Innovative Paradigm of Digital Content Game with Cultural Feminism Wave for Promoting Creative Economy
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Published:
May 16, 2018
Keywords:
digital content game cultural feminism wave creative economy
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Abstract
The research aims to 1) study digital content game with cultural feminism wave for promoting creative economy 2) design innovative paradigm of digital content game with cultural feminism wave for promoting creative economy. The research conducted by mixed method that combined with qualitative research and quantitative research. Qualitative research using In-depth interview of a total of 17 key informants from 3 groups were representatives consisting of the public sector or relevance organizations content game with cultural feminism wave for promoting creative economy, entrepreneur groups within producer sector, servicers and distributors, including expert groups in relevance field studies. According to In-depth interview results take to determine questionnaire framework items based on rating scales. The sample for collection data drawn through random sampling including 400 gamers from Bangkok Metropolitan areas. Then statistical analysis was employed using percentage, mean, standard deviation. The main results were found that innovative paradigm of digital content game with cultural feminism wave for promoting creative economy called “MASCARA MODEL” as follows: 1) M is mobile consisted of mobile game, smart phone and tablet. A is approachable revealed that content, rule and graphic including design. S is sensational revealed that graphic and design and scene. C is casual revealed that platform and rule. A is accessible revealed that game channel and approachable. R is remarkable revealed that female main character, costume, sensational and platform. A is amuse consisted of MASCARA integrated for genres to created loyalty target gamers.
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How to Cite
Kueachart, P., & Jirawatmongkol, S. (2018). Innovative Paradigm of Digital Content Game with Cultural Feminism Wave for Promoting Creative Economy. Journal of Cultural Approach, 19(35), 49–63. Retrieved from https://so02.tci-thaijo.org/index.php/cultural_approach/article/view/123944
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Research Article
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[3] Clapperton, G. (2012). This is Social Commerce: Turning Social Media into Sales. Fadstow, Cornwall, U.K., John Wiley & Sons Ltd.
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[6] Corneliussen, H. G., & Rettberg, J. W. (2008). Digital Culture, Play, and Identity. A World of Warcraft as Playground for Feminism, MIT Press.
[7] Diers, T. L. (1998). An Examination of Violence and Gender Role Portrayals in Video Games: Implications for Gender Socialization and Aggressive Behavior. Sex Roles, 38, 425-442.
[8] Downs, E., & Smith, S. L. (2010). Keeping Abreast of Hypersexuality: A Video Game Character Content Analysis. Sex Roles, 62, 11-12, 721-733.
[9] Hernandez, P. (2013). They’re Attractive, They’re Women, and They Play Games Live on the Internet, But They’re not “Camwhores”. Kotaku. Retrieved from http://kotaku.com/5982137/theyre-attractive-theyre-women-and-they-play-games-live-on-the-internet-but-theyre-not-camwhores.
[10] Ivory, J. (2006). Still A Man’s Game: Gender Representation in Online Reviews of Video Games. Mass Comminication & Society, 9(1), 103-118.
[11] Jansz, J., & Martis, R. G. (2007). The Lara Phenomenon: Powerful Female Characters in Video Games. Sex Roles, 56, 141-148.
[12] Jayanth, M. (2014). 52% of Games are Women-but the Industry doesn’t know it. Retrieved from https://www.theguardian.com/commentisfree/2014/sep/18/52-percent-people-playing-games-women-industry-doesnt-know.
[13] Kanaswat, Yuthasak, (2009). Pioneer of the Top Hit Video Game. Investment Promotion Journal, 20(7), 30-37.
[14] Miller, M. K., & Summers, A. (2007). Gender Differences in Video Game Characters’ Roles, Appearances, and Attire as Portrayed in Video Game Magazines. Sex Roles, 57(9), 733-742.
[15] Modahl, M. (2000). Now or Never: How Companies Must Change Today to Win/the Battle for Internet Consumers. New York: Harper Collins Publishers, Inc.
[16] Near, C. E. (2013). Selling Gender: Associations of Box Art Representation of Female Characters with Sale for Teen and Mature Rated Video Games. Sex Roles, 68(3-4), 252-269.
[17] Ohridska-Olson, R., & Ivanov, S. (2012). Creative Tourism Business Model and its Applications in Bulgaria. Dobrich, Bulgaria, International University College.
[18] Prasomsong, Chawkaew. (2015). Monmonsonpha: Thai Heart on Online Game. Investment Promotion Journal, 26(2), 43-47.
[19] Rajkowska, P. E. (2014). Roles of Female Video Game Characters and their Impact on Gender Representation: Master Thesis in Media and Communication Studies. Uppasala University.
[20] Revilla, M. A., Saris, W. E., & Krosnick, J. A. (2014). Choosing the Number of Categories in Agree-Disagree Scales. Sociological Methods & Research, 43(1), 73-97.
[21] Saris, W. E., Revilla, M. A., Krosnick, J. A. & Shaeffer, E. M. (2010). Comparing Questions with Agree/Disagree Options to Questions with Item-Specific Options. Survey Research Method, 4(1), 61-79.
[22] SM Strategy. (2016). Cover Story: Forecast of Global Game Marketing in the Year of 2016-2019. SM Magazine, 15(171), 48.
[23] Smith, S. L. (2006). Perps, Pimps and Provocative Clothing: Examining Negative Content Patterns in Video Games, In Vorderer, P. and Bryant, J. (eds). Playing Video Games-Motives, Responses, and Consequence (pp. 57-75). Manwah, N. J., Erlbaum Associate.
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[25] Stewart, J. et al. (2013). The Potential of Digital Games for Empowerment and Social Inclusion of Groups at Risk of Social and Economic Exclusion Evidence and Opportunity for Policy. Seville (Spain): Luxemburg Publications Office of the European Union.
[26] Wake, W. K. (2016). Design Paradigms: A Sourcebook for Creative Visualization. John Wiley & Sons, Inc.