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Nevertheless, the nature of videogames as a primarily commercial product has presented some issues to museums, particularly if the aim is to preserve the game in playable form.

Today, game studies are established as a discipline in universities, and new institutions and projects have joined the preservation efforts.

Academic journals started to explore videogames, and preservation efforts, previously restricted to fan initiatives, began to be undertaken in institutions such as the Computerspielemuseum in Germany and The Strong in the USA. During the early 2000s, we started to see a growing acceptance of videogames as a cultural product and not merely as a toy. Videogames are the most successful entertainment industry today, but before they entered the “mainstream”, they were targeted at children and addressed by the traditional media as a bad influence. Hence the worlds created by Amanita Design seem to be the answer to the dominant hyper-realistic aesthetics of mainstream games. The new reality, however radically anti-realistic, does not try to pretend to be something else than itself.

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Every time they set a spatially complex structure in the two-dimensional environment of the game, it manages, despite its fantastic nature, to maintain its full integrity. The creators base their technique on a deconstruction of one reality, and at the same time they build entirely new worlds. Such refined structure of virtual assemblage seems to escape the concept of simulacrum. The structure of these game cluster spaces is built not only from material artefacts of human culture but also from the elements of nature. These examples are particularly interesting as the artistic technique in this case goes beyond the aesthetic aspects (visual art and music) and the narration, and actively informs the gameplay. This paper will show how the collage technique actively influences the structure of Amanita Designs’ games, such as Samorost series, Botanicula, Machinarium. The paper identifies and analyses the various dimensions that make FIFA a service that has allowed the franchise to create a near monopoly in the simulated football/soccer genre. By close reading streams of players of the game, formally analyzing the last five iterations of theFIFA franchise and then juxtaposing the two frames to examine FIFA as a hybrid cross-media product/service, this paper looks at the various non-play related elements that make it successful. This paper uses a multipronged approach to identify and analyze the various dimensions that has enabled FIFA as a franchise to create a near monopoly in the simulated football/soccer genre. It begins by comparing review scores of the last eleven iterations of the two franchises and then uses a multi-pronged approach to identify the various dimensions that allow FIFA to thrive as a game despite offering a comparatively poor gameplay experience to its players. This article aims to analyze the success of FIFA and the decline of PES in the last decade when reviewers of games and industry observers have repeatedly found PES to be the better game. In the pursuit of digitally recreating the magic from the football pitch, the two titles have garnered extremely loyal fanbases that include some fans whose gaming practices are limited to playing just one of these games. A rivalry that begun in 1995, the last 24 years have seen the games modify, adapt and transform the way sports simulators are made.

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Simulating the world’s most popular sport is big business and the most popular titles in the industry are Electronic Arts’ FIFA (2015-2019) franchise and Konami’s Pro Evolution Soccer (PES) (2015-2019).

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