Emil Lundedal Hammar / UiT-The Arctic University of Norway - The videogame industry is emblematic of what John Smith (2016) terms 21st century imperialism, where rich countries and multinational companies profit from ‘super-exploitation’ (Smith 2018) of the so-called Global South via global production chains. These relations of production result in repeated crises that in turn exacerbate violent, reactionary movements usually found in fascist tidings stemming from the inherent crises in capitalism (Traverso 2019; Jong 2020).
Like other mass-cultural forms, videogames are produced within and are enabled by a historical and material global network reliant on global capitalism (Dyer-Witheford and De Peuter 2009; Kirkpatrick 2013: 108). This is achieved via postcolonial access to slave labour extracting conflict minerals in the Democratic Republic of Congo (Sinclair 2015, 2016, 2017; Valentine 2018); the super-exploitation of countries like China, India, Vietnam, and Malaysia (Fuchs 2017, Qiu 2017); the free-trade regulations of the centres of economic power; the precarious working conditions of software developers in North America (Consalvo 2008, O’Donnell 2014, Williams 2013) and in cheaply outsourced countries like Malaysia and Vietnam (Flecker 2016, Thomsen 2018); the exploitation of passion via ‘playbour’ by multibillion-dollar software companies (Dyer- Witheford and De Peuter 2009; Bulut 2020); the dominance of white heterosexual masculinity in game studios and the industry writ large (Srauy 2019; Johnson.