ABSTRACT
An essential feature of work within the sociology of childhood paradigm is to view children as competent actors in their own right (James et al., 1998), and thereby producers of culture (e.g. Corsaro 1997). From this point of view, the present text discusses how children’s digital gaming cultures are produced and sustained. In order to do this, focus is placed on: who is playing, where this takes place and how the game playing is accomplished.
