Chapter 5 Characteristics of Video Gamers and Video Game Communities Introduction
Finally, it’s about keeping in contact afterwards…
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- Exhibition Hall - ‘Have you been to the exhibition hall yet’
Finally, it’s about keeping in contact afterwards…In relation to video game studies, there has often been a dominant focus on online communities, rather than offline communities; of which I argue that they should be examined simultaneously. From the research findings, it was common for participants to come together at video game events, but at the same time, it was also important for them to stay connected until they meet again. As previously mentioned, video game events provide a unique opportunity for individuals, who are usually separated by distance, to come together and share their interests in video games. It is important to highlight that not all communities are evolved on conversation alone and sometimes requires face-to-face interaction. As previously mentioned (in chapter 3), Pearce and Artemisia (2009) identified patterns among ‘The Gathering of Uru’ (TGU) and There.com players, where they migrate outside of the virtual and into the real world. This suggests that video game events can provide online communities the opportunity to meet in person. As Luigi (Group Interview: Play Expo) states; ‘It’s nice to put faces to names you’ve seen on forums’. Despite coming together within a temporal time and space, the research findings suggests that the ‘socialisers’ often stay connected and look forward to meet again; whether if it is over social media (such as Facebook and Twitter), Skype or other forms of online and offline socialisation. It is important to highlight that the social dynamics shifts once you have met someone in person, in comparison to someone you have not met in person online. In particular, online communities have often been criticized for its lack of repercussions, due to its online nature that individuals can be kept hidden from identification (Boellstorff et al., 2012). In comparison, once you have met someone in person, it becomes ‘easier’ to identify individuals within a video game community; whether if it is online or offline. These forms of online and offline socialisation suggest that they both provide a rich variation of social life and community (Taylor, 2003). For instance, online communities are still real communities populated with real people: Online communities are not virtual. The people that we meet online are not virtual. They are real communities populated with real people which is why so many end up meeting in the flesh… They teach us about real languages, real meanings, real causes, real cultures (Kozinets, 2010, p.15) Kozinets (2010, p.27) suggests that online communities consist of real people with patterns of relationship development, that is no different to real communities, where; ‘…specialized language and sensitized concepts, norms, values, rituals, practices, preferences, and the identities of experts and other group members… a group structure of power and status relationships is learned’. This suggests that other types of communities that form quickly or temporarily can also consist of similar attributes. For instance, MacCallum-Stewart (2014) provides an example using Multiplayer Online Battle Arena (MOBA) DotA 2 (Valve Corporation, 2013), a game in which teams of players fight each other in short player-versus-player (PvP) battles that last between 20 minutes and an hour. Although there are plenty of opportunities for communication amongst video gamers during game play (before, during and after) in in-game chats, and for conversations to carry on away from the video game screen, it is important to highlight that good social relations are not only encouraged, but elements to sustain them are also an integral part to acknowledge groups formed outside of gameplay and demonstrate how video gamers can form certain type of relationships amongst each other (MacCallum-Stewart 2014). This suggests that video gaming does not take place in a vacuum and players’ responds to their experiences of play frequently spill over into other contexts (Crawford, 2005). Video game events have begun to be held on a much larger scale, where the creation of forums via magazines and conventions highlights the level of importance communication had to the overall formation of both the genre and its community. Without the establishment of this network, it is arguable that the cultural aspects of video gamer culture, in particular those that attend video game events, would not be as highly developed today. Therefore, it is important to consider the video game events are not just about individuals coming together, it also consists of social and cultural practices, such as the various activities individuals participate in – hence the importance to explore the ‘participator’.
The ‘participator’ refers to individuals that attend video game events for participation purposes. As mentioned earlier, Newman (2008) suggests that it is not just the act of playing video games, but also how people play with video games. Therefore, participating at video game events tells us something more than just what games people play. Crawford (2012) suggests that there are various forms of productive activities of secondary or video game related texts; such as video game mods, walkthroughs, fan fiction, art, cosplay and so forth - in particular; we see how gameplay has integrated into and across everyday life (Crawford, 2012). From the research findings, common forms of participation at video game events (besides gaming itself) included exploring the exhibition hall, purchasing merchandise, attending signing sessions and workshops, cosplay, and community practices (such as ritual and traditional practices) - this also includes competitions and tournaments (as examined later in chapter 5.2.3). Unlike the socialiser, the participator refers to those who participate in various activities with the intention to ‘do something’, or simply to ‘take part’ in something within an event environment, but not necessarily competitively. However, as mentioned earlier in this chapter, these characteristics (socialiser, participator and competitor) can overlap. One example of a socialiser and participator overlap can refer to those who participate in community practices for the purpose of taking part and to be with others. Meanwhile, those who cosplay for social, participative and competitive purposes can consist of all three characteristics – this will be examined later. Despite the examples provided for the three characteristics, the following activities analysed in this section can consist of characteristics from the socialiser and competitor - therefore, it should not be taken literally. Exhibition Hall - ‘Have you been to the exhibition hall yet?’Throughout this research, I have noticed the growing numbers of video game events and visitors, as well as the increasing capacity of the exhibition hall and changing location of the venue itself – usually to a bigger venue. Amongst the participants, it was a common activity to ‘walk around’ the venue - in particular, the exhibition hall and purchase merchandise; ‘It’s always worth having a look at the exhibition hall… even if you don’t intend to buy anything’ (Teemo the Swift Scout – Interviewee: Insomnia). Most video game events usually consist of one exhibition hall (the main hall - such as Eurogamer and Play Expo), one exhibition hall and one BYOC hall (such as Insomnia/i-Series), or two exhibition halls (such as MCM Comic Con), amongst other rooms for various purposes. The exhibition hall represents the cultural theme of the convention itself, where ‘everything is happening in one big hall’ (Annie the Dark Child – Interviewee: Insomnia), from game demonstrations, exhibitor stalls, tournaments, and competitions, signing sessions and workshops, and much more (see Figure 5.3). 
