Toy Jobs: Work in the Business of Play

Total Page:16

File Type:pdf, Size:1020Kb

Toy Jobs: Work in the Business of Play Work in the business of play Occupational Outlook Quarterly • Winter 2008–09 Think work in the toy industry sounds like fun? It can be, but there’s a serious side to it, too. Find out if you’re game. att Nuccio’s work is all about fun and games. Elka Nuccio is a full-time toy designer: He brings Maria Mtoy ideas to life. Torpey The toy industry is dynamic, interesting—and, say Nuccio and others, fun. It includes the creation, distribution, and sale of everything from infant toys to action figures to games. “People in this industry are in the business of making kids happy,” says Adrienne Citrin of the Toy Industry Association. “And at the end Elka Maria Torpey of the day, that’s what it’s all about.” is an economist in the Office of Occu- Many workers are responsible for creating toys pational Statistics and bringing them to consumers. For example, some and Employment Projections, BLS. workers develop ideas for toys; others arrange for She is available at (202) 691–5719 or their manufacture and importation. Still others sell and torpey.elka@bls. market them. gov. Winter 2008-09 • Occupational Outlook Quarterly This article describes workers who says Jim Green, general counsel for a advance a toy from concept to consumer. Wisconsin-based toy and game company. The first section discusses the industry. A “Something will be popular for a short time, second section profiles three toy-related and then not, so you have to constantly come occupations—toy designer, product or up with new ideas.” brand manager, and advertising account Citrin echoes that observation. “There is executive—and includes job descriptions, a constant influx of new products, new ideas,” earnings, and required skills and education she says. This constant change can add an ele- for each. Following these profiles are brief ment of excitement to the work. descriptions of additional employment The toy industry is also competitive. options and a discussion of the fun—and According to industry insiders, there are frustrating—aspects of working in the toy frequently more jobseekers than available business. A final section suggests sources for jobs, so even experienced workers sometimes more information. have difficulty finding employment. Employment growth may be limited for toy workers in some areas, but opportunities More than child’s play should arise as workers leave the industry, According to data from the U.S. Bureau of especially those who are retiring. And as Labor Statistics (BLS), there were about Kathleen McHugh of the American Specialty 187,000 U.S. workers in toy-related indus- Toy Retailers Association points out, demand tries in 2007. These data do not include the should continue for the products that toy self-employed. Workers whose employers do workers create. “People will always buy toys not deal primarily with toys, such as those in as gifts,” she says. “Parents and grandparents advertising firms or at large retail stores, also will always buy toys for their kids and grand- are excluded. kids.” Toy employers are of three basic types: hobby, toy, and game stores; doll, toy, and game manufacturers; and merchant wholesal- Toy careers for the ers. Hobby, toy, and game stores employed nearly 80 percent of all workers in the toy young at heart industry in 2007, according to BLS. About 13 There are many jobs in the toy industry. But percent more worked for merchant wholesal- few are as integral to it as those jobs involv- ers, the establishments that distribute toys to ing toy design, development and marketing, other wholesalers and to the stores that sell and advertising. Designers, product or brand them to consumers. Fewer workers were em- managers, and advertising account workers ployed by the manufacturing companies that all play a role in putting toys into the hands of create the ideas for toys and produce them. consumers—especially the littlest ones—who The toy industry is often characterized will enjoy them most. as having a few large employers and many small ones. Workers at large toy companies Designers often perform specialized tasks; those at small Toy designers help to create toys and toy companies typically have a greater range of packaging. Their specific tasks, however, may responsibilities. “At the smaller companies,” depend on where they work. Some designers says toy salesman Jeff Cepielik of Glendora, work for toy companies, others work for California, “you’ve got to wear multiple hats.” toy design firms, and still others are self- And this industry is subject to fads.“One employed. of the things that’s unique about the toy Designers begin the creative process by industry, as opposed to some other industries, determining the general characteristics that a is that it’s sensitive to trends and fashion,” toy will have—for example, its size and shape Occupational Outlook Quarterly • Winter 2008–09 and the materials that it will be made from. manufacturer. Nuccio and his coworkers, like During this phase, they also must consider the other designers, begin by drawing dozens of cost to manufacture the toy. They might be sketches, such as those of a popular cartoon given specific requirements to work with, or character playing activities outdoors, for they might come up with their own ideas. creating a doll and its accessories. “We need Sometimes, designers research the type to be cute, funny, edgy,” he says. of toy, or user preferences for the toy, that Next, toy designers might meet as a group they hope to produce. Research, for example, for a brainstorming session and select some might help them to be sure that they’re of the sketches for refining. After settling on accurately representing a cartoon character ideas, designers make prototypes, or samples, or to verify that an idea hasn’t been used of the toys that