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The key elements of the essay:
· Your essay should contain a RESEARCH QUESTION at the beginning;
· This question should then lead to what you analyse and how, but also to an ARGUMENT –a discussion of ideas, debates, different possible positions, and a move to a conclusion in which you make your judgment;
· Your essay should present an ANALYSIS and a DISCUSSION of that analysis in relation to TWO relevant key theories that are covered in this module; and
· Your essay should THEORISE what you find as a result of the analysis you have conducted.
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Requirement：
Discuss youth culture/fandom as a form of media literacy –exploring the relationships between participation and the development of learner identity
Key text and theory I select for this research paper:
1.Participatory theorie, PPT p20
2.Media literacy
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YOUTH CULTURE/FANDOM AS A FORM OF MEDIA LITERACY: EXPLORING THE
RELATIONSHIPS BETWEEN PARTICIPATION AND THE DEVELOPMENT OF LEARNER
IDENTITY
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1.0 Introduction
Most people, if not everyone, love to be entertained. It allows people to forget some of the
stressors in their lives, albeit for a while (Baumeister et al., 2016). People use varying techniques,
approaches, and content to entertain themselves. This variance can be attributed to numerous
factors, chief among them being one’s age (Baumeister et al., 2016). Children, adolescents, young
adults, and older adults have varying interests and tastes when it comes to what they perceive and
treat as entertaining (Baumeister et al., 2016). Gaming is one of the entertainment choices often
preferred by the youth (Beniwal, 2020). Many of them spend considerable time and resources
either playing games or watching videos on social media to learn how to play their favorite games
(Beniwal, 2020). YouTube and Twitch, in particular, have become popular social media platforms
supporting the production and distribution of game videos as well as audience interactions with
such content (Beniwal, 2020). This phenomenon is significantly shaping the cultural landscape,
especially within the youth culture (Hartman et al., 2021). In line with this, the proposed study will
explore how the production, distribution, and audience interactions with YouTube-based game
videos contribute to youth media cultural literacy.
1.1. Research Question
“How do the production and distribution, as well as audience interactions with YouTube-based
game videos within youth culture, shape youth media cultural literacy?”
2.0. Theoretical Framework
2.1. Henry Jenkins’s Theory of Participatory Culture
The concept of participatory culture is not a recent one, as many would presuppose.
According to Biggs and Andrews (2015: 410), it emerged during the 19th century, characterized
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by individuals creating and producing their content. However, the invention and evolution of
digital media, including social media, drastically altered how people consume content, helping
make interactions more participatory (Biggs and Andrews, 2015). Social media platforms allow
users to generate content, engage with each other, and share participatory information. According
to Costanza-Chock (2012: 370), social media spaces give people new opportunities to share and
discuss common issues, helping create connections and engagement between content producers
and consumers. Henry Jenkins (2009) defined participatory culture as how varying individuals
serve as consumers and contributors of meaning, helping shape content. Jenkins’s theory of
participatory culture argues that traditional media predominantly supported one-way
communication (Taplin & Cardoso, 2008:98). Essentially, the flow of communication using
traditional media was from media producers (magazines, radio, newspaper, and TV) to audiences.
Saxton and Wang (2014:750) add to this by intimating that earlier mainstream media technologies
predominantly supported one-way communication from the organization to the constituents. Due
to this, media organizations exercised significant power over the content people engaged with,
depriving consumers of any say over or any other type of participation in the content produced by
mainstream media (Saxton and Wang, 2014:750). However, social media gives the public
authority to develop content and share it with interested audiences. According
to
Jenkins
(2009:11), allowing consumers to also produce and share content has helped create a participatory
culture. Jenkins (2009) offers several criteria that an online culture should meet to be perceived
and treated as “participatory.” First, the culture should have low civic and artistic engagement
barriers (Jenkins, 2009). Second, the online community regulated by the culture should strongly
support content creation and dissemination (Jenkins, 2009). Third, all participants’ contributions
should be perceived and treated as valuable (Jenkins, 2009). Fourth, experienced and more
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knowledgeable participants should educate and mentor novices (Jenkins, 2009). Lastly, even
though all community members do not have to contribute, they should still feel free to contribute
when they wish to do so (Jenkins, 2009).
As demonstrated in the discussion above, Jenkins’s theory of participatory culture focuses
on engagement, collaboration, and interaction dynamics within the arena of culture and media (De
Michiel, 2008). With regard to the proposed study, this theory will provide a holistic lens that can
be leveraged to better comprehend the evolution of media consumption and the transformation of
fan communities, as well as their effects on cultural literacy among the youth (De Michiel, 2008).
