RPDR as Transmedia Storytelling

RuPaul’s Drag Race (RPDR) is a reality television show in which the world’s most famous drag queen, RuPaul, seeks out the next generation of drag queens who are able to use their charisma, uniqueness, nerve, and talent to champion the art and its rich history. The intended market for this brand is anyone over the age of 21; their biggest sponsor being Absolut Vodka.

The protagonist in this story is the winner of the drag race. That being said, every competitor undergoes the hero’s journey to one extent or another as they all endure a transformation due to trials within the competition which result in their either winning or being told to “sashay away”. Competitors start by going through a series of trials (i.e., application process, mini challenges, main challenges, and runway walks) designed to test their drag related skills as well as their personal development (e.g., social skills, personal conflicts, etc.). By the end of the competition, regardless of the outcome for the competitor, they have likely learned something about themselves and their skills. However, the only true hero’s journey, based on a real and tangible outcome, resolution, or change that is definitive is the winner of the competition; they have the crown.

The archetype of this story is that of the magician. Competitors learn the art of transformation and are motivated by achievement. There are other archetypes which, in one way or another, are also represented within RPDR (e.g., Jester or Outlaw), but the competition is about transformation in all its forms and masteries within the art of drag.

A variety of media are used to bring the journey of the drag queens, as well as their art, to life for consumers. RPDR itself is the flagship of Logo.tv. All episodes of the competition, as well as a show called Untucked, and one called Drag U, are located on the site/channel. Untucked allows consumers a glimpse of the behind the scenes of the competition; a way to connect more personally with the competitors. Drag U is a spin off which allows women to participate with RPDR competitors to undergo their own version of a hero’s journey using the principles and art of drag. Both Untucked and Drag U allow resonance with the brand, as consumers are able to identify with competitors as well as picture themselves in their shoes.

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Another way in which consumers can see themselves in drag stilettos is through the Dragulator. This is an online application which allows consumers to upload a photo of themselves and make themselves up in drag. They can then share the result via a variety of social media sharing options. In addition to the Dragulator, consumers can participate in live chat with competitors and fellow fans during the broadcast via LogoTalk. In addition to discussing the show as it airs, consumers are able to converse with and direct questions to the latest competitor to be eliminated via Elimination Lunch with Michelle Visage, also on LogoTalk. LogoTalk is a convenient way to participate in Twitter conversations which follow the given hashtags during the show, allow for stickers to be gathered on GetGlue (another achievement driven social media). One of the most prominent features of RPDR is the ability for consumers to participate.

While the hub of RPDR remains on Logo.tv, and links to all branches of the transmedia network, Facebook remains a more easily navigated and immersive place for participants to explore. Social media are used heavily within the network. While Facebook is an easy place to share photos, ask questions to promote conversation, and link to other elements within the network, Twitter is used heavily to connect consumers during the shows. Hashtags are given at random times during various segments of the show to promote consist discussion between viewers. Twitter is also used as a way for competitors to connect to their fans and promote their personal performances throughout the country.

Other media are used successfully to immerse consumers as well. An online game called Ru-Dunnit, allows consumers to play a choose-your-own-adventure mystery game with the fierce Michelle Visage as the gumshoe (or “gumstilleto”, as she says in the game). The goal of the game is to determine who stole Sharon Needles’s crown. The game includes product placement by Absolut Vodka, and clothing worn by suspects are consistent with drinks featured in the video. Another example of a game used in the story of the ‘Next drag superstar’ is the Best Friend Race. This is a game hosted by SocialToaster.com which allows for the collection of points which are earned by sharing elements of the network via social media, how many likes and retweets you obtain, and how many of your friends sign up to play the game. This allows those who are achievement driven (consistent with the goals of the Magician archetype) a goal related to the brand with inadvertently further promotes the brand and takes advantage of social networks.

RPDR uses transmedia storytelling to tell a variety of stories about what it’s like to be a drag queen, but also promotes an art form which tends to be, in and of itself, at the forefront of the acceptance of LGBT individuals and culture. By expanding the in-group inherent in RPDR supporters, a social cause is promoted as well.

References:

Mark, M., & Pearson, C. (2001). The hero and the outlaw building extraordinary brands through the power of archetypes. New York: McGraw-Hill. Retrieved from http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=63620

**The trading cards in the slideshow came from The LogoTV Tumblr page. Thanks guys! Great pics!**

All the Victorian themed Rap… ALL of it!

