The Divide between E-sport and Playing Games in China

The presentation will argue that rise of the E-sport has led to persistent transformations of gaming and media, which is crowding out other legitimate forms of gaming from the public perception and media discourses. First, it will briefly describe the growth of E-sport as media and entertainment phenomenon (Jin 2010; Taylor, TL, Seo, 2013). This spectacle is created through the stylization of e-sport events themselves and equally important through secondary texts (Szablewicz, 2015). Secondly, the talk will argue that media, old and new, become stakeholders in the narrative as they create the stories of unprecedented growth in terms of profit and viewer numbers. E-sport becomes the only acceptable type of gaming. The third section will draw on ethnographic data collected from 2013 to 2015 in China and demonstrate how the discourses on E-sport and their divergence from gaming impact the rhythms of play in the everyday life of the “youxi wanjia 游戏玩家” (video game player) as well as the “dianjin xuanshou 电竞选手” (E-sport Contestant). The vocabulary of E-sport titles has penetrated everyday language and the word ‘gaming’ or ‘playing games’ have been replaced. As videogame culture becomes marginalized, principals of obligation and professionalism devour ‘play’ beyond the point of mere ‘contamination’ (Caillois, 2001). As a result, video game players, who enjoy a variety of different games, are distancing themselves from the proponents of e-sport.

Mama Ludens Ex Domo: Using Feminist Methods to Diversify Game Culture

How gaming achieves popularity: The case of The Smash Brothers

Using a case example of the crowd-funded YouTube documentary The Smash Brothers, the study explores how digital game culture is represented in media. The units for a qualitative content analysis, as described by Krippendorf (2004), are defined through thematic distinction. The results refer to four major categories and compose digital game culture as a whole: game, gamer, gameplay and game community. The interaction between gamer and game (gameplay) is the most featured element in the documentary. Gamers were shown to be individuals, athletes, celebrities and artists. Gameplay was also depicted to be of varying nature and in opposition, considered both a sport and an art. The specific game community is portrayed as being a large, friendly and sociable community. Based on the findings, further research can be facilitated in order to study the representations of digital game cultures in other forms of social media, as well as mass media and public discourse.

The Concept and Research of Gendered Game Culture

Despite gender having become a central topic in the game cultural discussion of today, there does not seem to be clear understanding of the concept of gendered game culture or general theoretical framework that would define and support the study of gendered game culture within the field of academic game studies. This paper argues that there are two starting points for understanding the concept of gendered game culture and for its research: the first being how the concept of gender is understood in the context of games, and the second being defining the central gender questions in game studies and locating them in the field of game culture. The paper also presents a preliminary model for the concept and research field of gendered game culture. The model consists of the central research questions on the topic of gender and games, presented in selected leading level game studies journals and conferences and located in the various sectors of game culture. At the same time, the model reveals some of the gender questions not yet presented in these central publications as well as some of the areas of game culture not yet widely studied from gender perspective.

Of discs, boxes and cartridges: the material life of digital games

So far the field of game studies has mostly bypassed the everyday meanings attached to the material manifestations of digital games. Based on qualitative survey data, this article examines what kind of personal and collective values are attached to the physical copies of games, including the storage medium and packaging. The results show how materiality resonates with the reliability and unambiguity of ownership. Furthermore, games as physical objects can have a key role in the project of creating a home, receiving their meaning as part of a wider technological and popular cultural meaning structure. Finally, collecting associates games with more general issues of identity, sociability and history. Through storing and organising games and having them on display, gamers position themselves as part of game culture, gather subcultural capital and ensure the possibility for nostalgia.

The Making of Nordic Larp: Documenting a Tradition of Ephemeral Co-Creative Play

Research and documentation of live action role-playing games, or larps, must tackle problems of ephemerality, subjectivity, first person audience and co-creation, as well as the underlying question of what larps are. In this paper these challenges are outlined and solutions to handling them are proposed. This is done through the prism of producing a picture-heavy art book on Nordic larp. The paper also discussed the problems of writing about game cultures as an insider and makes a case for addressing normative choices in game descriptions head on.

The Words of Warcraft: relational text analysis of quests in an MMORPG

As the growth in popularity of massively multiplayer online games and virtual worlds has correspondingly increased research interest in investigating culture in synthetic environments. One representation of culture in games is the narrative provided in MMORPGs’ quest sets. Quests -tasks given to players- provide a window into the traits of artificial cultures created for these environments, and researchers have used specific quests to advance arguments about game cultures. We expand on this work by trying to discern cultural traits expressed in the complete quest set for the MMORPG World of Warcraft, We subdivide this set into three corpora: two for the quests intended for players in one of the two in-game factions, one for those that can be completed by members of either faction. We then performed relational text analysis on these corpora, looking across them for shared textual relationships. We find that while all three corpora employ diverse terms, locations, and organizations, the only relationships present in any of the corpora at least 5% of the time are those emphasizing the relationships between players, enemies, and quest giving computer-controlled characters. Given the simplicity of these relations, we suggest that text is currently not a method used for sophisticated themes in game worlds, and designers should either rethink their use of it or rely on alternate methods if they wish to convey such themes.

Girls and Gaming: Gender Research, “Progress” and the Death of Interpretation

This paper is about the persistent absence of critical interpretation in work focused on gender and gameplay. Since its beginnings, research (and resulting practice) in this area has moved little if at all from the early work in the path-breaking Cassells and Jenkins volume dedicated to girls and gaming. In the currently very well-regarded and oft-cited volume on “girl-friendly” game design, Sheri Graner-Ray re-instates the gamut of gender stereotypes by now so familiar as to have become “canonical” for the field. In this paper we illustrate some theoretical, research, and practice dilemmas, and, drawing upon sophisticated interpretive work in gender studies and on socio-cultural approaches to research, we propose some tactics for rethinking the very terms and conditions of this by now clearly resilient orthodoxy about “what girls like best,” arguing that until we are able to be surprised by its findings, we can be fairly confident that games studies research into gender accomplishes little beyond re-instating and further legitimating inequality of access, condition and opportunity. This is no game: no fun, and no fair.

Playing with the Rules: Social and Cultural Aspects of Game Rules in a Console Game Club

In this study of a Swedish console game club I have looked at how the rules of the games are connected to the social and cultural aspects of the context that the games are played in. I have devoted special attention to the game Super Smash Bros. Melee and how different contexts of play have formed around this game, for instance the emergence of a professional smash scene and the polarization of console club members into smashers and anti-smashers. My conclusion is that the idea that rules can play a core role in defining a game without the need to take the situated aspects of play into account is problematic. Rules do not inherently belong to the formal aspects of games. Even at the most fundamental level, rules are influenced by, and affect, the social and cultural aspects of the gaming context.