Young people actively participate in discussions, share experiences, and contribute to the creation
of game video content (Kahne et al., 2009:111). As such, YouTube’s participatory nature, due to
features such as likes, comments, and sharing, promotes a sense of community among viewers
(Rotman and Preece, 2010). This aligns with Jenkins’s (2009) premise that media should not solely
provide a passive consumption experience but also a social practice that allows people to actively
engage with the content and each other. This theoretical framework will also support the
examination of how acquiring pertinent social skills and cultural competencies allows young
people to participate meaningfully in today’s media landscape (Delwiche and Henderson, 2013).
Concerning YouTube-based game videos, young people use them to develop valuable social skills,
including effective communication, critical thinking, analytical, and problem-solving skills, as
they interact with diverse gaming communities (Rotman and Preece, 2010). Furthermore,
comprehending the norms, language, and practices within these communities allows young adults
to meaningfully participate in them (Rotman and Preece, 2010). As such, Jenkins’s (2009)
framework offers a theoretical foundation for examining how acquiring these social skills and
pertinent cultural competencies enhances youth media cultural literacy.
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Participatory culture, as advanced by Jenkins (2009), also focuses on the new affordances
created by digital media. As a digital platform, YouTube offers young people numerous
opportunities for real-time interactions, collaboration, and content creation (Cayari, 2011).
Additionally, the “doing together” approach under participatory culture is evident from content
creators’ and viewers’ collaborative efforts within the gaming community (Delwiche and
Henderson, 2013). Jenkins’s (2009) theory will provide valuable insights into how these digital
affordances shape the participatory culture underpinning YouTube’s gaming videos, emphasizing
the value of collaborative and interactive gaming experiences. Besides this, Jenkins’s (2009)
theory can also aid in understanding how fandom has evolved in the post-digital era. The internet,
coupled with digital affordances, are redefining fan interactions, communication, and co-creation
(Johnson and Williams, 2023). By combining bottom-up and top-down viewing experiences,
YouTube alters fan engagement dynamics (Johnson and Williams, 2023). As such, Jenkins’s
(2009) theory will guide the examination of how participatory culture affects the culture of fandom
within gaming communities, including changes in communication approaches, the creation of
online fan communities, as well as the dynamics associated with co-creation. Additionally, it will
also aid in exploring how the participatory culture characterizing YouTube-based gaming videos
shapes the embodiment of fan communities, influencing individual experiences, identities, and
sense of belongingness (Jenkins, 2009). The theory will help examine how young people’s active
interaction and engagement with game videos posted on YouTube contribute to shared cultural
practices, values, and beliefs, as well as identities within gaming communities. Overall, Jenkins’s
(2009) theory of participatory culture will provide an invaluable and relevant theoretical
framework for the proposed study. It offers a holistic lens for examining the multifaceted
interactions, cultural dynamics, and transformative impacts of game videos shared via YouTube
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on youth media cultural literacy (Jenkins, 2009). By emphasizing active participation,
collaboration, and acquiring pertinent social skills and cultural competencies, the theory aligns
with the study’s objectives (Jenkins, 2009). This will provide a more nuanced comprehension of
the evolving media landscape, including its implications for youth media cultural literacy.
2.2. Media Literacy: “3-Cs” Model
Numerous attempts have been made over the last 20 years to expand the conceptualization
of literacy beyond its original application to the writing medium. These efforts started way back
in 1986, with one of the leading British researchers in this field, Margaret Spencer, introducing the
concept of “emergent literacies” to describe the media-related play of young children (Spencer,
1986). Furthermore, calls for “new” or “multiple” literacies soon followed over the subsequent
years (Bazalgette, 1988; Buckingham, 1993; Cope & Kalantzis, 2000; Tyner, 1998). Extended
discussions of visual literacy, television literacy, cine-literacy, moving image literacy),
information literacy, digital literacy, and game literacy have also been conceptualized and widely
studied (Buckingham & Burn, 2007). According to Buckingham and Burn (2007), advocates of
new literacy studies developed the concept of “multiliteracies” to not only reflect the social
diversity associated with modern types of literacy but also highlight the fact that new
communication media needs new types of communicative and cultural competence. Kalantzis and
Cope (2006) define 21st-century literacy as the set of skills and abilities that allow aural, digital,
and visual literacy to overlap. Furthermore, this definition also encompasses one’s ability to
comprehend the power possessed by sounds and images, to recognize and use this power, to
manipulate and transform digital media, to passively distribute them, and to easily adapt digital
media to new forms (Kalantzis and Cope, 2006). In line with this, the “3-Cs” model of media
literacy, as propagated by Burn and Durran (2007), will provide a holistic framework for
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comprehending how young people engage with digital media content (YouTube-based game
videos) with respect to cultural, creative, and critical functions. By doing this, this theoretical
framework will provide a nuanced lens to examine how media literacy, as it manifests via fancreated videos, shapes cultural understanding, creative expression, as well as critical engagement
among young people.
