Arcadian Rhythms

I’ve recently received word that Reconstruction: Studies in Contemporary Culture, an open-access journal, will be publishing a paper of mine in a 2009 issue. The paper, “Arcadian rhythms: Gaming and interaction in social space,” is a revised and updated version of the paper I described in my post on ICA 2007. The paper describes a participant-observation study spanning several months, which saw me visiting a few different arcades to get a sense of how people play and socialize around games in a semi-public space. (UPDATE: The paper is now online.)

Part of what fascinated me about this subject was how many journalists and even some other academics described video arcades as havens of racial harmony and class equality—a development, I think, partially resulting from the fact that arcades are much more socially stratified around gaming skills and interests than any more normally recognized index of cultural belonging. The distinction between “hardcore” and “casual” players made by many in the gaming press may be an incomplete and problematic construction of who plays games, but arcade-goers appear to make similar sorts of divisions between themselves, both in terms of social organization and formal differences in the games they choose to play. (Some of this now reads like a retrospective of how the Wii has been capable of reaching new gaming audiences, but this research was first conducted before the Wii’s control scheme was even announced. Ah well—so goes the pace of academic research and publication.)

The first version I wrote of this (even before presenting it at a conference) was actually quite a bit longer because a good portion was devoted to discussion of the much-lamented “death of arcades,” which ultimately seemed better addressed in some other paper. I focused on this direction because I’m more interested in connections between gameplay and culture than in developments in the industry, but we’re probably overdue to see a paper comparing and contrasting the American and Japanese arcade scenes. In fact, it was somewhat challenging to find enough sites for this paper, as some of those I planned to visit had closed not long before I started the research. Two more of my four sites have been effectively closed since submitting the paper for publication.

“Arcadian rhythms” goes online in the fall of 2009, but please feel free to email me now (jason @ this domain) if you’d like a copy to look at in advance.

A Temporary Suspension

The site has received about half a dozen spam comments in a few hours, so I’m suspending anonymous commenting functionality for a bit. I’m hoping that this is the equivalent of playing dead when pursued by a bear.

I’ll be back with a real post sometime, too. Lots of good links lately—just very busy.

Update: The storm seems to have passed, and anonymous commenting is going back on. I’m thinking I’ll set up one of them “what does this image say?” verification tools to screen out evil robots, when I have a few more free moments. (Thanks, Denise!)

“You are dead. Continue?”

Apparently I’ve placed myself in the center of a divisive issue with the publication of my new article, “‘You are dead. Continue?’: Conflicts and complements in game rules and fiction.” [Note: There are some spoilers in here, including for the ending of Shadow of the Colossus.]

The paper might look somewhat familiar to regular readers of Geek Studies, as it weaves together some strands I’ve been playing with here for awhile. I discuss how the trial-and-error approach to death and failure can be a frustrating narrative interruption in games where the characters, story, and emotional involvement are treated as comparably important to the gameplay mechanics. Some games in recent years, however, have offered different—and sometimes quite emotionally engaging—ways of thinking about death and failure.

So, what’s this divisive issue I speak of? Well, game studies scholars might call it “ludology” versus “narratology” (even if I see it as a bridge between these). Among gamers, though, it seems to boil down to “the way games have traditionally been” versus “the direction (some) games are headed.”

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Reconsidering “Digital Natives”

Things have been quiet (okay, completely silent) around Geek Studies lately, as I’ve recently moved from Philly to Boston, started teaching a graphic design class, and focused more closely on work that takes me away from the blog. And things will likely remain quiet until I defend my dissertation—but every now and then, something will occur to me that will make me need to speak up again.

What’s got me blogging now is a funny coincidence: Just as I was commenting to my friend and fellow Annenberger Moira about the concept of “digital natives” needing some revamping (if not outright rejecting), she pointed me to “Generational Myth,” an article in the most recent Chronicle of Higher Ed by Siva Vaidhyanathan. (Link updated to direct to the free version—thanks, Siva!) The long and the short of the article is precisely what I have been observing in my own class: The generation of “digital natives” might not be so native to the digital as many presume, and is certainly not so homogeneous as to be able to be described by a single way of thinking across the board.

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Debating Whether Geeks Control Hollywood

Things will remain a little quiet here on the blog for a bit while I take care of some things, including setup following last week’s move from Philly and some revisions on an article about games I just had accepted for publication. (More details on the latter soon, as it should be freely accessible online eventually.) In the meantime, though, here’s a couple of articles to chew on, offering something like a point/counterpoint on the popular notion that Hollywood must take geeks’ opinions into consideration.

