Circuit of Culture: The Rise of Miniclip Flash Games

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Circuit of Culture:

An exploration of Miniclip.com through the lens of production, consumption, identity, representation, and regulation.

Introduction:

Miniclip was, at one point, one of the world’s largest publishers of online flash games. For many first adapters of online games, Miniclip was their introduction to massive multiplayer games such as Runescape or Club Penguin and it was the only place they could find exclusive titles such as Raft Wars and Robot Rage. While it was one of the first websites for flash games and dominated the industry for over 21 years, Miniclip today only has 2 original flash games left. They arguably dominated the gaming market but made the decision to remove all their original games and pursue the mobile gaming space. But why would Miniclip, who dominated the gaming industry for so long and had a multi-billion-dollar success, decide to make such a drastic change?

Origin:

In 2001, in a small apartment in London, England, by Robert Small and Tihan Presbie who were recent college graduates. It was initially launched as a small website hosting a handful of flash games. Both Small and Presbie were avid gamers who saw this website as an opportunity to create a platform where people could play games online for free. Like many of the most popular websites of this time, including Napster, free and efficient platforms encouraged people to flock to the website which would open other doors to make profit. They started with a limited budget of £40,000, but their commitment to providing free, high-quality content quickly paid off.

Mobile Gaming Revolution:

Starting around 2010, Miniclip began exploring options to expand into the mobile gaming market. The company developed mobile versions of its most popular flash games, and also started publishing original mobile titles that were just as prominent. This decision proved to pay off and be highly successful, as Miniclip’s games became incredibly popular on smartphones and tablets. Games such as Bloons Tower Defense, Plague Inc, Berry Rush, Mini Militia, and Golf Battle rose to the tops of charts for mobile games, becoming some of the most downloaded games of its time.

Today

Miniclip is one of the most successful and influential gaming companies in the world, but not online. Their entire fanbase resides entirely on the mobile gaming platform, while their once world renown website is all but gone. In 2015, Miniclip was acquired by the Chinese technology giant Tencent for $1.5 billion. From this acquisition, Miniclip was able to expand even further and develop more innovative games. Now, with over 1 billion registered users and a gaming presence in 195 countries, Miniclip games are enjoyed by people of all ages and backgrounds. Even today the company continues to innovate and push boundaries of flash gaming (also called casual gaming today) in its commitment to providing high quality, engaging experiences.

Production refers to the processes involved in creating a cultural product. This can take any form and is typically seen as books, films, websites, music, and fashion. This stage usually involves the combined work of artists, designers, producers, and developers.

During the first years of Miniclip, the website resembled much of the rest of the early internet. The website had a few games that users could play and the vast majority of the content resided on the home page. The platform was known for producing a plethora of original flash games and providing access to other exceptional games. Over time, the website expanded, finding new and creative ways to display featured games and allow users a quick way to access their favorite titles. It created a unique portfolio that attracted a global audience. The production process involved collaboration with independent, third-party developers as well as Miniclip’s own game producers. This collaboration generated a diverse range of gaming experiences to provide to its audience.

The shift to mobile gaming saw a change in Miniclip’s production strategy. While the company has continued to adapt and transform flash games for phones, it has also extensively worked to create original titles. The production process expanded to also focus on optimizing games for mobile interfaces, ensuring a seamless transition from the web to handheld devices.

CONSUMPTION

Consumption is focused on how it involves audiences, consumers, viewers, or any other person receiving the product. It is interested in how the end user engages and interprets the cultural product. Consumption also looks into how individuals make meaning from cultural texts and how they incorporate these given meanings.

As seen by their success, the evolution of Miniclip’s consumption patterns mirrors the broader trends in the gaming industry. In its website game era, Miniclip attracted millions of daily players, with quick, simple games it encouraged regular players to continue coming back and made it easy for new players to navigate the website to explore for themselves. This combination fostered a unique culture of online gaming enthusiasts. The consumption experience was centered around web browsers, with users engaging with games directly on the Miniclip website.

