Chapter 5 Characteristics of Video Gamers and Video Game Communities Introduction

However, Lamerichs (2010) argues that most respect is given to those who make their own outfits, and shop-bought costumes are usually frowned upon. To some extent, hand-made outfits were given more respect over those that were shop-bought; however, shop-bought costumes were not necessarily frowned upon. From my field-notes, when I cosplayed as an Attack on Titan character, ‘Mikasa Ackerman’, my whole costume was bought from eBay, from the white pants, white shirt, brown jacket, belt, red scarf, leather straps, leather boots and wig. I would often receive compliments on my cosplay and receive requests for a photograph, even though I had exactly the same costume as other Attack on Titan cosplayers. However, with limited cosplay experience and never really been approached for a photograph, I was unsure how I should pose and what the photographer was expecting – I was asked to do a pose to place my right fist over my heart – in that moment of panic, I was unable to locate my heart and incorrectly posed with my right fist in the middle of my chest. At that moment, another cosplayer as ‘Titan Eren Yeager’ (a man wearing nothing but boxers with make-up to emphasise a six-pack) walked by, and the photographer asked if we could take a picture together (again I became unsure how to pose), then the Titan cosplayer asked, ‘Do you mind if I pick you up?’ - I then realised that somewhere on the internet, there is a photograph of me being carried by a Titan. The photographers were ‘ecstatic’ to have obtained a photograph of a ‘re-enactment from the anime series’ - although, this scene never happened, it was commonly reproduced amongst fans in fanfiction and fanart, but usually the other way round, where Mikasa would be carrying Eren. This suggests a process of fans taking characters, scenarios or narratives from existing texts, and use them to produce their own cultural artefacts, such as art, stories and performances and so on – also known as ‘textual poaching’ (Jenkins, 1992).

On the other hand, it is important to highlight that store-bought cosplays are not eligible to enter the cosplay competitions held at the video game events. Most cosplay competitions have banned store-bought costumes and require candidates to submit hand-made costumes, to demonstrate creativity, skill, and performance. However, the Attack on Titan cosplayers did not have the intention to enter the cosplay competition, rather they cosplayed to socialise with other Attack on Titan cosplayers and for the purpose of taking photographs, such as group photographs together (see Figure 5.10). For instance, when I walked around in my cosplay at London MCM Comic Con (2013), I was approached several times by Attack on Titan cosplayers providing the same information; ‘Group photo, 1pm’ – but no location was provided, so I became unaware where I should be going for the group photo. Upon approaching 1pm, I was spotted by other Attack on Titan cosplayers and directed to the meet-up point, where we were positioned and posed for a group photograph, then ‘hanged-out’ together, along with a little role-playing. Lamerichs (2010) suggests that part of cosplay is about adhering to character traits, and cosplayers receive encouragement for acting like the character they are portraying. Cosplay can be considered to be subversive, where it challenges and plays with ideas of identity (Newman, 2008). This suggests that cosplay is not just about individuals dressing up for the day; rather it involved various aspects of play – such as role-playing (see Figure 5.11).

However, not all cosplayers necessarily role-played: as Princess Leia Organa (Interviewee; Play Expo) mentions her purpose to cosplay was because it ‘looked fun’ and wanted to ‘join in’;

Princess Leia Organa: This is my first cosplay… last time I came here I remember really wanting to join in, so this time I did… so far I’ve had loads of fun… I was asked if I’d be interested in some role playing with Luke Skywalker *laughs* I gave it a pass…

Newman (2008, p.88) suggests that ‘what is particularly interesting about cosplay is that, despite the inference in its name, it does not typically involve role playing’.

