Category Archives: Research

Vines – The Forefront of Comedic Narrative Exploration

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Vines are 6 second long videos that do to YouTube’s formula what Twitter did to Facebook’s: repackage it smaller and allow for a vastly increased amount of accessibility for creation. Like Twitter’s 140 character limit, the 6 second time limit creates a restriction that promotes a community that uses their time as efficiently and smartly as possible. Instead of truly being a limiting force, this 6 second limit encourages Vine’s millions of users to do unique and intelligent things with the brief span of time that they do have, especially if one is trying to produce original content.

This limiting force is not a perfect blessing for creativity, though. There is a sizable community on Vine of users who create and recycle a distinct style of memes, en masse, with effort only in transforming the meme just enough that is received as a unique iteration. I am not saying these memes videos are undesirable or detestable by any means, but rather that the air of creativity that the limiting factor has on those making original content for Vine has an equally sizable side effect for those users who are not trying to produce original content – the format, and the fact that Vines can be shot and edited from a phone mean that it is unbelievably simple to hop on the meme-train on Vine, especially considering the memes on Vine consist mostly of soundbites or their video equivalent, timing in at one half to 3 seconds. This means that the remainder of time is even more severely limited, and can really only be used to set up a joke, with whatever meme is to be used as the punchline. This diminishes the total creativity in the system by simplifying the process by which a Vine can achieve popularity.

Vine represents, to me, the trend for digital items to be made as digestible as possible. In some ways, Vines are even more package-able than animated gifs – a gif can be more than 6 seconds, for instance – and the fact that sound is included asks the question of the creators: how much content can you shove into this tiny box? Depending on the creator, the answer ranges, but it isn’t hard to find impressive displays of organization and comedic timing if you look enough.

Who gets the kids? A digital reflection by Tanner Goldberg

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“A majority of gamers agree that “having a positive impact on society is important to me”—a full 21 percentage points higher than non-gamers.” -The New Face of Gamers

This is especially apparent in the situation of ara_gaming. This is a gaming channel that recently has gone under a change of management. Though most of the details are relatively vague, it is the general consensus that the woman who normally runs the channel has ownership of the channel and it’s associated Twitter account has lost both in a recent divorce. Many of her viewers were outraged when they tuned in to see a strange face on the screen. They demanded answers but the new woman claimed that she couldn’t share any of the details for legal reasons. The response to this was to start the hashtag aragate on twitter to try and get to the bottom of what exactly happened. A quick Twitter search for the hashtag reveals that not much has been discovered in the case, it does bring a few things to mind.

First is the fact that the Twitch community is very vocal. While this was stated in the article referenced above, I took that with more than a few grains of salt due to the fact that these statistics were requested by Twitch. But it makes sense that a community that has a core value in being the most technologically up  to date would be more than willing to be active in different social media circles. So an issue like this that directly affects the Twitch community would be a call to action that couldn’t be ignored. It is very unfortunate that there is so little reason for the people who have the answers to respond. The channel has enough popularity that it should be able to coast off of that for the forseeable future, unless there is a sudden drop in viewership, and it seems that the original channel holder is legally unable to respond. Thus the movement has come to a bit of a standstill

In addition to the questions as to what happened to the original gamer, there is also the response to the new face of the channel. While some people were content to stay and simply watch games get played, many decided that since it was no longer the original person, the channel was no longer worth watching. This begs the question of the loyalty of the individuals watching the channel. While many people watch channels for the mechanics or the strategy of the games, the personality of each channel is worth noting, and questioning. How much of the viewership of each channel is based purely on personality? Some argue that the personality is more important than the actual gameplay, examples being cited are things like the Playboy channel on Twitch (it’s real, and I only know that because of this assignment) where it doesn’t seem like gameplay is the primary focus. The same could be said for male run channels that are more about the interactions with those on the chat stream. This is not to discount either of these groups abilities as gamers or to make light of their accomplishments, but just to bring into question what makes a community on Twitch, the game or the gamer?

check it out: http://gamerant.com/twitch-streamer-loses-account-divorce-120/

Reflection: Digital Platforms-Lauren Briggs

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Digital platforms haven’t always played the same role in my life that they currently do. Before I was in ninth grade, I didn’t have a Facebook account, and I never had a MySpace or an AOL account. The Internet was mostly used in my house to do research for school projects, sometimes order things online, and occasionally play games.

