Digitala Drömmar Och Industriell Utveckling Umeå Universitet 2010

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Digitala Drömmar Och Industriell Utveckling Umeå Universitet 2010 Ulf Sandqvist Digitala drömmar och industriell utveckling Umeå universitet 2010 Umeå universitet Digitala drömmar och industriell utveckling En studie av den svenska dator- och tv-spelsindustrin 1980-2010 Ulf Sandqvist Institutionen för ekonomisk historia ISBN 978-91-7459-027-2 Institutionen för ekonomisk historia 901 87 Umeå ISSN 0347-254-X Avhandling 2010 www.ekhist.umu.se Digitala drömmar och industriell utveckling En studie av den svenska dator- och tv- spelsindustrin 1980-2010 Ulf Sandqvist Institutionen för ekonomisk historia 901 87 Umeå Umeå 2010 Avhandlingen ingår i serien Umeå Studies in Economic History Copyright© Ulf Sandqvist ISBN: 978-91-7459-027-2 ISSN: 0347-254-X Omslagsbild: Från spelet Knytt Stories: A Strange Dream av Nicklas Nygren Tryck/Printed by: Print och Media, Umeå Universitet, Umeå, Sverige 2010 Abstract The aim of this thesis is to explore and analyse the development of the Swedish video and computer game industry. The main focus is on the Swedish game development industry. The research was conducted with two different methods. First with a macro approach where all Swedish game developers were identified and general data from the annual reports was collected. The second part is a case study with three Swedish game developing companies focusing on the production and development of the firms. The game industry has expanded and some of the successful games have generated spectacular revenues. In Sweden the industry has received attention from different actors like universities, government bodies and media. Yet little research has been done about the Swedish game industry. In general the game industry outside the larger videogame producing countries USA, Japan and the UK has been ignored to a large part in academic research. The first computer games were made for some of the very first computers in the 1940’s and 1950’s. In the 1970’s, a market for games was created when arcade machines and somewhat later home consoles were introduced. The industry has grown and today it includes some of the largest companies in the world. The Swedish industry follows the international pattern. Evidence suggests that the first Swedish games were created in the 1950’s at the large university computers. But a game developing industry seems to have developed a bit later than internationally when the first Swedish game companies were founded in the late 1980’s and early 1990’s. The Swedish industry entered an introduction phase from the middle of 1980’s, a couple of years after the introduction of personal computers, until the end of the 1990’s. An expansion phase started in 1998. The expansion was strong between 1998 to 2002 and 2006 to 2008. In 2008 the number of people employed in the industry had increased to over 1300. During the studied period the industry seems to have had constant problems making a profit. Especially in 2002 and 2003 the industry had economic problems and some of the larger companies went bankrupt. The distribution among the companies shows that the concentration within the industry is growing. A few companies have expanded rapidly and have well over a hundred employees. The industry is very gender segregated and the number of women working in the industry is under ten percent. To study the development on a micro level, three Swedish game developing companies were selected. The focus was the development and change in production and organisation. The structure of the industry seems iii to have been changing with the fast technical development. A more modular structure seems to be emerging within the industry. In a number of areas a modular system has emerged. It is possible to buy more parts and productions capacity on the market. It is possible to buy game engines and outsource motions-capture work to other specialized companies. The relation to game publishers seems to influence the companies and create uncertainty for the game developers when they do not own the rights to the intellectual properties. The three game developers also have a similar development being founded by computer interested young men wanting to pursuit their interest as a job. The Swedish subculture around the so called “demoscene” seems to have been a factor in the early development of the industry and a recruitment base for the early developers. --- Keywords: Economic history, Business history, Sweden, Game industry, Game development, Digital games, Computer and video games, Industry Life Cycle, Creative destruction, Modularity. iv Förord När avhandlingsarbetet nu är avslutat är det dags att tacka alla de personer som stöttat och hjälp mig under arbetets gång. Först och främst vill jag tacka mina handledare, huvudhandledare Lena Andersson-Skog och