1 free read left. Create a free account for unlimited reading + AI research.
Create free accountWhitepaper
DiGRA
The period covered is one when Mattel was both the dominant toy manufacturer and an innovator in electronic and video games.
This study examines how play and labor were organized at Mattel during 1976 to 1984, a formative period when the company was both the dominant toy manufacturer and an innovator in electronic and video games. Its central argument is that the historical entanglement of work and play, often discussed as "playbour" in contemporary game scholarship, has roots in the toy industry, where managing creativity and commodifying fun were core business aims. The authors frame their inquiry around how work was experienced as playful, how creativity was managed, commodified, and exploited, and how the relationship between work and play differed between professional designers and hobbyists.
The analysis centers on two Mattel divisions. Within Mattel Toys, the Preliminary Design department, nicknamed the "funny farm," was physically and symbolically isolated from the rest of the company. Its process of marketing-guided brainstorming, prototyping, and evaluation by marketers and executives combined bounded and unbounded creativity, fostering a sense of creative ownership and loosening conventional work hours. Within Mattel Electronics, the Applications Software department adopted similar organizational practices but differed in a crucial respect: programmers designed and coded videogames from beginning to end rather than handing prototypes to separate product engineers. The authors argue that institutionalized play in this setting evolved to cope with the stress and precarity of programming labor as the videogame industry destabilized.
The study draws on archival corporate records and interviews with toy designers, programmers, market researchers, managers, and executives. Its contributions include establishing the historical roots of playbour in toy production, providing comparative analysis of two early creative "studios," identifying institutional links between the toy and videogame industries, and offering a prehistory of contemporary playful labor.
DiGRA · 2020