Abstract
Douglas Coupland’s satirical novel Microserfs (1996) explores the lives of a group of technology geeks who work as low-level programmers and testers at Microsoft’s headquarters in Redmond near Seattle in the mid-1990s. Through Daniel’s blog style diary entries their motivations, hopes and dreams are revealed as they are gradually tempted to relocate to Silicon Valley in California by the lure of being in at the start of a new and exciting games software project. Coupland draws upon months of observational research in both of the novel’s dramatic locations to capture the optimistic zeitgeist of the time in the American software industry, and anticipates the technology boom and dot.com bubble of the late 1990s. The novel is laced with ironic knowingness which reveals much about the difference between the projected self-image of the software industry, the realities of the business and the everyday lives of its workforce. The self-image of the software developers is that they are creative cultural entrepreneurs working in a cooperative, casual, flexible and open campus-style white space environment, where motivations to work long hours are derived less from financial reward than from artistic, technical and personal developmental compensations. In sociological terms, the developers are ideal typical members of Florida’s creative class who share a common identity through adherence to a creative ethos which is inseparable from their economic function, and determines similar social, cultural and leisure choices (Florida, 2004).
Spent two hours in the morning trapped in a room with the Pol Pots from marketing... like we don’t have anything better to do eight days before shipping... I think everyone hates and dreads Marketing’s meetings because of how these meetings alter your personality. At meetings you have to explain what you’ve accomplished. You end up becoming this perky, gung-ho version of yourself that you know is just revolting. I have noticed that everybody looks down on the gung-ho type people at Microsoft, but nobody considers themselves gung-ho. Fortunately gung-ho-ishness seems to be confined exclusively to marketing meetings. Otherwise I think the Campus is utterly casual. (Daniel in Coupland, 1996: 25)
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
References
Adorno, T.W. (1991) Culture industry reconsidered, in T.W. Adorno, The Culture Industry, London: Routledge, pp. 98–106.
Amin, A. (1997) Post-Fordism: A Reader, Oxford: Blackwell.
Annetts, J., Law, A., McNeish, W. and Mooney, G. (2009) Understanding Social Welfare Movements, Bristol: Policy Press.
Baudrillard, J. (1998) Simulacra and simulations, in J. Baudrillard (ed.), Selected Writings, Cambridge: Polity Press, pp. 169–86.
Baudrillard, J. (2007) Symbolic Exchange and Death, London: Sage.
Benjamin, W. (1999 [1936]) The work of art in the age of mechanical reproduction, in W. Benjamin (ed.), Illuminations, London: Pimlico, pp. 217–53.
Berger, P. (2008) There and back again: reuse, signifiers and consistency in created game spaces, in Jahn-Sudmann and Stockmann (eds), Computer Games as a Sociocultural Phenomenon, pp. 47–55.
Best, S. and Kellner, D. (2001) The Postmodern Adventure: Science, Technology and Cultural Studies at the Third Millennium, London: Routledge.
Bourdieu, P. (1993) The Field of Cultural Production, New York: Columbia University Press.
Bourdieu, P. (1996) The Rules of Art, Stanford: Stanford University Press.
Brookey, R.A. (2010) Hollywood Gamers: Digital Convergence in the Film and Video Game Industries, Bloomington, IN: Indiana University Press.
Castells, M. (2000) The Rise of the Network Society: The Information Age, Economy, Society and Culture, vol. 1, Oxford: Blackwell.
Cecil, C. and Wright, C. (eds) (2010) Playing the Game: Insider Views on Video Game Development, London: NESTA, http://www.nesta.org.uk/publications/reports/assets/features/playing_the_game_insider_views on_video_game_ development.
Chatfield, T. (2011) Fun Inc: Why Games Are the 21st Century’s Most Serious Business, London: Virgin Books.
Coupland, D. (1996) Microserfs, London: Flamingo/HarperCollins.
Coupland, D. (2007) J-Pod, London: Bloomsbury.
Department for Culture, Media and Sport (2004) Government and the Value of Culture, London: DCMS.
Derrida, J. (1994) Spectres of Marx: The State of the Debt, the Work of Mourning, and the New International, London: Routledge.
De Jong, S. (2007) The Hows and Whys of the Games Industry, place of publication unknown: Hourences.
Dovey, J. and Kennedy, H. W. (2006) Game Cultures: Computer Games as New Media, Maidenhead: Open University Press.
Florida, R. (2004) The Rise of the Creative Class, Cambridge, MA: Basic Books.
Florida, R. (2011) The Great Reset: How the Post-Crash Economy Will Change the Way We Live and Work, London: Harper Paperbacks.
Gunning, T. (2004) Phantasmagoria and the manufacturing of illusions and wonder: towards a cultural optics of the cinematic apparatus, in A. Gaudreault, C. Russell and P. Véronneau (eds) The Cinema: A New Technology for the 20th Century, Lausanne: Editions Payot, pp. 31–44.