Do the Hustle!: JK [Wedding Dance]

The JK Wedding Dance video is interesting because it challenges our social normatives, much like iconic brands do. Jenkins, Li, Krauskopf, and Green (2009) note that in order for something to be spreadable (clearly, this video is an apt example of spreadable media), it must answer a question for us, speak a truth, make sense of something, or touch us emotionally. This video allows us to experience a ritualistically sober ceremony in a non-traditional way, and allows us to do so safely from the comfort of our own home. It shows us  that something we may have previously considered socially taboo, is actually fun and completely acceptable. It allows collective intelligence to demolish pluralistic ignorance.

Chris BrownBowrey (2011) explains that many cases of copyright infringement and related disputes do not actually have the backing of the law that may be assumed. She notes that most people make assumptions about what is actually enforceable, but notes that trademark and copyright laws (and processes) are meant to cover very specific items and not thematic elements (e.g., characters). Additionally, IP laws change with the culture, and interpretation is done with an eye on the current state of culture and conceptualized future progression. This is similar to idea that the medium is the message (Federman, 2004). IP laws are flexible enough to anticipate legal needs as culture and use norms change. By understanding what is underlying and looking for those issues which are not glaringly obvious, IP law can effectively maintain the freedom and cost-effectiveness of amateur material with the commercial and professional, as suggested and called for by Cunningham (2012).

Sony’s brand relies on the notion that using their products, individuals can create whatever they can imagine (Sony Global, 2013). In the case of Jill and Kevin, they imagined a wedding outside the traditionally accepted social norms. They created an individualized ceremony, using Sony’s product (i.e., the song), because they believed they could, and they made it happen: make.believe.

Sony ElectronicsNot only does Sony have a variety of options for promoting their brand, but it seems to be recognized by many consumers that they already have benefited from the video’s popularity. Deighton and Kronfeld (2012) explain that when the video was at the height of it’s popularity, a number of people challenged the integrity of the video, accusing Sony of creating the video to induce sales and reputation reparations. It stands to reason, then, that the perception is that there was an increase in sales, as well as a shift in the artists popularity, despite his domestic abuse arrest. Rather than focusing on the negativity of the personal experiences of the artist, Sony could instead focus on the phenomenon promoted by the video which encourages a happy and unique marriage. Jill and Kevin donated money made from the video’s unexpected virality to a charity in just such a way (Deighton & Kornfeld, 2012). Allowing the song to be representative of something more positive is one way for Sony to not only take advantage of the popularity of the song and the video, but also do something socially supportive while profiting in non-direct ways. This is one of the possible actions to be taken as pointed out by Deighton and Kronfeld ( 2012). Were Sony to do something to threaten Jill and Kevin, they risk not only alienating customers who purchased the song for their wedding in the first place (i.e., Jill and Kevin), but those who spread the video, as well as those who identify with and support the charity they support with the proceeds. They also risk lash back such as that exhibited by Lenz when she the Electronic Frontier Foundation about her YouTube video (Deighton & Kornfeld, 2012). And that is not even taking into account a possibly unfounded complaint which, according to Bowrey (2011), is a very real possibility.

References:

Bowrey, K. (2011). The new intellectual property: Celebrity, fans and the properties of the entertainment franchise. Griffith Law Review, 20(1), 188-220.

Cunningham, S. (2012). Emergent innovation through the coevolution of informal and formal media economies. Television New Media, 13(5), 415-430.

Deighton, J., & Kornfeld, L. (2012). Sony and the JK Wedding Dance. Boston, MA: Harvard Business College.

Jenkins, H., Li, X., Krauskopf, A., & Green, J. (2009). If it doesn’t spread, it’s dead (part one): Media viruses and memes. Retrieved from http://henryjenkins.org/2009/02/if_it_doesnt_spread_its_dead_p.html

Sony Global. (2013). Sony group brand message “make.believe”. Retrieved from http://www.sony.net/united/makedotbelieve/

Essential Melodiness

So, here is what I love about studying identities: we are all made up of a variety of identities. We get to choose which ones we show, which ones we prioritize, how we define then, how we refine them, and how we use them to interact. When you ask someone (or even better, a group  of someones) to tell you who they are, their answers will vary vastly. Give them the task of choosing how to tell you, and the vastness of the variations expands. The colors, graphics, sounds, pictures, videos, words, textures, etc. that we use to produce something representative of our core all roll into that description as well. For more information on identities, check out the great book below. Meanwhile, here is my Glog introducing who I am. Enjoy!

