You never really think about us, as the audience, being an extremely important factor within the media. After all, it is really not much of our concern as long we can watch a new episode of LOST every week and that our favourite website is still up and running. However, to those involved in the industry the audience is in fact the most important factor concerning media.
With the advent of new media technologies such as the Internet, and with it the introduction of open source software and content editing tools, do-it-yourself (DIY) and collaborative online communities have emerged to increasingly become an integral part of media content creation (Jenkins 2002, 157). People all over the world are becoming produsers, publishing blogs and creating MySpace accounts. We control the information age! It therefore came as no surprise that "You" were the Time's Person of the Year in 2006. We are "seizing the reins of the global media, for founding and framing the new digital democracy, for working for nothing and beating the pros at their own game".
Take for example the changing gaming culture and interface, and how gamers increasingly make contributions such as content and feedback to their favourite games. As you might know from my previous blog, my boyfriend made me join WOW and ever since then I've been curious about this whole gaming culture, how it works, and how the relationship between gamers and gaming companies has changed in recent years. John Banks (2002, 190) identifies that "entities such as 'audience', 'fan', 'producer', 'corporation' and 'consumer' are relational", the audience merging into a co-creative relationship with media producers.
Blizzard's popular MMORPG World of Warcraft (abbreviated WOW) , for example, has become immensely successful not only because of its top notch graphics, interface and game play, but also because developers have effectively worked alongside and listened to fans in discussion forums, users being able to contribute such content as artwork and comic strip style storytelling themselves. Blizzard has also released a User Interface Customisation tool to support and encourage modifications.
However, although the idea of produsage and user-led content creation may sound appealing to developers, it can also work against you. Auran Games' massively multiplayer online game Fury also offered forums on which users could interact with developers and make suggestions. However, the developers did not listen to their fans, the fans in turn became frustrated and angry, boycotted the game, resulting in the failure of Fury.
John Banks and Henry Jenkins have both identified the consumers increasing power, with audiences becoming increasingly more influential in the media, “gaining greater power and autonomy as they enter into the new knowledge culture” (Jenkins 2002, 158). Internet-based technologies, such as email and forums, have created an empowered audience, “who expects and demands that corporations will not only listen to their views, criticisms and input, but also enter into active dialogue with them” (Banks 2002, 189).
So does that mean game developers have to listen to everything that we say? We, as an interactive audience, are gaining more power, but that doesn't mean we control everything. We have power, but only to an extent. So what can I do? I can contribute on forums, make my own artistic creations to games or even change an open source code. But I won't...because I don't know how!! I'll leave that to the expert fans.
Reference:
Banks, J. (2002) Reflection on Week Eight Reading: Gamers as Co-creators: Enlisting the Virtual Audience – A report from the net face, Brisbane: University of Queensland Press
Jenkins, H. (2002) “Interactive Audiences?” in D. Harries (ed.) The New Media Book, London: BFI Publishing, pp.157-170.
2 comments:
Kat, your blog fantastically represents a seamless amalgamation of the key ideologies underpinning two different subjects across the Media and Communications field. I sometimes find it hard to make such meaningful connections between various subjects; however, your blog highlights the combination of Virtual Cultures concepts, together, presumably, with Media Audiences content in a plausible, coherent manner, providing a great overall meaning and synthesis to our studies.
Overall, this is a concise and informative piece. It provides a great overview of how audience behaviour and open-source software are closely related, however, it overlooked the all important monetary implications that user content creation, or produsage, has upon game producers.
When you consider that “...some 90% of content in The Sims is now created by its users rather than the game publisher Maxis” (Herz in Bruns, 2007. p.3), there has to be an inherent positive financial implication the publisher. Such produasage is generally voluntary and hence when it increases the value of a game such as it does in The Sims, the consumers who generated the content aren’t compensated in any manner. This in turn benefits the profitability of a game, and works for almost all relevant stakeholders, except those who aren’t compensated; Gamers achieve a better gaming experience, and Producers see increased profits as a result. This is a very contentious issue, and would’ve been quite interesting to explore further. Aside from this, you had only one other small omission; you provided no direct reference for the quote provided at the conclusion of your second paragraph. Otherwise, well done!
Bruns, A. (2007) Produsage: Towards a Broader Framework for User-Led Content
Creation. In Proceedings Creativity & Cognition 6, Washington, DC.
Just wanted to add in a reference that I forgot! Isn't that ironic!
With regard to the section -
" Such produasage is generally voluntary and hence when it increases the value of a game such as it does in The Sims, the consumers who generated the content aren’t compensated in any manner. This in turn benefits the profitability of a game, and works for almost all relevant stakeholders, except those who aren’t compensated; Gamers achieve a better gaming experience, and Producers see increased profits as a result. This is a very contentious issue, and would’ve been quite interesting to explore further. "
This should have followed - (Hartley, 2008. p.2)
And the entire bibliographical reference at the end should have been -
Hartley, J (2008) ‘From the Consciousness Industry to Creative Industries: Consumer-created content, social network markets and the growth of knowledge.’ In Jennifer Holt and Alisa Perren (eds) Media Industries: History, Theory and Methods. Oxford: Blackwell.
Apologies!!
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