2. a Pure Meritocracy Blind to Identity
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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). -
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen
COMPARATIVE VIDEOGAME CRITICISM by Trung Nguyen Citation Bogost, Ian. Unit Operations: An Approach to Videogame Criticism. Cambridge, MA: MIT, 2006. Keywords: Mythical and scientific modes of thought (bricoleur vs. engineer), bricolage, cyber texts, ergodic literature, Unit operations. Games: Zork I. Argument & Perspective Ian Bogost’s “unit operations” that he mentions in the title is a method of analyzing and explaining not only video games, but work of any medium where works should be seen “as a configurative system, an arrangement of discrete, interlocking units of expressive meaning.” (Bogost x) Similarly, in this chapter, he more specifically argues that as opposed to seeing video games as hard pieces of technology to be poked and prodded within criticism, they should be seen in a more abstract manner. He states that “instead of focusing on how games work, I suggest that we turn to what they do— how they inform, change, or otherwise participate in human activity…” (Bogost 53) This comparative video game criticism is not about invalidating more concrete observances of video games, such as how they work, but weaving them into a more intuitive discussion that explores the true nature of video games. II. Ideas Unit Operations: Like I mentioned in the first section, this is a different way of approaching mediums such as poetry, literature, or videogames where works are a system of many parts rather than an overarching, singular, structured piece. Engineer vs. Bricoleur metaphor: Bogost uses this metaphor to compare the fundamentalist view of video game critique to his proposed view, saying that the “bricoleur is a skillful handy-man, a jack-of-all-trades who uses convenient implements and ad hoc strategies to achieve his ends.” Whereas the engineer is a “scientific thinker who strives to construct holistic, totalizing systems from the top down…” (Bogost 49) One being more abstract and the other set and defined. -
United States District Court Southern District of Florida Miami Division
Case 1:15-cv-23888-JEM Document 1 Entered on FLSD Docket 10/16/2015 Page 1 of 25 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF FLORIDA MIAMI DIVISION HUSHHUSH ENTERTAINMENT, INC., a California ) corporation d/b/a Hush Hush Entertainment, Hushpass.com ) and Interracialpass.com, ) ) Case No. Plaintiff, ) v. ) ) MINDGEEK USA, INC., a Delaware corporation, ) d/b/a PORNHUBPREMIUM.COM MINDGEEK USA, ) INC., a Delaware corporation, individually and doing ) business as MINDGEEK USA INC., a Delaware ) corporation, individually and d/b/a ) PORNHUBPREMIUM.COM; MG FREESITES, LTD, ) a Delaware corporation, individually and d/b/a ) PORNHUBPREMIUM.COM; MG BILLING US, a ) Delaware corporation, individually and d/b/a ) PORNHUBPREMIUM.COM; MG BILLING EU, ) a Delaware corporation, individually and d/b/a ) PORNHUBPREMIUM.COM; MG BILLING IRELAND, ) a Delaware corporation, individually and d/b/a ) PORNHUBPREMIUM.COM; LICENSING IP ) INTERNATIONAL S.A.R.L , a foreign corporation ) [DEMAND FOR JURY TRIAL] d/b/a PORNHUBPREMIUM.COM; FERAS ANTOON, ) an individual; and DOES 1- 50, ) ) Defendants. ) ________________________________________________) COMPLAINT FOR COPYRIGHT INFRINGEMENT, DAMAGES, AND INJUNCTIVE RELIEF Plaintiff HUSHHUSH ENTERTAINMENT, INC., a California corporation d/b/a Hush Hush Entertainment, Hushpass.com and Interracialpass.com, by and through its attorneys of record, hereby allege as follows: 1 Case 1:15-cv-23888-JEM Document 1 Entered on FLSD Docket 10/16/2015 Page 2 of 25 NATURE OF THE CASE 1. This is an action for violation of Plaintiff, HUSHHUSH ENTERTAINMENT’S intellectual property rights. HUSHHUSH ENTERTAINMENT owns certain adult entertainment content which has been properly registered with the United States Copyright Office. -
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Esports Spectatorship in Australia
Networked Society Institute Esports Spectatorship in Australia Research Paper Esports Spectatorship in Australia Networked Society Institute Research Paper September 2018 Martin Gibbs, Marcus Carter, David Cumming, Robbie Fordyce, and Emma Witkowski Contact Martin Gibbs – [email protected] ISBN 978-0-7340-5327-5 Licence Creative Commons Attribution-ShareAlike – creativecommons.org/licenses/by-sa/4.0/ Cover Image Adobe Stock Image Acknowledgements The authors would like to acknowledge the support for this project provided by the Melbourne School of Engineering, The University of Melbourne. We would also like to thank Naomi Robinson for assistance with the research. We would also like to thank David Saliba and Mia Consalvo for input and suggestions at the begin of the project. We would also like to thank Kate Murray and Adam Lodders and the Networked Society Institute for their support in producing this report. Esports Spectatorship in Australia 2 Networked Society Institute, University of Melbourne Executive summary Esports – the organised, professional and spectated play of competitive digital games – has evolved into a massive global industry in the past decade. Boasting significant market value and broad global audience reach, esports is driven by modern highspeed internet infrastructure and live-streaming platforms like Twitch.tv. However, esports has yet to take hold as an industry in Australia, largely due to geographical isolation from major esports regions compounded by Australia’s traditionally lacklustre network infrastructure. Although the esports industry relies on various revenue streams, sponsorship and advertising deals provide the industry’s main source of funding. Teams, tournaments and esports organisations of various sizes are sponsored by major international companies like Intel, Samsung and Mercedes-Benz. -