Read More!

Burke, P., & Stets, J. E. (2009). Identity theory. New York, NY: Oxford University Press.

The Birthday Massacre

See on Scoop.itOomph! Media Garage

Not only do I love the idea of SoundCloud, I LOVE LOVE LOVE this group! They remind me of Tangerine Dream but with a modern twist. Please check them out!

See on soundcloud.com

Desperately Seeking Future

This is the portion of the show where we contemplate what our dream social technology would do. I’m not great at dreaming big (the hazard of being a realist). I am, however, great at explaining why I like what I like; we start there.

First and foremost, my favorite social media is Google; all of it. The reason being that there are so many ways to connect, types of uses, and useful media all under one roof. That being said, Google doesn’t work under one application (at least on my phone), so moving from one to the other can be challenging. Google, as a company, seems to be mindful of ways in which the internet COULD be used better, rather than just coming up with more options for current use (although Google+ did kinda do that).

I love Skype because it allows me to see and hear friends who are far away (same reason I enjoy Google Hangouts). I like Twitter because it allows me to connect with people I don’t otherwise know via networking and like-minded communities. Most of my new friends come from Twitter. Twitter, for the record, is also where my secret venting account is. Control over who sees you ginger rage is good. Facebook allows me to keep contact with friends from long ago, keep up on current events (because that’s where they get posted… sadly), and keep in (distant) touch with family that is, well… family. StumbleUpon and Pinterest allow me to explore sites and places on the interwebs that I would likely never find on my own, as well as connect with people who are like minded. Foursquare feeds my competitive side while I’m out doing chores I would be doing otherwise, helps me connect with people in my community who frequent similar places, and gives great access to great tips and discounts. I love texting because it allows me to have instant access to my friends and let’s me word things deliberately. Email gives me a similar outlet, but I tend to use it more formally, and typically when I don’t need an immediate response. I love Pandora because it let’s me discover new music for when I’m studying or gaming, as well as let’s me customize a playlist of music I don’t necessarily own. Dropbox allows me to share things that I don’t want everyone else to see. Gaming let’s me socialize, achieve, and escape. And I love the skills I develop from gaming as well. Finally, WordPress, of course, gives me a place to share my passion, as nerdy as they tend to be. 😉

So, now that I’ve nearly exhausted my list of social technologies I love already, what can be better? Having them all in one place. While the cell phone is nearly that (and allows for immediate and mobile access to boot), I’m talking about an all in one, open source (Apple and Microsoft give me a headache with their exclusivity and partnering), simply designed but fully customizable, social technology that allows for all of my contacts, venting, exploring, connecting,  sharing, etc.

Oh… and here’s the kicker; the reason it’s a dream: I want it to be ad free. No sponsors begging me to allow them to control all of my doohickies… none of that.  I know it’s a lot to ask. But this is MY dream, right?

OOH! And since we ARE dreaming… I want it all to be in an AR contact lens that allows me to drive and still wear my vision correcting lenses. 🙂

Skullgirls: This Ain’t Your Momma’s Fighting Game

Let me start by saying this game is a field day for the senses. It appeals to nearly every one of my identities: girl, gamer, musician, media psychology student, analyst, and voyeur. Okay, while I’m not a voyeur in the psychological sense of the word, I do like to look at pretty art/graphics. But still, you catch my drift. This game has it all. It also has, however, a difficulty that any hard core, mortal kombat raving, fighting gamer would drool over like someone was ringing Pavlov’s bell. But, as frustrated as I tend to get when I actually have to put EFFORT into advancing in a game (RPG gamer much?), the art, sound, immersion storytelling, and all over style of this game mean I’ll never put it down; even if I never beat it.

Very reminiscent of Sucker Punch, this game is a 2D fighting game featuring a (VERY RANDOM) variety of somewhat jacked up girls all seeking to defeat the Skullgirl in the hopes of obtaining the Skull Heart. This elusive Skull Heart grants the girl who finds it, any wish she can come up with. The catch, as always, is that the girl be pure of heart (hey, this IS a girl gamers’ paradise, afterall). If the girl is in any way NOT pure of heart, the Skull Heart contorts their wish into something vile and repugnant (the loved one who is returned comes back as an undead monster? Blech!). As for the impure girl, the Skull Heart changes her into the Skullgirl, and she is the one who makes the horrors of her twisted dream come to pass. As you can probably imagine, the girls all have different wishes in mind, or some of them are simply doing their duty (whatever that might be) and protecting the innocent people of Canopy Kingdom from the monstrosity.

