2023
Välisalo, Tanja
Who is Your Favourite Character?: Audience Engagement with Fictional Characters PhD Thesis
2023, ISBN: 978-951-39-9275-0.
Abstract | Links | Tags: Audience, Audience studies, Character engagement, Elokuvahahmot, Fanit, Fans, Fictional characters, Fiktiiviset hahmot, Film characters, Game characters, Hahmosuhde, Pelaajat, Pelihahmot, Players (non-music), Transmedia, Yleisö, Yleisötutkimus
@phdthesis{Välisalo2023,
title = {Who is Your Favourite Character?: Audience Engagement with Fictional Characters},
author = {Tanja Välisalo},
url = {https://jyx.jyu.fi/handle/123456789/84564
https://jyx.jyu.fi/bitstream/handle/123456789/84564/978-951-39-9275-0_vaitos_2023_01_09_jyx.pdf?sequence=1&isAllowed=y},
isbn = {978-951-39-9275-0},
year = {2023},
date = {2023-01-09},
urldate = {2023-01-09},
publisher = {University of Jyväskylä},
abstract = {Transmediality, where narratives and fictional worlds are dispersed on multiple media platforms, has become a dominant feature of media production. As fictional characters are central to our relationship with stories and storyworlds, the transition into transmediality poses the question of how audiences engage with fictional characters in transmedia. This dissertation addresses this question empirically by focusing on how audiences articulate and construct character engagement, how character engagement is positioned in relation to transmedia engagement in general, and how character engagement is intertwined with broader meaning-making processes. This empirical study was conducted within two contexts, the audiences of The Hobbit film trilogy and the players of the multiplayer online game, Overwatch. Both media products are part of a larger transmedia universe. The main research data consisted of surveys and online discussions. Textual data from survey responses and online discussions were analysed using open coding and thematic analysis, and discourse analysis methodology was applied to parts of the online discussions. These methods were supplemented by descriptive statistics and analysis of transmedia content. The results offer empirical evidence to the notion that character engagement is connected to how audiences engage with the transmedia universe. Audiences articulate character engagement based on character traits, such as appearance, personality, gender, sexuality, as well as elements of character creation, such as character design or actor’s performance. Analysis of these articulations revealed different interpretative contexts for character engagement: (1) individual text/work, (2) transmedia universe, (3), genre(s), (4) medium(s), and (5) socio-cultural context(s). Different audiences prioritize different contexts, which can lead to negotiations and struggles over meanings. These articulations and negotiations reveal and construct hierarchies among audiences and creators. Characters are also used in in creating places of belonging outside of these structures. Fictional characters are indeed central to our relationship with fiction; however, they are also important in negotiating, defining and constructing broader structures of belonging, identity, and power through fiction.
Transmedia, jossa narratiivit ja fiktiiviset maailmat muodostuvat samanaikaisesti useissa eri mediamuodoissa, on tullut vallitsevaksi mediatuotannon muodoksi. Koska fiktiiviset hahmot ovat keskeisiä suhteellemme tarinoihin ja tarinamaailmoihin, transmediatuotannon yleistyminen saa kysymään, millainen on yleisöjen suhde fiktiivisiin hahmoihin transmediassa. Tämä väitöskirja lähestyy kysymystä tarkastelemalla sitä, miten yleisöt artikuloivat ja rakentavat hahmosuhdettaan, miten hahmosuhde asettuu osaksi vuorovaikutusta transmediasisältöjen kanssa, ja miten hahmosuhde kietoutuu yhteen laajempien merkityksellistämisen prosessien kanssa. Empiirinen tutkimus toteutettiin Hobitti-elokuvatrilogian yleisöjen ja verkkomoninpeli Overwatchin pelaajien parissa. Molemmat teokset ovat osa laajempia transmediauniversumeja. Pääasiallinen tutkimusaineisto koostui kyselyaineistoista ja verkkokeskusteluista. Tekstimuotoisen kysely- ja keskusteluaineiston analyysiin hyödynnettiin avointa koodausta ja teemoittelua, osaan keskusteluaineistosta sovellettiin lisäksi diskurssianalyysia. Menetelmiä täydennettiin kuvailevalla tilastoanalyysilla ja transmedia-aineiston sisällönanalyysilla. Tulokset tarjoavat empiirisiä todisteita sille, että yleisön hahmosuhde on yhteydessä siihen, millaisilla tavoilla yleisö on vuorovaikutuksessa transmedian kanssa. Yleisöt artikuloivat kiinnittymistään hahmopiirteiden, esimerkiksi ulkomuodon, persoonallisuuden, sukupuolen, ja seksuaalisuuden kautta, mutta myös hahmon toteutuksen, kuten näyttelijän suorituksen tai hahmon adaptaation perusteella. Yleisöjen artikulaatioiden tarkastelu paljasti erilaisia tulkinnallisia konteksteja hahmoihin kiinnittymiselle: (1) yksittäisen tekstin/teoksen, (2) transmediauniversumin, (3) genre(je)n, (4) mediumi(e)n, ja (5) sosio-kulttuurisen kontekstin. Eri yleisöt priorisoivat eri konteksteja, mikä johtaa neuvotteluihin ja kamppailuihin merkityksistä. Nämä puolestaan paljastavat ja rakentavat hierarkioita yleisöjen ja tuottajien keskuudessa. Hahmojen avulla myös luodaan kuulumisen paikkoja näiden rakenteiden ulkopuolella. Fiktiiviset hahmot ovat siis keskeisiä suhteellemme fiktioon, mutta niillä on myös rooli laajempien kuulumisen, identiteetin ja vallan rakenteiden neuvottelussa, määrittelyssä ja rakentamisessa.},
