東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Linked to FindBook

Google Book

Amazon

博客來

Gaming the System : = Digital Revisionism and the Video Game Console Industry.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Gaming the System :/
Reminder of title:	Digital Revisionism and the Video Game Console Industry.
Author:	Mertens, Jacob.
Description:	1 online resource (303 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-03, Section: B.
Contained By:	Dissertations Abstracts International84-03B.
Subject:	Communication. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29326498click for full text (PQDT)
ISBN:	9798841747543

Gaming the System : = Digital Revisionism and the Video Game Console Industry.
Mertens, Jacob.

Gaming the System :Digital Revisionism and the Video Game Console Industry. - 1 online resource (303 pages)

Source: Dissertations Abstracts International, Volume: 84-03, Section: B.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2022.

Includes bibliographical references

In my dissertation, I study how emergent practices in digital production and distribution create a site of conflict between media producers and their audience. I establish that as the cultural industries increasingly harness platformed technology and gain the ability to change media through streamlined updates and expansions, these changes have a corresponding effect on the norms of consumption and media cultures. To highlight the stakes of this conflict, I focus on the video game console industry as a case study that both demonstrates tensions between networked play and platform governance and a high degree of experimentation with digital media market practices. Amidst these evolving norms, I argue that the console industry demonstrates a reliance on what I call digital revisionism, wherein producers harness their control over digital media's capacity for change to finetune their games based on their audience's engagement, defend against controversies and perceived failures through the promised potential of updating, and commodify their products indefinitely through a game's expansion. In the meantime, audiences find themselves pushed further to the periphery of digital gaming but still work to influence these changes and challenge digital market practices through moments of galvanized controversy. To outline my larger study on digital revisionism, I trace a historical arc from the console platforms' early adoption of internet connectivity-most principally through the closed-network platform launches of the Xbox 360 (2005) and PlayStation 3 (2006)-up to the present industrial moment in console gaming. While considering the game industry's growing use of digital change, I emphasize moments in which audiences attempt to push back on these practices and how the established norms of digital production and distribution have yet to fully settle. With that said, when audiences actively reject the game industry's production and distribution practices-be it predatory microtransactions and loot boxes; broken and empty games; or troubling cultural representations of race, gender, and sexuality-the industry can also attempt to rewrite their failures through updates and expansion, while using these revisions to gain an understanding of their audience's threshold of intolerance. In the process, each revised controversy around a game's release threatens to wear the audience down and transform resistance into resignation.Ultimately, I believe video games offer a salient demonstration of a broader set of practices around computational software and cultural industries, suggesting important comparisons to the use of digital flexibility in social media platforms, online search engines, streaming services, mobile apps, and a host of other industries that use digital distribution to obscure their own business practices and gain greater control over how we consume our media. My dissertation then seeks to underscore the stakes of digital media's revisability and how media producers push audiences toward an acculturation for new digital media norms that leave them with less control over the very goods they purchase and use.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798841747543Subjects--Topical Terms:

524709
Communication.
Subjects--Index Terms:

Digital revisionismIndex Terms--Genre/Form:

542853
Electronic books.

Gaming the System : = Digital Revisionism and the Video Game Console Industry.
LDR:04551nmm a2200409K 4500 001 2360026
005 20230925052802.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798841747543
035 $a (MiAaPQ)AAI29326498
035 $a AAI29326498
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Mertens, Jacob. $3 3700638
245 1 0 $a Gaming the System : $b Digital Revisionism and the Video Game Console Industry.
264 0 $c 2022
300 $a 1 online resource (303 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-03, Section: B.
500 $a Advisor: Morris, Jeremy.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2022.
504 $a Includes bibliographical references
520 $a In my dissertation, I study how emergent practices in digital production and distribution create a site of conflict between media producers and their audience. I establish that as the cultural industries increasingly harness platformed technology and gain the ability to change media through streamlined updates and expansions, these changes have a corresponding effect on the norms of consumption and media cultures. To highlight the stakes of this conflict, I focus on the video game console industry as a case study that both demonstrates tensions between networked play and platform governance and a high degree of experimentation with digital media market practices. Amidst these evolving norms, I argue that the console industry demonstrates a reliance on what I call digital revisionism, wherein producers harness their control over digital media's capacity for change to finetune their games based on their audience's engagement, defend against controversies and perceived failures through the promised potential of updating, and commodify their products indefinitely through a game's expansion. In the meantime, audiences find themselves pushed further to the periphery of digital gaming but still work to influence these changes and challenge digital market practices through moments of galvanized controversy. To outline my larger study on digital revisionism, I trace a historical arc from the console platforms' early adoption of internet connectivity-most principally through the closed-network platform launches of the Xbox 360 (2005) and PlayStation 3 (2006)-up to the present industrial moment in console gaming. While considering the game industry's growing use of digital change, I emphasize moments in which audiences attempt to push back on these practices and how the established norms of digital production and distribution have yet to fully settle. With that said, when audiences actively reject the game industry's production and distribution practices-be it predatory microtransactions and loot boxes; broken and empty games; or troubling cultural representations of race, gender, and sexuality-the industry can also attempt to rewrite their failures through updates and expansion, while using these revisions to gain an understanding of their audience's threshold of intolerance. In the process, each revised controversy around a game's release threatens to wear the audience down and transform resistance into resignation.Ultimately, I believe video games offer a salient demonstration of a broader set of practices around computational software and cultural industries, suggesting important comparisons to the use of digital flexibility in social media platforms, online search engines, streaming services, mobile apps, and a host of other industries that use digital distribution to obscure their own business practices and gain greater control over how we consume our media. My dissertation then seeks to underscore the stakes of digital media's revisability and how media producers push audiences toward an acculturation for new digital media norms that leave them with less control over the very goods they purchase and use.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Communication. $3 524709
650 4 $a Web studies. $3 2122754
650 4 $a Mass communications. $3 3422380
650 4 $a Computer engineering. $3 621879
650 4 $a Computer science. $3 523869
653 $a Digital revisionism
653 $a Game studies
653 $a Media studies
653 $a Update cultures
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0459
690 $a 0646
690 $a 0984
690 $a 0464
690 $a 0708
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a The University of Wisconsin - Madison. $b Communication Arts. $3 2094619
773 0 $t Dissertations Abstracts International $g 84-03B.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29326498 $z click for full text (PQDT)