Cultural function serves as the first social function under the model. It deals with how
content creators leverage cultural contexts to generate media texts as well as negotiate their identity
within the cultural landscape (Burn and Durran, 2007). Fan-created game videos on YouTube can
be perceived as a manifestation of this cultural function. Fans can play the role of active producers
of user-generated content (Simon, 2016). Furthermore, fans will engage in identity negotiation
while doing this by creating videos reflecting their interactions with and interpretations of the
original game culture (Simon, 2016). Using cultural contexts, symbols, and signs within fan game
videos then turns into a performative element of media literacy, showing how fans share their
definitions of selfhood in today’s digital age. In addition, distributing fan-created game videos
using various online platforms helps with identity development, enabling young people to share
their cultural world with peers (Simon, 2016). Content understandability, as reflected in the use of
specific signs and contexts, turns into a medium via which creators express and share personally
defined identities with a larger audience. As such, the cultural function of media literacy, as
espoused by the “3-Cs” model, will offer a guiding framework for analyzing how fan game videos
contribute to identity negotiation and expression among young people. According to Burn and
Durran (2007), the creative function of media literacy deals with remixing, rewriting, and creating
media using various media devices and texts.
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Regarding game videos posted on YouTube, this creative social function is evident from
how fans develop game videos by editing original game footage and coordinating them with
related music (Miller, 2012). Doing this allows the fans to share their interpretations of the game
footage or subvert its narratives (Miller, 2012). Since the proposed study examines how young
people leverage existing gaming cultural materials and signs to develop new meanings, the creative
function becomes a vital aspect of this study. It showcases fans’ ability to not only meaningfully
engage with media materials but also generate valuable content. Furthermore, remixing and
reinterpreting game content and footage via fan game videos demonstrates the creative expression
that characterizes media literacy (Miller, 2012). This allows young people to contribute to the
cultural gaming landscape by creating new narratives and meanings, showing the dynamic and
participatory nature of media consumption (Miller, 2012).
The critical function is the final social function advanced by the model. It focuses on the
ability of an audience to critically engage with media texts (Burn and Durran, 2007). With respect
to the proposed study, fan-created game videos can operate as tangible illustrations of this critical
function. Continuous re-reading and reinterpreting of game texts allow fans to delve deeper into
character relationships and thematic aspects, as well as explore underlying discourses and social
knowledge within the gaming culture (Parsayi, 2021). Furthermore, when fans create their game
videos, they often go beyond simply restating the original game text (Parsayi, 2021). Instead, they
deeply explore and critically examine the media content (Parsayi, 2021). As such, by creating
game videos, fans get a medium to express their critical perspectives, judgments, and opinions
about the media texts or even the wider media culture they interact with and consume (Parsayi,
2021). Thus, this aspect of the model will support the examination of fan-created game videos to
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reflect their critical engagement, demonstrating their ability to question, interpret, and
meaningfully contribute to ongoing discourses within gaming communities.
Overall, the “3-Cs” model, as espoused by Burn and Durran (2007), will provide a strong
and relevant theoretical framework for the proposed study. It offers a structured approach to
analyzing the cultural, creative, and critical social functions of media literacy, especially as
manifested in fan-created content (Burn and Durran, 2007). Its applicability in today’s digital age,
its holistic coverage, as well as alignment with the proposed study’s objectives make it an
invaluable lens for understanding the intricacies associated with youth media cultural literacy,
particularly within the context of fan game videos within the gaming community.
3.0. Production: The Impact of Cultural Influences and Gaming Trends on the Content
of Game Videos
3.1. Cultural Function: Negotiating Identity and Reflecting Cultural Contexts
As alluded to in prior sections of the paper, cultural function is a core aspect of the “3-Cs’
model. Within the context of media literacy, this function focuses on how content creators depend
on subsisting cultural contexts to generate media texts while also negotiating their identities in the
process (Burn and Durran, 2007). This phenomenon can be observed from the various game videos
posted on YouTube with content influenced by popular trends within the gaming culture.
