Online Gaming Communities: How Twitch Changed Social Gaming
This week’s reading investigates the principles of indie game development in Melbourne, and how multiple value regimes influence indie game creation in this specific environment (2021).
Within the Melbourne indie game culture, teamwork and community building are valued disciplines that Keogh points out (2021). As an example, Keogh points out that many independent game developers from Melbourne take part in frequent meetups and 'game jams' where they collaborate to produce new games while exchanging ideas and resources (2021). These gatherings give developers a sense of community and offer chances for cooperation and knowledge exchange (Keogh, 2021).
The contribution of government financing and support to the development of the independent game sector in Melbourne is another value regime that Keogh investigates (2021). According to Keogh, several independent game creators in Melbourne have been successful in obtaining money through government funding programmes, which have significantly aided the development of indie games in the area. Keogh also notes that there may occasionally be conflicts between independent game creators and government officials as a result of the government's emphasis on fostering innovation and economic prosperity through the rise of the creative industries (Keogh, 2021).
Day 1 of our trip to Melbourne for International Games Week! Stay tuned for our first day of GCAP vlog ☺️ #GCAP #internationalgamesweek #PA
According to Taylor (2018), streaming has changed gameplay into a chance for connection in an area limited only by proximity. Communities that grow around particular broadcasters or types of content are at the heart of the online streaming phenomenon.
Taylor talks about the early days of game streaming, when users could stream a variety of entertainment, including games, on websites like Justin.tv and Ustream. Although these platforms lacked the unique capabilities and community that Twitch would later offer, they helped pave the way for the development of game broadcasting (Taylor, 2018).
Twitch was accustomed to unique features which set the bar for online game streaming we know and see today (2018). You can assist a streamer by subscribing to their channel, giving them money, and interacting with them in chat by using emotes (Taylor, 2018). These features have created a monetised environment where live streamers are able to make a living from their content, something that prior to platforms such as Twitch, gaming fans would never have dreamt of (Taylor, 2018).
Richard Tyler Blevins, more commonly known as ‘Ninja’ has became a household and iconic name across social media platforms such as Twitch, Youtube and Instagram (Dexerto, 2021). While streaming Halo and H1Z1 on Twitch, Ninja started to build a sizable following. However, it wasn't until late 2017 and early 2018, when he began playing ‘Fortnite Battle Royale’ that he became one of the most well-known online streamers in the world (Dexerto, 2021). The platform Twitch is where he quickly amassed millions of fans and viewers, and his success with Fortnite contributed to his emergence as one of the most well-known and well-respected streamers in the business (Dexerto, 2021). Whilst Ninja’s success can be attributed to his skills, his personal brand also gains equal attention (Dexerto, 2021). Ninja established a unique presence and approach that let him stand out from other streams, and was renowned for engaging with his followers on social media and in conversation on a daily basis (Dexerto, 2021). Ninja's utilsation of streaming services, such as Twitch, allowed him to establish his online persona and rise to the top of the streaming world. He was able to transform his love of gaming into a professional career thanks to his talent and intelligent use of social media and sponsorship arrangements (Dexerto, 2021)
References
Ninja is responsible for the streaming industry’s success today, 2021, Dexerto. https://www.dexerto.com/entertainment/ninja-responsible-streaming-industry-success-twitch-fortnite-1721009/
Taylor, TL 2018, ‘Broadcasting ourselves’ (chapter 1), in Watch Me Play: Twitch and the Rise of Game Live Streaming, Princeton University Press, pp.1-23 click here
Keogh, B 2021, 'The Melbourne indie game scenes: value regimes in localized game development' (Chapter 13), Download 'The Melbourne indie game scenes: value regimes in localized game development' (Chapter 13), in P Ruffino (ed), Independent Videogames: Cultures, Networks, Techniques and Politics, Routledge, pp.209-222.