Digital Death: The Failures, Struggles and Discourses of the Social Media Spectacle

Celebrities have always capitalized upon various media to give voice and substance to their own mute causes. From Live Aid to PBS fundraisers, they have utilized their public personae to support the downtrodden, sick and underprivileged. However, in December of 2010, when Alicia Keys and over a dozen other celebrities banded together to raise money for World AIDS Day by eradicating their Twitter and other social media profiles, their much-hyped campaign to raise one million dollars fell short of its goal by nearly half. This paper explores the discourses surrounding the Digital Death Pseudo-Event, and the effects of the disjuncture between the real and digital self when the Celebrity Spectacle is moved from traditional media to the social sphere. Consumer awareness of that gulf ultimately precluded the Digital Death campaign\u27s ability to succeed, not only as a fundraiser, but also as a media spectacle. Ultimately, such revelations point to the inherent natures of social media to promote a certain type of celebrity spectacle that does not conform uniformly to the celebrity of traditional media

Play The News: Fun and Games in Digital Journalism

More than ever before we’re consuming news in strange contexts; mixed into a stream of holiday photos on Facebook, alongside comedians’ quips on twitter; between Candy Crush and transit directions on our smartphones. In this environment designers can take liberties with the form of the news package and the ways that audiences can interact. But it’s not just users who are invited to experiment with their news: in newsrooms and product development departments, developers and journalists are adopting play as design and authoring process. Maxwell Foxman‘s new Tow Center report, Play The News: Fun and Games in Digital Journalism is a comprehensive documentation of this world

Playing with Virtual Reality: Early Adopters of Commercial Immersive Technology

This dissertation examines early adopters of mass-marketed Virtual Reality (VR), as well as other immersive technologies, and the playful processes by which they incorporate the devices into their lives within New York City. Starting in 2016, relatively inexpensive head-mounted displays (HMDs) began to be manufactured and distributed by leaders in the game and information technology industries. However, even before these releases, developers and content creators were testing the devices through “development kits.” These de facto early adopters, who are distinctly commercially-oriented, acted as a launching point for the dissertation to scrutinize how, why and in what ways digital technologies spread to the wider public. Taking a multimethod approach that combines semi-structured interviews, two years of participant observation, media discourse analysis and autoethnography, the dissertation details a moment in the diffusion of an innovation and how publicity, social forces and industry influence adoption. This includes studying the media ecosystem which promotes and sustains VR, the role of New York City in framing opportunities and barriers for new users, and a description of meetups as important communities where devotees congregate. With Game Studies as a backdrop for analysis, the dissertation posits that the blurry relationship between labor and play held by most enthusiasts sustains the process of VR adoption. Their “playbor” colors not only the rhetoric and the focus of meetups, but also the activities, designs, and, most importantly, the financial and personal expenditures they put forth. Ultimately, play shapes the system of production by which adopters of commercial VR are introduced to the technology and, eventually, weave it into their lives. Situating play at the center of this system highlights that the assimilation of digital media is in part an embodied and irrational experience. It also suggests new models by which future innovations will spread to the public

Ramon Lobato, Netflix Nations: The Geography of Digital Distribution

4 page

Lessons for Journalists from Virtual Worlds

57 pagesIn the darkest days of the covid-19 pandemic, as many people figured out how to work and live in isolation, they turned to various virtual worlds and spaces for comfort. From games like Animal Crossing to Zoom, the popularity of communing and communicating both virtually and synchronously skyrocketed and persists in “post pandemic” life. Everything from conferences to the rising concept of the “metaverse” connects to virtual worlds. At the same time, the pandemic was merely tinder for a fire that has been flickering in digital gaming for decades. Almost twenty years earlier, news outlets like CNN and Reuters set up bureaus in Second Life and experimented with virtual-reality (VR) content. While concepts like the metaverse are positioned as future technology, virtual worlds are already widely available. Given this reality, how should journalists write about them, or even use them, in the present? This report takes a first step in answering this question. After providing a brief history, it defines virtual worlds as online and digital spaces of implied vast size in which users congregate, mostly synchronously. Approximations of virtual worlds can be found in online gaming, VR, and livestreaming platforms like Twitch, all of which cater to hundreds of thousands of concurrent users, if not more, at any given time. Using the pandemic as the launching point for research, the report then analyzes 379 articles that reflect journalists’ current and shifting views about virtual worlds. Animal Crossing, Twitch, and VR technology represent three archetypal cases. An inductive analysis of key themes is followed by semistructured interviews with twenty-one journalists who wrote about the subject. These interviews support specific lessons writers can take in how to approach virtual worlds from a journalistic viewpoint, as well as the opportunities and drawbacks of using them as tools