The transition to mobile gaming brought a shift in consumption habits. Users now on phones and tablets engage with Miniclip’s games differently than its previous website users. No longer is it a keyboard and mouse, but now buttons on the screen and gyroscopes within the devices; this has greatly altered the dynamics of user interaction. The consumption experience became more personalized, with players downloading and playing games on the go, reflecting the mobile-centric nature of contemporary gaming.

IDENTITY

Identity is about how individuals and groups define themselves as well as how they may be defined by outsiders within a cultural context. It can take on many forms and is actively constructed depending on cultural processes. Media portrayals, language use, and symbolic meaning can all play a crucial role in how something is identified. It is not only personal but dependent on the collective as well; it involves how the individual interacts with groups and communities. All that is to say, it concerns how oneself and others perceive something to be.

The identity of Miniclip has also transformed significantly from its early days as a hub for flash games to its current status as a mobile game industry giant. In the beginning of Miniclip, the gaming website provided a space for individuals to explore a wide array of genres such as action, adventure, puzzle, sports, and strategy. The platform also fosters a unique sense of community within its players. Starting in 2004, Miniclip added multiplayer games that allowed players from across the world to team up or play against one another in a wide variety of different games. They enabled a chat function in some games so that players could communicate with their teammates or even opponents. This fostered a great sense of community within the game as the multiplayer list of games grew rapidly inviting more and more people to play online with others. The platform’s identity was intertwined with the diversity of games it hosted, appealing to a very broad audience of every age, gender, and ethnicity. Even more than that, Miniclip added an “avatar” feature on the website that became prominent in 2009. This avatar was customizable, allowing players to change looks and “upgrade” clothing over time by playing games to earn Miniclip coins. These coins could also be used to redeem avatar pets that would be displayed with the character that other players could see. Many games on the platform had achievements meant for players to unlock which would also provide Miniclip coins. Not only did this achievement system encourage players to keep coming back to the website, but to also stay longer and keep working to unlock more avatar features. If they wanted instant gratification, players could always just buy coins for US dollars.

*Miniclip 2004 and 2009 pictured on the left*

With the move to mobile gaming, Miniclip’s identity has shifted towards a more streamlined and cohesive style of gaming experience. The brand became synonymous with many successful gaming titles, both multiplayer and single player. It emphasizes the accessibility of mobile gaming on the go and continues to engage a multitude of different players. The identity of Miniclip today is rooted in its mobile gaming success, reflecting on the wise decision of the founders to move the platform to other forms of media reflecting the changing landscape of gaming preferences.

REPRESENTATION

Representation refers to how the meaning of an object is created and communicated, especially through visuals. Language, images, symbols, and signs all convey different context and can be used together to deliver a specific feeling or idea to the viewer. It involves the production of cultural texts and the ways in which these texts represent and construct meaning.

In regard to representation, Miniclip has undergone a profound transformation over time. Originally celebrated for having a few free simple flash games, it transformed into a diverse range of casual games representing a melting pot of gaming genres, themes, and artistic styles. The visuals, language, and symbols employed in Miniclip games convey a very unique identity.

However, with the shift to mobile gaming, Miniclip’s representation has evolved since 2010. The platform’s mobile games showcase a brand-new aesthetic and design approach tailored for handheld devices. The shift was not just technological but also cultural, as Miniclip adapted its representation to align with the preferences of the mobile gaming audiences.

REGULATION

Regulation focuses on the social and institutional rules that govern the production, distribution, and consumption of cultural products. Some aspects involving consumption include the legal framework, industry standards, and cultural policies. It is crucial that platforms stay up to date with regulations as they can be ever evolving as the internet changes.

Regulation plays a crucial role in shaping the Miniclip platform. Operations have to look at the legality, policies, and standards in order to create a long standing gaming tradition. In its early years, the platform navigated the evolving landscape of online gaming regulations, adapting to legal requirements and industry norms to ensure a seamless user experience. As we can see in the early days of Miniclip, games could be more crude as seen in the flash game “Britney Brawl” which was a game in which players could chose to be Bill Clinton or Britney Spears in a fighting ring and “battle it out using their special moves”. Over time, the platform has stopped using celebrities for their likeness and has since chosen to use original characters for games due to regulations and societal norms.

