Gritsenko Mariëlle Wijermars University of Helsinki Maastricht University Helsinki, Finland Maastricht, The Netherlands Mikhail Kopotev Higher School of Economics (HSE University) Saint Petersburg, Russia ISBN 978-3-030-42854-9 ISBN 978-3-030-42855-6 (eBook) https://doi.org/10.1007/978-3-030-42855-6 © The Editor(s) (if applicable) and The Author(s) 2021. This book is an open access publication. Open Access This book is licensed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence and indicate if changes were made. The images or other third party material in this book are included in the book’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the book’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
    [Show full text]
  • Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States
    Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Buonocore, Cathryn E. 2016. Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797406 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States Cathryn E. Buonocore A Thesis in the field of Sustainability for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Copyright 2016 Cathryn E. Buonocor Abstract This study examines and compares the environmental footprint of video game distribution on last generation consoles, current generation consoles and personal computers (PC). Two different methods of delivery are compared on each platform: traditional retail on optical discs and digital downloads in the U.S. Downloading content has been growing and is used to distribute movies, music, books and video games. This technology may change the environmental footprint of entertainment media. Previous studies on books, music, movies and television shows found that digital methods of distribution reduced emissions. However, prior research on video games, looking only at previous generation consoles, found the opposite conclusion.
    [Show full text]
  • Computer Gaming World Issue
    I - Vol. 3 No. 4 Jul.-Aug. - 1983 FEATURES SUSPENDED 10 The Cryogenic Nightmare David P. Stone M.U.L.E. 12 One of Electronic Arts' New Releases Edward Curtis BATTLE FOR NORMANDY 14 Strategy and Tactics Jay Selover SCORPION'S TALE 16 Adventure Game Hints and Tips Scorpia COSMIC BALANCE CONTEST WINNER 17 Results of the Ship Design Contest KNIGHTS OF THE DESERT 18 Review Gleason & Curtis GALACTIC ADVENTURES 20 Review & Hints David Long COMPUTER GOLF! 29 Four Games Reviewed Stanley Greenlaw BOMB ALLEY 35 Review Richard Charles Karr THE COMMODORE KEY 42 A New Column Wilson & Curtis Departments Inside the Industry 4 Hobby and Industry News 5 Taking a Peek 6 Tele-Gaming 22 Real World Gaming 24 Atari Arena 28 Name of the Game 38 Silicon Cerebrum 39 The Learning Game 41 Micro-Reviews 43 Reader Input Device 51 Game Ratings 52 Game Playing Aids from Computer Gaming World COSMIC BALANCE SHIPYARD DISK Contains over 20 ships that competed in the CGW COSMIC BALANCE SHIP DESIGN CONTEST. Included are Avenger, the tournament winner; Blaze, Mongoose, and MKVP6, the judge's ships. These ships are ideal for the gamer who cannot find enough competition or wants to study the ship designs of other gamers around the country. SSI's The Cosmic Balance is required to use the shipyard disk. PLEASE SPECIFY APPLE OR ATARI VERSION WHEN ORDERING. $15.00 ROBOTWAR TOURNAMENT DISK CGW's Robotwar Diskette contains the source code for the entrants to the Second Annual CGW Robotwar Tournament (with the exception of NordenB) including the winner, DRAGON.
    [Show full text]
  • Video Games and the Mobilization of Anxiety and Desire
    PLAYING THE CRISIS: VIDEO GAMES AND THE MOBILIZATION OF ANXIETY AND DESIRE BY ROBERT MEJIA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Communications in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Kent A. Ono, Chair Professor John Nerone Professor Clifford Christians Professor Robert A. Brookey, Northern Illinois University ABSTRACT This is a critical cultural and political economic analysis of the video game as an engine of global anxiety and desire. Attempting to move beyond conventional studies of the video game as a thing-in-itself, relatively self-contained as a textual, ludic, or even technological (in the narrow sense of the word) phenomenon, I propose that gaming has come to operate as an epistemological imperative that extends beyond the site of gaming in itself. Play and pleasure have come to affect sites of culture and the structural formation of various populations beyond those conceived of as belonging to conventional gaming populations: the workplace, consumer experiences, education, warfare, and even the practice of politics itself, amongst other domains. Indeed, the central claim of this dissertation is that the video game operates with the same political and cultural gravity as that ascribed to the prison by Michel Foucault. That is, just as the prison operated as the discursive site wherein the disciplinary imaginary was honed, so too does digital play operate as that discursive site wherein the ludic imperative has emerged. To make this claim, I have had to move beyond the conventional theoretical frameworks utilized in the analysis of video games.