Furthermore, identity negotiation is more pronounced for fan-created gaming video content,
considering most of them are active participants within the gaming culture (Hope, 2017). Besides
this, content creators frequently use cultural references, memes, and language specific to their
target gaming community (Hope, 2017). By doing this, content creators are not only showcasing
their affiliation to and affinity for a specific gaming subculture but also resonating with viewers
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sharing similar cultural factors (Hope, 2017). An illustration using an example will help
demonstrate this. For instance, a game video shared via YouTube might refer to popular in-game
memes, internet culture, or wider societal trends. Such references help foster a sense of cultural
connection between content creators and their audiences. Besides this, the evolution and
advancement of digital media, as demonstrated by Pearson (2010), has triggered the shift to
consumers (fans) producing content and sharing it with other consumers. According to Pearson
(2010), this phenomenon has allowed fans to become active producers of user-generated content,
allowing them to negotiate their identities by creating game videos. Specifically, fans of game
videos are using specific signs and contexts to communicate a personally defined selfhood within
the larger gaming culture (Pearson, 2010). This phenomenon adds to the ongoing discourse and
shapes the cultural landscape associated with the content of game videos.
3.2. Creative Function: Remixing and Crafting New Meanings
The creative function of media literacy, as advanced by Burn and Durran’s (2007) “3-Cs”
model, focuses on content creators’ capacity to remix, rewrite, as well as create media using
existing materials. With respect to game videos, content creators often demonstrate their creativity
and innovation by remixing in-game content (Davidovici-Nora, 2009). For instance, a content
creator can add personal commentary to footage or even develop narratives reinterpreting the
original storyline in the game (Davidovici-Nora, 2009). As such, these game videos produced by
fans serve as a form of creative expression by giving them a chance to leverage existing gaming
culture material and signs to create new meanings (Moody, 2014). This might entail editing game
footage, using music, or leveraging visual effects to produce a unique perspective of a game video
(Moody, 2014). For example, a content creator might develop a “Let’s Play” video based on
gaming footage, and then before sharing it on YouTube, the creator adds a comedic twist by
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introducing humor and personality into the gaming experience. Essentially, this example
demonstrates the creative power of fans coordinating original game footage with music and their
personalities to share their interpretations of the footage (Moody, 2014). As such, when fans
repurpose and organize media material (gaming footage) to narrate a story or share embedded
meanings, it demonstrates how the creative function of media literacy operates within the realm of
game video production.
3.3. Critical Function: Analyzing and Engaging with Gaming Content
The critical function of media literacy under the model deals with an audience’s ability to
critically analyze as well as engage with media texts. Fans of game videos demonstrate these
attributes by continually reviewing and reinterpreting gaming content (Moody, 2014). More and
more fans are taking advantage of social media platforms, such as YouTube, to move beyond
passively consuming gaming content (Moody, 2014). They scrutinize character relationships,
explore thematic elements, and delve into the larger social knowledge and discourses embedded
within gaming narratives (Moody, 2014). As such, fans use the videos they produce as platforms
for sharing critical opinions and judgments on gaming content. In addition, developing these
videos often requires fans to deeply explore and critically think about original game content
(Small, 2019). It goes beyond simply restating or regurgitating the original game content (Small,
2019). This phenomenon can be observed from fan-generated game videos offering new
perspectives, theories, and analyses of gaming narratives (Small, 2019). Furthermore, this critical
function can also be noticed in fan discussions, commentaries, and reviews accompanying game
videos on YouTube. As such, fans are contributing to the ongoing gaming discourse by critically
assessing game mechanics, storylines, as well as the wider gaming culture (Small, 2019). This
critical engagement improves content creators’ media literacy while also fostering a culture of
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active participation and discourse in the gaming community. On the downside, the accessibility of
game videos on YouTube can also contribute to the youth superficially engaging with gaming
content (Small, 2019). Rather than delving into critical analysis or in-depth examination of game
mechanics, narratives, or even cultural contexts, many young people often feel inclined to
passively consumer entertaining but less educational content (Small, 2019). This phenomenon can
undermine the development of critical thinking skills as well as a nuanced comprehension of the
broader cultural implications within the gaming world (Small, 2019). Besides this, the production
of game videos often involves sponsorships, partnerships, as well as promotions. Due to this,
content creators might prioritize content that aligns with commercial interests, including
promoting specific games, products, or in-game purchases (Moody, 2014). This commercialization
can skew the informational content of their game videos, resulting in biased perspectives and
reinforcing consumerist attitudes among young people (Moody, 2014). Additionally, the
influences might undermine the authenticity and educational value of the content in game videos,
adversely affecting youth media cultural literacy (Moody, 2014).