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Geeks vs. Jocks

One of my posts from April, “Sexism and Misogyny in Geek Culture,” saw some really long and detailed comments a few weeks back. (If it’s a topic that interests you, I encourage you to go check it out.) I had to step away from blogging for a while to focus my work efforts elsewhere—and I’ll probably have to step away for another few weeks as I prepare to move from Philadelphia to Boston—but for now, I wanted to pull out one particular tangent that developed in the course of that aforementioned discussion. Specifically, I had brought up the long-standing hostility and resentment toward male athletes among geeks, implying at the time that it might be comparable to the negative attitudes exhibited by some geeks toward women.

In that discussion, Jordan commented that he doesn’t see geeks harassing jocks online as much as he sees them harassing women, and Aenna noted that geeks’ harassment of jocks seems to be mostly in the form of weak, homophobic insults. I’ve actually noticed much more pervasive, vitriolic, and even creatively involved responses, though. I wanted to make note of a couple examples and invite others to chime in with their own thoughts on the matter as well. I sat on this post for several days as I worked on other things, but now, with the release of Joss Whedon’s geeky supervillain musical, Dr. Horrible’s Sing-Along Blog, it seemed like a particularly timely issue.

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Heads or Tails: Calling it in the Air

The phrase “the long tail,” coined by Wired editor Chris Anderson, refers to the increasing viability of selling to a small niche of consumers rather than marketing to the masses. In the book of the same name, this concept is parlayed into business advice based on the assumption that the web has made it not only possible, but, in the long run, more profitable to make more money off smaller groups of the most dedicated consumers without risking more up-front to gamble on blockbuster hits. The phrase refers to the graph of how sales might look in this model, with the most mainstream hits still in the “head” (selling a lot to many people) and an increasingly long, flat “tail” of materials garnering smaller sales to few people (but still selling enough to get by). Favorite examples of this theory in action are Amazon and Netflix, systems which make it possible to offer a broad array of unique products in addition to the usual hits, even if each of the more obscure products only reaches a small audience.

I recall this now because of an article in the Harvard Business Review, “Should you invest in the long tail?” The author’s research indicates that attention to blockbusters may actually be increasing, rather than decreasing, online; she suggests, “the tail is likely to be extremely flat and populated by titles that are mostly a diversion for consumers whose appetite for true blockbusters continues to grow.”

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Nerdapalooza Links

July 4th–5th brings us Nerdapalooza Southeast 2008 in Orlando (details here). I’ll not be able to make it to the event myself, but I thought it warranted a mention here.

First, some notes on the event itself: Nerdapalooza is a gathering of bands featuring geek rock, wizard rock, game music, nerdcore hip-hop, and other acts along these lines. Z. explains on the Wired Geekdads blog: “Boasting a roster of more than 30 bands, the event is uniquely positioned to bridge the (sub)cultural gap that exists between various forms of geek music.” Moreover, proceeds go to Child’s Play, a charity started by Penny Arcade which puts games and toys into children’s hospitals.

Speaking of Z., I would next like to draw your attention to the “Nerdapalooza Bound” episode of the Radio Free Hipster podcast. It features a number of bands who will be at the event, and guest commentary by organizers. I let Z.’s podcasts keep me company the other day during a nine-hour train ride, and I thought that this one offered a particularly nice scope of the range of interests and attitudes we think of as “geek culture.” This array includes a song about lecherous pirates, a song about preferring nerdy ladies over more mainstream hotties, a song about whiney, depressed fifteen-year-olds on Livejournal, and various expressions of general playfulness and zaniness, among others. The commentary by Hex and mCRT (which name-checks Weird Al as an early influence in developing taste in geek music) also offers a quick glimpse at how this whole phenomenon of geek music has been developing. Next time I talk to someone who seems confused by the idea that ‘geek’ could be anything but an insult, I may just point them to this podcast.

And finally, to close, I’d like to link to Nerdapaloozers, a series of comics by Anthony of Game Music 4 All. As a sort of promotion or bonus celebration of Nerdapalooza, Anthony has replaced the captions from a bunch of old transformers comics with stuff referencing geeky musicians and members of the community at large. I sort of think of this as the Fenslerfilm G.I. Joe of the geek music world.

New, Renewed, and Brainy Blogs

I keep meaning to give a special mention to a few blogs featuring contributions by some of my talented friends and colleagues. Probably I should just break down and create a “links” page for this site at some point, but I have a really hard time keeping those at a manageable length. Also, I feel like just having a link to a page, while seemingly more permanent, doesn’t really pique my interest as a reader as much as a link offered with wholehearted endorsement in the context of a post. For now, then, let me tell you about a few of the blogs I’ve been meaning to mention.

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When Griefing Wanders into Meatspace

I always find it fascinating when political phenomena born in the geekiest corners of the internet somehow find their way into the physical world. I’ve been planning on doing a long post about this for awhile, but I never seem to get around to it. Rather than keep this post floating around in my “Drafts” queue until I finish my dissertation, I figure I might as well just share things as I find them. Here are a couple links I’ve been turning over in the back of my mind for quite some time now.

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