Interactivity and Community in Video Game Live Streams

Total Page:16

File Type:pdf, Size:1020Kb

Interactivity and Community in Video Game Live Streams Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams A thesis presented to the faculty of the Scripps College of Communication of Ohio University and the Institute for Communication and Media Studies of Leipzig University In partial fulfillment of the requirements for the degrees Master of Science in Journalism (Ohio University), Master of Arts in Global Mass Communication (Leipzig University) Chris J. Vonderlind December 2019 © 2019 Chris J. Vonderlind. All Rights Reserved. This thesis titled Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams by CHRIS J. VONDERLIND has been approved for the E.W. Scripps School of Journalism, the Scripps College of Communication, and the Institute for Communication and Media Studies by Veronika Karnowski Associate Professor of the Institute for Communication and Media Studies Scott Titsworth Dean, Scripps College of Communication, Ohio University Christian Pieter Hoffman Director, Institute for Communication and Media Studies, Leipzig University ii Abstract CHRIS J. VONDERLIND, M.S., Journalism; M.A., Global Mass Communication, December 2019 3709740 Twitch TV Uncovered – Interactivity and Community in Video Game Live Streams Director of Thesis: Veronika Karnowski Committee Members: Veronika Karnowski, Jatin Srivastava, Rosanna Planer Online media is continuing to transform the media consumption habits of today’s society. It encompasses various forms of content, modes of consumption and interpersonal interactions. Live-streaming is one of the less observed but growing forms of new media content. It combines aspects of online video entertainment and user content creation such as YouTube, and social media such as Instagram, in a live setting. The goal of this thesis is to explore this phenomenon by looking at the video game streaming platform Twitch, and, more specifically, the interactions taking place during the live streams. The central research question of the thesis is therefore: How are the creators of video game live streams initiating and facilitating interactions with and among their audience members? A qualitative analysis is being conducted to find out which types of interactions are taking place during these live streams. Additionally, relevant theoretical concepts, including parasocial interaction, self-disclosure, group identity and co-experience, are applied to evaluate the interactions based on their potential to influence the construction individual and social identities. iii The interactions of five streamers of different popularity levels and from three different types of video games are analyzed based on these assumptions and concepts. The results show that all streams share five major categories for interactions, namely gameplay commentary, topic-based interactions, streamer- and viewer focused interactions, and interactions based on followers and (re-)subscriptions. The manifestations of the theoretical constructs in the interactions show similar tendencies across the streams, although with some considerable variation. iv Table of Contents Page Abstract .............................................................................................................................. iii List of Tables .................................................................................................................... vii List of Figures .................................................................................................................. viii Introduction ......................................................................................................................... 1 Literature Review................................................................................................................ 5 Twitch ........................................................................................................................... 5 Interactions on Twitch .................................................................................................. 7 Individual identification, parasocial interaction and self-disclosure. ................... 12 Social identification, group identity and co-experience. ...................................... 19 Method Discussion............................................................................................................ 25 General Approach ....................................................................................................... 25 Transcription ............................................................................................................... 26 Case Selection ............................................................................................................. 27 Popularity on Twitch............................................................................................. 27 Video games on Twitch. ....................................................................................... 30 Game descriptions. ................................................................................................ 34 Results ............................................................................................................................... 38 Which Types of Interactions are Taking Place During Video Game Live Streams? . 38 Gameplay commentary and analysis. ................................................................... 38 Topic-based interactions. ...................................................................................... 42 Streamer-focused interactions. .............................................................................. 47 Viewer-focused interactions. ................................................................................ 49 Interactions based on followers and (re-subscriptions). ....................................... 51 Discussion ......................................................................................................................... 54 How could Interactions between the Streamer and their Viewers during Video Game Live Streams Lead to Individual Identification? ........................................................ 54 Which types of interactions may facilitate different levels of parasocial interaction? ............................................................................................................ 54 Which types of interactions may facilitate different levels of self-disclosure? .... 63 Extended Interpretation ............................................................................................... 