{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,3,31]],"date-time":"2026-03-31T08:03:33Z","timestamp":1774944213093,"version":"3.50.1"},"reference-count":46,"publisher":"SAGE Publications","issue":"5","license":[{"start":{"date-parts":[[2017,6,5]],"date-time":"2017-06-05T00:00:00Z","timestamp":1496620800000},"content-version":"tdm","delay-in-days":0,"URL":"https:\/\/journals.sagepub.com\/page\/policies\/text-and-data-mining-license"}],"funder":[{"DOI":"10.13039\/501100000155","name":"Social Sciences and Humanities Research Council of Canada","doi-asserted-by":"publisher","award":["430-2016-01014"],"award-info":[{"award-number":["430-2016-01014"]}],"id":[{"id":"10.13039\/501100000155","id-type":"DOI","asserted-by":"publisher"}]},{"DOI":"10.13039\/501100000155","name":"Social Sciences and Humanities Research Council of Canada","doi-asserted-by":"publisher","award":["756-2015-0414"],"award-info":[{"award-number":["756-2015-0414"]}],"id":[{"id":"10.13039\/501100000155","id-type":"DOI","asserted-by":"publisher"}]},{"DOI":"10.13039\/501100000155","name":"Social Sciences and Humanities Research Council of Canada","doi-asserted-by":"publisher","award":["895-2011-0068"],"award-info":[{"award-number":["895-2011-0068"]}],"id":[{"id":"10.13039\/501100000155","id-type":"DOI","asserted-by":"publisher"}]},{"DOI":"10.13039\/501100000155","name":"Social Sciences and Humanities Research Council of Canada","doi-asserted-by":"publisher","award":["895-2015-1005"],"award-info":[{"award-number":["895-2015-1005"]}],"id":[{"id":"10.13039\/501100000155","id-type":"DOI","asserted-by":"publisher"}]}],"content-domain":{"domain":["journals.sagepub.com"],"crossmark-restriction":true},"short-container-title":["New Media &amp; Society"],"published-print":{"date-parts":[[2018,5]]},"abstract":"<jats:p>This article considers the history, practices and impact of the Indie Megabooth and its founders in terms of their role as a \u2018cultural intermediary\u2019 in promoting and supporting independent or \u2018indie\u2019 game development. The Megabooth is a crucial broker, gatekeeper and orchestrator of not only perceptions of and markets for indie games but also the socio-material possibility of indie game making itself. In its highly publicized outward-facing role, the Megabooth ascribes legitimacy and value to specific games and developers, but its behind-the-scenes logistical and brokerage activities are of equal if not greater importance. The Megabooth mediates between a diverse set of actors and stakeholders with multiple (often conflicting) needs and goals and in doing so helps constitute the field of production, distribution, reception and consumption for indie games. \u2018Indie-ness\u2019 and independence are actively performed in and through intermediaries such as the Megabooth.<\/jats:p>","DOI":"10.1177\/1461444817711403","type":"journal-article","created":{"date-parts":[[2017,6,5]],"date-time":"2017-06-05T10:37:36Z","timestamp":1496659056000},"page":"1953-1972","update-policy":"https:\/\/doi.org\/10.1177\/sage-journals-update-policy","source":"Crossref","is-referenced-by-count":61,"title":["Megabooth: The cultural intermediation of indie games"],"prefix":"10.1177","volume":"20","author":[{"given":"Felan","family":"Parker","sequence":"first","affiliation":[{"name":"Concordia University, Canada"}]},{"given":"Jennifer R","family":"Whitson","sequence":"additional","affiliation":[{"name":"University of Waterloo, Canada"}]},{"given":"Bart","family":"Simon","sequence":"additional","affiliation":[{"name":"Concordia University, Canada"}]}],"member":"179","published-online":{"date-parts":[[2017,6,5]]},"reference":[{"key":"bibr1-1461444817711403","doi-asserted-by":"publisher","DOI":"10.1080\/10714421.2015.996401"},{"key":"bibr2-1461444817711403","unstructured":"Bliss L (2016) How \u2018maintainers\u2019, not \u2018innovators\u2019, make the world turn. 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