I.P. and the language of game development

The language that we use to discuss things also influences our ability to think about them because the frame of reference becomes inherently bound up in that language.   Locally, one of the main ways we talk about games, from the industry side at least, is bound up in the idea of original I.P. versus work for hire, with that discussion also spilling out into our audience.  You don’t have to dig far on tsumea to find a heated debate on the perceived merits of original I.P.

But film-makers, novellists, and musicians don’t talk about creating original I.P., so what makes us different?  I’d argue nothing – just the frames of reference we’ve built around the discussion.  Those other mediums might talk specifically about engaging audiences, but they also have their strong creative voices saying ‘make the sorts of things you want to see’.

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Some thoughts on games & culture – part 1

I’ve been asked to give a presentation on the cultural influence (although that’s not a perfect descriptor) of games in a few weeks and I thought I’d share my thinking on this (large) topic in a series of posts here, including the state of things, education, IP, how other mediums deal with their creative culture, the bleeding of games into other forms, and whatever else crosses my mind.

First up is to establish a bit of where we are, which was triggered by this post We’re not the clever country if we’re not a creative country on The Punch. It’s a look at the impact creative industries have on the economy, with a specific focus on games and the Interactive Skills Integration Scheme, and it got me thinking about a couple of things. In this post I want to look at some of the influences on our local industry in 2010 and the role of education.

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