    [Show full text]
  • REGAIN CONTROL, in the SUPERNATURAL ACTION-ADVENTURE GAME from REMEDY ENTERTAINMENT and 505 GAMES, COMING in 2019 World Premiere
    REGAIN CONTROL, IN THE SUPERNATURAL ACTION-ADVENTURE GAME FROM REMEDY ENTERTAINMENT AND 505 GAMES, COMING IN 2019 World Premiere Trailer for Remedy’s “Most Ambitious Game Yet” Revealed at Sony E3 Conference Showcases Complex Sandbox-Style World CALABASAS, Calif. – June 11, 2018 – Internationally renowned developer Remedy Entertainment, Plc., along with its publishing partner 505 Games, have unveiled their highly anticipated game, previously known only by its codename, “P7.” From the creators of Max Payne and Alan Wake comes Control, a third-person action-adventure game combining Remedy’s trademark gunplay with supernatural abilities. Revealed for the first time at the official Sony PlayStation E3 media briefing in the worldwide exclusive debut of the first trailer, Control is set in a unique and ever-changing world that juxtaposes our familiar reality with the strange and unexplainable. Welcome to the Federal Bureau of Control: https://youtu.be/8ZrV2n9oHb4 After a secretive agency in New York is invaded by an otherworldly threat, players will take on the role of Jesse Faden, the new Director struggling to regain Control. This sandbox-style, gameplay- driven experience built on the proprietary Northlight engine challenges players to master a combination of supernatural abilities, modifiable loadouts and reactive environments while fighting through the deep and mysterious worlds Remedy is known and loved for. “Control represents a new exciting chapter for us, it redefines what a Remedy game is. It shows off our unique ability to build compelling worlds while providing a new player-driven way to experience them,” said Mikael Kasurinen, game director of Control. “A key focus for Remedy has been to provide more agency through gameplay and allow our audience to experience the story of the world at their own pace” “From our first meetings with Remedy we’ve been inspired by the vision and scope of Control, and we are proud to help them bring this game to life and get it into the hands of players,” said Neil Ralley, president of 505 Games.
    [Show full text]
  • Rules of the Cyberpunk 2077 Cosplay Contest
    CD PROJEKT S.A. ul. Jagiellońska 74, 03-301 Warszawa | tel. +48 22 519 69 00 thewitcher.com | cyberpunk.net | cdprojektred.com RULES OF THE CYBERPUNK 2077 COSPLAY CONTEST § 1 GENERAL PROVISIONS 1. This document (further: “Rules”) describes the terms and conditions of the Cyberpunk 2077 Cosplay Contest (further: “Contest”). 2. Within the Contest we invite you (further: “Contestant”) to create cosplay outfit based on any character showed in the official Cyberpunk 2077 video game materials released by Organiser (“Costume”) and participate in Online or Offline Qualifiers. The prizes will go to the Contestants whose Costumes are the most accurate, creative, of the highest quality and best overall look. 3. The Contest is open for Contestants all around the world. 4. The Contest is organised by us, the company CD PROJEKT S.A., with its registered office in Warsaw, Poland, ul. Jagiellońska 74, 03-301 Warszawa, registered by the District Court for Warsaw in Warsaw, 13th Commercial Department of the Polish Court Register, under Polish Court Register number KRS 0000006865, tax identification number NIP 7342867148, statistical number REGON 492707333; share capital of PLN 96,120,000.00, paid up in full (further: “we” or the “Organiser”). § 2 WHO CAN PARTICIPATE? 1. You can participate in the Contest if you are at least 18 years old on the day of entering the Contest and you have full legal capacity, i.e. you can independently enter into legal transactions, including binding contracts, in accordance with your local law. 2. You cannot participate in the Contest if you are an employee of the Organiser or of its affiliates, subsidiaries, manufacturers, sales representatives or advertising agencies; or a member of such employee’s immediate family.
