Balancing the Tensions Between Rationalization and Creativity in the Video Games Industry

By F. Tschang. Organ. Sci., 2007

319 citations recorded by the source corpus.

Subfields: Computer Science Applications, Sociology and Political Science, Strategy and Management

View Paper: https://www.semanticscholar.org/paper/a203cfd63d4d50ab853f6a33db6d9a9178f498c7

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Citations in the corpus

Creating and capturing value from freemium business models: A demand-side perspective (2018, background): “…late 1980s and 1990s, video game consoles regained mass popularity as Nintendo reestablished consumer trust through tight quality-control policies, upon which game developers returned to creating console video games, many treating computer games as an afterthought (Rietveld, 2014; Tschang, 2007).”
Small businesses in the new creative industries: innovation as a people management challenge (2011, background): “While this took participants by surprise, the same trend has been observed as a prerequisite where game development increases in complexity ( Tschang, 2007”
Misfits, Mavericks and Mainstreams: Drivers of Innovation in the Creative Industries (2011, unknown): “…2012; Jones & Massa, 2013), design (Ravasi & Stigliani, 2012), fashion (Aspers & Godart, 2013; Khaire, 2014) and, more recently, artistic perfumes (Endrissat & Noppeney, 2013), haute cuisine food (Svejenova, Mazza, & Planellas, 2007) and games (Tschang, 2007), have grown in symbolic meaning.”
Managing in the creative industries: Managing the motley crew (2009, background): “Moves to standardization in cultural production, essential for economies of scale, bring their own pressures (Tschang, 2007).”
The Role of Narratives in Sustaining Organizational Innovation (2009, background): “Complicating matters, new ideas may appear illegitimate, and therefore unworthy of consideration to those who have the resources to see these ideas through (Aldrich and Fiol 1994, Dougherty and Heller 1994, Lounsbury and Glynn 2001, Tschang 2007).”
Emotional Dynamics and Strategizing Processes: A Study of Strategic Conversations in Top Team Meetings (2014, background): “The creative industries in general, and the gaming industry in particular, have received increasing attention by organizational researchers in recent years (Cohendet and Simon, 2007; Townley et al., 2009; Tschang, 2007).”
Business model innovation in cultural and creative industries: Insights from three leading mobile gaming firms (2020, background): “In fact, this BMI reacts to three of the main features of (digital) CCIs: goods are based on hits, have a short life-cycle and customers prefer constantly novel content (Lampel et al., 2000; Tschang, 2007).”
A Dialogical Approach to the Creation of New Knowledge in Organizations (2009, background): “…in Advance, pp. 1–17, © 2009 INFORMS 3 new organizational knowledge emerges; and when the new distinctions are developed into new products or processes , or are embodied in new actions, innovation and learning respectively occur (Hargadon and Sutton 1997; Edmondson 2002, p. 128; Tschang 2007).”
Controlling the uncontrollable: ‘Agile’ teams and illusions of autonomy in creative work (2011, background): “Across the creative sectors, the ‘indeterminacy/unknowability of creative production’ (Caves, 2002) poses particular and possibly unique challenges for the management of this production process (Lampel et al., 2000; Lawrence and Phillips, 2002; Tschang, 2007).”
Cultural Industries: Product–Market Characteristics, Management Challenges and Industry Dynamics (2015, unknown): “Based on findings by Tschang (2007), firms are not actually free to make such choices, but forced to conform to a rational commercial strategy.”
Hidden innovation in the creative industries (2008, background): “Examples include Cohendet 14. and Simon, 2007; Grantham and Kaplinsky, 2005; Tschang, 2007. independent production sector with more conservative corporate media entities).”
The dynamics of interfirm networks along the industry life cycle: The case of the global video game industry, 1987–2007 (2013, background): “…2005, 169) by providing programming skills, artistic designs and insights on the gameplay,1 while publishers are responsible for managing, funding and marketing the video game project by providing the project management, market insights, marketing skills and financial capital (Tschang, 2007).”