If you’ve read the about page for Play Till Doomsday, you know that the approach we’ve taken to address the culture of digital games is all-encompassing. This project aims to bring together the different perspectives of all the individuals, communities, institutions and companies that weave together the fabric of digital games culture.
Obviously, some of the different parts that make up that culture don’t always see eye to eye. This is no more apparent than in the relationship between the businesses who aim to make profit from selling games and those who aim to approach games as something more than just consumer goods, as creative expressions or objects of cultural significance. One of the mandates of the PTD project is to reach out to all sides and get them to share perspectives with each other and foster understanding about how the economic and creative aims of any cultural industry are often intertwined, even if at odds.
At the recent Interactive Exchange 2010 (IN|10) conference in Toronto, I spoke with Jesse Divnich about how the financial side of the digital games industry conceives of games as cultural artifacts, how its analysts may fit into a wider culture of gaming and what impact Canadian consumers have in the games marketplace.
Divnich is the vice president of analyst services for Electronic Entertainment Design and Research (EEDAR), a games industry research and market analysis company based in San Diego, California. Before joining EEDAR, Divnich worked as an independent consultant and analyst for various clients with financial stakes in the interactive media industry. By most accounts (if his multiple appearances on and references in Bloomberg, CNN Money, Wall Street Journal, Industry Gamers and Gamasutra are to be indicators of clout) he’s good at what he does.