Long description:

A Precarious Game is an ethnographic examination of video game production. The developers that Ergin Bulut researched for almost three years in a medium-sized studio in the U.S. loved making video games that millions play. Only some, however, can enjoy this dream job, which can be precarious and alienating for many others. That is, the passion of a predominantly white-male labor force relies on material inequalities involving the sacrificial labor of their families, unacknowledged work of precarious testers, and thousands of racialized and gendered workers in the Global South.

A Precarious Game explores the politics of doing what one loves. In the context of work, passion and love imply freedom, participation, and choice, but in fact they accelerate self-exploitation and can impose emotional toxicity on other workers by forcing them to work endless hours. Bulut argues that such ludic discourses in the game industry disguise the racialized and gendered inequalities on which a profitable transnational industry thrives.

Within capitalism, work is not just an economic matter, and the political nature of employment and love can still be undemocratic even when based on mutual consent. As Bulut demonstrates, rather than considering work simply as a matter of economics based on trade-offs in the workplace, we should consider the question of work and love as one of democracy rooted in politics.

Building on "critical political economy, feminist theory, and autonomist Marxism" (p. 11), this book is a much-needed contribution to critical game studies by breaking the glamorous spell over the contemporary forms of immaterial and creative media labor. Theoretical discussions are clear enough to engage with and vividly illustrated in ethnographic research. The language makes the book a fluent read not only for academics but for anyone interested in current modes of capitalism and videogame production.

Table of Contents:

Introduction: For Whom the Love Works in Video Game Production?

1. The Unequal Ludopolitical Regime of Game Production: Who Can Play, Who Has to Work?

2. The End of the Garage Studio as a Technomasculine Space: Financial Security, Streamlined Creativity, and Signs of Friction

3. Gaming the City: How a Game Studio Revitalized a Downtown Space in the Silicon Prairie

4. The Production of Communicative Developers in the Affective Game Studio

5. Reproducing Technomasculinity: Spouses' Classed Femininities and Domestic Labor

6. Game Testers as Precarious Second-Class Citizens: Degradation of Fun, Instrumentalization of Play

7. Production Error: Layoffs Hit the Core Creatives

Conclusion: Reimagining Labor and Love in and beyond Game Production