3.4. The Interplay between Gaming Trends and Cultural Influences
The interplay between gaming trends and cultural influences during the production of game
videos is often dynamic and complex. This can be attributed to existing cultural trends and
references shaping gaming content by producing game videos driving the evolution of gaming
culture (Small, 2019). Essentially, evolving gaming trends frequently force content creators to
adapt by incorporating new elements into their game videos. This phenomenon demonstrates the
ever-changing landscape characterizing the gaming community. An illustration using an example
will help demonstrate this. For instance, the growing popularity of e-sports, especially among
young people, contributed to the production of game videos solely focused on live events as well
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as competitive gameplay (Small, 2019). Furthermore, content creators will incorporate personal
commentary, analysis, and game footage highlights into their videos, allowing them to engage
with the e-sports subculture (Small, 2019).
Such videos reflect the cultural function of media literacy, considering content creators
negotiate their identity within the e-sports subculture. This then allows them to cater to audiences
that actively engage with competitive gaming content on YouTube. Besides this, the popularity of
specific in-game phenomena or game genres affects the nature of the gaming content that is
produced (Small, 2019). For example, when a specific game gets immense attention because of its
unique narratives or in-game play mechanics, content creators might develop videos creatively
exploring and showcasing these elements. Additionally, the critical function of media literacy
manifests when content creators and audiences critically analyze and engage with the changing
gaming landscape, shaping and reshaping the cultural narratives within the gaming community
(Small, 2019).
4.0. Game Videos’ Distribution
4.1. YouTube: Dominance and Diverse Content Creation
As argued in the paper’s introductory section, YouTube is among the most popular social
media platforms for disseminating game videos (Munaro et al., 2021). The platform has a massive
and diverse audience, particularly among the youth. YouTube has several features contributing to
its immense popularity within this population group, including having user-friendly interfaces,
allowing viewers to monetize their content, and having extensive reach (Munaro et al., 2021).
Besides this, game video content creators often take advantage of the platform’s effective analytics
tools to better comprehend their audiences and tailor the content they share with them, promoting
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community engagement (Munaro et al., 2021). Despite this, the platform’s content policies and
algorithms can raise issues. Concerns about demonetization and algorithmic biases can adversely
affect the visibility of certain types of content on YouTube (Munaro et al., 2021). As such,
YouTube’s evolving policies affect the nature and content of game videos by influencing content
creators’ choices. They are forced to align with the platform’s guidelines to maximize the visibility
of their game videos.
4.2. Twitch: Live Streaming and Interactivity
Twitch has turned into one of the popular social media platforms for live-streaming game
content, especially for content creators and audiences who prefer real-time engagements and
interactions. Its chat features allow for direct interactions between content creators and viewers,
creating a sense of community (Sjöblom et al., 2019). Furthermore, Twitch’s emphasis on
streaming live events, including e-sports, contributes immensely to its popularity among the youth
(Sjöblom et al., 2019). Such events allow audiences to feel part of the gaming experience. On the
downside, even though the platform’s monetization options often attract content creators, its
policies on copyrighted music, as well as mature content, are prompting discussions within the
gaming community (Sjöblom et al., 2019). Despite this, the platform’s interactive nature, coupled
with a focus on live streaming, contributes to the creation of game content aligned with the
preferences and needs of audiences who prefer real-time gaming content and interactions.
4.3. TikTok: Bite-Sized Game Moments
The popularity of TikTok, especially among young people, has significantly soared in
recent years. This notoriety can be attributed to the fact that it allows users to share short-form
videos (Shutsko, 2020). Game video content creators are capitalizing on this feature to distribute
game-related content. Besides this, its algorithm-driven content discovery, coupled with the ease
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of sharing videos on the platform, also contributed to the rapid spread of game-related videos on
TikTok (Shutsko, 2020). This simplicity, alongside the ability to quickly consume and create
content, attracts young people. Despite this, the platform’s content moderation policies, as well as
occasional political controversies, might force content creators to carefully use the platform to
distribute game videos to avoid violating its policies and guidelines (Shutsko, 2020).