Now, hardly a day goes by where I am not using the Internet, and many of the ‘platforms’ that come with it. I use Amazon to buy my textbooks for school and to purchase other things I might need or want. I use Google for research and YouTube to watch videos for class as well as for fun. I check Facebook multiple times a day, both from the desire to know what is going on with my friends and from boredom. Going online and using these platforms has become a habit for me, for better or for worse.

Without these platforms, I can easily see my life becoming drastically different. For one thing, my life would definitely become harder, simply in terms of managing everything I have to do. For example, without Amazon it would have been difficult for me to have ordered my textbooks in time for classes this semester. Also, without the Internet in general I wouldn’t be able to access many of my assignments for school. Some of this convenience is part of having a personal laptop; when my laptop broke at the beginning of the fall semester, I found it more difficult to keep up with things in general, mostly because I didn’t have access to the Internet and its platforms at my fingertips. However, I was still able to access my schoolwork on the computers at the library, and even check Facebook and Twitter through apps on my phone. While that period of time was difficult for me in that I had to schedule time to go to the library to get my work done, it also demonstrates my heavy use of social media platforms, in that I would squint at my phone in order to check on updates rather than simply going without social media for a few weeks.

This reliance isn’t something I’m proud of, but it is something that, in my opinion, has been perpetuated by the platforms addressed in the reading. With its constantly updated timeline, segment for news headlines, and options to add pictures and videos, Facebook can keep its users worried that they’re missing out on new updates from their friends. As mentioned in the readings, Amazon employs purposeful methods to keep its customers interested and to keep them coming back (“The Age of the Platform,” pages 50-55). While these methods are arguably good business tactics for Amazon, they also contribute to its users reliance on the platform in general.

I don’t necessarily wish I could go back to the time in my life before I was so connected to these platforms, and I don’t think it is practical to wish for that either. At this point, human beings will continue to be connected to and interact with the Internet and its platforms. However, I think it is important for us to be aware of the tactics used by these platforms, such as Amazon, to keep us interested, and to be able to walk away from platforms like Facebook and interact in the real world as well.

True Friends Let You Use their Netflix Account

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With the internet’s explosive use of media outlets like Netflix, Hulu, and YouTube, watching shows on the web has become more and more popular seemingly leaving television in the dust. It seems like TV is quickly becoming a thing of the past creating space for the come up of more web series. Along with the rapid progression of web series, it is becoming easier for users to get hooked due to the easy access the internet provides.  I am usually the type of person who has 2 to 3 shows I watch on television, during the summer you can often find me glued to the couch watching them during their air premier time because I usually have more time on my hands.htyt      When I go back to school I often miss a season due to the lack of availability I have with television. This past semester I found out one of my friends has a Hulu Plus account he never uses.  Being the good friend I am, I offered to watch the missing seasons of my favorite show, not even needing to turn on my TV in my dorm room.  I also have a friend who graciously pays for her Netflix account while letting me and a few others mooch off of her.  Thanks to my great friends, I really have no need to sit and watch television, because I can watch my favorite shows on my computer screen for free.  It is interesting to see the shift from television to web in my life because of its convenience and low cost.