66 v How could different levels of parasocialness and self-disclosure influence the development of individual identification between the streamer and their viewers? ............................................................................................................................... 66 How could Group-Based Interactions during Video Game Live Streams lead to Social Identification among the Viewers? ............................................................................. 72 Which types of interactions may facilitate more inductive or deductive group identity formation? ................................................................................................ 72 Which types of interactions may facilitate different levels of co-experience? ..... 76 Extended Interpretation ............................................................................................... 80 How could different forms of group identity and levels of co-experience influence the development of social identification within the stream’s community? .......... 80 Conclusion ........................................................................................................................ 84 Methodological Critique ............................................................................................. 87 Outlook on Future Research ....................................................................................... 88 References ......................................................................................................................... 90 Appendix A: Transcript of the Streamer Ligmatrix .......................................................... 98 Appendix B: Transcript of the Streamer FMJayce ......................................................... 135 Appendix C: Transcript of the Streamer LoLNatsumiii ................................................. 182 Appendix D: Transcript of the Streamer alkali_layke .................................................... 279 Appendix E: Transcript of the Streamer LiquidCandyy ................................................. 344 vi List of Tables Page Table 1 Key to the Twitch stream layout and its functions ................................................ 8 Table 2 Basic transcription layout (spreadsheet) ............................................................. 27 Table 3 Twitch status and primarily played game of the selected Twitch streamers ...... 33 Table 4 Streamer statistics on the day of recording ......................................................... 55 Table 5 Possible forms of self-disclosure in an interaction ............................................. 64 vii List of Figures Page Figure 1. Layout of a Twitch stream and its features. ........................................................ 7 Figure 2. Structural model for RQ2. ................................................................................. 18 Figure 3. Structural model for RQ3. ................................................................................
Recommended publications
  • There Are No Women and They All Play Mercy
    "There Are No Women and They All Play Mercy": Understanding and Explaining (the Lack of) Women’s Presence in Esports and Competitive Gaming Maria Ruotsalainen University of Jyväskylä Department of Music, Art and Culture Studies Pl 35, 40014 University of Jyväskylä, Finland +358406469488 [email protected] Usva Friman University of Turku Digital Culture P.O.Box 124 FI-28101 Pori, Finland [email protected] ABSTRACT In this paper, we explore women’s participation in esports and competitive gaming. We will analyze two different types of research material: online questionnaire responses by women explaining their reluctance to participate in esports, and online forum discussions regarding women’s participation in competitive Overwatch. We will examine the ways in which women’s participation – its conditions, limits and possibilities – are constructed in the discussions concerning women gamers, how women are negotiating their participation in their own words, and in what ways gender may affect these processes. Our findings support those made in previous studies concerning esports and competitive gaming as fields dominated by toxic meritocracy and hegemonic (geek) masculinity, and based on our analysis, women’s room for participation in competitive gaming is still extremely limited, both in terms of presence and ways of participation. Keywords Gender, esports, hegemonic geek masculinity, toxic meritocracy, Overwatch INTRODUCTION "Why do the female humans always play the female characters?" Acayri wondered soon thereafter. "Like, they're always playing Mercy." "They can't play games and be good at them —" Joel responded. "That's true, so they just pick the hottest girl characters," Acayri said. The previous is an excerpt of an article published on a digital media site Mic on May 11th 2017 (Mulkerin, 2017).
    [Show full text]
  • The Korean Wave in the Middle East: Past and Present
    Article The Korean Wave in the Middle East: Past and Present Mohamed Elaskary Department of Arabic Interpretation, Hankuk University of Foreign Studies, Seoul 17035, South Korea; [email protected]; Tel. +821054312809 Received: 01 October 2018; Accepted: 22 October 2018; Published: 25 October 2018 Abstract: The Korean Wave—otherwise known as Hallyu or Neo-Hallyu—has a particularly strong influence on the Middle East but scholarly attention has not reflected this occurrence. In this article I provide a brief history of Hallyu, noting its mix of cultural and economic characteristics, and then analyse the reception of the phenomenon in the Arab Middle East by considering fan activity on social media platforms. I then conclude by discussing the cultural, political and economic benefits of Hallyu to Korea and indeed the wider world. For the sake of convenience, I will be using the term Hallyu (or Neo-Hallyu) rather than the Korean Wave throughout my paper. Keywords: Hallyu; Korean Wave; K-drama; K-pop; media; Middle East; “Gangnam Style”; Psy; Turkish drama 1. Introduction My first encounter with Korean culture was in 2010 when I was invited to present a paper at a conference on the Korean Wave that was held in Seoul in October 2010. In that presentation, I highlighted that Korean drama had been well received in the Arab world because most Korean drama themes (social, historical and familial) appeal to Arab viewers. In addition, the lack of nudity in these dramas as opposed to that of Western dramas made them more appealing to Arab viewers. The number of research papers and books focused on Hallyu at that time was minimal.