will be produced. This before. And designers use information about involves different types of artistic, hands-on children’s stages of development to create work. “If it needs to be sewn, we sew it,” says toys that are safe and encourage emotional, Nuccio. “If it needs to be molded, we mold physical, and cognitive growth. it.” Matt Nuccio, who works for a toy Toy designers also test their models design firm, says that a typical project might to ensure that they work the way they are involve developing a summer line for a toy intended to. Designers usually send sketches Brainstorming is often an important part of a toy designer’s work. Winter 2008-09 • Occupational Outlook Quarterly idea, designers should target companies that deal with products similar to the one they hope to sell. Moffat, for example, identified potential buyers by looking for board games similar to his and then finding out the names of the companies that sold those games. But many toy companies don’t accept ideas that are sent to them from freelance design- ers. Small or medium-sized manufacturers are more likely to do so, say industry insid- ers. And although some designers hire agents or brokers to help them sell their ideas, experts stress the importance of and prototypes to others for input or approval, careful research to verify that these agents are after which they might revise their designs. legitimate. For example, they might meet with product Freelance designers also should obtain and brand managers or engineers to discuss legal protection for their ideas through a pat- the feasibility of a design’s manufacture. ent or trademark. Some toy companies, say Toy designers often specialize. Some industry insiders, look only at ideas that have concentrate on a particular type of toy or on been legally protected. toys designed for a specific group, such as Wages. In May 2007, wage-and-salaried toddlers. Others focus on designing packaging commercial and industrial designers, a small for toys, which can be important in helping a subset of whom are toy designers, earned a toy sell. But the best prepared designers are median annual wage of $56,550, according to versatile and able to work across all types BLS. A median wage means that half of all of product categories, groups, and special- designers made more than that amount and ties. Although many toys are created by staff half made less. The highest earning 10 percent designers at toy companies and design firms, made $95,620 or more. The lowest earning 10 some toys are invented by freelance designers. percent of commercial and industrial design- These designers work for themselves and then ers made $31,400 or less. sell their ideas to a company or firm that will Wage and salary data do not include produce it. earnings of the self-employed. Earnings of Freelance designers have additional tasks self-employed designers in the toy industry not required of staff designers. For example, usually vary more than those of full-time staff they usually must find a company to purchase designers. Many freelance designers are paid their idea. Some freelancers choose to manu- royalties, or a percentage of the total sales facture and distribute the toy themselves, but of their toy. A popular product that sells well doing so is expensive and risky. will earn more than one that sits on the shelf. Jon Moffat is a freelance designer of So, the more successful a designer’s idea, the card and board games. He recently sold the more money he or she makes. copyright for a game to a company that will Freelance designers’ earnings are often produce, market, and sell it. “It’s a lot like low, however, and they risk losing the money publishing a book,” he says. “I hunted around that they spent developing an idea if the toy and got lucky and found someone willing to does not sell.
Recommended publications
  • Masters of the Universe: Action Figures, Customization and Masculinity
    MASTERS OF THE UNIVERSE: ACTION FIGURES, CUSTOMIZATION AND MASCULINITY Eric Sobel A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2018 Committee: Montana Miller, Advisor Esther Clinton Jeremy Wallach ii ABSTRACT Montana Miller, Advisor This thesis places action figures, as masculinely gendered playthings and rich intertexts, into a larger context that accounts for increased nostalgia and hyperacceleration. Employing an ethnographic approach, I turn my attention to the under-discussed adults who comprise the fandom. I examine ways that individuals interact with action figures creatively, divorced from children’s play, to produce subjective experiences, negotiate the inherently consumeristic nature of their fandom, and process the gender codes and social stigma associated with classic toylines. Toy customizers, for example, act as folk artists who value authenticity, but for many, mimicking mass-produced objects is a sign of one’s skill, as seen by those working in a style inspired by Masters of the Universe figures. However, while creativity is found in delicately manipulating familiar forms, the inherent toxic masculinity of the original action figures is explored to a degree that far exceeds that of the mass-produced toys of the 1980s. Collectors similarly complicate the use of action figures, as playfully created displays act as frames where fetishization is permissible. I argue that the fetishization of action figures is a stabilizing response to ever-changing trends, yet simultaneously operates within the complex web of intertexts of which action figures are invariably tied. To highlight the action figure’s evolving role in corporate hands, I examine retro-style Reaction figures as metacultural objects that evoke Star Wars figures of the late 1970s but, unlike Star Wars toys, discourage creativity, communicating through the familiar signs of pop culture to push the figure into a mental realm where official stories are narrowly interpreted.