When thinking about web series I did not really know much about them, let alone watch any.  Class time was probably one of the first times I sat down and saw a web series displayed, and I have to admit they were pretty entertaining. I found myself laughing at the jokes, and the production and format of the web series were so approachable, and the dialogue not overdone. The people on screen could have been my friends. I started to get a sense as to why they are becoming so popular; another thing brought up in class and readings was the emergence of black themed webisodes. This was allowing a meeting space for the black community to engage in topics and jokes, while also giving black actors to chance to display their talent and add diversity to this online world.  I appreciated this because I was able to see people more close to what I deal with in life, and it is always refreshing to feel like you can connect to what you’re watching, which is what I think we aim for when we watch programs.  I will definitely be looking out for webisodes and thanks to my friends, the access I have to online programming is expanding.

 

grg

 

Web series

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Web series is a different avenue in which consumers can just produce their own shows. There are several advantages to a Web series such as being short and sweet, bringing concepts to the table that other shows don’t and leeway. In the several Web series that we touched upon in class all have similar aspects. The couple and the guild are both fairly short and seemed to have a flexible script. Youtube can provide those with enough views to be paid for them being such a hit but they also make their own shows. I think it is evident when Youtube makes a web series because of the advertisements and their choice un topics. It is hard to distinguish between a web series and shows that were made from Netflix or Amazon. Web series allow a freedom of expression and can sometimes take off such as shows like Awkward Black Girl and the Couple. Some people even start out as a character on a web series and get chosen to appear in a tv show. There’s certain characteristics that web series have that differs from a regular show such as direct address. Some arbitrary shows do this like the show House of Cards has this characteristic where they speak to the audience and that they are aware that they are a show. In a usual show where the music is important for dramatic affect, web series do not really depend on music, they depend on the context. It is obvious most web series are low budget but that adds to the relatable aspect of web series. Since they look like they’re in regular houses and a very colloquial script it is more relatable and seemed more realistic than most shows on TV. The life style of TV is diminishing and a new era of television is taking over such as Netflix and web series where the consumer gets to choose what they want to watch and we have a voice. The new platforms are breaking down the old conventions of TV and reinventing the image of tv. TV-is-Dead

GAMES

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I grew up as a video game viewer, so the concept of watching game-plays online was never strange to me. It was as close to gaming as I could get as a kid because I wasn’t allowed to purchase any games as a girl. It wasn’t until my sister and I got the Nintendo SP that we owned a couple of games. In all these games what really made itself known was that all the characters you played were male and had some sort of female love interest. You grew up used to that because, whatever, you just wanted to play the game! The representation was always an internal thought, never had anyone to point out the lack of diversity. It did confuse me why Japanese games often portrayed non-Asian looking characters the most infamous being: Mario and Luigi who were Italian Plumbers made by Nintendo. Brain games and puzzles became my preference than video games, but because gaming culture started growing and consoles were being released constantly and every kid had some sort of it was hard to ignore. When internet came along with AOL around middle school the stereotype of games started becoming a hot topic. I think I started becoming aware and asking things like why don’t they start making games about other people, or why do women only get portrayed with big boob and curves? It seemed very unrealistic and probably helped me forget wanting to play console games. I took to apps and CD-rom game which were aimed to a younger audience and those were enough. They were usually cartoon characters like Power-puff Girls or one of those academic learning games. To read other people’s experiences and concerns was like a weight I never knew about, being lifted. It really brought itself to my attention and I became motivated in read up on the topic even further. I never considered being a Cooking Mama or Candy Crush players to be gamers but now my definition of gaming as truly changed. I was encouraged to see only MMORPGs to be the only “legit” gamers, but I reached my aha! moment when I realize at it’s most basic: gaming is gaming. If someone wants to identify as a gamer based off their apps so be it!!!!!

I don’t think companies should ignore their demographics. Instead, they should speak to them, get to know who their customers are and see how their games can be improved. There’s no harm in at least initiating contact because on the topic of representation it’s clear to see that the main characters are white, able-bodied, cis-gendered and typically straight (assuming the female love interests indicate anything). We as consumers need to make companies accountable for the content they release because while it may not seem evident we are a support system for them by buying their products. If there are diverse people in the real world then there is no question about representing us or allowing us to choose how we are represented. WHo decided that white, built men was something to program by default? If they can create such a character, what difference does a person color or transgender character make in terms of workload? The cyber, pixellated world is a place of creation and should be made by us for us.