    [Show full text]
  • Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
    a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts.
    [Show full text]
  • The Globalization of K-Pop: the Interplay of External and Internal Forces
    THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological.
    [Show full text]
  • The K-Pop Wave: an Economic Analysis
    The K-pop Wave: An Economic Analysis Patrick A. Messerlin1 Wonkyu Shin2 (new revision October 6, 2013) ABSTRACT This paper first shows the key role of the Korean entertainment firms in the K-pop wave: they have found the right niche in which to operate— the ‘dance-intensive’ segment—and worked out a very innovative mix of old and new technologies for developing the Korean comparative advantages in this segment. Secondly, the paper focuses on the most significant features of the Korean market which have contributed to the K-pop success in the world: the relative smallness of this market, its high level of competition, its lower prices than in any other large developed country, and its innovative ways to cope with intellectual property rights issues. Thirdly, the paper discusses the many ways the K-pop wave could ensure its sustainability, in particular by developing and channeling the huge pool of skills and resources of the current K- pop stars to new entertainment and art activities. Last but not least, the paper addresses the key issue of the ‘Koreanness’ of the K-pop wave: does K-pop send some deep messages from and about Korea to the world? It argues that it does. Keywords: Entertainment; Comparative advantages; Services; Trade in services; Internet; Digital music; Technologies; Intellectual Property Rights; Culture; Koreanness. JEL classification: L82, O33, O34, Z1 Acknowledgements: We thank Dukgeun Ahn, Jinwoo Choi, Keun Lee, Walter G. Park and the participants to the seminars at the Graduate School of International Studies of Seoul National University, Hanyang University and STEPI (Science and Technology Policy Institute).
    [Show full text]
  • Let's Play! Video Game Related User-Generated Content in the Digital Age -In Search of Balance Between Copyright and Its Exce
    TALLINN UNIVERSITY OF TECHNOLOGY Faculty of Social Sciences Tallinn Law School Henna Salo Let’s Play! Video Game Related User-Generated Content in the Digital Age -in Search of Balance Between Copyright and its Exceptions Master Thesis Supervisor: Addi Rull, LL.M Tallinn 2017 I hereby declare that I am the sole author of this Master Thesis and it has not been presented to any other university of examination. Henna Salo “ ..... “ ............... 2017 The Master Thesis meets the established requirements. Supervisor Addi Rull “ …….“ .................... 2017 Accepted for examination “ ..... “ ...................... 2017 Board of Examiners of Law Masters’ Theses …………………………… CONTENTS TABLE OF ABBREVIATIONS (IN ALPHABETICAL ORDER) 2 INTRODUCTION 3 1. COPYRIGHT PROTECTION OF VIDEO GAMES 12 1.1. Development of Copyright Protection of Video Games in the EU and the US 12 1.2. Video Games as Joint Works and Their Copyrighted Elements 14 1.2.1 Copyrightable Subject Matter and Originality 16 1.2.2. The Idea-expression Dichotomy 19 2. LIMITATIONS AND EXCEPTIONS TO COPYRIGHT 23 2.1. European Union 23 2.1.1 An Exhaustive List of Exceptions and the Three-Step Test 23 2.1.2 Exceptions in Practice 27 2.2 United States 29 2.2.1 Digital Millenium Copyright Act and Fair Use 29 2.2.2 Fair Use Interpretation in Case Law 31 2.3. Video Game Related User-Generated Content as Derivative Works 34 3. COPYRIGHT ENFORCEMENT 37 3.1. Copyright Enforcement in United States 37 3.2. European Copyright Enforcement Mechanisms 40 3.3. Contractual Limitation of the Use of Copyrighted Materials 45 4. CONFLICTING INTERESTS AND FINDING THE BALANCE 48 4.1.
