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PALGRAVE STUDIES IN MEDIA AND
ENVIRONMENTAL COMMUNICATION
Benjamin J. Abraham
Palgrave Studies in Media and Environmental
Communication
Series Editors
Anders Hansen
School of Media, Communication and Sociology
University of Leicester
Leicester, UK
Steve Depoe
McMicken College of Arts and Sciences
University of Cincinnati
Cincinnati, OH, USA
Drawing on both leading and emerging scholars of environmental
communication, the Palgrave Studies in Media and Environmental
Communication Series features books on the key roles of media and com-
munication processes in relation to a broad range of global as well as
national/local environmental issues, crises and disasters. Characteristic of
the cross-disciplinary nature of environmental communication, the books
showcase a broad variety of theories, methods and perspectives for the
study of media and communication processes regarding the environment.
Common to these is the endeavour to describe, analyse, understand and
explain the centrality of media and communication processes to public and
political action on the environment.
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer
Nature Switzerland AG 2022
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and retrieval,
electronic adaptation, computer software, or by similar or dissimilar methodology now
known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
To Samantha
Acknowledgments
This book project started with the realization that if I was going to take
climate change seriously I needed to do something about it. This book is
that attempt to do something, and I hope it guides and encourages others
to do something as well. From the first presentation in 2014 at the Digital
Games Research Association (DiGRA) Australia conference of the very
initial ideas that would eventually turn into this book, they have been
shaped and guided by so much help and encouragement from friends,
family and colleagues that there are almost too many to thank. After such
a long and drawn out writing process, it also has the tendency to becomes
a bit of a blur, increasing the risk of omitting thanks to people who helped
make this book happen. My deepest thanks go out to everyone who has
helped along the way, whether with feedback and suggestions, or even
simply an encouraging word.
I want to thank in particular my colleagues in the School of
Communication and the Climate Justice Research Centre at the University
of Technology, Sydney, especially my colleagues in DSM. Thanks, in par-
ticular to the legendary trio of Liz Humphrys, Sarah Atfield and James
Meese who always found time to listen to me over the years and without
who’s support I would not have survived the tough years. Thanks to
Darshana Jayemanne and William Huber of Abertay University’s games
program for hosting me during my visit in 2019, for giving me the oppor-
tunity to test the ideas in this book with their excellent students, and for
taking me for the most memorable yuzu shaved ice dessert in Kyoto after
DiGRA. I have to thank the many academic mentors I’ve had the privilege
of having over the years, from whom I have learned so much about the
vii
viii ACKNOWLEDGMENTS
importance of climate action right now in every part of both our work and
leisure, and the transformation of the digital games industry which I know
so many of us care such a great deal about. Any errors or mistakes remain-
ing are mine and mine alone.
Contents
xi
xii Contents
Index249
List of Figures
Fig. 4.1 Game developer emissions around the world. Full table online:
https://bit.ly/3yGY7wT114
Fig. 7.1 The PS4 APU. (Image courtesy iFixit.com, Creative Commons
BY-NC-SA Walter Galan. Used with permission) 185
Fig. 7.2 Full teardown of the PS4 console. (Image courtesy iFixit.com,
Creative Commons BY-NC-SA Sam Goldheart. Used with
permission)186
Fig. 7.3. CC BY-SA 4.0—Emeka Udenze, with additional shading to
indicate elements present in the sample. Light grey indicates
detection in the sample, dark grey indicates detection, likely in
higher quantities 188
xv
CHAPTER 1
modern games industry—that is what this book sets out to just begin to
describe. It is a huge task, and one that I cannot hope to complete. It is
the aim of this book to ‘open the door’ so that others might take up these
challenges, take these necessarily broad sketches and flesh them out in
much greater detail. The scope of this task is reflected in the length of the
book (longer than I’d like). It is my hope that in spite of this, readers can
find the chapters that provide most what they are after. For scholars inter-
ested in debates about games effect on players, Chaps. 2 and 3. For mem-
bers of the game development community—Chaps. 4, 5, and 6 in particular
may help provide a concrete sense of the scope of the industry’s emissions
and why it is so important to do something about them. For scholars
interested in the materiality of media, Chap. 7 may hopefully offer new
details into the actual stuff and workings of computation, and provide new
avenues of investigation for mapping and analyzing high tech devices that
rely on the same sorts of computational machinery as games hardware.
While most of the chapters can be read on their own, there is also a
broader argument that stretches across the arc of the book about the
necessity of concrete action on the emissions intensity of the games indus-
try today and why (and how) that must be our top priority. It is my firm
belief that an industry-wide commitment to carbon neutrality is utterly
essential. Anything less than that is simply insufficient. Before we get to
that discussion, however, it is important to get a sense of how and why
games are not innocent when it comes to the climate crisis—where their
industrial and material outputs are plugged into the same global systems
using up the earth. We also need to understand and locate the causes of
the climate crisis, before we can begin our search for adequate and appro-
priate remedies.
Costly Diversions
The games that we have been playing, for all the innocent pleasures they
may bring, are profoundly entangled with the global processes that are
fueling and deepening the climate crisis. Games are played on hardware
that is energy intense and generative of significant ecological harms, both
at the time of use and over a device’s lifecycle. Made from minerals dug
out of the ground using fossil fuels, packaged in plastics derived from pet-
rochemicals, designed and assembled often under intense labour condi-
tions, and finally shipped around the world as part of global supply chains
producing value for shareholders. Each of these are processes that are
6 B. J. ABRAHAM