Missing Gamer Girls

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Thinking about representations across video games, not much came to mind. I don’t really play video games and on the rare occasion that I do, I like to stick to racing games where I embarrassingly enough don’t know what buttons on the control do, and spend most of the time spinning out of control in the wrong direction ( no judgement). What I do remember from my younger years as kid watching all the boys hog the TV, was the fact that they never wanted to let the girls play. It would take a lot of begging for a turn and when they did let us play, it would be one round only and then back to the boys, because “they knew what they were doing”. Thinking back on those moments I realized that the idea of a “boys only” world within video games is something that is programmed into our minds from a young age. Early on gender associations are assigned and video games become something off limits for girls, and on the occasion that they do play well it is never better than the boys.

As the demographic of players get older, and females who stuck to playing despite the already biased idea of a boys only zone try to find female characters that do not embody a stereotypical weak representation, it becomes something hard to come across compared to male characters. Going through the articles it was interesting to read that in the Williams piece the most common portrayal for females and characters was the complete absence of females within games, and when represented they are often oversexualized and victimized. This idea of the absence of female characters resonated as well with the claim made that the absence of images in media, creates certain impressions on readers. If they do not see themselves represented they begin to reflect those same ideas within society.  If females or minorities for that fact do not see themselves in the very games they play, then the idea of becoming game creators or engaging in math and computer skills to get there becomes a far fetched impossible concept. This further aids in continuing the lack of diversity in games because those who represent the very concept daily in the world, are rendered invisible by the gaming community.

 

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Not Even the Nerds are Safe…

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The problems presenting video games today (well, always, but especially noticeable today because of events like GamerGate) are prevalent in a lot of nerd culture and popular media, namely gatekeeping, misogyny, racism, and representation, all of which are interconnected. Video games and comic books have a reputation as a safe spaces for misfits and weirdos. The twiggy nerd may not be able to throw a spiral for his life, but he can sure as hell verbally kick the jock’s ass in klingon, elvish, or aurebesh. Problems develop, though, with this new standard for elitism, and just as these men were rejected from mainstream popularity, they reject those who do not fit the perception of a Nerd. We live in heterosexist white patriarchy, so of course that prescribed character is a straight white man. This is the image that sticks with advertisers and gaming companies, so they come to believe that is who they can sell games to, and so the vicious cycle continues. Games are marketed to this demographic, and the assumption is that only certain types of games will sell, typically hypersexual and violent games. You can see this as far back as 1982 with 8-bit bullshit like “Custer’s Revenge,” where you play as a naked sprite of General Custer whose goal is to rape a Native American woman, and even today (to a lesser, or at least more censored extent) with games like Grand Theft Auto (the creators originally wanted to show explicit sexual encounters, but this was censored). Another consequence of this is that it affects what characters are playable in games, and what kind of characterizations they get. As Gail Simone says about the fridge-stuffing of female characters, “If you demolish most of the characters girls like, then girls won’t read comics. That’s it!” But the data tells us that this representation of the average gamer is far from accurate! Women and people of color play games, and as the Gray piece suggests, they are done putting up with the treatment they are getting. Something that really stood out to me in that article was the particular type of the griefing that occurs with posting stories of abuse on XBox Live forums:

“Well they usually delete the forums as soon as they’re posted.

Mzmygrane: Why is that?

MissUnique: Because, and I quote, we are violating terms of service. Talking about gender and race may incite racism and sexism they claim.”

This is so gross and so typical that one would really think we would be beyond this. We can’t talk about these issues because it might invite abuse? The blame is put on the victims of sexism and racism and they are punished for trying to have a conversation about it. As long racist and sexist gamers are able to continue on without criticism, the very existence of these women is “inciting” abuse.

