Read and rewrite the following passage as if you were skimming: 
Introduction
This article investigates some of the key debates that have emerged within the nascent union organising project Game Workers Unite, with a specific focus on its UK branch (GWU UK). The GWU UK branch became a part of the Independent Workers’ Union of Great Britain (IWGB) in December 2018, building ‘a worker-led, democratic organisation that represents and advocates for UK game workers’ rights’ (GWU UK, 2019) and represents one of the first and most significant examples of unionisation within the video game industry. The analysis is supported by a period of participatory observation at the local meetings of the union in London and by a series of interviews with members of the association, which took place throughout 2018 and 2019. One of the authors, Jamie Woodcock, has participated in the establishment of the union in the United Kingdom since 2018, drawing on previous examples of co-research with workers (Woodcock, 2014, 2017). This article responds to the call for this special issue of Games and Culture by identifying a series of issues that make GWU UK a relevant contribution to the arguments that Nick Dyer-Witheford and Greig de Peuter brought about in their seminal volume Games of Empire: Global Capitalism and Video Games (2009).
Firstly, we identify how GWU UK, often presented by the press and even by its participants as a breakthrough moment in the history of labour in the video game industry, should be more accurately represented as the upshot of a long series of struggles and less notorious attempts at unionising and organising collective action among game workers. The analysis of comparable examples (such as the French union Le Syndicat des Travailleurs et Travailleuses du Jeu Vidéo (STJV) is not presented with the purpose of denying Game Workers Unite (GWU) of its historical relevance. On the contrary, it serves to strengthen its significance and stress the likelihood of it continuing in its operations in the future. The national unions that work as a part of the global GWU network should not be seen as exceptional events, made up by a small number of organised volunteers. On the contrary, they provide a name and identity to a much longer and complex series of demands for better conditions of work. For this purpose, we take the case of EA Spouse as a significant example to look at in relation to the findings we have gathered while observing and participating at GWU UK. EA Spouse was one of the primary cases that Dyer-Witheford and de Peuter brought about in their volume (2009, pp. 35–68). It constitutes one of the most famous examples of demand for workers’ rights in the industry. The first section of this article draws a brief update to the history of resistance in the game industry from EA Spouse up until GWU.
Secondly, the article identifies a series of keywords to articulate the differences that GWU introduces in relation to the conditions of labour analysed in Games of Empire. More than 10 years after its publication, Games of Empire should be understood in its historical specificity. In chapter 7, ‘Games of Multitude’, the authors imagined the possibility of emancipation via independent labour, as well as other ‘politics of withdrawal’ (p. 218) via practices of ‘counterplay’ (Galloway, 2006). While participating in the meetings of GWU UK and engaging with their members, it emerged that the main issues currently faced by the organisers concern the excess of visibility and individualisation of the game worker implied in practices of independent labour and the organisation of bottom-up networks for the exchange of practices and legal advices for those working within the industry. This article concludes that the visibility and individualisation of the game worker, exacerbated through the last decade in many sectors of the creative industries, are currently challenged by GWU via strategies of opacity and collectivism. For these reasons, GWU represents a significant case study through which we can reread Games of Empire, 10 years later.