INDIE INCLUSION?: ANALYZING DIVERSITY IN THE INDEPENDENT VIDEO GAME INDUSTRY by ALEAH TIERNEY KILEY A THESIS Presented to the School of Journalism and Communication and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Science June 2016 THESIS APPROVAL PAGE Student: Aleah Tierney Kiley Title: Indie Inclusion?: Analyzing Diversity in the Independent Video Game Industry This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Science degree in the School of Journalism and Communication by: Janet Wasko Chairperson Christopher Chávez Chairperson Peter Alilunas Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2016 ii © 2016 Aleah Tierney Kiley iii THESIS ABSTRACT Aleah Tierney Kiley Master of Science School of Journalism and Communication June 2016 Title: Indie Inclusion?: Analyzing Diversity in the Independent Video Game Industry Research into mainstream (AAA) video games reveals a popularized form of militarized masculine entertainment that is synonymous with violence toward other men and sexualized violence toward women. The means of successful AAA game production are limited to those who have access to sophisticated game engines, advanced programming skills, and substantial financial backing. Consequently, a robust independent “indie” game industry has emerged to promote a greater range of game creation excluded from the AAA model. Drawing on political economic, feminist, and cultural studies approaches, this study seeks to trace the emergent trends and dynamics in the indie industry and analyzes common practices, strategies, and discursive themes of the Independent Games Festival (IGF), their hosting event, GDC, and their parent company UBM. This thesis contributes to media industry studies, game studies, and critical theory and highlights how economic logics shape social relations and influences process cultural change. iv CURRICULUM VITAE NAME OF AUTHOR: Aleah Tierney Kiley GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene California State University Sacramento, Sacramento, CA University of California at Santa Cruz, Santa Cruz, CA DEGREES AWARDED: Master of Science, Media Studies, 2016, University of Oregon Master of Social Work, 2006, California State University Sacramento Bachelor of Arts, Film & Digital Media, 2002, University of California at Santa Cruz AREAS OF SPECIAL INTEREST: Media Histories Media Industries Cultural Analysis Critical Race Theory Feminist Studies Queer Theory Digital Humanities PROFESSIONAL EXPERIENCE: School Guidance Administrator, Santa Cruz City Schools, 2007–2014 On Air Production Coordinator, KVIE Channel 6, 2004–2006 PUBLICATIONS: Chávez, C., & Kiley, A. (2016). “Starlets, subscribers, and beneficiaries: Disney, Latino children, and the allocation of television labor.” International Journal of Communication. Tierney, A. (2004). “What women want.” The Video Game Revolution, PBS. http://www.pbs.org/kcts/videogamerevolution/impact/women.html v ACKNOWLEDGMENTS I am sincerely humbled by the overwhelming support I have received from Professors Wasko, Chavez, and Alilunas for this project. I wish to express genuine appreciation to Professor Wasko for her mentorship, inspiration, and guidance. Professor Chavez’s warmth, generosity, and thoughtful insights have improved my analytical skills, theoretical foundations, and literary voice. I will be forever grateful to Professor Alilunas for countless hours of analysis and honest feedback about my ideas, my work, and my career. I would not have been able to complete this project without my partner, Bill, who gave up many weekends, nights, and workdays to support my writing and research process. He also kept me smiling throughout this journey – a difficult task, to say the least. And, to my insightful and brilliant daughter, Ayla Echo, for always understanding, though not always easy, that being a mother and an academic is important and valuable. vi To a Mighty Oak and a Soaring Sparrow. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION: INTRODUCING THE INDUSTRY ........................................ 1 Background and Literature .................................................................................... 05 Violent Beginnings .......................................................................................... 05 Toys to Men ..................................................................................................... 06 Nerds to Noobs ................................................................................................ 11 Cultivating Capital ........................................................................................... 15 Casual vs. Core ................................................................................................ 17 Virtual Dystopias ............................................................................................. 19 Gender Trouble .......................................................................................... 19 Race Matters .............................................................................................. 21 Safe Sexuality ............................................................................................ 23 Gamer Over ..................................................................................................... 24 Inciting Independence ..................................................................................... 25 II. FRAMING THE INQUIRY ................................................................................... 27 Interrogating Indie ................................................................................................. 27 III. SEGMENTING DIFFERNCE AND DOING DIFFERENCE .............................. 32 Political Economic Profiling ................................................................................. 32 A Brief History ................................................................................................ 34 Events First ...................................................................................................... 36 Brand Arts and Market Crafts ......................................................................... 38 Corporate Social Responsibilities .................................................................... 41 viii Chapter Page From a Critical Vantage .................................................................................. 44 A Tale of Two Properties ...................................................................................... 46 Game Developers Conference ......................................................................... 46 Partnering Profit ........................................................................................ 48 Limited Labor ............................................................................................ 49 Doing Diversity ......................................................................................... 50 The Independent Games Festival .................................................................... 54 Indie Inclusion? ......................................................................................... 59 (Trans)Forming Boundaries ...................................................................... 60 IV. FROM A COMMUNITY TO AN INDUSTRY: THEMES OF THE IGF ........... 62 IGF Award Ceremonies from 2005 to 2016 .......................................................... 62 Anti-AAA ........................................................................................................ 62 Negotiating Corporatism ................................................................................. 65 Indie Distinction .............................................................................................. 68 Game Boy Networks ....................................................................................... 72 Judging Legitimacy ......................................................................................... 73 Diversity as Countercultural Subversion and Global Diversion ..................... 75 Diversity as a Stranger ..................................................................................... 76 Diversity as Happy Talk .................................................................................. 78 Diversity as a Social Responsibility ................................................................ 79 V. PRACTICING PRIVILEGE AND COMPLETING INCLUSION ........................ 81 Discussion ............................................................................................................... 81 ix Chapter Page Privileging Indie Technicity ............................................................................ 81 Diversity as Done ............................................................................................ 83 Future Directions ............................................................................................. 86 APPENDIX ................................................................................................................ 87 REFERENCES CITED ............................................................................................... 89 x CHAPTER I INTRODUCING THE INDUSTRY Conservative estimates suggest that in 2015 the video game industry grossed $23.5 billion