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. -
LCS LIMBO Are Ready to Greet Them, Said Cress Clippard, a Marine Veteran and a Volunteer for the Houston-Based NELVIN C
PGA CHAMPIONSHIP WORLD FACES Once a contender in Russia projects its Music from Olivia majors, Fowler now power across Arctic Rodrigo, zombie needs help getting in at northernmost base films new this week Page 24 Page 13 Page 18 ‘Ironhorse’ brigade gets new leader at ceremony in Poland ›› Page 3 stripes.com Volume 80 Edition 23 ©SS 2021 WEDNESDAY,MAY 19, 2021 50¢/Free to Deployed Areas Slain Afghan interpreter’s family set to come to US BY J.P. LAWRENCE Stars and Stripes KABUL, Afghanistan — The family of an Afghan man who was killed after aiding U.S. troops has received emergency approval to come to America, lawyers and ad- vocates for the family said. The man, known by the pseudo- nym Mohammad, worked for 12 years for the U.S. Embassy and military in Afghanistan and is be- lieved to have been killed by Tali- ban insurgents while waiting for a U.S. immigration visa. His widow and six children con- tinued to face threats after his murder and applied for humani- tarian parole, a status that allows those under immediate threat to seek refuge in the United States. Their application was approved last week and advocacy groups LCS LIMBO are ready to greet them, said Cress Clippard, a Marine veteran and a volunteer for the Houston-based NELVIN C. CEPEDA/TNS Combined Arms SIVs and Allies. The USS Kansas City pier side at Naval Base San Diego on April 6 in San Diego. “I firmly believe that this deci- sion is saving the lives of Moham- BY ANDREW DYER the Navy discovered recently that mad’s wife and children,” Clip- The San Diego Union-Tribune The Navy’s littoral combat ships are still the transmission in one of the two pard said. -
From Basements to Stadiums Representations of Esports in Online Newspapers
From basements to stadiums Representations of esports in online newspapers Bachelor’s thesis Sami Tikkanen University of Jyväskylä Department of Languages English May 2019 JYVÄSKYLÄN YLIOPISTO Tiedekunta – Faculty Laitos – Department Humanistinen tiedekunta Kielten laitos Tekijä – Author Sami Tikkanen Työn nimi – Title From basements to stadiums Representations of esports in online newspapers Oppiaine – Subject Työn laji – Level Englannin kieli Kandidaatintutkielma Aika – Month and year Sivumäärä – Number of pages Toukokuu 2019 15 Tiivistelmä – Abstract Videopelien pelaaminen on kasvattanut suosiotaan räjähdysmäisesti viime vuosikymmenen aikana. Tämä ilmiö näkyy myös kilpailullisen videopelaamisen eli e-urheilun menestyksessä, mikä on nous- sut uutisten otsikoihin. Suuresta suosiosta huolimatta, videopeleihin ja niiden pelaajiin kohdistuvat asenteet ovat usein negatiivisia ja harhaanjohtavia. Tämä heijastuu videopelaamisen mediarepresen- taatioissa, jotka aiempien tutkimusten mukaan perustuvat usein stereotyyppimäisiin yleistyksiin. Me- dian kuvaukset videopeleistä ja pelaajista vaikuttavat siihen, miten videopelaajat rakentavat identi- teettiään. Tämä tutkielma tarkastelee videopelaamisen ja -pelaajien representaatioita e-urheilua koskevissa verkkouutisartikkeleissa. Aineistona on käytetty kolmen sanomalehden, Guardian, Los Angeles Ti- mes ja The Sun, verkkouutisia. Tutkielmani tarkastelee näissä luotuja representaatioita hyödyntäen kriittistä diskurssianalyysiä. Vertaan tuloksiani aiempiin tutkimuksiin saadakseni selville vahvista- -
Esport Research.Pdf
Table of content 1. What is Esports? P.3-4 2. General Stats P.5-14 3. Vocabulary P.15-27 4. Ecosystem P.28-47 5. Ranking P.48-55 6. Regions P.56-61 7. Research P.62-64 8. Federation P.65-82 9. Sponsorship P.83-89 Table of content 10. Stream platform P.90 11. Olympic P.91-92 12. Tournament Schedule-2021 P.93-95 13. Hong Kong Esports Group P.96-104 14. Computer Hardware Producer P.105-110 15. Hong Kong Tournament P.111-115 16.Hong Kong Esports and Music Festival P.116 17.THE GAME AWARDS P.117-121 18.Esports Business Summit P.122-124 19.Global Esports Summit P.125-126 1.What is Esports? • Defined by Hong Kong government • E-sports is a short form for “Electronic Sports”, referring to computer games played in a competitive setting structured into leagues, in which players “compete through networked games and related activities” • Defined by The Asian Electronic Sports Federation • Literally, the word “esports” is the combination of Electronic and Sports which means using electronic devices as a platform for competitive activities. It is facilitated by electronic systems, unmanned vehicle, unmanned aerial vehicle, robot, simulation, VR, AR and any other electronic platform or object in which input and output shall be mediated by human or human-computer interfaces. • Players square off on competitive games for medals and/ or prize money in tournaments which draw millions of spectators on-line and on-site. Participants can train their logical thinking, reaction, hand-eye coordination as well as team spirit. -