keywords = {Audience, Audience studies, Character engagement, Elokuvahahmot, Fanit, Fans, Fictional characters, Fiktiiviset hahmot, Film characters, Game characters, Hahmosuhde, Pelaajat, Pelihahmot, Players (non-music), Transmedia, Yleisö, Yleisötutkimus},
pubstate = {published},
tppubtype = {phdthesis}
}
Transmediality, where narratives and fictional worlds are dispersed on multiple media platforms, has become a dominant feature of media production. As fictional characters are central to our relationship with stories and storyworlds, the transition into transmediality poses the question of how audiences engage with fictional characters in transmedia. This dissertation addresses this question empirically by focusing on how audiences articulate and construct character engagement, how character engagement is positioned in relation to transmedia engagement in general, and how character engagement is intertwined with broader meaning-making processes. This empirical study was conducted within two contexts, the audiences of The Hobbit film trilogy and the players of the multiplayer online game, Overwatch. Both media products are part of a larger transmedia universe. The main research data consisted of surveys and online discussions. Textual data from survey responses and online discussions were analysed using open coding and thematic analysis, and discourse analysis methodology was applied to parts of the online discussions. These methods were supplemented by descriptive statistics and analysis of transmedia content. The results offer empirical evidence to the notion that character engagement is connected to how audiences engage with the transmedia universe. Audiences articulate character engagement based on character traits, such as appearance, personality, gender, sexuality, as well as elements of character creation, such as character design or actor’s performance. Analysis of these articulations revealed different interpretative contexts for character engagement: (1) individual text/work, (2) transmedia universe, (3), genre(s), (4) medium(s), and (5) socio-cultural context(s). Different audiences prioritize different contexts, which can lead to negotiations and struggles over meanings. These articulations and negotiations reveal and construct hierarchies among audiences and creators. Characters are also used in in creating places of belonging outside of these structures. Fictional characters are indeed central to our relationship with fiction; however, they are also important in negotiating, defining and constructing broader structures of belonging, identity, and power through fiction.
Transmedia, jossa narratiivit ja fiktiiviset maailmat muodostuvat samanaikaisesti useissa eri mediamuodoissa, on tullut vallitsevaksi mediatuotannon muodoksi. Koska fiktiiviset hahmot ovat keskeisiä suhteellemme tarinoihin ja tarinamaailmoihin, transmediatuotannon yleistyminen saa kysymään, millainen on yleisöjen suhde fiktiivisiin hahmoihin transmediassa. Tämä väitöskirja lähestyy kysymystä tarkastelemalla sitä, miten yleisöt artikuloivat ja rakentavat hahmosuhdettaan, miten hahmosuhde asettuu osaksi vuorovaikutusta transmediasisältöjen kanssa, ja miten hahmosuhde kietoutuu yhteen laajempien merkityksellistämisen prosessien kanssa. Empiirinen tutkimus toteutettiin Hobitti-elokuvatrilogian yleisöjen ja verkkomoninpeli Overwatchin pelaajien parissa. Molemmat teokset ovat osa laajempia transmediauniversumeja. Pääasiallinen tutkimusaineisto koostui kyselyaineistoista ja verkkokeskusteluista. Tekstimuotoisen kysely- ja keskusteluaineiston analyysiin hyödynnettiin avointa koodausta ja teemoittelua, osaan keskusteluaineistosta sovellettiin lisäksi diskurssianalyysia. Menetelmiä täydennettiin kuvailevalla tilastoanalyysilla ja transmedia-aineiston sisällönanalyysilla. Tulokset tarjoavat empiirisiä todisteita sille, että yleisön hahmosuhde on yhteydessä siihen, millaisilla tavoilla yleisö on vuorovaikutuksessa transmedian kanssa. Yleisöt artikuloivat kiinnittymistään hahmopiirteiden, esimerkiksi ulkomuodon, persoonallisuuden, sukupuolen, ja seksuaalisuuden kautta, mutta myös hahmon toteutuksen, kuten näyttelijän suorituksen tai hahmon adaptaation perusteella. Yleisöjen artikulaatioiden tarkastelu paljasti erilaisia tulkinnallisia konteksteja hahmoihin kiinnittymiselle: (1) yksittäisen tekstin/teoksen, (2) transmediauniversumin, (3) genre(je)n, (4) mediumi(e)n, ja (5) sosio-kulttuurisen kontekstin. Eri yleisöt priorisoivat eri konteksteja, mikä johtaa neuvotteluihin ja kamppailuihin merkityksistä. Nämä puolestaan paljastavat ja rakentavat hierarkioita yleisöjen ja tuottajien keskuudessa. Hahmojen avulla myös luodaan kuulumisen paikkoja näiden rakenteiden ulkopuolella. Fiktiiviset hahmot ovat siis keskeisiä suhteellemme fiktioon, mutta niillä on myös rooli laajempien kuulumisen, identiteetin ja vallan rakenteiden neuvottelussa, määrittelyssä ja rakentamisessa.
