Culture is a public responsibility. Red wants a rich and diverse cultural life. Almost half of all Norwegians over the age of 15 play PC or TV games, it is actually one of the biggest leisure activities we have in the country, even if about Five percent say they are at work. I will get into different parts of the game culture/industry in the individual sections
The play is culture! It’s important not to look at just what’s on the screen. Behind a proper game, there’s a lot of creative work in text, analog design, character development, bigger scenarios/scenarios, humor, total concepts, and dramaturgy. «Among the Sleep» should explain most of this. Red is a party that dares to see the whole.
The Gamer culture, with related cultures such as cosplay, LAIV, and merch, including demo programming and not least LAN and demo competitions, etc., make up a big and important part of the unofficial youth culture next to more traditional culture and sport. Red is for diversity and wants to improve the municipality economy so that mini-LAN and smaller pop-art festivals (such as POPKULT on Gjøvik, for example, and Children’s Programming Days at NTNU) can recruit more – and give space to those who have this as their wonderful hobby.
Today’s game environment has a wide range, and then we talk from the producer side with Funcom’s classics to game/drawing games from EarthTree and “Øysteins Verden” (which I was about to start!). Funcom also has well over half of all gaming economics, but then I do not know if you bring everything. For example, I would like to talk to anyone who works in game jams or is Professor of gaming a special field?
For example, it’s incredibly exciting that the Paris Olympics are considering e-sports and maybe Ninja’s in Pajamas is our next Olympic medalists. I do not know how to choose whether it will be “Counter-Strike” or “League of Legends” which becomes “the sport”, but if you can run 400 meters with or without a hedge, it should be possible to “Overwatch” or ” Dota 2 »too.
I believe you have to look at the whole “way of life” from education programs and programmers, designers to hacking the environment (yes I said so) and end users, retail and events. Red is for publicly funded higher education and we do not have all the answers, but it might be possible to look at whether to collect some “Centers of Expertise” instead of having the game education. It floods over media studies with some game programming here and vice versa, programming studies with some media there. The truth is that most people who program often can do more than the lecturers in many places, and that’s not good.
Computer games have an undervalued role in Norwegian culture. We must get away from the stereotype and myths of the game in the dark boy room, and we born in the seventies (hence the little lame title referring to “Command & Conquer” as a revolution) must keep in mind that all of us the fathers as Buying “CoD” for the boy and actually having fun with console games is also part of this culture. Our generation grew up with “PONG”, for swinging and now we can “be Ronaldo.” I’m on Pokemon hunting with young people and use iPad games as a pastime for long journeys by train. So I think computer games, in all forms, are something we deal with all the time, maybe without thinking about it. This is a bit like the “internet” that nobody had threatened when I was Russ (jeep) and we today can not work without.
Norwegian-developed games should and may be in the world’s top when it comes to Video Game Awards annually or BAFTA where “Size DOES Matter” and Team DOS won. When “Everything” is actually evaluating an Oscar – and we have not got a single one for feature film – could we turn more into the gaming universe and bet there? We probably have far more users of games designed entirely or in Norway than Norwegian films have to pay visitors abroad, which after all have an extremely small audience.
It is also a health aspect here. Games are mentioned a little bit as something that can be used to get people in action. Ok, it may, but in learning and teaching for people with special needs, it’s even more important. For example, we see that simple “photo shot games” have a positive effect on dementia patients. A lot of game technology is also used in muscle retention or others with trauma injuries.
A sustainable Norwegian gaming industry demands more things: first and foremost to get proper support schemes, and to inform them about what we all have. Secondly, we must understand that the “game industry” is not just a game industry. We must educate – as in all cultural education – people who can and understand the entire 360-degree perspective in developing a product from idea to launch and resale.
And then it has to be more exciting – when “Shiftlings” & go along with nine others had to share 5.5 million from NFI, it’s not something that draws the curve of bathing cranes. Then we can say in Red “yes to everything”, but we think that with some more tax from the really ugly, it will be more of such development. It’s like the price of the pop. Red is for a strong public sector with the means to develop all kinds of culture and industries – across the country.
Translated in Norway, success in Sweden is something that can be said of several product-oriented industries, but that’s not the whole truth. Norway has lacked some of the understanding I hope to have shown. Games are, as I say, more than games. Here’s a lot to get from the “creative industries” wave from ten years back when people had Richard Florida’s “Rise of the Creative Class” on the nightstand.
Take something as simple as that there are hardly any lawyers in Norway specializing in copyright for non-material values. How do you take copyright on – if we are going to be totally retro – Samus Aran, or Nathan Drake in recent times. Who created what? Has the actor who casts the roles one right on the Norwegian character in a game? What about the music, jingles, sounds, effects. Who creates a game, really? When “Half-Life” and “Resident Evil” came, it was just the sound landscape that was perhaps the most revolutionary.
The Swedes have always been a step ahead of actual innovation, they have had less waterproof shots in education programs (one can choose more between several fields, for example, see the University College in Mälardalen). I do not say that Red has the whole answer here, but we are aware of it. A theater country like Norway should put more emphasis on the creative part of education under the performing arts.
I’m an elected director and I’m not surprized that “Battlefield 1” got the honor it deserved during the Game Awards in 2016. I will willingly admit it was this year’s birthday present to the youth here in the house and even if it’s a bit of a bit to see long “Movie features” and the same death scramble with a new name hundreds of times, it’s something that gives just this game soul.
In order to capitalize on the big export value game, we must have more attention politically and cooperate with public funding! Understanding what I’m talking about here. I have participated in some music launches and worked on projects against Anna Nashville artists. I think that in all Anna entertainment industry is about having steel control at all stages, own work, secure a waterproof distribution and just know what it’s all about.
I also think that loyalty among gamers to actually buy games and ergo work with copying means (yes, deadly but true) will ensure more store.
Red will get the game culture up and down and then we have to back both the newly started and the already established Norwegian gaming industry. Here are some of our adopted principles: Earmark funds for increased commitment to new and independent cultural expressions, such as games. We must turn investments and subsidies from the oil industry into new and innovative areas. It sounds strange, but the “green shift” must also mean investing in new industries. That said, we have to look at the education programs. And then it’s always an idea to look at Finland when it comes to high technology. The game industry traded for 17 billion in 2015, in Norway 300 million ( in 2016 the figures were 23.7 billion and 358 million, respectively ). These are my answers, and I think it’s backing for this in Red’s program.