It has been a while since oBike Sydney launched and it hasn’t been without controversies. We already talked about oBike getting all the blame and barely any praise so how and where do they operate?
Jed – Welcome to our second episode of Jams and Stories, I am with Lilly and she looks very excited today.
Lilli – I think I am actually nervous but excited is a better word.
In 2009 when Suzuki replaced the original round-headlight SV650 with the new Gladius (SFV650) the general public wasn’t happy at all. People still dislike the looks of the Gladius and want the old SV650 back (they got what they wanted, Suzuki brought back the round headlight). As an owner of 2 different Gladius’ I agree with the view of bike being ugly to some extent. Let me explain myself.
A diagnosis of video games in popular culture is a convoluted one. A couple of decades back one could say that video games belonged in the niche market but as of now, they are one of the most popular modes of entertainment. Video games are technically softwares; a game is a written code with an engine running it with correlated graphics but this just the technical side. Excessive classification of games as softwares and game developing as software developing undoubtedly misrepresents the creative labor in this industry. There is a huge distinction between what goes into the production of a video game and “just programming”. The wide cluster of aptitude, expansive social marvel that encompasses games and the cutting edge technological and political-monetary framework that encompasses the game industry cannot and ought not to be caved in into the simple class of software. The creative collaborative work that is essential for the production of games is sufficiently imperative to be respected. Without a doubt, the development of programming frameworks has dependably been and will keep on being a piece of this action, yet it cannot be pushed into that particular classification. Continue reading “Are video games just software? Creative labor in video games.”