Transmedia, jossa narratiivit ja fiktiiviset maailmat muodostuvat samanaikaisesti useissa eri mediamuodoissa, on tullut vallitsevaksi mediatuotannon muodoksi. Koska fiktiiviset hahmot ovat keskeisiä suhteellemme tarinoihin ja tarinamaailmoihin, transmediatuotannon yleistyminen saa kysymään, millainen on yleisöjen suhde fiktiivisiin hahmoihin transmediassa. Tämä väitöskirja lähestyy kysymystä tarkastelemalla sitä, miten yleisöt artikuloivat ja rakentavat hahmosuhdettaan, miten hahmosuhde asettuu osaksi vuorovaikutusta transmediasisältöjen kanssa, ja miten hahmosuhde kietoutuu yhteen laajempien merkityksellistämisen prosessien kanssa. Empiirinen tutkimus toteutettiin Hobitti-elokuvatrilogian yleisöjen ja verkkomoninpeli Overwatchin pelaajien parissa. Molemmat teokset ovat osa laajempia transmediauniversumeja. Pääasiallinen tutkimusaineisto koostui kyselyaineistoista ja verkkokeskusteluista. Tekstimuotoisen kysely- ja keskusteluaineiston analyysiin hyödynnettiin avointa koodausta ja teemoittelua, osaan keskusteluaineistosta sovellettiin lisäksi diskurssianalyysia. Menetelmiä täydennettiin kuvailevalla tilastoanalyysilla ja transmedia-aineiston sisällönanalyysilla. Tulokset tarjoavat empiirisiä todisteita sille, että yleisön hahmosuhde on yhteydessä siihen, millaisilla tavoilla yleisö on vuorovaikutuksessa transmedian kanssa. Yleisöt artikuloivat kiinnittymistään hahmopiirteiden, esimerkiksi ulkomuodon, persoonallisuuden, sukupuolen, ja seksuaalisuuden kautta, mutta myös hahmon toteutuksen, kuten näyttelijän suorituksen tai hahmon adaptaation perusteella. Yleisöjen artikulaatioiden tarkastelu paljasti erilaisia tulkinnallisia konteksteja hahmoihin kiinnittymiselle: (1) yksittäisen tekstin/teoksen, (2) transmediauniversumin, (3) genre(je)n, (4) mediumi(e)n, ja (5) sosio-kulttuurisen kontekstin. Eri yleisöt priorisoivat eri konteksteja, mikä johtaa neuvotteluihin ja kamppailuihin merkityksistä. Nämä puolestaan paljastavat ja rakentavat hierarkioita yleisöjen ja tuottajien keskuudessa. Hahmojen avulla myös luodaan kuulumisen paikkoja näiden rakenteiden ulkopuolella. Fiktiiviset hahmot ovat siis keskeisiä suhteellemme fiktioon, mutta niillä on myös rooli laajempien kuulumisen, identiteetin ja vallan rakenteiden neuvottelussa, määrittelyssä ja rakentamisessa.
2022
Blom, Joleen
Game Character other
2022.
Abstract | Links | Tags: Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia
@other{Blom2022e,
title = {Game Character},
author = {Joleen Blom},
editor = {Paweł Grabarczyk},
url = {https://researchportal.tuni.fi/files/63703413/GameCharacter_Blom_3_OAversionTuniCris.pdf
http://urn.fi/URN:NBN:fi:tuni-202206225775
https://eolt.org/articles/game-character},
year = {2022},
date = {2022-04-21},
urldate = {2022-04-21},
booktitle = {Encyclopedia of Ludic Terms},
edition = {Spring 2022},
abstract = {This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
},
keywords = {Actor, Agent, Avatar, Character, Companion, Emotional attachment, Narrative, Player-character, Transmedia},
pubstate = {published},
tppubtype = {other}
}
This entry explains how game characters have been discussed in Game Studies and adjacent fields, evolving from agents and human-like beings to avatars, player-characters, transmedia characters and companions. Our understanding of game characters is based on our perception of charactersin other media. Although characters are understood as pieces of writing and human-like entities in Literary Studies, Game Studies has focused mainly on the playable figure, that is, the avatar and the player-character with little interest in other types of game characters. Currently, game characters are mainly discussed in two trends: as part of a global and transmedial network of characters over different texts, and as companion characters with which players can form a romantic emotional attachment.
Välisalo, Tanja; Koskimaa, Raine
Pelit ja transmediaalisuus Book Section
In: Friman, Usva; Arjoranta, Jonne; Kinnunen, Jani; Heljakka, Katriina; Stenros, Jaakko (Ed.): Pelit kulttuurina, Vastapaino, 2022, ISBN: 978-951-768-965-6.