When I say that this game is a ‘girl gamers’ paradise’, I am in no way insinuating that males will find this boring. Quite the contrary. The adjustments on reality that are introduced via the characters’ special powers, are very creative, powerful, and crass (to some extent). From a symbiotic hair monster and an undead cat, to a militant princess and gadgets that would make Maxwell Smart proud, this game allows every character to have nearly endless combination possibilities, as well as the ability to combine 1, 2, or 3 characters per player to create a powerhouse team for you to control. Multiplayer is available online, as well as locally, so if you can’t beat the arcade storyline (/me hangs head in shame), there are still options for honing your skills against your less than worthy friends. If, however, you’re socially inept and have no friends (or maybe just don’t have the nerve to challenge them), you can play in the EXTENSIVE (3 chapters and over 20 lessons) tutorials. There is also an option for a training room, in which you can toggle options such as death, number of characters for you and the AI, and whether the AI even bothers to make any moves. This is helpful for working out combos, which, btw, are only listed online (for those of you who are constantly pausing MK to check out the moves list… you know who you are).

Which brings me to my next point: the website for this game is incredibly immersive, the developers of which should be sought out and applauded. Transmedia storytelling is storytelling which uses the strengths of various media, each of which tell stories that combine to create one large, all encompassing story. The Skullgirls site includes social networking via blogs, twitter, and facebook feeds, makes the soundtrack available on Amazon and iTunes, provides videos introducing each character and showcasing her skills, maintains a community for updates to the various platforms and news about developments to come. The game, then, becomes part of a much bigger picture; it becomes another way to enter the somewhat noir world of Canopy Kingdom.

Inside that noir world, whether you’re experiencing it via game or website, you find music and art which have the ability to steal the breath from your lungs. The music is very vibrant, while simultaneously being somewhat eerie, while the voice acting and audio clips sound like something from Bioshock. The art is hand drawn with vibrant colors during the fights, and chalk board type drawings on load screens. The site and game are consistently drawn, however, the site also encourages fan art (for ‘Fan Art Friday’) and features ‘White Board Wednesdays’. The raw art in some places, clashing with the incredibly detailed art in others, makes for an experience not unlike steampunk. The music fits the art theme brilliantly, and the entire experience, including the storyline and the difficulty, is intuitive; right down to the verbage on the tutorial instructions.

As far as the game, itself goes, the controls are adjustable but they’re preset with light, medium, and hard punches and kicks, as well as combos on LB and LT. In arcade mode, each girl has her own storyline which the fighting advances. Who the girls fight on their way to Skullgirl doesn’t seem to be ordered in any particular way, other than the unlockable characters come later in the lineup (obviously).  While you do get an idea of a day in the life of your girls in their initial movie sequences, the site provides information about each of them, down to their body measurements and personal likes and dislikes. The thumbstick and D pad seemed less responsive than I would have liked, but that could have just been the excessive speed with which the AI combo’d the bejeebus out of me. Difficulty modes range from ‘Sleepwalking’ to ‘Ridiculous’, but the bar set by even the easiest mode, tends to be more difficult than any other fighting game I’ve ever played. There is room for the most experienced player to struggle, while allowing every casual gamer to find some enjoyment as well.

This game is stylistically stunning, very creative, features immersive transmedia storytelling, and allows players at all levels a challenge. While the controls are somewhat frustrating, and players enjoying this game should NEVER volunteer for studies correlating aggression and gaming, only the very young or very naive should hesitate to grab this game. If you aren’t sure whether this bold style is for you, a quick stop at the website will tell you all you need to know. Now, if you’ll excuse me, I must be on my way to New Merdian as I AM pure of heart and I have a wish to make.

A Constant Love

This is my final project for my Narrative/Digital Storytelling class at Fielding. I got 100%. YAY!! I hope you enjoy it! Also, I would like to thank Frank Delaney for helping me with the audio editing, and Chris Nitz for his contemplation image (his link is listed on the right).