The mobile game revolution brought out a brand new set of regulatory challenges, especially regarding privacy. There were also concerns regarding in-app purchases and adherence to regional gaming laws that would change based on where a player is around the world. Miniclip’s success is partly due to its ability to navigate through global laws and policies; this is evident through its ability to expand globally and maintain a presence in 195 countries. The platform’s commitment to regulatory compliance has been integral to its sustained success over the decades.

Sources:

Xu, Zhiguang, and Joe Mayer. “Teaching critical thinking and problem-solving skills through online puzzles and games.” (2007):

Explores the production and consumption aspects by looking at online puzzles and games as educational tools. It looks into how these tools were produced and consumed in the context of teaching critical thinking, providing insights into the educational dimension of gaming during the specified time period.

Seelow, David. “Games as Transformative Experiences for Critical Thinking, Cultural Awareness, and Deep Learning: Strategies & Resources.” (2022):

While this source is more recent, it can contribute to discussions on the evolution and history that gaming representation and the impact on critical thinking and cultural awareness. Reflects the new perspective on how games can be transformative, providing insights into the changing landscape of gaming representation and consumption.

Griffiths, Mark D., Mark NO Davies, and Darren Chappell. “Online computer gaming: a comparison of adolescent and adult gamers.” (2004):

Helps the understanding of the identity aspect of the circuit of culture by comparing the gaming habits of adolescents and adults. It provides valuable insights into how different age groups engaged with online computer gaming during the early 2000s, shedding light on the formation of gaming identities.

Hjorth, Larissa. “Games and gaming: An introduction to new media.” (2011):

Focused on the “new media landscape”, this source provides a comprehensive introduction to the cultural aspects of games and gaming, contributing to the representation aspect of the circuit of culture. It helps contextualize the broader cultural shifts in the gaming industry during the specified time period.

Fiadotau, Mikhail. “Growing old on Newgrounds: The hopes and quandaries of Flash game preservation.” (2020):

Examining the preservation of flash games on Newgrounds, a competitor of miniclip, this source directly addresses the regulation aspect of the Circuit of Culture. It discusses the challenges and hopes associated with preserving flash games, contributing to the understanding of how platforms and communities grappled with regulatory issues related to game preservation.

“FunGoPlay Partners with Gaming Leader Miniclip: The World’s First Virtual Sports Theme Park is Now Available to Miniclip’s 70 Million Game Players.” PR Newswire, Apr 26, 2012.

The press release on FunGoPlay partnering with Miniclip to introduce a virtual sports theme park to 70 million users is relevant to the circuit of culture. It showcases Miniclip’s production strategy, influencing user consumption patterns and shaping the platform’s representation as an innovative gaming leader, prompting considerations for regulatory adjustments.

Kultima, Annakaisa. “Casual game design values.” (2009):

Focusing on casual game design, this source contributes to the production aspect of the circuit of culture. It explores the values embedded in the design of casual games, showing how production decisions influenced the gaming experiences of users during the specified time period.

MacIsaac, Dan. “Sites for Teaching Newton’s Laws, Introductory Forces, and Uniform Circular Motion: Spacecraft Piloting Games.” (2004):

Concentrating on the consumption and identity aspects, this source discusses the use of games for educational purposes. It provides insights into how users consumed and engaged with games designed for teaching concepts, highlighting the intersection of gaming and education during the early 2000s.

Player Experience Team. “The evolution of Miniclip.com – Player FAQ” Miniclip Evolution FAQ: (2022):

This official Miniclip website tab addresses the production and regulation aspects of the circuit of culture by providing insights into the evolution of Miniclip.com. It offers information on the platform’s development, changes over time, user interactions, and data for analysis of Miniclip.com.


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