Links | Tags: Games, Transmedia
@incollection{Välisalo2022c,
title = {Pelit ja transmediaalisuus},
author = {Tanja Välisalo and Raine Koskimaa},
editor = {Usva Friman and Jonne Arjoranta and Jani Kinnunen and Katriina Heljakka and Jaakko Stenros},
url = {https://jyx.jyu.fi/handle/123456789/80853},
isbn = {978-951-768-965-6},
year = {2022},
date = {2022-03-31},
urldate = {2022-03-31},
booktitle = {Pelit kulttuurina},
publisher = {Vastapaino},
chapter = {8},
keywords = {Games, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Blom, Joleen
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 49-66, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Abstract | Links | Tags: Author, Game characters, Implied player, Overwatch, Participatory culture, Reader-response criticism, Transmedia
@incollection{Blom2022,
title = {The Player’s Interpretative Agency and the Developer’s Disruptive Powers: How Blizzard Enforces Authorial Intention in Overwatch},
author = {Joleen Blom},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_4},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {49-66},
publisher = {Palgrave Macmillan},
abstract = {With the overhaul of Mercy, one of Overwatch’s healer characters, in August 2017, Blizzard Entertainment changed the healer’s ultimate ability to resurrect all allies at once to one where her abilities were only amplified in order to prevent Mercy players to hide until her ability was ready to be used. This change to the hero caused the player to not only adjust to how they engage with Mercy inside the Overwatch game, but also influenced how they perceive her as a fictional being—as a character, that is. According to Ebony Elizabeth Thomas (2019), in our participatory culture of the digital age, the meaning of media works is constantly negotiated as more people participate in writing, reading, playing, and watching different media for work and leisure. The players of games, like anyone who engages with media content, do not simply consume, but take an active part in the construction of the game to create their own unique version of the work (Mortensen 2003). However, more than ever before, games require constant internet connection to be played, which grants developers, such as Blizzard Entertainment, the possibility to alter their content rapidly and frequently based on fluctuating financial and other strategic needs. Overwatch (Blizzard Entertainment 2016b) represents one such product: being systematically altered by Blizzard Entertainment so that the players’ interpretative agency over their meaning-making— how they make sense of the game and play it—is heavily subjected to the developer’s evolving authorial intentions.},
keywords = {Author, Game characters, Implied player, Overwatch, Participatory culture, Reader-response criticism, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
With the overhaul of Mercy, one of Overwatch’s healer characters, in August 2017, Blizzard Entertainment changed the healer’s ultimate ability to resurrect all allies at once to one where her abilities were only amplified in order to prevent Mercy players to hide until her ability was ready to be used. This change to the hero caused the player to not only adjust to how they engage with Mercy inside the Overwatch game, but also influenced how they perceive her as a fictional being—as a character, that is. According to Ebony Elizabeth Thomas (2019), in our participatory culture of the digital age, the meaning of media works is constantly negotiated as more people participate in writing, reading, playing, and watching different media for work and leisure. The players of games, like anyone who engages with media content, do not simply consume, but take an active part in the construction of the game to create their own unique version of the work (Mortensen 2003). However, more than ever before, games require constant internet connection to be played, which grants developers, such as Blizzard Entertainment, the possibility to alter their content rapidly and frequently based on fluctuating financial and other strategic needs. Overwatch (Blizzard Entertainment 2016b) represents one such product: being systematically altered by Blizzard Entertainment so that the players’ interpretative agency over their meaning-making— how they make sense of the game and play it—is heavily subjected to the developer’s evolving authorial intentions.
Välisalo, Tanja; Ruotsalainen, Maria
Player Reception of Change and Stability in Character Mechanics Book Section
In: Ruotsalainen, Maria; Törhönen, Maria; Karhulahti, Veli-Matti (Ed.): Modes of Esports Engagement in Overwatch, pp. 67-86, Palgrave Macmillan, 2022, ISBN: 978-3-030-82766-3.
Abstract | Links | Tags: Close reading, Game characters, Overwatch, Transmedia
@incollection{Välisalo2022,
title = {Player Reception of Change and Stability in Character Mechanics},
author = {Tanja Välisalo and Maria Ruotsalainen},
editor = {Maria Ruotsalainen and Maria Törhönen and Veli-Matti Karhulahti},
url = {https://link.springer.com/book/10.1007/978-3-030-82767-0},
doi = {https://doi.org/10.1007/978-3-030-82767-0_5},
isbn = {978-3-030-82766-3},
year = {2022},
date = {2022-03-10},
urldate = {2022-03-10},
booktitle = {Modes of Esports Engagement in Overwatch},
pages = {67-86},
publisher = {Palgrave Macmillan},
abstract = {Change is a constant element of online games, and Overwatch as well as its playable characters have been through multiple changes since the launch of the game in 2016. In this chapter, we examine the relationships players have with the playable characters of Overwatch and specifically the role that character mechanics have in these relationships. Changes to game characters are a topic of avid discussion in Overwatch communities and evoke articulations of the meaning of game characters for the players.},
keywords = {Close reading, Game characters, Overwatch, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Change is a constant element of online games, and Overwatch as well as its playable characters have been through multiple changes since the launch of the game in 2016. In this chapter, we examine the relationships players have with the playable characters of Overwatch and specifically the role that character mechanics have in these relationships. Changes to game characters are a topic of avid discussion in Overwatch communities and evoke articulations of the meaning of game characters for the players.
2021
Koskimaa, Raine; Kerttula, Tero
Transmedia Literacy and Informal Learning Strategies among Finnish Teens Book Section
In: Ruokamo, Heli; Kangas, Marjaana (Ed.): Media Education at the Top, pp. 41-58, Cambridge Scholars Publishing, 2021, ISBN: 978-1-5275-6476-3.
