There are 4 characteristics Raessen identifies including multimediality, virtuality, interactivity and connectivity as techniques of participation and identifies the types of techniques of participation as interpretation, reconfiguration and construction. For me to be able to connect these techniques and types of participation to my DA, I had to do some research to understand what these terms meant in relation to media culture.
Multimediality refers to using multiple media forms within the one text including word, sound and music (Raessen, 2005).My DA incorporates multiple media forms across the entire process, from my phone being used to record and play the games, my laptop and my microphone that allows me to edit and voice record to the platforms I post my content one. My DA includes word that can be both read and heard, sound and music from my voice or from the game. From the definition provided, I can connect the aspects of multimediality to an area of my DA.
As its name suggests, virtuality or virtual reality (VR) is an event or entity that is real in effect but not in fact (Heim 1993). Based on Heim’s definition, I am able to connect my DA to virtuality as the content of my DA is all happening online or in a virtual space. As I am studying particular games, I’m transported into a VR through my participation in the games played. The majority of the games being analysed during my DA are based on stories and developing yor online or virtual reality. As well as being able to publish my work on public platforms, this suggests that my DA satisfies this participation framework.
Interactivity is the ability to intervene in a meaningful way within the representation itself, not to read it differently. Thus interactivity in music would mean the ability to change the sound, interactivity in painting to change colours, or make marks, interactivity in film the immersion of the spectator in the scene and the ability to change the way the movie comes out (Cameron, 1995). From this definition, the player of the game is determining the course of the game. As the player, you are making the decisions for your game character. As mentioned earlier, the games in my DA are all storytelling games which allow me to choose options to progress my game and continue to level up and therefore I am able to intervene in a meaningful way within the game.
Connectivity refers to the connectedness between players (Raessen, 2005). Connectivity is crucial for any game no matter the platform. Having the ability to connect to other players can make or break your game experience for certain games. Within my DA I am able to connect to other players through logging into my social media platforms. I can also through this connectivity share my progress by posting updates or my progress after completing rounds or levels in the game.
Interpretation, Reconfiguration & Construction
How a player or audience member interprets a game or my DA is crucial in determining if they will play the game or want to be a part of my DA journey. Interpretation allows for an understanding of the content being consumed. My DA can be interpreted as a non-traditional gamer girl reviewing games with her very little knowledge of games. It may come across as humorous for a hardcore gamer or as impactful for someone with similar choices as myself.
Reconfiguration is all about making decisions that will suit you. My experience within my DA allows me to reconfigure my game experience as its based on a choose your path style of game experience. Through the way I record my findings and game experience I am also able to reconfigure my DA. The ability to reconfigure a game makes the game more exciting and interesting to play in my experience with mobile games.
Construction refers to the addition or the continued improvements (think of this as a renovation) to your experience within the game or DA progress. You may set up with a concept or idea in mind but as you progress you will find that you may no longer want to go ahead in that direction and so you will change your game experience or DA.
Cameron, A 1995, Dissimulations, Mfj-online.org, viewed 11 September 2021, <http://mfj-online.org/journalPages/MFJ28/Dissimulations.html>.
Heim, M 1993,Metaphysics of Virtual Reality: Essence of VR, Stanford.edu, viewed 9 September 2021, <https://web.stanford.edu/class/history34q/readings/Michael_Heim/HeimEssenceVR.html>.
Raessens, J. (2005). Computer games as participatory media culture. In J. Raessens & J. Goldstein (Eds.), Handbook of computer game studies (pp. 373-388). Cambridge, MA: MIT Press.
CBS 2016, Shocked Virtual Reality GIF by CBS, GIPHY, GIPHY, viewed 11 September 2021, <https://giphy.com/gifs/cbs-big-bang-theory-vr-virtual-reality-xTiQyI0qPIYaMzyyVa>.
NETFLIX 2021, Games Love GIF by NETFLIX, GIPHY, GIPHY, viewed 11 September 2021, <https://giphy.com/gifs/netflix-toohottohandle-toohottohandleseasontwo-toohottohandleseason2-ApZHPcID94U7Ud1GfU>.
renderfruit 2015, Animation Loop GIF by renderfruit, GIPHY, GIPHY, viewed 11 September 2021, <https://giphy.com/gifs/loop-powersource-d2Z8Ob1chcNW5S1i>.