    [Show full text]
  • Debtbook Diplomacy China’S Strategic Leveraging of Its Newfound Economic Influence and the Consequences for U.S
    POLICY ANALYSIS EXERCISE Debtbook Diplomacy China’s Strategic Leveraging of its Newfound Economic Influence and the Consequences for U.S. Foreign Policy Sam Parker Master in Public Policy Candidate, Harvard Kennedy School Gabrielle Chefitz Master in Public Policy Candidate, Harvard Kennedy School PAPER MAY 2018 Belfer Center for Science and International Affairs Harvard Kennedy School 79 JFK Street Cambridge, MA 02138 www.belfercenter.org Statements and views expressed in this report are solely those of the authors and do not imply endorsement by Harvard University, the Harvard Kennedy School, or the Belfer Center for Science and International Affairs. This paper was completed as a Harvard Kennedy School Policy Analysis Exercise, a yearlong project for second-year Master in Public Policy candidates to work with real-world clients in crafting and presenting timely policy recommendations. Design & layout by Andrew Facini Cover photo: Container ships at Yangshan port, Shanghai, March 29, 2018. (AP) Copyright 2018, President and Fellows of Harvard College Printed in the United States of America POLICY ANALYSIS EXERCISE Debtbook Diplomacy China’s Strategic Leveraging of its Newfound Economic Influence and the Consequences for U.S. Foreign Policy Sam Parker Master in Public Policy Candidate, Harvard Kennedy School Gabrielle Chefitz Master in Public Policy Candidate, Harvard Kennedy School PAPER MARCH 2018 About the Authors Sam Parker is a Master in Public Policy candidate at Harvard Kennedy School. Sam previously served as the Special Assistant to the Assistant Secretary for Public Affairs at the Department of Homeland Security. As an academic fellow at U.S. Pacific Command, he wrote a report on anticipating and countering Chinese efforts to displace U.S.
    [Show full text]
  • GAMING GLOBAL a Report for British Council Nick Webber and Paul Long with Assistance from Oliver Williams and Jerome Turner
    GAMING GLOBAL A report for British Council Nick Webber and Paul Long with assistance from Oliver Williams and Jerome Turner I Executive Summary The Gaming Global report explores the games environment in: five EU countries, • Finland • France • Germany • Poland • UK three non-EU countries, • Brazil • Russia • Republic of Korea and one non-European region. • East Asia It takes a culturally-focused approach, offers examples of innovative work, and makes the case for British Council’s engagement with the games sector, both as an entertainment and leisure sector, and as a culturally-productive contributor to the arts. What does the international landscape for gaming look like? In economic terms, the international video games market was worth approximately $75.5 billion in 2013, and will grow to almost $103 billion by 2017. In the UK video games are the most valuable purchased entertainment market, outstripping cinema, recorded music and DVDs. UK developers make a significant contribution in many formats and spaces, as do developers across the EU. Beyond the EU, there are established industries in a number of countries (notably Japan, Korea, Australia, New Zealand) who access international markets, with new entrants such as China and Brazil moving in that direction. Video games are almost always categorised as part of the creative economy, situating them within the scope of investment and promotion by a number of governments. Many countries draw on UK models of policy, although different countries take games either more or less seriously in terms of their cultural significance. The games industry tends to receive innovation funding, with money available through focused programmes.
    [Show full text]
  • Being Virtual: Embodiment and Experience in Interactive Computer Game Play
    Being Virtual: Embodiment and Experience in Interactive Computer Game Play Hanna Mathilde Sommerseth PhD The University of Edinburgh January 2010 1 Declaration My signature certifies that this thesis represents my own original work, the results of my own original research, and that I have clearly cited all sources and that this work has not been submitted for any other degree or professional qualification except as specified. Hanna Mathilde Sommerseth 2 Acknowledgements I am grateful to my supervisor Ella Chmielewska for her continued support throughout the past four years. I could not have gotten to where I am today without her encouragement and belief in my ability to do well. I am also deeply thankful also to a number of other mentors, official and unofficial for their advice and help: Richard Coyne, John Frow, Brian McNair, Jane Sillars, and most especially thank you to Nick Prior for his continued friendship and support. I am thankful for the Higher Education Funding Council in Scotland and the University of Edinburgh for the granting of an Overseas Research Student award allowing me to undertake this thesis in the first place, as well as to the Norwegian State Educational Loan Fund for maintenance grants allowing me to live while doing it. In the category of financial gratefulness, I must also thank my parents for their continued help over these four years when times have been difficult. Rumour has it that the process of writing a thesis of this kind can be a lonely endeavour. But in the years I have spent writing I have found a great community of emerging scholars and friends at the university and beyond that have supported and challenged me in ways too many to mention.
    [Show full text]