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A Study of Machinima's Productions Within Educational Use

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A Study of Machinima's Productions Within Educational Use THE SIMS: A STUDY OF MACHINIMA'S PRODUCTIONS WITHIN EDUCATIONAL USE K. Schiavon UNICAMP - University of Campinas (BRAZIL) Abstract This research focuses on fan culture, specifically on their role within the Web 2.0 and the Convergence Culture, knowing that today it is possible to frame the fans as producers, since they are not only receivers, but ‘produsers’. They comment, like, distribute and remix inside the network, based on a new ethos, which makes fans seek new ways of acting on the Internet, with new technologies, being mainly collaborative and participative actors. As a result, they produce different genres through new literacies. Thus the choice of The Sims (a simulation game) fandom, the most successful game franchise of all time. Towards an understanding of how its fan community is characterized and works cooperatively, the choice was to analyze which objects and products are mostly used (and those that are most prominent and top rated) to map it. From this, it ended up focusing mainly on fan productions in Machinima (a digital genre consisting of a 3D animation made up by the game's own mods and resources), as these viddings are the most produced within the community. Consequently, it is made for different purposes and goals in a fandom, having multisemiotic layers (such as linguistics, music, imagery, etc.), gathered into an end product through the practices of new media technologies (eg. music and video edition). From Machinima, are produced videoclips, web-series, contests / reality-shows, among others. Therefore, it focused on 5 different Machinima's genres to create its analysis methodology that can be used and inserted in a classroom context, helping both teachers and students to understand and recognize different types of video and even produce it. To create this methodology, the discursive genre and its tools were analyzed, along with the chronotope of each construct, the evaluative appreciation and polyphony, amplifying the comprehensiveness of the conceptual tools elaborated by the Bakhtinian Circle. Hence, the research is important to broaden the academic studies of this kind of cultural practice, taking a closer look at the relationship between fandom, media, convergence and multiliteracy. It is also relevant to think of the student inserted in the context of Web 2.0, which is more participatory, collaborative and bring their reality closer to the school's. In addition, the research seeks to recognize students as fans who can produce videos of their choice inside the classroom as Machinima's potential within schools is multidisciplinary. Keywords: Machinima, The Sims, Convergence, Linguistics, Education, Technology. 1 INTRODUCTION In 2014, Raony Philips launched the pilot episode of the ‘Girls in the House’ brazilian web-series in his youtube channel RaoTV. After two years of its release, the series had gone viral and received even more commentary than well known series on the Netflix platform, reaching almost 7 million subscribers and 160 million views. The web series gained its fame by a particular type of production: the characters, scenery, and all other elements were vastly made inside a simulation game called The Sims. Raony creates the plot inside the game, records it for later editing, and then releases it as an episode. By doing so, the viral web series not only caught the Internet’s attention to the game and its possibilities, but also to a genre being produced since the late 90s: the machinima [1]. This digital genre consists of the usage of 3d game engines as source material for audiovisual production. According to Luckman and Potanin [1], machinima today derives from game communities, in which gaming prowess was shown off in the form of video recordings to other members as well as other groups of gamers. It’s also, in many aspects, an extension of implicitly incorporated practices in the process of making and marketing games; in other words, the making of scenes cut out from the game, alongside promotional videoclips with characters and gameplay (cut out scenes are filmic cuts inside a game, giving tips or advices for the next steps inside a certain quest or the general game narrative). Thus, it’s important to grasp that, as with machinima, the question of who produces and where has real implications on the products, as Bakhtin indicates [2], language and utterance practices always occur in situ. Proceedings of EDULEARN19 Conference ISBN: 978-84-09-12031-4 10256 1st-3rd July 2019, Palma, Mallorca, Spain Hence, new productions, which incorporate, reading and writing, point out to new literacy practices, whose comprehension is fundamental for a better understanding of contemporary social and individual lives, specifically in a digital fandom environment. Furthermore, studying fan culture and its structures is basically the study of today’s youngsters. It is understanding them as producers as well as users inside a highly participatory culture [3] and its new forms of meaning that quickly develop, with different engaging mechanisms inside an ever changing mentality in the digital world[4]. 