    [Show full text]
  • Toy Industry Product Categories
    Definitions Document Toy Industry Product Categories Action Figures Action Figures, Playsets and Accessories Includes licensed and theme figures that have an action-based play pattern. Also includes clothing, vehicles, tools, weapons or play sets to be used with the action figure. Role Play (non-costume) Includes role play accessory items that are both action themed and generically themed. This category does not include dress-up or costume items, which have their own category. Arts and Crafts Chalk, Crayons, Markers Paints and Pencils Includes singles and sets of these items. (e.g., box of crayons, bucket of chalk). Reusable Compounds (e.g., Clay, Dough, Sand, etc.) and Kits Includes any reusable compound, or items that can be manipulated into creating an object. Some examples include dough, sand and clay. Also includes kits that are intended for use with reusable compounds. Design Kits and Supplies – Reusable Includes toys used for designing that have a reusable feature or extra accessories (e.g., extra paper). Examples include Etch-A-Sketch, Aquadoodle, Lite Brite, magnetic design boards, and electronic or digital design units. Includes items created on the toy themselves or toys that connect to a computer or tablet for designing / viewing. Design Kits and Supplies – Single Use Includes items used by a child to create art and sculpture projects. These items are all-inclusive kits and may contain supplies that are needed to create the project (e.g., crayons, paint, yarn). This category includes refills that are sold separately to coincide directly with the kits. Also includes children’s easels and paint-by-number sets.
    [Show full text]
  • Dolltalk: a Computational Toy to Enhance Children's Creativity
    Dolltalk: A computational toy to enhance children’s creativity Catherine Vaucelle Tristan Jehan MIT Media Laboratory MIT Media Laboratory Gesture and Narrative Language Group Hyperinstruments Group 20 Ames street, E15-320N 20 Ames street, E15- 445 Cambridge, MA 02139 USA Cambridge, MA 02139 USA +1 617 253 6096 +1 617 253 0095 [email protected] [email protected] ABSTRACT mat the child is playing and plays back related stories from This paper presents a novel approach and interface for peers, as appropriate. Research with Storymat has shown encouraging children to tell and act out original stories. that when children listened to and incorporated elements “Dolltalk” is a toy that simulates speech recognition by from their peer’s stories, their own became richer. Similar capturing the gestures and speech of a child. The toy then results were found with TellTale [5], a toy made of body plays back a child’s pretend-play speech in altered voices pieces of a caterpillar. Each body piece can record a representing the characters of the child’s story. Dolltalk’s sentence as well as an entire story. The child can put the tangible interface and ability to retell a child’s story may pieces together and hear the story organized in the order the enhance a child’s creativity in narrative elaboration. child has chosen. Keywords DESCRIPTION Tangible interface, toy, children, performance, perspective- Continuing in this vein of research, we have built Dolltalk taking, narrative elaboration, motion and speech detection to allow children to record their stories and hear them back with the same content but with different voices.
    [Show full text]
  • Simulacra of Social Desire: Reflection on Collecting and the “Lost Toy Archive”
    SIMON ORPANA siMulacrA oF soCiAl desire: reFleCtion on ColleCtinG And the “lost toy ArChive” In 2009, I started to construct an archive that records traces of the toys I collected and played with as a child. While most of these toys have been lost in various garage sales, moves and purges, I started to search out photographic records of my collections, and used these to evoke reflection regarding the role that toys have played in shaping my memories, identity and modes of relating to the world. Rather than simply amassing images, I started to make drawings of them in a sketchbook. This process was aided by my mother’s unearthing of a family photo album, spanning from the late seventies to the early eighties, which contained the originals of many of the images included in my archive. The act of re-drawing these images into my sketchbook expanded the microsecond of time captured in the photograph into a longer meditation through which details in the photos summoned memories and affect. This exercise challenged the abstract, spectacularized place the toys held in my adult imagination and placed the artifacts back into a context of 211 family, friends and personal history, offering a remedy to the “archive fever” SIMULACRA OF SOCIAL DESIRE that overtook me in early adulthood, when recollecting the physical toys I owned as a child became an obsessive preoccupation. The process by which the mass-produced toys of my youth were translated from mere simulacra into a meaningful personal narrative by employing the same logic of simulation is the general theme this paper explores.