4.4. Twitter (X) and Instagram: Snippets and Teasers
Instagram and Twitter (X) are also vital social media platforms used to distribute game
videos. Content creators often use these platforms to share teasers, snippets, or condensed
highlights (Ma, 2023). Doing this allows them to attract audiences to their main game video
content on platforms such as Twitch and YouTube (Ma, 2023). The platforms support quick, visual
engagement while also allowing content creators to take advantage of features such as hashtags to
improve the discoverability or visibility of their content (Ma, 2023). Even though they enhance
content visibility, their policies on copyright and community guidelines are shaping the nature of
the game video content distributed on Instagram and Twitter (X) (Ma, 2023). Despite this
shortcoming, content creators still use these platforms to strategically build up anticipation of the
longer-form game video content they post on other social media platforms such as YouTube.
5.0. Audience Interactions: Impact of Game Videos on Audience Behaviors,
Preferences, and Discourse
5.1. Behavioral Impact
Game video content significantly influences audiences’ behaviors. Viewers/fans will
frequently mimic the play styles, strategies, and reactions of their favorite content creators (Shen,
2021). This behavioral impact extends beyond simply learning gameplay techniques, considering
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it also covers wider behavioral aspects, including fans’ purchasing decisions, game preferences,
and social engagements within gaming communities (Shen, 2021). Content creators use social
media platforms to showcase new game releases, updates, or even in-game purchases in the videos.
This prompts audiences to make purchases informed by reviews and recommendations from their
favorite content creators as well as their gameplay experiences (Shen, 2021). Game videos,
especially those with play-throughs, discussions, or reviews, serve as valuable resources, guiding
viewers in selecting the games to invest in. Besides this, audience exposure to varying game
narratives, genres, and styles via game videos expands their horizons (Shen, 2021). Fans will often
discover and develop preferences for specific games or genres that they would have otherwise not
considered before watching game videos. Furthermore, the enthusiasm demonstrated by content
creators for games can trigger interest in them among their audiences, contributing to the
popularity or resurgence of certain titles.
5.2. The Formation of Preferences
Game videos can play a vital role in not only shaping but also reinforcing audience
preferences. Content creators’ individual preferences, showcased via their content, can
substantially influence viewers’ tastes (Woodhouse, 2022). Additionally, the experiential and
immersive nature of game videos allows audiences to vicariously explore various gaming genres
and worlds, helping them formulate their preferences (Woodhouse, 2022). Content creators
frequently diversify their gaming-related content by exploring varying game genres (Kreissl et al.,
2021). Viewers, in turn, get exposed to a broad array of gaming experiences, encouraging them to
explore game genres they would have otherwise never considered (Kreissl et al., 2021). This
creates a more open-minded and eclectic gaming community. The personalities, commentary, and
play styles used by content creators help cultivate distinct preferences among their viewers (Kreissl
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et al., 2021). As such, a content creator’s unique gaming approach can allow them to resonate with
audiences, resulting in viewers adopting similar play styles or even preferences for certain gaming
elements, like graphics, multiplayer dynamics, or storytelling. On the downside, game videos
might also lead to inaccurate representations of gaming culture, perpetuating stereotypes and
reinforcing harmful norms (Kreissl et al., 2021). Content creators who are motivated by the desire
to increase their videos’ views and likes might exaggerate their reactions, engage in toxic behaviors
or perpetuate harmful gaming stereotypes (Kreissl et al., 2021). Young people, particularly those
who are new to gaming, might internalize these representations, resulting in a distorted
understanding of the diverse and inclusive nature of the gaming community (Kreissl et al., 2021).
5.3. Discourse and Community Dynamics
Game videos can also trigger vibrant discussions within gaming communities, helping
shape the overall discourse around gaming culture. Content creators help develop cultural
narratives within gaming communities (Richardson et al., 2021). By discussing gaming trends,
industry news, or societal issues affecting the gaming world, content creators influence the broader
discourse within this community (Richardson et al., 2021). Furthermore, audiences respond to this
by engaging in conversations around these narratives, contributing to the ongoing discourse within
the gaming community. Besides this, game videos often trigger critical discourses related to game
mechanics, industry practices, storylines, and the societal implications of gaming (Richardson et
al., 2021). Audiences and content creators also participate in discussions that extend beyond the
surface level, fostering deeper analysis and exploration of diverse perspectives (Richardson et al.,
2021). Additionally, the shared experiences associated with watching and engaging in-game
videos help create a sense of community among viewers. Discussions in comment sections,
forums, or social media platforms offer spaces for community building (Richardson et al., 2021).
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This allows individuals to freely share their insig