1.1 Convergence and Web 2.0 For the past two decades, with the growth and popularization of the computer and the Internet, digital information and communication technologies (DICT) have developed to cause real impact on society. And, as a result, pushed the boundaries to a new mentality, leading to influencing and reshaping the technologic, cultural, social and entertainment markets, in and out of the web. These changes have become an increasingly important part of people's daily lives, spreading not only through computers, but also other digital devices, especially mobile ones such as smartphones and tablets, allowing easier access to the web. Not only that, the principles of Web 2.0 motivate users to participate in the construction and customization, especially when it relates to the re-signification of meanings within the Internet. From this, a new ethos arises [5] in the use of DICTs, which incorporates greater freedom in the circulation, appropriation and manipulation of information. This new mentality breaks the vicious cycle of print culture and mass culture or cultural industry, because it gives opportunities to new forms of language in the digital world, through customization, individualization and increasing democratization of content by users. In this way, there is the possibility of creating new ways of meaning and discourses in different genres, languages and media, through the new forms of composition and tools. In this way, new literacies become new from the moment they approach and incorporate the ethos and mentality of Web 2.0, especially when we think of the open, continuous and fluid space of influence and continuous participation that makes possible new ways of acting. Therefore, Lankshear and Knobel [4] affirm that the new literacies are more participatory, collaborative and less individualized and centralized in the author than conventional literacies. All this relates to the phenomenon theorized by Jenkins [3] as Convergence Culture, referring to the flow of content through multiple media platforms, the cooperation between multiple media markets and the migratory behavior of media audiences, which go almost anywhere in search of the entertainment experiences they want. Convergence is a word that can define technological, market, cultural and social transformations [3]. However, it is not a phenomenon only linked to new technologies, since the circulation of content through different media depends on the active participation of consumers, which is totally related to the Web 2.0 mentality commented earlier. For Jenkins (2009), the Convergence Culture is a cultural transformation. At the core of Jenkins's [3] theory, there is participatory culture, which contrasts with the old definitions that mass media viewers are passive to what is offered to them. Through mainly the new ways of acting on the Internet, participation takes place from a new set of rules in which it is difficult to dissociate the producer and consumer of the media, since both are no longer separate roles. Before, in the Web 1.0 mentality, production was based on units or centers, with a clearly put hierarchy between producers and users and this is broken with the emergence of hypermedia. That is, in this participatory culture, users are not only consumers, but also producers in the media field. They perform both roles simultaneously and are called by Bruns [6] "produsers" (producers + users) and "lautores" (leitores + autores/ readers + authors) by Rojo [7]. This has effects in the language as well, since its production in the network is communication: the message passed by the language becomes hybrid (like the behavior of the users), without one single emitter or receiver, since in network, they come together and can not be fully separated. 1.2 Fans and Fandom As Jenkins [8] states, fan culture is in a constant flux, in which fandoms originate from specific and determined historical and social conditions, according to their goals and interests, as the production and behavior of fans reflects the context in which they are inserted. Fans, in Web 2.0, for example, act, interact, and produce differently than the same fandom before. 10257 Despite this fluidity, it is interesting to note that fandom has a degree of coherence and stability in itself. Many have post divisions, content, norms and rules of their own, parameters and evaluations of each community's productions, each with a particular model of interaction, activism, and organization. At first, the fans (of any media cultural product) were on the margins of society, were not known and even less valued. To this day the stereotype surrounding the fans consists of something social, as people still associate the figure of the “fan” with acts of compulsive obsession. However, the author argues that despite this, cultural studies are progressively “correcting” this thought. With the Internet, fans were able to leave isolation and meet people with shared interests, gathering in fandoms.
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