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Situating Hybridity and Searching for Authenticity In ABANDONWARE, COMMERCIAL EXPATRIATION, AND POST-COMMODITY FAN PRACTICE: A STUDY OF THE SEGA DREAMCAST SKOT DEEMING A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS GRADUATE PROGRAM IN COMMUNICATION & CULTURE YORK UNIVERSITY TORONTO, ONTARIO September, 2013 ©Skot Deeming, 2013 Abstract This thesis explores the nature of digital gaming platforms once they have been expatriated from the consumer marketplace and have been relegated to obsolescence. In this state, abandonware becomes a site for creative interventions by active audiences, who exploit, hack and modify these consoles in order to accommodate a range of creative practices. As part of the digital toolkit for fan production, the Sega Dreamcast has become a focal point for fan based video game remix practices, whereby fan creators appropriate imagery and iconography from popular media to create new works derivative of these franchises. These fan practices subvert the proprietary protocols of digital platforms, re- contextualizing them as devices for creative intervention by practitioners, who distribute their works and the knowledge necessary to produce them, through online communities. Key words: platform studies, fan practices, hacking, modding, abandonware, Sega Dreamcast ii Acknowledgements This project would not have been possible without the support of a large number of people who helped me realize my passions for the curation and discussion of the artistic and political potential of the medium of video games. I would like to thank members of Winnipeg's creative communities, who supported me as I began to curate video game based art and culture events in 2008. A special thanks to AceArt Inc, The Winnipeg Art Gallery and Platform Centre for the Photographic and Digital Arts for providing me with opportunities to bring hacking, modding and other game related practices into Winnipeg's art galleries. Without their support, I would not have gotten this far. I owe Alison Pattern my gratitude for urging me to apply to Graduate School after having several successful curated events and exhibitions, and to Steven Bailey for his support through the application and adjudication process. Once I arrived in Toronto, I was welcomed by the local independent game development community and the Toronto media arts communities. Interaccess Centre for Electronic Arts and organizations such as Dames Making Games and Bento Miso supported my agenda for showcasing the underside of gaming culture through exhibiting game hacks, game art, and independently produced video games in a series of events around Toronto. A special thanks to the members of Team Vector, a collective of curators and artists who came together to run the Vector Game Art Festival in February of 2013. Without their support, I would not have gotten through all of this work. Lastly, a most grateful thank you to my supervisor Bruno Lessard, who saw my potential early on in my Master's course work, and gave me the push necessary to help me grow as a scholar; and to Jennifer Brayton, whose council and support as both my second reader and mentor has been invaluable. iii Table of Contents Abstract..............................................................................................................................ii Acknowledgements...........................................................................................................iii Table of Contents..............................................................................................................iv Introduction........................................................................................................................1 Chapter 1: Literature Review.........................................................................................11 1.1. Introduction.............................................................................................................11 1.2. Platform Studies .....................................................................................................14 1.3. Fan Studies and Modding Cultures ........................................................................25 1.4. Game Technologies and Commodity-Objects........................................................34 1.5. Summary.................................................................................................................42 Chapter 2: Methodological Approach to the Study of Abandonware........................45 Chapter 3: The Commercial History of the Dreamcast...............................................49 3.1. The Visual Memory Unit (VMU)...........................................................................50 3.2. Modem and Broadband Adaptors...........................................................................50 3.3. The GD-ROM Disc Format....................................................................................52 3.4. Beyond the Commercial Expatriation of the Dreamcast .......................................53 Chapter 4: The History of Dreamcast Piracy................................................................59 4.1. Ripping Games from GD-ROMs............................................................................59 4.2. Utopia & Kalisto.....................................................................................................60 4.3. Distribution Networks.............................................................................................62 4.4. Recent Developments ............................................................................................63 4.5. The Pristine Backup and the Return to the Canon..................................................65 Chapter 5: Dreamcast Videogame Mods and Remix Practices...................................67 5.1. Ripping as Remix ...................................................................................................69 5.2. Audio Swapping Mods...........................................................................................72 5.3. Beats of Rage..........................................................................................................76 Conclusion........................................................................................................................85 Appendix: Image List......................................................................................................91 Bibliography.....................................................................................................................93 Mediography....................................................................................................................97 iv INTRODUCTION As digital platforms such as the Sony Playstation, the Microsoft Xbox, and the Nintendo Wii become increasingly closed and proprietary, a study of the practices which subvert the proprietary protocols of these platforms is crucial in understanding the function of technology in culture. Digital gaming devices, when released to consumer markets, contain a specific set of interactions designed by their manufacturers. These devices are often regarded as obfuscated "black boxes"; their inner operations are hidden and mysterious to their users. The phenomenon of the black box of digital devices is well entrenched in consumer gaming culture, with many consumers and fans succumbing to the mythology of the black box by regarding gaming consoles as "fetishized [and] revered" (Catanese, 2003, 350) objects. This fetishistic preoccupation positions digital gaming platforms as "objects of worship which exist at the thriving heart of the culture" (ibid). This reverence is created both through fan cultures centred on a particular platform, as well as the historicized "intensification and acceleration in the technological, cultural and marketing circuits of the game business" (Kline, Dyer-Witherford, & DePeuter, 2003,128). Corporations responsible for the manufacture and distribution of these devices create strict controls not only “of the production, but also of consumption” (Dyer-Witheford, et al. 118) of media content on these devices, locking consumers out of deeper methods of interaction. These locks define initial characteristics of the platform, while hacking, modifying, and other forms of digital subversion contribute to the redefinition of digital platforms. Within game studies, accounts of industrial histories of the development of digital gaming platforms, their content, and the corporations that produced them are commonplace. While there is an emerging discourse engaged in discussing the histories of creative computational subcultures such as the DemoScene and the chipmusic scene 1 (see, Yablsey (2007), Tomszack (2008), Carlsson (2010), there has been little discussion centered around fan practices of digital gaming platforms once they have been discarded by the gaming industry. As branded consumer objects, digital gaming consoles are devices which see strict control over gamer interactions and participation. While the "constraints on interactivity are technological" (Jenkins, 2008, 137), the means by which consumers participate in cultures surrounding a device are "shaped by social and cultural protocols" (ibid). Using unique combinations of hardware and software, gaming consoles often lock out gamers from their underlying operations, leaving them to use the device solely for the consumption of digital games and other media. In conjunction with this technological strategy,
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