Links | Tags: Learning strategies, Teens, Transmedia, Transmedia literacy
@incollection{Koskimaa2021b,
title = {Transmedia Literacy and Informal Learning Strategies among Finnish Teens},
author = {Raine Koskimaa and Tero Kerttula},
editor = {Heli Ruokamo and Marjaana Kangas},
url = {https://converis.jyu.fi/converis/portal/detail/Publication/52139480},
isbn = {978-1-5275-6476-3},
year = {2021},
date = {2021-12-31},
urldate = {2021-12-31},
booktitle = {Media Education at the Top},
pages = {41-58},
publisher = {Cambridge Scholars Publishing},
chapter = {4},
keywords = {Learning strategies, Teens, Transmedia, Transmedia literacy},
pubstate = {published},
tppubtype = {incollection}
}
Välisalo, Tanja; Ruotsalainen, Maria
Esports Fandom in the Age of Transmedia: The Reception of the Overwatch League Journal Article
In: Eracle: Journal of Sport and Social Sciences, vol. 4, iss. 1, no. 11-35, 2021, ISSN: 2611-6693.
Abstract | Links | Tags: Esports audiences, Fan studies, Overwatch, Thematic analysis, Transmedia
@article{Välisalo2021b,
title = {Esports Fandom in the Age of Transmedia: The Reception of the Overwatch League},
author = {Tanja Välisalo and Maria Ruotsalainen},
url = {http://urn.fi/URN:NBN:fi:jyu-202111295821},
doi = {10.6093/2611-6693/8517},
issn = {2611-6693},
year = {2021},
date = {2021-11-01},
journal = {Eracle: Journal of Sport and Social Sciences},
volume = {4},
number = {11-35},
issue = {1},
abstract = {In our article, we analyse the ways audiences engage with Overwatch esports and construct their fan relationships. We situate our research into several intersecting theoretical frames. To understand how Overwatch esports audiences engage with the esports through different media and media related practices we apply the framework of transmedia studies in our examination. To better understand how meanings related to esports are constructed through these practices we also draw from research on fandom and fan engagement. We reflect these findings on earlier research on sports fandom and esports viewership, enabling us to identify how Overwatch esports communities relate to traditional sports communities. Our study reveals how esports is intertwined with the everyday lived reality of the esports audiences, and how meanings are constructed through (mediated) audience practices. Our article contributes to the study of esports transmedia and to the understanding of the similarities and differences of esports and sports audiences.},
keywords = {Esports audiences, Fan studies, Overwatch, Thematic analysis, Transmedia},
pubstate = {published},
tppubtype = {article}
}
In our article, we analyse the ways audiences engage with Overwatch esports and construct their fan relationships. We situate our research into several intersecting theoretical frames. To understand how Overwatch esports audiences engage with the esports through different media and media related practices we apply the framework of transmedia studies in our examination. To better understand how meanings related to esports are constructed through these practices we also draw from research on fandom and fan engagement. We reflect these findings on earlier research on sports fandom and esports viewership, enabling us to identify how Overwatch esports communities relate to traditional sports communities. Our study reveals how esports is intertwined with the everyday lived reality of the esports audiences, and how meanings are constructed through (mediated) audience practices. Our article contributes to the study of esports transmedia and to the understanding of the similarities and differences of esports and sports audiences.
Koistinen, Aino-Kaisa; Koskimaa, Raine; Välisalo, Tanja
Constructing a Transmedia Universe: The Case of Battlestar Galactica Journal Article
In: WiderScreen, 2021, ISSN: 1795-6161.
Abstract | Links | Tags: Battlestar Galactica, Transmedia, Transmedia storytelling, Transmedia universe, Transmedial world, User-generated content
@article{Koistinen2021,
title = {Constructing a Transmedia Universe: The Case of Battlestar Galactica},
author = {Aino-Kaisa Koistinen and Raine Koskimaa and Tanja Välisalo},
url = {http://urn.fi/URN:NBN:fi:jyu-202109234963},
issn = {1795-6161},
year = {2021},
date = {2021-06-15},
journal = {WiderScreen},
abstract = {In this article, we define a ‘transmedia universe’ as encompassing the complexity of transmedia storytelling, production and consumption. In doing so, we use the popular science fiction television series Battlestar Galactica as a case study, including both the original and reimagined versions of the series and their various intramedia and transmedia, narrative and non-narrative, and diegetic and non-diegetic expansions. Moreover, we look beyond the official productions of the Battlestar Galactica franchise and include, for example, user-generated content within its transmedia universe.},
keywords = {Battlestar Galactica, Transmedia, Transmedia storytelling, Transmedia universe, Transmedial world, User-generated content},
pubstate = {published},
tppubtype = {article}
}
In this article, we define a ‘transmedia universe’ as encompassing the complexity of transmedia storytelling, production and consumption. In doing so, we use the popular science fiction television series Battlestar Galactica as a case study, including both the original and reimagined versions of the series and their various intramedia and transmedia, narrative and non-narrative, and diegetic and non-diegetic expansions. Moreover, we look beyond the official productions of the Battlestar Galactica franchise and include, for example, user-generated content within its transmedia universe.