    [Show full text]
  • Read Book Through England on a Side-Saddle Ebook, Epub
    THROUGH ENGLAND ON A SIDE-SADDLE PDF, EPUB, EBOOK Celia Fiennes | 96 pages | 02 Apr 2009 | Penguin Books Ltd | 9780141191072 | English | London, United Kingdom Sidesaddle - Wikipedia Ninth century depictions show a small footrest, or planchette added to the pillion. In Europe , the sidesaddle developed in part because of cultural norms which considered it unbecoming for a woman to straddle a horse while riding. This was initially conceived as a way to protect the hymen of aristocratic girls, and thus the appearance of their being virgins. However, women did ride horses and needed to be able to control their own horses, so there was a need for a saddle designed to allow control of the horse and modesty for the rider. The earliest functional "sidesaddle" was credited to Anne of Bohemia — The design made it difficult for a woman to both stay on and use the reins to control the horse, so the animal was usually led by another rider, sitting astride. The insecure design of the early sidesaddle also contributed to the popularity of the Palfrey , a smaller horse with smooth ambling gaits, as a suitable mount for women. A more practical design, developed in the 16th century, has been attributed to Catherine de' Medici. In her design, the rider sat facing forward, hooking her right leg around the pommel of the saddle with a horn added to the near side of the saddle to secure the rider's right knee. The footrest was replaced with a "slipper stirrup ", a leather-covered stirrup iron into which the rider's left foot was placed.
    [Show full text]
  • Hip Hop Feminism Comes of Age.” I Am Grateful This Is the First 2020 Issue JHHS Is Publishing
    Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Published by VCU Scholars Compass, 2020 1 Journal of Hip Hop Studies, Vol. 7, Iss. 1 [2020], Art. 1 Editor in Chief: Travis Harris Managing Editor Shanté Paradigm Smalls, St. John’s University Associate Editors: Lakeyta Bonnette-Bailey, Georgia State University Cassandra Chaney, Louisiana State University Willie "Pops" Hudson, Azusa Pacific University Javon Johnson, University of Nevada, Las Vegas Elliot Powell, University of Minnesota Books and Media Editor Marcus J. Smalls, Brooklyn Academy of Music (BAM) Conference and Academic Hip Hop Editor Ashley N. Payne, Missouri State University Poetry Editor Jeffrey Coleman, St. Mary's College of Maryland Global Editor Sameena Eidoo, Independent Scholar Copy Editor: Sabine Kim, The University of Mainz Reviewer Board: Edmund Adjapong, Seton Hall University Janee Burkhalter, Saint Joseph's University Rosalyn Davis, Indiana University Kokomo Piper Carter, Arts and Culture Organizer and Hip Hop Activist Todd Craig, Medgar Evers College Aisha Durham, University of South Florida Regina Duthely, University of Puget Sound Leah Gaines, San Jose State University Journal of Hip Hop Studies 2 https://scholarscompass.vcu.edu/jhhs/vol7/iss1/1 2 Halliday and Payne: Twenty-First Century B.I.T.C.H. Frameworks: Hip Hop Feminism Come Elizabeth Gillman, Florida State University Kyra Guant, University at Albany Tasha Iglesias, University of California, Riverside Andre Johnson, University of Memphis David J. Leonard, Washington State University Heidi R. Lewis, Colorado College Kyle Mays, University of California, Los Angeles Anthony Nocella II, Salt Lake Community College Mich Nyawalo, Shawnee State University RaShelle R.
    [Show full text]
  • Project Horseshoe 2018 Report Section 4
    Participants: A.K.A. "Who Watches The Watchmen" Steve Meretzky, Independent Dave Rohrl, Mobile Game Doctor Juan Gril, Independent Ian Schreiber, RIT Kenny Shea Dinkin, King Mission statement: to understand why players passively watch games … either as a pure spectator, or in their own gameplay during periods of low interaction or low agency … and to give gamemakers a blueprint for creating watchable games. What makes games watchable? YouTube influencers and Twitch streaming have become a major force affecting the game industry. Each year, tens of millions of players enjoy spectating the growing category of esports, while at the same time the growing phenomenon of player walkthroughs has many millions of players watching videos for game hints and help or pure entertainment. In addition to these purely passive experiences, there are important and widely adopted forms of gameplay that in many ways looks more like traditional experiences of watching rather than traditional experiences of playing. These include games where the player has little or no control of the game’s outcome (as in a slot machine or an on-rails linear narrative game) and games where the player only interacts with the game quite infrequently (as in idle games, anthill-type simulations, and map-based MMORTS games like Travian). We now live in an environment where games don’t just have to consider what it’s like to play them, but also what it’s like to watch them - even if the player gets to interact with them sometimes. Professional sports have been designed this way for many years (although we only get a new one of those that catches on once every several generations), but it’s a relatively new design consideration for today’s video game and board game designers.
