the power of “meme”

BCM206 | Week 8

The Black Lives Matter movement has made waves for the Black Community in the fight for equality. In these pandemic times the power of social media has been prevalent in this movement. In fact it was social media that allowed to fire to spark.

Meme warfare, the use of digital propaganda, a ‘digital native’ version of psychological warfare allows anyone to collect, dismiss and create media for or against this cause. (Giesea, J 2015) Anyone has the power to contrubite and change peoples minds. As propoganda was used in the time of war, people with power control most media and propoganda, but now times have changed. People of power still hold more power than most, but with the power of social media – anyone can influence anyone.

For my remediation i wanted to create a show video, something that felt powerful. Something that was jarring to the ear. The sounds of protest.

References:
– Giesea, J 2015, It’s time to embrace memetic warfare, Defence Strategic Communications, volume 1, pp. 67-75

“walled gardens”

BCM206 | Week 7

Build around the content creation and curation a key element of the term “walled gardens”. For users to have to reassurance that they’re getting content they like, the popularity and accessibility of the platform and that they’re “safe” online guarantees continued usage.

These walled gardens, hold so much power over the interest – they’re in collaboration with each other in a sense but also the biggest competitors of each other. They’re a new dawn of internet entering and emerging every day. We’re slowly but surely creating an Internet changing it’s original values without defining them. (Batelle, J 2012)

We had originally hoped for our DA the same success BuzzFeed holds in our Da It is no where as big as the FAANG walled garden (Facebook, Amazon, Apple, Netflix, Google). We wanted to create a microscopic version of this (a different community) through building up various followings on different social media websites, and creating different content there.

References:
– Batelle, J 2012, It’s Not Whether Google’s Threatening. It’s Asking Ourselves: What Commons Do We Wish For?, https://battellemedia.com/archives/2012/02/its-not-whether-googles-threatened-its-asking-ourselves-what-commons-do-we-wish-for

changing my “gamer girl” ways

BCM215 | Changing my DA Idea

I started my Game Media Studies Digital Artefact with the idea of starting a Gaming Blog – that was highlighting my research and game play into Bootleg Disney Games. I was going to also accompany my play time with research into the copyright issue these games hold – how are they able to operate online without consequences or legal action for Disney themselves. I liked that I had something Disney based to look at, I also liked that it wasn’t just the game play I was doing for my DA but the research aspect as well. But after looking into the DA I found that even if the material I first looked at looked like it held abundance, I still felt limited. With the ongoing uni semester and the initial burst of excitement when choosing my DA I felt lost again. So I had to rethink my digital artefact.

I thought, what’s something I already spend time doing that I can incorporate into this assessment. Well at the beginning of the pandemic like many others, I purchased a Nintendo Switch and the game “Animal Crossing” to fill my sad empty days. When I first received the game I wouldn’t put it down, I had to constantly live in that world. Even my online consumption on social media was Animal Crossing related. Way to design my island, how to dress how to collected different things for my island. And then all of a sudden I saw I had “finished the game” – the credits rolled. I messaged my peers I knew were playing the game as well, I was so confused – from everything I had seen online it looked as if the game never ended. But it was then explained to me that the game didn’t really end but it did – the objectives were gone and now it was kind of this free space to build on your own. It reminded me of a game I was all too familiar with, The Sims. The contrast with that digital world was that the game went on and on because you were still given objectives.

This lead me to the idea for my new DA – comparing and contrasting the digital worlds of both Animal Crossing and The Sims. I will still be documenting my experiencing on my blog – Gamer Gorl Hannah – And I will also still be including the research aspect as well. What is behind this – why are people attracted to these digital world. Why do we find such joy in escaping our own world to go into this fabricated one. I also will be looking at my gameplay in a creative aspect. A creativity and design framework – As a designer I was also interested in The Sims for the fact I could design and redesign the different living spaces – you could build a model of a house in minutes. And Animal Crossing shares this same aspect, you can customise and design you island however you like, and do this over and over again. This is what sparks my interest in these games, the ability to start over again and again – designing your own little world.

the attention economy

BCM206 | Week 6

Social Media Influencers are some of the most wealthy and well known people in our society today. What is it they do for a living? They produce online content – they earn millions by simply starting a free social media account and attracting a following.

Tim O’Reilly stated that only a small percentage of user of these “Web 2.0” companies will go to extra lengths to contribute to these companies – for examples when YouTubers create merchandise only a portion of viewers will actually purchase the merchandise, and others will continue to like and subscribe to the influencers without believing they are “giving money to them” – but the truth of the matter is they’re dealing with the currency of attention – the attention economy.

There is value in participating online, without the participators knowing how much they are giving. The aggregation of participation becomes a side effect of using social media. We think we’re benefitting ourselves, when really it’s for someone else’s favour.

References:
– O’ Rielly, T, 2005, What is Web 2.0, https://oreilly.janrainsso.com/static/server.html?origin=https%3A%2F%2Fwww.oreilly.com%2Fpub%2Fa%2Fweb2%2Farchive%2Fwhat-is-web-20.html

self-reflection of comments

Chelsea-Lee Bastable | Breathing in the Wind – Zelda
Chelseas is project is taking for of gameplay with a designers perspective. Chelsea will be playing Zelda, Breathing in the Wind from a designers point of view. She will analyse the visual elements of the game. Whats interesting for Chelsea to look at too is the evolution of the design of Zelda throughout the years of game development. How the designers have been given the opportunity to build on the main character and landscape design with the ever changing technologies available to them. The development of console operating systems and their Internet and network connectivity is parallel to the already compromised design of always-already closed hardware necessarily lagging in connect and design. (Moore C, Mitew, T 2017) The console allows the game to change aswell. Chelsea’s game will be played on a Switch – What would be interesting to know is how past console’s have changed the design of Zelda itself.