    [Show full text]
  • Designing a High-Resolution, LEGO-Based Microscope for an Educational Setting
    bioRxiv preprint doi: https://doi.org/10.1101/2021.04.11.439311; this version posted April 11, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. Designing a high-resolution, LEGO-based microscope for an educational setting Bart E. Vos1,2, Emil Betz Blesa, Timo Betz1,2* 1: Institute of Cell Biology, Center for Molecular Biology of Inflammation, Cells-in-Motion Cluster of Excellence, Münster University, Münster, Germany 2: Third Institute of Physics - Biophysics, Georg August University Göttingen, Göttingen, Germany * [email protected] Abstract Microscopy is an essential tool in many fields of science. However, due to their costs and fragility, the usage of microscopes is limited in classroom settings and nearly absent at home. In this article we present the construction of a microscope using LEGO® bricks and low-cost, easily available lenses. We demonstrate that the obtained magnification and resolution are sufficient to resolve micrometer-sized objects and proposea series of experiments that explore various biophysical principles. Finally, a study with students in the age range of 9 to 13 shows that the understanding of microscopy increases significantly after working with the LEGO microscope. Introduction The invention of microscopy in the seventeenth century by Antoni van Leeuwenhoek was the start of an era of research on the micro-world [1]. Although we know by now what the “little animals” are that he observed, the micro- and nano-world is an inexhaustible topic for biophysical research, and for that the (light) microscope is the instrument of choice.
    [Show full text]
  • Christmas Bureau Distribution Toy Drive Wish List
    CHRISTMAS BUREAU DISTRIBUTION TOY DRIVE WISH LIST Newborn - 2 Years VTech Pull and Sing Puppy Sassy Developmental Bumpy Ball Nuby Octopus Hoopla Bathtime Fun Toys, Purple Mega Bloks Caterpillar Lil' Dump Truck Fisher-Price Rock-a-Stack VTech Touch & Swipe Baby Phone VTech Baby Lil' Critters Moosical Beads Oball Shaker Baby Banana Infant Training Toothbrush and Teether, Yellow Fisher - Pri ce Rattle 'n Rock Maracas, Pink/Purple VTech Busy Learners Activity Cube VTech Musical Rhymes Book Bright Baby colors, abc, & numbers first words (First 100) Bright Starts Grab and Spin Rattle First 100 Words Mega Bloks 80-Piece Big Building Bag, Classic Sassy Wonder Wheel Activity Center First 100 Numbers The First Years Stack Up Cups Baby Einstein Take Along Tunes Musical Toy Nuby IcyBite Keys Teether - BPA Free Girls 2 - 5 Years Boys 2 - 5 Years Melissa & Doug Scratch Art Rainbow Mini Notes (125 ct) Fisher-Price Bright Beats Dance & Move BeatBox With Wooden Stylus Kids Bowling Play Set, Safe Foam Bowling Ball Toy LeapFrog Shapes And Sharing Picnic Basket Fisher-Price Rock-a-Stack and Baby's 1st Blocks Bundle Playkidz My First Purse Little Tikes T-Ball Set Play-Doh Sparkle Compound Collection Mega Bloks Block Scooping Wagon Building Set Red ALEX Toys Rub a Dub Princesses in the Tub VTech Busy Learners Activity Cube Lam Wooden Number Puzzle Board Toy Little Tikes Easy Score Basketball Set Puzzled Alphabet Raised Wooden Puzzle for Children Mega Bloks 80-Piece Big Building Bag Aurora World Fancy Pals Plush Pink Pet Carrier Purse with VTech Sit-to-Stand Learning Walker White Pony LEGO Juniors Batman & Superman vs.
