This article explores affective and immaterial labor on the leading live-streaming platform,, which boasts over one hundred million regular viewers and two million regular broadcasters. We extend this analysis to different forms of interaction on interactive multimodal platforms (IMP), where the complexities increase with the different spatial levels of the physical computer screen, the many different spatial levels depicted there, and the increasing difficulties for the interactants to navigate and negotiate the different levels of doing space. Concerning face-to-face interaction, we distinguish between heavily structured material settings that are custom-built for specific types of institutionalized interactions, such as lecture theatres, assembly halls or service encounters moderately structured settings, such as restaurants, staff rooms or museums and weakly structured settings, such as public town squares or other settings which provide only minimal assumptions about the interactions that may take place there and their spatial configurations. In that sense, they can be argued to be " doing space ". Co-participants in an interaction make use of the spatial affordances of the interactional architecture around them, and at the same time they interactionally create and maintain spatial configurations. In this article, we argue that the spatial environment of everyday interaction has to be understood as a social construct. In conclusion, it is stated that the analyzed streaming platforms reflect the proliferating crowdsource trends in the video game industry, with forms of interacting with the product at various stages of its development cycle establishing new practices of talking in and about video games. The last section juxtaposes the initial findings with the perspective of changing viewership figures in relation to selected ludic properties of games. Afterwards, a reading of analyzed phenomena based on paratextual framework is proposed. In this article, the initial characterization of and is followed by an analysis on how the work of streamers as content creators can influence the reception of video games. ![]() The methodology of the research is based on Mia Consalvo’s take on paratextual frameworks and Veli-Matti Karhulahti’s notions of interview and play frames regarding the activity of video games streaming. The aim of this article is two-fold: first, to point out the possible research methods regarding online streaming services as mediums for video game criticism, and second, to assess the potential of these platforms for generating critical discourse about video games. ![]() This work concerns online streaming platforms centered on broadcasting video games-related content, such as and. Based on a second analysis, the paper will show that game events elicit pivoting utterances or messages from the broadcaster and audience, which attribute a highly contextual and locally negotiated meaning to the event. Lastly, the paper introduces 'pivoting' and argues that it is a novel communicative behavior typical for online live streaming. The numerous audience members write quick and brief single-turn messages, whereas the broadcasters are selective and produce fewer but more elaborate responses that span several utterances. It will be demonstrated that broadcasters are more tightly regulated by the unfolding of the activity than the audience and that this leads to different cross-modal communicative practices. Afterwards, the transcript is used for exemplary analysis to address the second question. It is argued that the basic principles of this format are applicable to other forms of live streaming and research questions. ![]() First, how should a transcript look like in order to systematically account for the activity and the cross-modal communication between broadcaster and audience? Secondly, how does the unfolding of the activity influence the cross-modal discourse during online live streaming? In answering the first question, this paper develops a multi-column transcription scheme, which includes the broadcaster's spoken language & embodied conduct, the audience's written chat messages as well as an annotation of game events. Using the case of online live streaming of video games, this paper asks two questions. Lacking an analytical entry point, descriptions and micro-level analysis of this type of interaction are rare. Online live streaming is a new media genre that combines the broadcast of an activity with cross-modal video-mediated communication.
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