Emma Jenkins | Reaction Videos
Emma’s project is going to take the form of weekly vlogs of her reaction to different games online – as in watching other people play. She hopes to look at a variety of games as well as gamers (I presume). This “non-gamer” approach to the task is different to mine but so fascinating- I think this project is so interesting because it captures a whole other element of game culture – game viewing. I think its become is own sub-genre and it’ll be interesting for her to look at this project in the analytical frame work of the history of gaming.

I think it would be interesting for Emma’s project as she’s looking from a whole new perspective – to think about the readings about the history of the gaming industry and the evolution. She’s chosen to look at online gaming and streaming of the 21st century. But what if she were to watch someone play the Atari for 3 hours straight? Video games compete for consumers free time, its created an opportunity for regular videos of these videos to profit and gain growth on social media from this notion. Life outside actual 9-5 work has been blurred with this evolving industry. (Ernkvist, M 2008)

Dayle Beazley | Game Illustation
For Dayle’s Project Pitch she will be creating illustrations and illustration videos on social media platforms, like Instagram and Tiktok, that have been based on gaming characters. She will be creating these illusrations in her own specific style of art and she eventually wants to sell these illustrations on etsy or Redbubble. I think she has such a wonderful idea as a designer because there is not real limit to what she can do with this project – she can create images in the likeness of these character in her own style and for the benefit of other people – and shes able to capitalize on that. She didnt mention that she would be looking at game design for obvious reasons but i think itll be interesting for her to look at the original designers thoughts when creating these characters. “Cognitive flexibility, a key component of creative behaviour when creating, has also been argued to be increased through players gameplay, with findings suggesting that certain types of game genres such as Real-Time Strategy can increase cognitive flexibility” – So it’ll be intersting to know how Dayle will capture these characters in one drawing. Maybe it’ll be beneficial for her to look at concept design and artworks.

References:
– Ernkvist, M., 2008. Down many times, but still playing the game: Creative destruction and industry crashes in the early video game industry 1971-1986.


-Hall, J, Stickler, U, Herodotou, C & Iacovides, I 2020, ‘Expressivity of creativity and creative design considerations in digital games’, Computers in Human Behavior, vol. 105, <https://search-ebscohost-com.ezproxy.uow.edu.au/login.aspx?direct=true&db=edselp&AN=S0747563219304261&gt;


– Teodor Mitew and Christopher Moore (2017) ‘Histories of Internet Games and Play: Space, Technique and Modality’. Global Internet Histories. Goggin, G. & McLelland, M. J., Eds. Routledge: London.

disney bootleg games

BCM215

My digital artefact will be a seperate WordPress site where I will document my experience. For my Game media studies project, I’ll be looking at online bootleg browser games that have been copied off the established Walt Disney brand. The text I’ll be using is specifically online games on various websites that are clearly not authorised by Disney Pty Ltd. 

I decided to take on this project not only as a connoisseur of browser games but as someone who is interested in the branding and copyright aspects of the existence of these games. I will be looking through the analytical frameworks of Disney’s own marketing strategy as well as the content analysis surrounding these “fake” games. For example, are they meant to be satirical and parody? Thereby creating a special exception from copyright infringement, or as part of a general exception from copyright infringement, such as fair use or fair dealing. – But do Disney characters exist in fair dealing?

These cheaply made games use Disney characters likeness, names and even some story lines to reproduce a whole new game that has never been recognised by Disney. What are the repercussions? All these identifiable components mean Disney could pull the plug or take to court.. But they don’t? Disney threatens lawsuits for Mickey Mouse graffiti – so why not Elsa’s dress up games. Probably because these minuscule games may not decrease the intellectual property of Disney or take away from the ideas of the company itself. The work of the creation of the character is different from the character itself (Jagorda, GS 1999) These are things I hope to uncover through my Digital Artefact.

References:

-Coenraad Visser 2005, ‘The location of the parody defence in copyright law: some comparative perspectives’, The Comparative and International Law Journal of Southern Africa, vol. 38, no. 3, p. 321, <https://search-ebscohost-com.ezproxy.uow.edu.au/login.aspx?direct=true&db=edsjsr&AN=edsjsr.23252621&gt;.

-Jagorda, GS 1999, ‘The Mouse that Roars: Character Protection Strategies of Disney and Others’, Thomas Jefferson Law Review, vol. 21, no. 2, pp. 235–252, <https://search-ebscohost-com.ezproxy.uow.edu.au/login.aspx?direct=true&db=edshol&AN=edshol.hein.journals.tjeflr21.17&gt;.


ethnography project pitch

How does watching young influencers effect young women’s mental health?

I will be conducting interviews with women close to my age and asking how much time they spend on social media weekly – and how they notice it changed they’re mental perceptions or how it does. As well as continuing the plan I made for my study. It will be an intersting time to be recording my mental state during this stressful times of COVID-19 in the height of online learning. I will be looking at this topic in the context of these things as well as being a women with beauty standard being inrealistic and out of reach. The ethical side of this issue follows how influencers create a false reality of mental health and a fake perception of constantly appearing happy – forcing viewers to feel that way aswell.

The problem with my niche is i know influencers and social media can really effect young peoples mental state. I know its a problem in itself – but how much of a probloem is it to me. I really want to take on this ethnography study to know how I can react to mental health in my own digital artefact Chàe Media – it’s an important topic to talk about and I want to shed light on it in the correct way. I hope my ethnography study can bring light to the important of mental health amoung young people.