Koistinen, Aino-Kaisa; Välisalo, Tanja
Fantasia ja transmedia Book Section
In: Korpua, Jyrki; Hirsjärvi, Irma; Kovala, Urpo; Välisalo, Tanja (Ed.): Fantasia: Lajit, ilmiö ja yhteiskunta, pp. 271-288, Jyväskylän yliopiston Nykykulttuurin tutkimuskeskus, 2021, ISBN: 978-951-39-8698-8.
Tags: Fantasia, Transmedia
@incollection{Koistinen2021b,
title = {Fantasia ja transmedia},
author = {Aino-Kaisa Koistinen and Tanja Välisalo},
editor = {Jyrki Korpua and Irma Hirsjärvi and Urpo Kovala and Tanja Välisalo},
isbn = {978-951-39-8698-8},
year = {2021},
date = {2021-06-15},
booktitle = {Fantasia: Lajit, ilmiö ja yhteiskunta},
pages = {271-288},
publisher = {Jyväskylän yliopiston Nykykulttuurin tutkimuskeskus},
keywords = {Fantasia, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Mochocki, Michał; Koskimaa, Raine
Story Beats in Videogames as Value-Driven Choice-Based Unit Operations Journal Article
In: Images: The International Journal of European Film, Performing Arts and Audiovisual Communication, vol. 29, no. 38, pp. 5-31, 2021, ISSN: 1731-450X.
Abstract | Links | Tags: Beat, Character, Game studies, Narrative, Narratology, Transmedia, Video games
@article{Mochocki2021,
title = {Story Beats in Videogames as Value-Driven Choice-Based Unit Operations},
author = {Michał Mochocki and Raine Koskimaa},
url = {https://jyx.jyu.fi/handle/123456789/78603
https://pressto.amu.edu.pl/index.php/i/article/view/29815/26411},
doi = {https://doi.org/10.14746/i.2021.38.01},
issn = {1731-450X},
year = {2021},
date = {2021-06-15},
urldate = {2021-06-15},
journal = {Images: The International Journal of European Film, Performing Arts and Audiovisual Communication},
volume = {29},
number = {38},
pages = {5-31},
publisher = {Adam Mickiewicz University Poznan},
abstract = {We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.},
keywords = {Beat, Character, Game studies, Narrative, Narratology, Transmedia, Video games},
pubstate = {published},
tppubtype = {article}
}
We present a framework of story beats, defined as microunits of dramatic action, as a tool for the ludonarrative analysis of videogames. First, we explain the Goal - Action - Reaction - Outcome model of the story beat. Then, we present six types of story beats, Action, Interaction, Inaction, Mental, Emotion, and Sensory, providing videogame examples for each category. In the second half of the paper, we contextualise this framework in the classic game studies theory of videogame narrative and player action: unit operations, gamic action, anatomy of choice, and game design patterns, wrapping it up in the most recent trends in cognitive narratology. Ultimately, we present the story beat as a ludonarrative unit, working simultaneously as a ‘unit operation’ in the study of games as systems, and as a microunit of character action in narrative analysis. The conclusion outlines prospective directions for using story beats in formal, experiential, and cultural game research.
Koskimaa, Raine; Välisalo, Tanja; Ruotsalainen, Maria; Karhulahti, Veli-Matti
Esports Transmedia Universes: The Case of Overwatch Book Section
In: Jin, Dal Yong (Ed.): Global Esports: Transformation of Cultural Perceptions of Competitive Gaming, pp. 149–165, Bloomsbury Academic, 2021, ISBN: 978-1-5013-6877-6.
Abstract | Links | Tags: Electronic sports, Elektroninen urheilu, Monimediaisuus, Transmedia
@incollection{Koskimaa2021,
title = {Esports Transmedia Universes: The Case of Overwatch},
author = {Raine Koskimaa and Tanja Välisalo and Maria Ruotsalainen and Veli-Matti Karhulahti},
editor = {Dal Yong Jin},
url = {http://urn.fi/URN:NBN:fi:jyu-202105203061},
doi = {10.5040/9781501368745.0014},
isbn = {978-1-5013-6877-6},
year = {2021},
date = {2021-02-22},
booktitle = {Global Esports: Transformation of Cultural Perceptions of Competitive Gaming},
pages = {149–165},
publisher = {Bloomsbury Academic},
abstract = {Over the years and recently in particular, various elements of esports have gathered piles of research from culture and economics to health and gender (e.g., Jin & Chee, 2008; Scholz, 2019; Szablewicz, 2016; DiFrancisco-Donoghue, 2019; Taylor & Voorhees, 2018; Witkowski, 2018; Kari et al., 2018). However, few have considered the role of transmediality as an explicit part of esport ecosystems—perhaps because of the strong tendency of both the industry and scholars to entertain esports as an extension to traditional sports (e.g., Kane & Spradley, 2017; Jenny et al., 2017; Hallmann & Giel, 2018) rather than part of fictional and narrative cultural lineages. In other words, transmedia studies have always been concerned with fictional and narrative cultural content in particular, and current esports research somewhat uncritically perceives the phenomenon as sports or sports-like to which fictional elements are trivial. In this chapter, our goal is to introduce transmediality as a core pattern that delineates esports design, play, and player-audience interaction on multiple levels. As a case study, we provide a cross-sectional analysis of the esports title Overwatch.},
keywords = {Electronic sports, Elektroninen urheilu, Monimediaisuus, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
Over the years and recently in particular, various elements of esports have gathered piles of research from culture and economics to health and gender (e.g., Jin & Chee, 2008; Scholz, 2019; Szablewicz, 2016; DiFrancisco-Donoghue, 2019; Taylor & Voorhees, 2018; Witkowski, 2018; Kari et al., 2018). However, few have considered the role of transmediality as an explicit part of esport ecosystems—perhaps because of the strong tendency of both the industry and scholars to entertain esports as an extension to traditional sports (e.g., Kane & Spradley, 2017; Jenny et al., 2017; Hallmann & Giel, 2018) rather than part of fictional and narrative cultural lineages. In other words, transmedia studies have always been concerned with fictional and narrative cultural content in particular, and current esports research somewhat uncritically perceives the phenomenon as sports or sports-like to which fictional elements are trivial. In this chapter, our goal is to introduce transmediality as a core pattern that delineates esports design, play, and player-audience interaction on multiple levels. As a case study, we provide a cross-sectional analysis of the esports title Overwatch.