Harvey, D. (1989) The Condition of Postmodernity, Oxford: Blackwell.
Herbst, C. (2008) Programming violence: language and the making of interactive media, in Jahn-Sudmann and Stockmann (eds), Computer Games as a Sociocultural Phenomenon, pp. 69–77.
Hesmondhalgh, D. and Baker, S. (2010) A very complicated version of freedom: conditions and experiences of creative labour in three cultural industries, Poetics, 38: 4–20.
Horkheimer, M. and Adorno, T. W. (2000 [1944]) Dialectic of Enlightenment, New York: Continuum Publishing.
Jahn-Sudmann, A. and Stockmann, R. (eds) (2008) Computer Games as a Sociocultural Phenomenon, Basingstoke: Palgrave Macmillan.
Johnson, J. (2011) 1 Million Workers, 90 Million, i-phones, 17 suicides. Who’s to blame? Wired Magazine, http://www.wired.com/magazine/2011/02/ff_joe-linchina/all/1.
Kerr, A. (2010) The Business and Culture of Digital Games, London: Sage.
Kline, S., Dyer-Witheford, N. and de Peuter, G. (2003) Digital Play: The Interaction of Technology, Culture and Marketing, Montreal: McGill Quarry University Press.
Leadbeater, C. (2008) We-Think: The Power of Mass Creativity, London: Profile Books.
Lee, Y.H. and Lin, H. (2011) ‘Gaming is my work’: identity work in internethobbyist game workers, Work, Employment and Society, 25(3): 451–67.
Livingstone, I. and Hope, A. (2011) Next Gen. Transforming the UK into the World’s Leading Talent Hub for the Video Games and Visual Effects Industries, London: NESTA.
Lockwood, D. and Richards, T. (2008) Presence-play: the hauntology of the computer game, in Jahn-Sudmann and Stockmann (eds), Computer Games as a Sociocultural Phenomenon, pp. 175–85.
Marx. K. (1990 [1868]) Capital, Vol. 1, London: Penguin.
McAllister, K.S. (2004) Game Work: Language, Power and Computer Game Culture, Tucaloosa: University of Alabama Press.
McGonigal, J. (2011) Reality Is Broken: Why Games Make Us Better and How They Can Change the World, London: Jonathan Cape.
McRobbie, A. (2011a) Rethinking the creative economy as radical social enterprise, Variant, 41(1): 32–3.
McRobbie, A. (2011b) The Los Angelisation of London: three short-waves of young people’s micro-economies of culture and creativity in the UK, in G. Raunig, G. Ray and U. Wuggenig (eds) Critique of Creativity: Precarity, Subjectivity and Resistance in the ‘Creative Industries’, London: Mayfly Books, pp. 119–31.
MCV Survey (2012) Market for Computer and Video Games Salary Survey 2012, http://www.mcvuk.com/news/read/mcv-s-2012-uk-games-industry-salary- survey-the-results/089686.
Miller, V. (2011) Understanding Digital Culture, London: Sage.
Mills, C. W. (2000) The Sociological Imagination, Oxford: Oxford University Press.
Mulgan, G. (1998) Connexity: How to Live in a Connected World, Harvard: Harvard Business Review Press.
Peck, J. (2005) Struggling with the creative class, International Journal of Urban and Regional Research, 29(4): 740–70.
Poyhonen, P. and Wan, D.C.S. (2011) Game Console and Music Production in China, Finnwatch: SACOM & SOMO, http://www.makeitfair.org/en/…/game-console- and-music-production-in-china.
Rentfrow, D. (2008) S(t)imulating war: from early films to military games, in Jahn-Sudmann and Stockmann (eds), Computer Games as a Sociocultural Phenomenon, pp. 87–96.
Rundle, M. (2012) 300Chinese Foxconn workers ‘threaten mass suicide’ at Xbox Plant, reports claim, Huffpost Tech, http://www.huffingtonpost.co.uk/2012/01/10/ 300-chinese-foxconn-workers-threaten-mass-suicide_n_1196345.html.
Warner, M. (2006) Phantasmagoria, Oxford: Oxford University Press.
Editor information
Editors and Affiliations
Copyright information
© 2013 Wallace McNeish
About this chapter
Cite this chapter
McNeish, W. (2013). Critical Perspectives on the Games Industry: Constructs and Collusion. In: Hotho, S., McGregor, N. (eds) Changing the Rules of the Game. Palgrave Macmillan, London. https://doi.org/10.1057/9781137318411_10
Download citation
DOI: https://doi.org/10.1057/9781137318411_10
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-33819-1
Online ISBN: 978-1-137-31841-1
eBook Packages: Palgrave Business & Management CollectionBusiness and Management (R0)