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DiGRA
The paper asks whether cultural diversity, a concept with a long history in traditional media and national cultural policy, can meaningfully be applied to digital games.
This paper examines whether the concept of cultural diversity, which has a long history in traditional media and national cultural policy, can meaningfully be applied to digital games. Its central argument is that while European policymakers are increasingly drawn to digital games as a cultural industry deserving public support, the concept of cultural diversity must be rethought for an environment shaped by global production networks, transnational audiences, and user-generated content. The author argues that existing national policy frameworks are poorly matched to these dynamics and that the implications for cultural policy need careful consideration.
The analysis begins with the methodological, conceptual, and historical challenges that arise when scholars and policymakers attempt to study cultural diversity across digital media. It then turns to an examination of secondary data, including reports and statistics, concerning the flow of digital game production, the cultural character of game content, and the composition of player populations. The paper situates these patterns against a backdrop of growing policy interest, noting the emergence of funding mechanisms such as the French tax credit system and dedicated support schemes in the United Kingdom, Germany, and Scandinavia, and the competitive pressure exerted by the game industries of Canada, South Korea, and China.
The paper's scope is primarily European, though it draws on comparative evidence from North America and East Asia. Its conclusions are largely conceptual and policy-oriented rather than based on original primary research, relying instead on existing scholarship in media studies and political economy alongside international statistical sources. The author's closing discussion emphasizes a tension between national policy instruments and the transnational character of digital game production and consumption, suggesting that cultural diversity objectives may require approaches that extend beyond the national level.
Develop:Brighton · 2025