Exploring Youporn Categories, Tags, and Nicknames for Pleasant Recommendations
Exploring YouPorn Categories, Tags, and Nicknames for Pleasant Recommendations Michael Schuhmacher, Cäcilia Zirn, Johanna Völker Data and Web Science Group Universität Mannheim, Germany {michael, caecilia, johanna}@informatik.uni-mannheim.de ABSTRACT clude them in our YP corpus: The unique video title, the average YouPorn is one of the largest providers of adult content on the rating and the ratings count, all categories and tags assigned, and web. Being free of charge, the video portal allows users - besides all comments including comment text, nickname, and date of com- watching - to upload, categorize and comment on pornographic menting. The corpus with all features listed is publicly available to videos. With this position paper, we point out the challenges of encourage further research by third parties.1 In the following, we analyzing the textual data offered with the videos. We report on describe the main aspects of the corpus data. first experiments and problems with our YouPorn dataset, which we extracted from the non-graphical content of the YP website. To gain Video Categories and Tags: Any user can assign categories of a some insights, we performed association rule mining on the video fixed vocabulary to a video. The categories are used for the web- categories and tags, and investigated preferences of users based on site’s main menu categorization. In addition, users can freely create their nickname. Hoping that future research will be able to build and assign tags which allows for more fine grained differentiations.2 upon our initial experiences, we make the ready-to-use YP dataset Of the 165,402 pages, around 50% of pages have at least one cate- publicly available. -
The Second Digital Disruption: Streaming and the Dawn of Data- Driven Creativity
41816-nyu_94-6 Sheet No. 88 Side A 12/10/2019 14:44:50 \\jciprod01\productn\N\NYU\94-6\NYU603.txt unknown Seq: 1 6-DEC-19 15:23 THE SECOND DIGITAL DISRUPTION: STREAMING AND THE DAWN OF DATA- DRIVEN CREATIVITY KAL RAUSTIALA† & CHRISTOPHER JON SPRIGMAN‡ This Article explores how the explosive growth of online streaming is transforming the market for creative content. Two decades ago, the popularization of the internet led to what we refer to here as the first digital disruption: Napster, file-sharing, and the re-ordering of numerous content industries, from music to film to news. The advent of mass streaming has led us to a second digital disruption, one driven by the ability of streaming platforms to harvest massive amounts of data about con- sumer preferences and consumption patterns. Coupled to powerful computing, the data that firms like Netflix, Spotify, and Apple collect allows those firms to know what consumers want in incredible detail. This knowledge has long shaped adver- tising; now it is beginning to shape the content streaming firms purchase or even produce, a phenomenon we call “data-driven creativity.” This Article explores these phenomena across a range of firms and content industries. In particular, we take a close look at the firm that is perhaps farthest along in its use of data-driven crea- tivity. We show how MindGeek, the little-known parent company of Pornhub and a leader in the market for adult entertainment, has leveraged streaming data not only to organize and suggest content to consumers but even to shape creative deci- sions. -
So, Me and Sykotic Sat Down After He Got Back from MLG's Biggest Event to Date and I Drilled Him with a Few About His Time There
So, me and Sykotic sat down after he got back from MLG's biggest event to date and I drilled him with a few about his time there. Gex: First off, let me thank you for taking the time out of your busy schedule to do this interview. Sykotic: Sure, no problem. Gex: What would you summarize as being the high-point of MLG Chicago? Sykotic: Definitely the Pro 4v4. Ya, Final Boss and Storm Venture, Great Game. But, man, Ogre 1, he looked like he was gonna throw up. He did not look good. He really didn’t. He looked like he was about to puke. Gex: I know that the pro’s schedule is a bit different from everyone else’s schedule. Like they don’t have to compete in the FFA, so was FB there from day 1 or not? Sykotic: Ya, everyone has to register on Friday. The Tournament goes Friday, Saturday, Sunday. So [pros] register Friday, and then they can do whatever until they actually have to compete, which the Ogres just sat in the skybox and practiced in their hotel room. Gex: That’s gotta be nice. I know you just got off the phone talking to one of several people that you’re trying to get sponsored from. What is that kind of process like, and how did MLG Chicago help in terms of negotiating some kind of deal? Sykotic: Well, just the face that I’m the only kid from Springfield, Illinois that actually competed there, and did semi-good, I get a lot of credit for that.