Article Review: Effects of Songs With Prosocial Lyrics on Prosocial Thoughts, Affect, and Behavior

Theories, Methods, and Procedures

This study initially recalled research done pertaining to the measure of effect that media (specifically negative or violent media) has on behavior. For example, previous studies used the General Aggression Model (GAM) to determine whether violent video games led to aggression (Anderson & Bushman, 2002). Because correlational data was found to support the theory, using the GAM, a similar model to promote both violent and non-violent measures of effect due to media, called the General Learning Model (GLM), was created (Buckley & Anderson, 2006). At the time of the current study, that theory (GLM being a valid measure of prosocial media’s effects on the internal state of a participant, and whether that state then effects behavior) hadn’t been tested. The current study aimed to do so (Greitemeyer, 2009).

In addition, the current study used an experimental design to attempt to show that prosocial lyrics in music promote prosocial behaviors in participants. They did this in three experiments: one to measure increase in prosocial thoughts (a dependent variable, operationally defined as the number of prosocial words created via word fragments), one for increases in empathy (a dependent variable, operationally defined as the self-reported feelings for the author of two reviewed essays), and one for increases in action/behavior (a dependent variable, operationally defined by whether or not a P made a monetary donation). (Grietemeyer, 2009)

Experiment one sought to determine whether listening to prosocial lyrics, as opposed to neutral lyrics, would increase prosocial thoughts. Ps included 34 students (most of which were women) from a Germany university. Ps were randomly assigned to either the control or experimental conditions. In the control condition, participants listened to a neutral song, then completed a list of word fragments. They then answered two questions to control for the perceived prosocial content of the song they listened to. Ps in the experimental group did the same, with the only difference being the prosocial lyrics of the song. (Grietemeyer, 2009)

For experiment two, 38 students from a German university (again, mostly women) were asked to listen to a prosocial or neutral song, respective to which group they were randomly assigned to, after which they read two essays (which they were told were written by another, missing, participant). After reading these two essays, Ps were asked how they felt about towards the author with regards to sympathy, compassion, and soft-heartedness. The aim of this experiment was to determine the effects of prosocial music, as opposed to neutral, on empathy towards others. (Grietemeyer, 2009)

Experiment three sought to measure to what extent prosocial songs, as opposed to neutral ones, affected prosocial behavior. They did this by randomly assigning Ps (consisting of 90 German university students, most of which were female) to either the control group or the experimental group; differentiated again by whether they listened to prosocial or neutral songs. After listening to respective songs, Ps were offered the option to donate to a non-profit organization. After given two minutes during which they were left alone, participants were questioned about the perception of anything suspicious. (Grietemeyer, 2009)

In all three experiments, researchers controlled for possible confounding variables in a variety of ways. For example, in order to control for whether a song was understood to be neutral or prosocial, researchers used songs in two languages (one English, and one German song each for control and experimental groups in all three experiments), as well as questioned Ps about perceived level of prosocial content. This was done not only during the actual experiments, but also in a pilot study. Additionally, researchers controlled for mood and arousal during the pilot study by asking Ps to rate their level of arousal and how well they liked the song. This led to the song choice. Researchers also controlled for possible effects that liking a song might have on thoughts, feelings, and behavior. They did so by measuring liking via questions submitted to Ps. Finally, because all three experiments had a greater number of female Ps, researchers compared results from both sexes to control for any possible effects thereby. (Grietemeyer, 2009)

Results and Discussion

            In experiment one, researchers found, after controlling for possible sex differences, that Ps in the experimental condition (M = 0.21, SD = 0.11) completed word fragments with significantly more prosocial words than did Ps in the control group (M = 0.14, SD = 0.08), t(32) = 2.05, p < .05. This suggested that prosocial songs do have an effect on prosocial thoughts. (Grietemeyer, 2009)

In experiment two, researchers found, via 2×2 ANOVA (song type compared with essay story), that a main effect for type of song had occurred. In other words, Ps in the experimental group rated their feelings about the author as significantly more empathetic, regardless of the essay (F(1, 36) = 6.51, p < .05, n2 = .15). (Grietemeyer, 2009)

In experiment three, researchers found that Ps in the experimental group were significantly more likely to donate money than those in the control group (x2(1, N = 90) = 4.56, p < .05). They reported that 53% of the experimental group donated, while only 31% of the control group donated. This suggested that prosocial songs do have an effect on prosocial behaviors. (Grietemeyer, 2009)