biträdande handledare Thomas Pettersson. Era kunskaper och vägledning har varit ovärderliga för genomförandet av avhandlingen. Tack till Jan Jörnmark som opponerade på min licentiatuppsats samt Daniel Fällman som var föropponent på avhandlingen för era förtjänstfulla oppositioner. Era engagerade synpunkter och insikter har varit värdefulla för det slutgiltiga resultatet. Jag vill även rikta min tacksamhet till alla mina kollegor på ekonomisk historiska institutionen, där många givande och lärorika diskussioner har förts genom åren. Ett särskilt tack till mina doktorandkollegor Klara, Martin, Anna, Jonatan och Eva som har varit mina följeslagare genom hela doktorandutbildningen. Tack för ert stöd och alla berikande diskussionen vi haft. Tack också till Peter Zackariasson och Mirko Ernkvist för givande diskussioner kring svenska spelbranschen. Jag har även fått tillfälle under doktorandtiden att samarbeta med HUMlab som är en inspirerande och kreativ tvärvetenskaplig miljö. Tack till Patrik Svensson och alla som arbetar där för ett mycket trevligt samarbete. Det samma gäller samarbetet som jag haft med er som arbetat med projektet Indiespelskväll. Speciellt Michael Gill - våra projekt har alltid varit givande. Ett mycket stort tack till alla de personer på de olika företagen jag har arbetat med, er tid och ert engagemang har varit ovärderlig. Ett speciellt tack till DICE och Fredrik Liliegren för den första intervjun som gjorde det möjligt för mig att göra den första studien av spelindustrin. För otaliga lunchträffar innehållande tänkvärda och utmanande diskussioner vill jag tacka Jan Jämte, Niklas Hållen, Gustav Petersson och sektionen. Slutligen vill jag tacka min familj för allt stöd, uppmuntran och hjälp genom åren. Till sist och viktigast Annelie, utan dig vore det inte möjligt. Umeå, maj 2010. Ulf Sandqvist v vi Innehållsförteckning 1. Inledning 3 1.1 TV- och datorspelindustrins organisering 6 1.2 Tidigare forskning om spelindustrin 11 1.3 Syfte och frågeställningar 16 1.4 Metod och källmaterial 18 1.5 Periodisering och avgränsningar 18 1.6 Definitioner och begrepp 20 1.7 Disposition 21 2 Teoretiskt ramverk 23 2.1 Produkt- och branschlivscykel 23 2.2 Kreativ förstörelse 25 2.3 Företagets omfång och modularitet 27 2.4 Diskussion 33 3 Hur studerar man en bransch? 37 3.1 Den longitudinella branschundersökningen 37 Att definiera en bransch: SNI-koder eller bolagsordningar 38 Att återfinna spelutvecklingsföretag 40 Kompletterande källor 42 Verifiering av företagen i spelbranschen 43 Metoddiskussion och källkritik 44 3.2 Att studera fall 45 Urval 48 Intervjuundersökning - metod 49 Genomförande av intervjustudien 50 Metoddiskussion och källkritik 52 4 Datorernas utveckling ifrån laboratorier till massmarknad 59 4.1 Idéerna kring räknemaskiner 59 4.2 De första datorerna 60 4.3 Persondatorerna 64 4.4 Moores lag 67 4.5 Sammanfattning 69 5 Spelindustrins utveckling från OXO till World of Warcraft 71 5.1 De tidiga idéerna och försöken med spelmaskiner (1700-1947) 71 5.2 De första datorspelen (1947-1972) 73 5.3 Spelindustrins uppkomst och diversifiering (1972-1982) 76 5.4 Amerikansk industrikris, japanskt övertagande och europeiskt uppvaknande (1982-1995) 82 5.5 Storföretagens kamp och de nya tekniska möjligheterna (1995-) 87 5.6 Sammanfattning 92 6 Den svenska spelbranschens utveckling 99 vii 6.1 De tidiga svenska spelen och spelkonstruktörerna 100 6.2 Den svenska spelbranschens framväxt 103 Analys av spelbranschens framväxt 110 6.3 De anställda inom branschen 112 Analys av arbetskraften i spelföretagen 123 6.4 Branschens ekonomiska utveckling 126 Analys av den ekonomiska utvecklingen 135 7 Tre svenska spelutvecklingsföretag 139 7.1 Urval av företag och informanter 139 7.2 Digital Illusions 141 Spelindustrin i relation till Digital Illusions 142 Digital Illusions utveckling 1988-2009 143 Spelutvecklingen: Från Pinball Dreams till Battlefield Heroes 149 Om tekniken 154 Produktionsorganisationen 158 Projektkoordination och informationsspridning 164 Analys och diskussion: Digital Illusions 165 7.3 Starbreeze 168 Spelindustrins relation till Starbreeze 168 Starbreezes utveckling 1998-2009 169 Spelutvecklingen: Från riddare till Riddick 175 Om tekniken 177 Produktionsorganisation 182 Projektkoordination och informationsspridning 186 Analys och diskussion: Starbreeze 187 7.4 Coldwood 191 Spelindustrins relation till Coldwood 191 Coldwoods utveckling 2003-2009 192 Spelutvecklingen: Från slalom till TKO 196 Om tekniken 199 Produktionsorganisationen 200 Projektkoordination och informationsspridning 203 Analys och diskussion: Coldwood 204 8 Sammanfattning och slutdiskussion 211 8.1 Den svenska spelutvecklingsbranschens framväxt och expansion 211 8.2 Företagens ekonomiska situation ur ett marknadsperspektiv 218 8.3 Spelbranschens mobilitet 222 8.4 Spelutvecklingsföretagens organisation 226 8.5
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