Personally, I don’t game much. I’ll play SSB Brawl with friends or Dragon Age when I’m with a friend who loves the series. Here was her pitch: Tasha trying to get my interested in dragon age (/how anyone gets me interested in anything)

If I did play, I would absolutely fear the abuse of defensive, suspicious misogynists. But I think the numbers are indicative of a promise for positive change. There is an audience waiting if you make games for them, and indie developers and crowdfunding offer a unique chance for these games to get made.

Key Term: Game Mechanics

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Game mechanics are a distinct set of rules or methods that design the outcome of interactions within the game, thus providing gameplay. There is an input, a process and an output. Game mechanics also involves the the users response to collections of these mechanics.

pp0013-game-mechanics-101

“The term ‘game mechanic’ doesn’t appear in the piece but it underlies the argument throughout, explaining how points that a player can spend on advantages like ‘talent,’ ‘wealth,’ ‘charisma,’ and ‘intelligence’ are distributed by ‘the computer,’ and that players must ‘deal with them,’ just like they must in real life. This argument makes racism and sexism seem socially neutral, mechanical, structural, and not a personal act of aggression or oppression perpetrated upon one peron by another.” -Lisa Nakamura

  • Game mechanics allows gamers to understand the gaming world as constructed
  • Nothing should be taken personally
  • Many male gamers cannot tolerate the feeling of being blamed for their privilege
  • Game mechanics allows them to not view themselves as privileged, and therefore blameless

“Explaining race and gender as a structural advantage, an aspect of a made environment that was designed to reward some types and punish others, lets white male readers hold themselves blameless for their own advantages.”

maslows-hierachy-of-needs-game-mechanics

Walking Outside the Walls

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(of Google and other New Media Paradigms in Race, Gender and New Media)

The irony of this class for me is that I signed up with the narrow-minded goal of developing career-oriented technological skills. I expected these to include audio and video-editing, and the production and presentation of online content. Broader, more humanistic goals like developing digital literacy also occurred to me, but were simply items on a list, the kind of which you might find (and which I actually did plan to include) on a resume. The irony, of course, is that my original mode of thinking is what digital literacy seeks to problematize and expose to critical debate. Therefore, this class became, not a covetous, last-chance-before-I-graduate dip into a vocational skills bag, but rather a reflection on my relationship to technology, education, race, and gender.

Speaking of which, my most important takeaway has been a realization of my own privileged relationship to technology, and an awareness of how people with less privilege relate to technology in their lives. Essentially, by virtue of my race, class, and gender privilege, as well as my privileged access to education, I experience most of technology’s good side while being spared most of the bad. For instance, while I still have cause to be concerned about companies like Google tracking my data, for the present I am more likely to feel the effects of that practice in the form of more personalized and convenient web-searches, than in the form of data-packet discrimination based on perceived purchasing power. In general, I now have a much more concrete sense of how exploitation occurs in technology-mediated spaces–the gist being that traditional inequalities and prejudices are perpetuated.

This last point has had a major affect on how I’ve come to view New Media and the rhetoric surrounding it. Public conversation is saturated with uncritical and fawning messages about how “revolutionary” technology has become. Of course, they mean “revolutionary” in the PR sense of the word, in which the implied change is really only a new facade for old relationships of power–like new forms of consumerism, for instance. Basically, new media technologies (and the cultures growing around them) have so far been a disruptive force, but they have not been revolutionary. They do hint at the potential for big changes, and positive ones too, but those won’t just come about by themselves. The technologies of the internet, like automobiles and airplanes before them, are neither inherently good or bad, so they don’t only create either good or bad changes; they just make change. Right now we have an opportunity to direct the transformative power of New Media with a little more foresight and productivity than, say, we did with automobiles, and we should take advantage of it.