United We Stand: Platforms, Tools and Innovation With the Unity Game Engine

10 pagesThe skirmish between game engines Unity and Unreal presents a new front in the platformization of cultural production. This article argues that such programs are “platform tools.” They enable amateurs and professionals to not only build content for platforms but also “lock-in” industry ideologies in the ideation, production, implementation, and distribution of digital creative work, resulting in a homogeneity of developers, practices, and products. The Unity engine’s history, features, and place in the game production pipeline makes it a paradigmatic “platform tool.” Findings from 90 interviews with VR enthusiasts show that Unity set the boundaries or “rules” for developers’ everyday activities and, despite enthusiasm about the medium’s potential, compelled them to create content which conformed to popular gaming genres and standards

Punctuated Play: Revealing the Roots of Gamification

18 pagesEven at the apex of its hype cycle in the 2010s, game studies scholars and designers derided gamification. This article first explores why gamification inspired such vitriol. It finds the incursion of non-game corporations and entities into the field was a threat to those who fought so ardently to legitimize the profession and promote a more playful or ludic 21st century. The article then delves deeper into the literature of play to redefine what occurs when a player engages with a gamified app, such as the social media application Foursquare. It rescripts their activity as ‘punctuated play’, or when the competition, conflict, glory, and other aspects of traditional play pierce a moment but do not necessarily define it

Between a Rock and a Hard Place: Games Coverage and its Network of Ambivalences

It's as tough a time as ever for game critics, who seem to be stuck between a rock and a hard place—an industry that acts as gatekeepers to most of the information they cover and an increasingly combative readership. Because of these tensions, an exploratory study was conducted first of the emergence of game criticism and the historical role of critics in creating the conception of gamer identity and, second, the effect of that identity on critics’ self-perception of their profession. We find that throughout the late 1980s and the end of the 20th century the game press was complicit in reinforcing the notion of the hardcore, primarily male “gamer,” while at the same time wrestling with their role as mediators between the industry and audience to which they were beholden. Through a subsequent study of articles and public meta-criticism by prominent figures in the field, we describe a network of ambivalences over the basic elements of their practice—particularly style, content, and format—as well as what motivates their daily work. In order to cope with these ambivalences, game critics, in recommending changes to their craft, rely not on the occupational ideology—or a common set of shared professional values—but instead their personal background and ancillary careers. Finally, after reviewing this network of ambivalences and its effect on games writing, we suggest critics make efforts toward establishing a common critical authority for their field, particularly as their occupation enters the mainstream

Brain-training Games: Play as a Tool for Cognitive Enhancement

4 page

Book Piracy As Peer Preservation

In describing the people, books, and technologies behind one of the largest “shadow” libraries in the world, we find a tension between the dynamics of sharing and preservation. The paper proceeds to contextualize contemporary book piracy historically, challenging accepted theories of peer production. Through a close analysis of one digital library’s system architecture, software and community, we assert that the activities cultivated by its members are closer to that of conservationists of the public libraries movement, with the goal of preserving rather than mass distributing their collected material. Unlike common peer production models emphasis is placed on the expertise of its members as digital preservations, as well as the absorption of digital repositories. Additionally, we highlight issues that arise from their particular form of distributed architecture and community