2020
Välisalo, Tanja; Piipponen, Maarit; Mäntymäki, Helen; Koistinen, Aino-Kaisa
Crime Fiction and Digital Media Book Section
In: Allan, Janice; Gulddal, Jesper; King, Stewart; Pepper, Andrew (Ed.): The Routledge Companion to Crime Fiction, pp. 397-405, Routledge, 2020, ISBN: 9781138320352.
Links | Tags: Crime fiction, Digital media, Storyworlds, Transmedia
@incollection{Välisalo2020,
title = {Crime Fiction and Digital Media},
author = {Tanja Välisalo and Maarit Piipponen and Helen Mäntymäki and Aino-Kaisa Koistinen},
editor = {Janice Allan and Jesper Gulddal and Stewart King and Andrew Pepper},
url = {https://urn.fi/URN:NBN:fi:tuni-202101201532},
doi = {doi:10.4324/9780429453342},
isbn = {9781138320352},
year = {2020},
date = {2020-04-29},
booktitle = {The Routledge Companion to Crime Fiction},
pages = {397-405},
publisher = {Routledge},
keywords = {Crime fiction, Digital media, Storyworlds, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
2019
Wiik, Elisa
“More Interaction, More Story, More Lore”: Motivations Related to Game-centric Transmedia Proceedings Article
In: DiGRA '19 - Proceedings of the 2019 DiGRA International Conference: Game, Play and the Emerging Ludo-Mix, DiGRA, 2019, ISSN: 2342-9666.
Abstract | Links | Tags: Defiance, Digital games, Game-centric transmedia, Motivations, Quantum Break, Transmedia
@inproceedings{Wiik2019,
title = {“More Interaction, More Story, More Lore”: Motivations Related to Game-centric Transmedia},
author = {Elisa Wiik},
url = {http://www.digra.org/digital-library/publications/more-interaction-more-story-more-lore-motivations-related-to-game-centric-transmedia/},
issn = {2342-9666},
year = {2019},
date = {2019-08-06},
booktitle = {DiGRA '19 - Proceedings of the 2019 DiGRA International Conference: Game, Play and the Emerging Ludo-Mix},
publisher = {DiGRA},
abstract = {Transmedia research has in the past been mainly interested in defining transmedia and examining transmedia franchises that have their starting point in movies and TV-series. However, there are multiple transmedia constellations that have a game as their starting point and this paper concentrates on two of those, Defiance (Trion Worlds, 2013) and Quantum Break (Remedy Entertainment, 2016). The survey data from these two examples was analyzed by using constructivist grounded theory-informed approach in order to find out what motivates audiences to consume or avoid game-centric transmedia. Ten categories related to consuming game-centric transmedia and five categories related to avoiding it emerged from the data. The motivations to consume game-centric transmedia had a strong focus on narrative aspects. The results differ from earlier transmedia audience studies and suggest the need for more game-centric transmedia audience studies, where the core text is a game instead of a television show.},
keywords = {Defiance, Digital games, Game-centric transmedia, Motivations, Quantum Break, Transmedia},
pubstate = {published},
tppubtype = {inproceedings}
}
Transmedia research has in the past been mainly interested in defining transmedia and examining transmedia franchises that have their starting point in movies and TV-series. However, there are multiple transmedia constellations that have a game as their starting point and this paper concentrates on two of those, Defiance (Trion Worlds, 2013) and Quantum Break (Remedy Entertainment, 2016). The survey data from these two examples was analyzed by using constructivist grounded theory-informed approach in order to find out what motivates audiences to consume or avoid game-centric transmedia. Ten categories related to consuming game-centric transmedia and five categories related to avoiding it emerged from the data. The motivations to consume game-centric transmedia had a strong focus on narrative aspects. The results differ from earlier transmedia audience studies and suggest the need for more game-centric transmedia audience studies, where the core text is a game instead of a television show.
Mäyrä, Frans; Tyni, Heikki
Transmedial Playthings: Games, Toys and Playful Engagement in Storyworlds Book Section
In: Coelsch-Foisner, Sabine; Herzog, Christopher (Ed.): Transmedialisierung, pp. 413-430, Universitätsverlag Winter, 2019.