Researchers mentioned that while the hypotheses were supported in the sense that there was a significant difference in prosocial thoughts, feelings, and behaviors between experimental and control groups, the current study did not allow for an understanding of why the changes occurred. There was no way of knowing whether the changes were due to changes in the Ps’ internal states; there was no way to know what the exact cause of the change is cognitively. As such, researchers suggested that a measure of internal processes be taken in addition to the explicit measures used in this study.  (Grietemeyer, 2009)

Suggestions for further research include examining whether prosocial songs (and media in general) not only instigate prosocial thoughts, feelings, and behaviors, but whether they also serve to decrease aggressive thoughts, feelings, and behaviors. Another suggested study for future research is that of long-term effects of media on thoughts, feelings, and behaviors; the current study only looked at the short-term effects of prosocial media. (Grietemeyer, 2009)    

Reflection

            When reading this article, I was first drawn, naturally, to the claims made at the beginning of the results of the GAM. I am very wary of the aggression by way of violent video games claim. However, as a basis for additional studies, and as long as the measure is, in fact, reliable and valid, I can muscle my way through the irritation. The claims that correlational studies show cause and effect (i.e., violent video games promote aggression based on a correlational study), frustrates me excessively; far more than playing video games does. I found myself overly critical of the steps used to get through the justification of the research, however, knowing that this is not exactly the point, and agreeing that this research is necessary and has to start somewhere, I won’t dwell on these minor criticisms.

I had a few struggles with the actual measures used. As this study is was the beginning of a string of measures on prosocial songs’ effects on thoughts, feelings, and behaviors, I understand that the research has to start somewhere, but in some instances I felt procedure could have been cleaned up a bit. For example, many of the questions asked to rate variables (e.g., the helpful or cooperative content of songs) seemed to prime responses from Ps. Another example of possible priming was the wording used at the end of experiment three, “Participants were told that it would be great if they would donate these 2 € but that it would be also fine if they did not donate. Upon saying this, the experimenter pointed at a box…. (Grietemeyer, 2009, p. 189)” If participants are all hearing the same spiel, regardless of which group they’re in, the priming becomes less of an issue. But I think it somewhat ironic that in a study where they are studying the effects of prosocial songs on prosocial behaviors, they’re using less neutral wording for the experimental procedure.

Another confounding variable may be the stories used in the essays. The subject matter is vague enough that it may have been something similar to an occurrence with a variety of Ps, which may have unknowingly caused the increase in empathy. Relationships and sports injuries are not unusual, after all. A similar confound may be in experiment one, with the use of word fragments. There are those who may not have chosen prosocial words because they don’t have a well-developed lexicon, or aren’t good at word games. Whether a person uses a word that holds prosocial meaning, doesn’t necessarily mean there is not prosocial content to their thoughts.

Typically, it is easier for me to find holes in other researchers’ methods, as I am far less creative than I am critical. That being said, I was unable to think of any other measures of prosocial thoughts, feelings, and behaviors. I feel that there is little external validity in this particular study, though I would intuitively agree with the findings. Empirically, however, students at a German university, and mostly female no less, is not a widely generalizable sample. Researchers could use a more diverse group to collect data, however difficult that may be. Construct validity, for what they claimed to be attempting to measure, seemed to be relatively high, though I think the third experiment would have higher construct validity than the other two experiments. I think that internal validity is also dependent on the interpretation of the person reading the study, as the measures seem to be focusing on very specific definitions of prosocial thoughts, feelings, and behaviors. But this is why we have operational definitions. Certainly, in relation to the research cited in the introduction, this study uses comparable means of measuring results. Results which, I would be hard pressed to come up with a better way of interpreting. That being said, I would have very much liked to have seen a chart of numbers as an appendix; the numbers seemed jumbled and somewhat hard to keep straight.

Overall, I love the concept of this study. I think that it is useful, particularly as a jumping off point for attempting to show the benefits that media can provide. If researchers continue to follow the path set off on in this study, we can continue to further understand the implications of various media and their effects on us mentally, emotionally, and physically.

References

Anderson, C., & Bushman, B. (2002). Human aggression. Annual Review of Psychology, 53, 27-51.

Buckley, K., & Anderson, C. (2006). A theoretical model of the effects and consequences of playing video games. In P. Vorderer & J. Bryant (Eds.), Playing video games: Motives, responses, and consequences. (pp. 363-378). Mahway NJ: Lawrence Erlbaum.

Grietemeyer, T. (2009). Effects of songs with prosocial lyrics on prosocial thoughts, affect, and behavior. Journal of Experimental Social Psychology, 45, 186-190.