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Jumping the Gap: Indie Labour and the Imagined Indie Community

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Jumping the Gap: Indie Labour and the Imagined Indie Community View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Concordia University Research Repository Jumping the Gap: Indie Labour and the Imagined Indie Community Pierson Browne A Thesis In The Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Media Studies) at Concordia University Montreal, Quebec, Canada November 2015 © Pierson Browne, 2015 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Entitled: and submitted in partial fulfillment of the requirements for the degree of complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: ___________________________________ Chair Dr. Yasmin Jiwani ___________________________________ Examiner Dr. Sandra Gabriele ___________________________________ Examiner Dr. Bart Simon ___________________________________ Supervisor Dr. Mia Consalvo Approved by ___________________________________________________ Chair of Department or Graduate Program Director ___________________________________________________ Dean of Faculty Date ___________________________________________________ ABSTRACT Jumping the Gap: Indie Labour and the Imagined Indie Community Pierson Browne Due to the recent proliferation of free-to-use, professional-quality development tools, crowdsourced fundraising, and the ascendency of digital distribution platforms, ‘indie’ digital game developers are emerging on an unprecedented scale. Based on ethnographic research conducted at indie accelerator Execution Labs from January to June of 2015, this thesis explores how indie developers frame risk, creativity, success, and failure in relation to the communities they are a part of. The first three chapters highlight useful concepts from Gina Neff’s ‘Venture Labour’ (2012), describe Execution Labs from the researcher’s perspective, and detail the researcher’s approach to collaborative embedded ethnography, respectively. The fourth chapter is dedicated to two related purposes: the first part will posit that communities of indie developers and indie fans share a common creative discourse, and thus constitute what Benedict Anderson has termed an ‘Imagined Community’ (2006). The latter portion of the chapter will explore how Newgrounds.com facilitated discourses about digital games and Macromedia Flash, and how the resultant imagined communities have influenced contemporary indie identity and development practice. The final chapter opens by proposing a definition of ‘indie labour’: a creative, communitarian strategy with which indie developers manage the risks they face. It will then consider the stories of those who performed indie labour as part of Execution Labs. This thesis will conclude by ruminating on potential future avenues of study and ongoing issues that hinder indie development’s potential as an open and accessible praxis. iii ACKNOWLEDGEMENTS Just as this thesis has been written, in large part, on the power of collaborative community, it is also the product of a community. My dear friends at TAG, mLab, and elsewhere: my thanks are with you all. You kept me inspired, analytical, and determined where I might otherwise have faltered. Thank you. My heartfelt appreciation goes out to all the good folk who work or have worked at Execution Labs. You welcomed me in, relayed your doubts, shared your hopes, and brought me along for three of the more engrossing months of my life to date. I can only hope that I have done your stories some small justice in the text that follows. Jennifer and Bart: I couldn’t possibly thank both of you enough for the opportunities you’ve extended, the guidance you’ve provided, and the support you’ve offered. In the past two years, you’ve both consistently gone above the call of duty to help and open up new possibilities for our community of scholars and creators; for that reason, I consider myself incredibly lucky to count amongst their number. I owe an especially immense debt of gratitude to my supervisor, Mia. From convincing me to wade back into the world of game studies, to building and sustaining the mLab—the place many of us call home, to getting me through the thesis process alive and (mostly) hale, your influence can be found in almost every aspect of my academic life these past two-and-a-half years. Your magnanimity throughout has been nothing short of saintly. Thank you for always finding the time. To my family; Mom, Dad, words fail utterly to express how grateful I am for your support through everything. The proverbial seas haven’t always been calm, but you’ve both kept me afloat and on course even when things were at their roughest. And Oliver, I can tell you honestly that if I hadn’t had the chance to fall in love with watching you play games when we were young, I wouldn’t be watching people make games today. Thank you all so much. iv TABLE OF CONTENTS List of Figures ............................................................................................................................... vii Chapter 1 — A Game of Risk ......................................................................................................... 1 Risky Work and Venture Labour ................................................................................................ 5 Horror Stories from ‘The Industry’............................................................................................. 8 Breaking Away – Indie Development....................................................................................... 13 Conclusion ................................................................................................................................ 19 Chapter 2 — Execution Labs ........................................................................................................ 21 The Montreal Game Development Scene ................................................................................. 21 ‘Who’s Running the Asylum?’ ................................................................................................. 24 Voltron and Voltron University ................................................................................................ 25 Gameplay Space........................................................................................................................ 28 ‘The Cohort’—From Incubator to Pre-Production Accelerator ................................................ 29 The Teams ................................................................................................................................. 31 Conclusion ................................................................................................................................ 33 Chapter 3 — Methodology, Reflexivity, and Access ................................................................... 34 Taking the Ethnographic Plunge ............................................................................................... 34 Collaborative Ethnography ....................................................................................................... 35 Admissions Process .................................................................................................................. 38 Participant Observation ............................................................................................................. 39 Interviews .................................................................................................................................. 42 Community Events and Presentations ...................................................................................... 45 Textual Sources ......................................................................................................................... 45 Reflexivity, Access, Acceptance, and Assistance ..................................................................... 47 Conclusion ................................................................................................................................ 50 v Chapter 4 — Breaking New Ground ............................................................................................ 52 Imagined National Communities .............................................................................................. 55 The Tyranny of Data Intensity .................................................................................................. 57 Publishing in the Vernacular — Newgrounds.com and Macromedia Flash ............................. 62 Super Meat Boy and the Newgrounds.com Community .......................................................... 66 Conclusion ................................................................................................................................ 71 Chapter 5 — Supporting Indie Labour ......................................................................................... 73 Indie Labour .............................................................................................................................. 74 Financial Risk ........................................................................................................................... 75 Creative Risk ............................................................................................................................. 82 Execution Labs and Imagined Indie Communities ..................................................................
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