    [Show full text]
  • Active Learning Through Toy Design and Development
    Active Learning Through Toy Design and Development 14 Arif Sirinterlikci, Linda Zane, and Aleea L. Sirinterlikci Abstract results in limited retention of knowledge by stu- This article presents an initiative that is dents (Prince, 2004). Active learning is an based on active learning pedagogy by engaging instructional methodology that engages students elementary and middle school students in the toy in the learning process to improve the results of design and development field. The case study the process (Bruner, 1961). Active learning is a presented in this article is about student learning multifaceted and directional approach where var- experiences during their participation in the ious interactions are welcomed (e.g., teacher-to- The Journal of Technology Studies TOYchallenge National Toy Design Competition. student, student-to-teacher, and student-to-stu- Students followed the product development dent) (Grabinger & Dunlap, 2000). process to design and realize toys. They started with marketing surveys and conception, and then In The Seven Principles in Action: followed through by making prototypes to realize Improving Undergraduate Education, Hatfield these designs. The experience generated an (1995) stated that active learning is not solely a engaging and fun learning environment that pro- set of learning activities, but rather it is more of moted higher level, divergent, and creative an attitude-altering approach on the part of both thought processes—an effort that is needed in students and faculty. According to the author, today’s climate of increased attention on STEM the goal is to channel the students to think about education. Collection of two years of student how and what they are learning, and thus having work is included within this study to depict both them take responsibility for their own education.
    [Show full text]
  • The Wild Child: Children Are Freaks in Antebellum Novels
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 The Wild Child: Children are Freaks in Antebellum Novels Heathe Bernadette Heim Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1711 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 Heim ii Heim © 2013 HEATHER BERNADETTE HEIM All Rights Reserved iii Heim This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Hildegard Hoeller_______________________ __________ ______________________________________ Date Chair of Examining Committee Mario DiGangi__________________________ ___________ ______________________________________ Date Executive Officer Hildegard Hoeller______________________________ William P. Kelly_______________________________ Marc Dolan___________________________________ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Heim Abstract The Wild Child: Children are Freaks in Antebellum Novels by Heather Bernadette Heim Advisor: Professor Hildegard Hoeller This dissertation investigates the spectacle of antebellum freak shows and focuses on how Phineas Taylor Barnum’s influence permeates five antebellum novels. The study concerns itself with wild children staged as freaks in Margaret by Sylvester Judd, City Crimes by George Thompson, The Scarlet Letter by Nathaniel Hawthorne, Uncle Tom’s Cabin by Harriet Beecher Stowe and Our Nig by Harriet Wilson.
    [Show full text]
  • Toy Inventor & Designer Guide
    TOY INVENTOR & DESIGNER GUIDE THIRD EDITION 2014 Imagination is the beginning of creation. You imagine what you desire, you will what you imagine and at last you create what you will. George Bernard Shaw Irish dramatist (1856-1950) Toy Inventor and Designer Guide | Second Edition Published: June 2014 | © Toy Industry Association, Inc. Comments on this Guide may be submitted to [email protected] Contents Contents 3 Getting Started 4 Coming Up with a Good Idea 5 Is it a unique and marketable idea? 5 Will it sell? 6 Is it cost-effective? 7 Is it safe? 8 Are you legally protected? 9 Entering the Marketplace 10 Selling Your Idea/Invention to a Toy Manufacturer 10 Manufacture and Distribute the Item Yourself 11 Promoting Your Idea 13 Bringing Your Product to Market 13 What Will Promotion Cost? 13 Join the Toy Industry Association Error! Bookmark not defined. Resources 15 3 Toy Inventor and Designer Guide | Third Edition (2014) © Toy Industry Association, Inc. Getting Started New ideas are the backbone of the toy industry. The need for innovative product is constant. Independent inventors and designers are an important source for new product ideas, but it can be a challenge for them to break into the industry. An original idea ― one that is fully developed to a point where it is presentable in either complete drawings or prototype format ― can be seen and it can be sold. To get started as an inventor or designer of toys or games, it’s wise to make an honest evaluation of your personal circumstances, as well as your invention.