Figure 5.3: The exhibition hall of Insomnia57 (i57) However, the exhibition hall has experienced changes over time – in particular, the expansion of the exhibition hall. According to the participants, a few pointed out that several video game events consist an element of history, especially amongst those who had been continuously attending year after year – such as, MCM Comic Con and Insomnia (i-Series). For instance, the video game events examined in this research, MCM Comic Con and Insomnia (i-Series) was considered one of the ‘oldest’ conventions, compared to the other video game events (see Table 5.2).
Today, MCM Comic Con has been considered one of the biggest multi-genre fan conventions, focusing on anime, manga, video games, comic books, sci-fi, cosplay and popular media from the United Kingdom, the United States, and Japan. However, it has been suggested that MCM Comic Con was originally based on comic books – hence the title MCM Comic Con for Movie Comic Media (MCM) Comic Convention. As Master Chief (Interviewee: MCM Comic Con) states: Master Chief: It’s not based on gaming at all… er… MCM should really be based on comics… but it’s expanded since the Americans did it… because some of the exhibitors mentioned… erm… that some comic conventions like MCM Comic Con has been bombarded by video games, and anime… but when it comes to the actual comic books… they are hidden in the corner… Like… it belittles the people who are meant to be here… but then there are people that are getting paid to be here to sell stuff that you can get everywhere else… Like if you go to an artist… you can’t go and get that artist’s painting again and again… you can get it once, and you can get it signed… Or a sketch… done specifically for yourself… Master Chief (Interviewee: MCM Comic Con) suggests that the expansion to include video games, anime and manga has often ‘belittled’ the Comic Village – in particular, this suggests a shift from organisations by and for enthusiasts, to expansions that have been considered to be ‘profit driven’, or become more ‘corporate’ for capitalistic measures. For instance, Master Chief (Interviewee: MCM Comic Con) mentions that several exhibitors from more established companies (such as retailers Game and CEX) often overcrowd the exhibition hall with bigger stalls and banners, even when these stalls sell the same items that are already available on high streets; in comparison to enthusiasts (such as artists) that provide a unique service. From the field-notes, several exhibitors from more established companies mentioned that they often occupy a company policy to exhibit if there are over 10,000 visitors. Hence, smaller events usually consist of smaller organisations, which has been considered to be ‘more intimate’ or ‘community based’ - such as ‘Manchester Anime and Gaming Con’ and ‘Doki Doki’. Consequently, this has led Master Chief (Interviewee: MCM Comic Con) and several other participants to visit other events, such as ‘Thought Bubble’, which continues to have comic books as its main focus and organisations by and for enthusiasts. Similarly, Insomnia (i-Series) has also been through a transitional change; from having no exhibition hall to begin with, moving to bigger venues, expanding the exhibition hall, and eventually being bought by the UK retailer GAME. Therefore, these historical elements have been considered to be important amongst video gamers because these are considered of what constitutes the foundations of the event itself, through changes and development, and how it came to what it is today. As mentioned earlier, amongst the participators, it was a common activity to ‘walk around’ the exhibition hall. However, it is important to highlight that ‘walking around’ the exhibition hall consists of more than the physical motions of walking and ‘looking around’. Similar to visits to a museum, individuals do not just ‘walk around’, museum visitors ‘emotionally prepare themselves to come and take a journey of personal introspection’ (Gurian, 2006, p.173). As, Pac-Man (Interviewee – Play Expo) states: Pac-Man: The most awesome thing I’ve seen here… to me it’s got to be the ‘Puck Man’ cab (arcade cabinet), before the name change to ‘Pac-Man’… that thing must be so rare… seeing a machine that you’ve not seen since you played on as a kid, that still works, is amazing… it like taking a trip down memory lane… and yeah, there’s also a feeling of oh my god, that was years ago… I feel so old… In this instance, Pac-Man (Interviewee – Play Expo) suggests a connection to certain senses that have been utilised in constructing the experience. Although Gurian’s (2006) study examines the Holocaust Museum, unlike a museum, which often imposes ‘an optionless route’ on the visitor (Gurian, 2006, p.173), a video game event allows the visitor to find his or her own way without ‘a predetermined sequence’ (Hein, 1998). This suggests that the different ways in visiting video game events, can become an important part of life: money is saved for these trips, they come with social and emotional expectations, and the time of everyday life is organised around them.
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