Links | Tags: Playfulness, Toys, Transmedia
@incollection{Mäyrä2019b,
title = {Transmedial Playthings: Games, Toys and Playful Engagement in Storyworlds},
author = {Frans Mäyrä and Heikki Tyni},
editor = {Sabine Coelsch-Foisner and Christopher Herzog},
url = {https://homepages.tuni.fi/frans.mayra/Transmedial-Playthings.pdf},
year = {2019},
date = {2019-05-02},
booktitle = {Transmedialisierung},
pages = {413-430},
publisher = {Universitätsverlag Winter},
keywords = {Playfulness, Toys, Transmedia},
pubstate = {published},
tppubtype = {incollection}
}
2018
Koskimaa, Raine; Maj, Krzysztof; Olkusz, Ksenia
Introduction to Expanding Universes: Exploring Games and Transmedial Ways of World-building Journal Article
In: International Journal of Transmedia Literacy, vol. 4, pp. 7-17, 2018, ISSN: 2465-227X.
Abstract | Links | Tags: Games, Transmedia
@article{Koskimaa2018b,
title = {Introduction to Expanding Universes: Exploring Games and Transmedial Ways of World-building},
author = {Raine Koskimaa and Krzysztof Maj and Ksenia Olkusz},
url = {http://urn.fi/URN:NBN:fi:jyu-201901291353},
doi = {10.7358/ijtl-2018-000-intr},
issn = {2465-227X},
year = {2018},
date = {2018-12-01},
journal = {International Journal of Transmedia Literacy},
volume = {4},
pages = {7-17},
abstract = {Transmedia is a wide concept, as by definition, it is a network of various media forms. It includes also games, both digital and more traditional forms of games. Transmedia productions are often built around a certain television series, but in some cases a digital game has been the core production as well. Games, however, have not been looked at in detail in their role as a part of a transmedia whole. It is important to pay attention to the specificity of games as a media form, to their product-audience relation, and to the way how they incorporate playfulness into that relation. Even in cases where games are just a minor part of the production, the playfulness involved in transmedia user practices makes games well worth closer scrutiny. The selection of articles in this issue of IJTL provide multifaceted and complimentary approaches to the topic of games and transmedia. They discuss both the ways how games in themselves may be transmedial, but also how games may be incorporated as elements in larger transmedia universes. Furthermore, the articles also present ways how playful engagement with media is, or could be, part of transmedia user experience. The articles deal with the World of Warcraft and Metal Gear Solid franchises, live-action role-play, the walking simulator game Dear Esther, as well as time-loop structure in film and games.},
keywords = {Games, Transmedia},
pubstate = {published},
tppubtype = {article}
}
Transmedia is a wide concept, as by definition, it is a network of various media forms. It includes also games, both digital and more traditional forms of games. Transmedia productions are often built around a certain television series, but in some cases a digital game has been the core production as well. Games, however, have not been looked at in detail in their role as a part of a transmedia whole. It is important to pay attention to the specificity of games as a media form, to their product-audience relation, and to the way how they incorporate playfulness into that relation. Even in cases where games are just a minor part of the production, the playfulness involved in transmedia user practices makes games well worth closer scrutiny. The selection of articles in this issue of IJTL provide multifaceted and complimentary approaches to the topic of games and transmedia. They discuss both the ways how games in themselves may be transmedial, but also how games may be incorporated as elements in larger transmedia universes. Furthermore, the articles also present ways how playful engagement with media is, or could be, part of transmedia user experience. The articles deal with the World of Warcraft and Metal Gear Solid franchises, live-action role-play, the walking simulator game Dear Esther, as well as time-loop structure in film and games.
Scolari, Carlos A.; Buckingham, David; Pereira, S.; Moura, Pedro; Koskimaa, Raine; Pérez, Ó.; Contreras, R.; Gaspard, I.; Horst, H.; Guerrero-Pico, M.; Lugo, N.; Masanet, M. J.; Establés, M. J.; Gutiérrez, E.; Rey, E.; Melo, L.; Tirocchi, S.; Márquez, I.; Lanzeni, D.; Winocur, R.; Morales, S.; Pink, S.; Ardévol, E.; Amici, S.; Taddeo, G.
Teens, Media and Collaborative Cultures: Exploiting Teens' Transmedia Skills in the Classroom other
2018.
Links | Tags: Adolescents, Classroom, Culture, Teens, Transmedia, Transmedia skills
@other{Scolari2018,
title = {Teens, Media and Collaborative Cultures: Exploiting Teens' Transmedia Skills in the Classroom},
author = {Carlos A. Scolari and David Buckingham and S. Pereira and Pedro Moura and Raine Koskimaa and Ó. Pérez and R. Contreras and I. Gaspard and H. Horst and M. Guerrero-Pico and N. Lugo and M. J. Masanet and M. J. Establés and E. Gutiérrez and E. Rey and L. Melo and S. Tirocchi and I. Márquez and D. Lanzeni and R. Winocur and S. Morales and S. Pink and E. Ardévol and S. Amici and G. Taddeo},
url = {http://urn.fi/URN:NBN:fi:jyu-201901291348},
isbn = {978-84-697-9843-0},
year = {2018},
date = {2018-03-01},
publisher = {Universitat Pompeu Fabra},
keywords = {Adolescents, Classroom, Culture, Teens, Transmedia, Transmedia skills},
pubstate = {published},
tppubtype = {other}
}