    [Show full text]
  • Stem/Steam Formula for Success
    STEM/STEAM FORMULA FOR SUCCESS The Toy Association STEM/STEAM Formula for Succcess 1 INTRODUCTION In 2017, The Toy Association began to explore two areas of strong member interest: • What is STEM/STEAM and how does it relate to toys? • What makes a good STEM/STEAM toy? PHASE I of this effort tapped into STEM experts and focused on the meaning and messages surrounding STEM and STEAM. To research this segment, The Toy Association reached out to experts from scientific laboratories, research facilities, professional associations, and academic environments. Insights from these thought leaders, who were trailblazers in their respective field of science, technology, engineering, and/or math, inspired a report detailing the concepts of STEM and STEAM (which adds the “A” for art) and how they relate to toys and play. Toys are ideally suited to developing not only the specific skills of science, technology, engineering, and math, but also inspiring children to connect to their artistic and creative abilities. The report, entitled “Decoding STEM/STEAM” can be downloaded at www.toyassociation.org. In PHASE 2 of this effort, The Toy Association set out to define the key unifying characteristics of STEM/STEAM toys. Before diving into the characteristics of STEM/STEAM toys, we wanted to take the pulse of their primary purchaser­­—parents of young children. The “Parents’ Report Card,” is a look inside the hopes, fears, frustrations, and aspirations parents have surrounding STEM careers and STEM/STEAM toys. Lastly, we turned to those who have dedicated their careers to creating toys by tapping into the expertise of Toy Association members.
    [Show full text]
  • A Survey on Handheld Gaming Console
    International Research Journal of Engineering and Technology (IRJET) e-ISSN: 2395-0056 Volume: 06 Issue: 02 | Feb 2019 www.irjet.net p-ISSN: 2395-0072 A Survey on Handheld Gaming Console Rohan Said1, Swapnil Patil2, Deepak Jaiswar3, Jasmeet Singh4, Pravin Hole5 1,2,3,4B.E. Computer Engineering, Dept. of Computer Engineering, Terna Engineering College, Maharashtra, India 5Professor, Dept. of Computer Engineering, Terna Engineering College, Maharashtra, India ---------------------------------------------------------------------***---------------------------------------------------------------------- Abstract – Nowadays students are fascinated by computer renderer for 2D graphics, a physics engine or collision and console video games. Computer game-based learning has detection and collision response, sound, scripting, gained increasing acceptance and has been applied as an animation, artificial intelligence, networking, streaming, option to classroom lecturing. The creation of games needs memory management, scene management, and may include plenty of knowledge data and skill. These days there exists video support for cinematics [1]. plenty of frameworks that permits developers to make the games in quicker and easiest method. This work presents the The process of game development is often economized, in approach of making screen scrolling 2D game while not large part, by reusing/adapting the same game engine to victimization existing platforms (box2d, unity2d). The create different games or to make it easier to port games to essential plan is to however to create game level with Tile Map multiple platforms. and the way to implement physics like jumping, free falling Components of game engine are as follows, and running. This paper is focused on creating the gaming engine for embedded devices with collision detection and 2D 1)Input Manager graphics.
    [Show full text]
  • A Whole Different Ball Game: Playing Through 60 Years of Sports Video Games
    EXHIBITION OVERVIEW A Whole Different Ball Game: Playing through 60 Years of Sports Video Games Exhibition dates: September 14, 2018–March 10, 2019 Location: Museum of the Moving Image, 36-01 35 Ave, Astoria (Queens), NY 11106 Summary: Ever since the first video game, Tennis for Two, debuted at the Brookhaven National Laboratory’s public exhibition in 1958, video games have sought to recreate, adapt, and build upon the games Americans most regularly encounter: sports. A Whole Different Ball Game presents a selection of 44 playable sports video games spanning the last six decades, examining the complex relationships between game, sport, media, and culture. The exhibition considers what it means for full-body sports to be transposed to screens and controllers in the service of realism, who is or is not represented in sports video games, the ways broadcast sports and video games reflect one another, and the primacy of statistics in professional sports and sports simulators. Contents: The exhibition is organized in seven sections (see below for details and game list) plus a new video installation, an interactive experience, and a video screening area with bleachers. There are 44 playable games, including hand-held devices, arcade games, console and PC games played on monitors and wall projections. Additional games that are not playable are included for historical context. In addition, there is video content in the exhibition for documentation of game play and comparison to televised sports. Curators: Curator of Digital Media Jason Eppink and John Sharp (Associate Professor in the School of Art, Media, and Technology at Parsons School of Design at The New School).
    [Show full text]