    [Show full text]
  • Mastering Equine - Advanced Horsemanship Mastering Horses
    4-H Equine Series Mastering Equine - Advanced Horsemanship Mastering Horses The purpose of the Mastering Horses project is to help you to further develop skills in all areas of equine management. By setting goals to become a responsible horse owner and a good rider, you will become strong in the areas of self-discipline, patience, responsibility, respect Table of Contents and pride in your accomplishments. Introduction 1 As you progress through the Mastering Equine manual, remember that Skill Builder 1: 3 time is not limited. Follow the 4-H motto and “Learn to do by doing”. Ground work and Although you may finish the activities in the manual quite quickly and Psychology easily, you may wish to spend more time in this unit to improve your Skill Builder 2: Grooming 19 horsemanship skills. Be sure to Dream It! record what you wish to complete this club year. Then Do It! After your lessons and at your Skill Builder 3: Identification 30 Achievement you can Dig It! and Conformation Horsemanship is an art of riding in a manner that makes it look easy. Skill Builder 4: Safety and 55 To do this, you and your horse must be a happy team and this takes Stable Management time and patience. Skill Builder 5: Health 64 The riding skills you develop in this project will prepare you for Skill Builder 6: Riding 97 advancement. Whether you are interested in specialized riding Showcase Challenge 138 disciplines or horse training, you will need to learn more about aids and equipment. Portfolio Page 140 No matter what kind of goals you set for yourself in Mastering - Revised 2019 - Horsemanship, the satisfaction you experience will come from the results of your own hard work.
    [Show full text]
  • Montrose Activity Center
    Montrose Activity Center N E w s L E T T E R January 1989 The Montrose Activity Center is a non profit SOIc3 organization whose purpose is to increase understanding of social, racial and sexual minorities, and to encourage acceptance and tolerance of alternative lifestyles so that, together, the citizens of the City of Houston and the State of Texas may work in the spirt of peaceful cooperation to build a better society. The organization acts as an umbrella to other organizations such as Lesbian/Gay Pride Week and the Names Project Houston. MAC, PO Box 66684, Houston, TX 77266-6684. JUDGE GOES EASY ON KILLER OF GAYS' VOLUNTEERING By LORI MONfGOMERY OF THE DALLAS TIMES HERALD. Seven years ago I moved to Houston; it was the day of the runoff State District Judge Jack Hampton acknowledged Thursday that election, when Kathy Whitmire won. Not knowing very much about the homosexuality of two murder victims played a part in his decision the community or gay life in general, I thought there was a sense of a to sentence their 18-year-old killer to 30 years in prison instead of the community coming together and making progress. The TV news maximum life sentence. showed how this was a grass roots movement. It would be a few months "These two guys that got killed wouldn't have been killed if they later before I made my first brave steps into the community. hadn't been cruising the streets picking up teenage boys," Hampton My first venture was wanting to just run the audio control board at said, "I don't much care for queers cruising the streets picking up KPFf for the Wilde n' Stein Radio Show.
    [Show full text]
  • Tony Kushner's Angels in America Or How American History Spins Forward
    Tony Kushner’s Angels in America or How American History Spins Forward Alfonso Ceballos Muñoz Universidad de Cádiz [email protected] Abstract Angels in America’s roaring success represents a real turning point in mainstream American drama. This article explores both Kushner’s treatment of history— particularly American history—and the ingredients which compound the melting pot American society had become in the 1980s. Through the specific situations the characters undergo in both Millennium Approaches and Perestroika, the playwright exposes his own Brechtian and neo-Hegelian vision of current events. Kushner deliberately recycles traditional American myths and elements of American culture and pins them all on a reconstruction of identity—whether gender, racial, or political—as the real axes of his plays. By making gay characters lead the plays, and by including obvious religious elements from an apocalyptic literary style, political discussions on Reagan’s policy on AIDS, and reminiscent historical images, Angels in America becomes a revision of the new National Period America is living as the promised land which every single individual re-creates with her/his daily efforts and capabilities. “The people look skyward seeking aid from above, and the Angel of History appears on the horizon his eyes staring, mouth open and wings spread, while human catastrophes are hurled before his feet”. Walter Benjamin, “Theses on the Philosophy of History”. “History is a ribbon, always unfurling; history is a journey. And as we continue our journey, we think of those who travelled before us”. Ronald Reagan’s Second Inaugural Address. January 21, 1985 “We won’t die secret deaths anymore.
    [Show full text]