Nevertheless, it is important to highlight that within the three characteristics of video game event attenders, cosplay can consist of all three characteristics; socialiser, participator and competitor. For instance, cosplay is considered a social and participative activity amongst those who cosplay and interact with others, as well as a competitive activity for competing in cosplay competitions – such as the cosplay masquerade. Amongst the video game events, MCM Comic Con, Eurogamer, Play Expo, Insomnia Gaming Festival and Video Games Live often held cosplay competitions – from hand-made costumes to performing a skit or talent. It is commonly assumed that cosplayers often dress up or display their love for their favourite characters – hence, those who cosplay ‘incorrectly’ are often frowned up. For example, EuroGamer was considered an event based solely around video games; and among a somewhat smaller minority, there were individuals that decided to cosplay anime characters or certain video game characters without playing the game; as Scott Pilgrim (Interviewee: Eurogamer) mentions;

Scott Pilgrim: No I wouldn’t consider cosplaying, but if I did, I’d do it right… I wouldn’t come to this event in an anime cosplay because that’s just wrong… and I’d cosplay something that you’ve actually played and genuinely like… I spoke to this girl in a Tomb Raider cosplay earlier. She knew nothing about the game… why cosplay something you don’t know about?

Similar to Hodkinson’s (2002, p.46) study on Goths, ‘vampire goths’ were considered to be ‘missing the point’ and looked down upon. The majority, whose interest was essentially in video games, valued a more subtle, appropriation of unknowledgeable individuals to their cosplay characters, and tended to regard these cosplays as a form of attention seeking from the general public.

LAN Culture – ‘You have to do it, it’s LAN tradition’

Bulbasaur: …I liked the little room we were in, because it was mainly people from ‘Pallet Town’ (anonymised clan name)… like our little LAN room… we were still able to go into other rooms to hang out with other people, but it seemed nice to come back into a room where everyone else is… when we were in one big hall, it was fun… but when something happened, it escalated very quickly and it was just too much…

Traditionally, Insomnia (i-Series) events consist of one BYOC hall, where everyone would often seek activities from the Insomnia community– of which some activities have remained popular, such as the opening ceremony, pub quiz and raffle. However, due to the rising popularity of Insomnia (i-Series) events, smaller communities have started to attend, where there are able to ‘pick and choose’ or ‘nip in and nip out’ of certain activities, whether it be Insomnia community activities or their own community practices. As mentioned in the literature review, this suggests that neo-tribes may provide a more profitable way to analyse BYOC gamers that attend Insomnia (i-Series) events; as it considers the foundation of a fluid and loosely organised community, yet still places an emphasis on community and belonging (Maffesoli, 1996).

In relation to video game related practices, Taylor and Witkowski’s (2010, p.3) conclude that the image of a small niche of teenage boys or young men gathering together for a weekend of only intensive play, or file-sharing, doesn’t quite match what they observed:

It is in the space of the LAN we also see glimpses of how being there, together – playing and participating in one’s preferred ways – can feed into a welcoming and almost celebratory atmosphere where there is a general appreciation of gaming no matter the game genre, level of play, or ways (however bizarre) of being a gamer. What the participants of an event like DreamHack do is stamp gaming as a worthwhile leisure lifestyle, whatever your taste may be.

This suggest that video game events provide a space for video gamers to come together, into a welcoming and almost celebratory atmosphere, and participate in various video game related practices that considers gaming to be a worthwhile leisure lifestyle. For instance, it was common for BYOC gamers to participate in other community practices of their own (besides gaming itself); these included playing Mafia/Werewolves, card games (Cards Against Humanity, Maids), drinking games (Never Have I Ever, Ring of Fire), Hide and Sleep (when someone attempts to find a ‘hiding spot’ to sleep from the security guards – because sleeping at your own desk is not allowed), or seeking LAN treasure (finding ‘unwanted’ items that others have left behind). These forms of participation tells us something more than just what games people play; as Taylor and Witkowski (2010, p.3) writes; ‘we see how game play is integrated into and across everyday life’ (Taylor and Witkowski, 2010, p.3). For instance, Jörissen (2004) highlights that LAN parties provide Counterstrike clans space for video gamers to come together and publicly demonstrate and renew their values and connections with each other and verify one’s membership in a game culture. As he writes, ‘the social order of a community becomes staged as well as renewed by the participation of the community’s members’ (Jörissen, 2004, p.36). This suggests that video gamers are able to interact with each other to form their own webs of personal relationships based on their set of shared values and common interests (Rutter and Bryce, 2006).