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!**

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Mountain Dew: Iconic Brand

PEPSICO HOW WE DEW CAMPAIGNIn gaming, before the energy drinks (Redbull, Jolt, etc.) came out, gamers seemed to reach for one drink above the rest to survive long gaming sessions. Even then, Mountain Dew was promoting a life of being who you are, being an unique, and taking it all the way. Brands, such as Mountain Dew, define who they are through the stories they tell (Fog, Budtz, Yakaboylu, (2005). Their new promotion, “This is how we Dew”, carries on that story using a creative collection of flavors (some solicited by fans), energetic images on their labels, and unusual colored drinks in see through bottles. Nowadays, Mountain Dew perpetuates that brand by telling the stories of a handful of x-sport athletes and musicians (Mountain Dew curates independent artists who represent the essence of their brand, Green Label Sound) “striving to “do how they Dew” with the help of Mountain Dew. Videos showing off collaborations, videos of the artists promoting the brand concept, a host of social media sites (including Twitter and Facebook) populated with contests, immediate acknowledgment of customer feedback and help where necessary, Instagram photos of the products in a variety of situations (e.g., with skateboards or video game controllers), and an interactive site that acts as the hub for all of the elements of the brand and is as unique and fun as the people Mountain Dew promotes.

avatars-000007909874-xmyrry-cropHolt (2004) notes that there are four steps to building an iconic brand. First, he mentions targeting a social tension; something that creates dissonance within a community. Second, the brand acts in a manner that alleviates that tension by bringing it to light and moving past the issue to solve it. Doing this may take the form of artistic expression, which is the third concept listed. Being a brand that people can look to for guidance or permission for expression allows the brand to stand out from the rest. Finally, the brand must be seen as having integrity. When a group expresses interest in something, or says they care about something, they must care and follow through (2004).

Mountain Dew has done these things by taking hold of the concept of individuality and the assertion that young people can break away from the social norm of desk jobs and more academically inclined careers and be expressive as a way of life. They support artists and athletes, assisting in the building of facilities for the cultivation of these skills, a site to promote music, and allowing these individuals to be part of Mountain Dew’s promotions as well (thereby getting the individuals more exposure). They’ve followed all of the concepts that Holt discusses aptly. Customers can send videos, write poetry, submit photos and create music to perpetuate the brand and discover others with similar interests, and even submit recommendations for new flavors of the soda, thereby co-creating the brand.

References:

Fog, K., Budtz, C., & Yakaboylu, B. (2005). Storytelling: branding in practice. Berlin ; New York: Springer.

Holt, D. B. (2004). How brands become iconic: Principles of cultural branding. Boston, MA: Harvard Business School Press.

TheVerge: I Used Google Glass

A great video on Google Glass: uses, concept, design, future developments, and when they plan to make it available for the general public.

League of Psychology Episode 5: Anxiety

I really love this vlog. Check it out! I’m suddenly feeling the urge to play some League…

Augmented Reality to Ease Social Phobia

Social phobia (aka ‘social anxiety’) has been described by psychoanalysts as fear which stems from internal anxiety. It’s commonly exhibited during interactions in which the person inflicted is performing an act during which they may be scrutinized by others. Examples of this include public speaking, writing, and social interactions (e.g., parties, classes, jobs). Symptoms almost always include sweating, blushing and shaking. Psychoanalysts suggest that social phobia is the displacement of some implicit feeling of shortcoming that is the result of specific experiences. Participants suffering from social phobia report feelings of inadequacy, fear of rejection, submit to more strict social behavior standards, and fear that others will notice their anxieties. (Liebowitz, Gorman, Fyer, & Klein, 1984)

Though social interactions have been facilitated with increasing frequency online, dealing with social phobia must still be a priority for those suffering from it. Phobias can become debilitating and begin affecting the patient’s ability to perform everyday functions. Chayko (2008) notes that online interactions facilitate increased levels of trust and intimacy between people and within social groups due to the anonymity inherent in them. Gackenbach (2009) describes the disinhibition effects that occur as a function of virtual interactions. Essentially, when individuals feel a level of safety, they allow themselves more freedom of expression. Boundaries which are typically very rigid may become broader and less strictly adhered to by those communicating virtually.

Studies have found this to be true of users of social media such as Facebook (Orr et al, 2009). Social media not only allows individuals to develop relationships with those whom they know minimally in real life, but they allow for the continued participation in existing offline relationships. Additionally, studies have shown that individuals who tend to be more socially inept, find social interactions in massively multiplayer online role-playing games (MMORPGs) more attainable and less fear inducing (Cole & Griffiths, 2007). MMORPGs allow players to commit to common goals, form groups which work together to procure resources, plan participant roles, identities, and allow all interactions to be kept at a safe, anonymous distance if need be.

However, no one media is sufficient to resolve social phobia. As with anything, convergence means taking advantage of every media’s strength and using the collective group of media simultaneously to reach a specific goal. In this case, while social media allows for disinhibition and more frequent socialization, as well as control over one’s immediate surroundings during use, it doesn’t allow the individual to learn to cope with offline interactions. Games, while they allow for teamwork and identity expression, don’t necessarily allow for the development of these skills in offline situations either. Media which allow for the optimization of benefits from both social media and gaming, with additional support for transferring those skills from online to offline situations, present a possible solution.

One such media is augmented reality (AR). By definition, AR is the layering of virtual content over actual, present, reality. It is meant to enhance existing ‘content’ by allowing access to more information than is innately available. Imagine an AR application which someone who was socially phobic could take into a work party; perhaps in the form of a contact lens. Say this application monitored groups (e.g., how many people were clumped together), conversations (e.g., what they were talking about), gathered information about social norms for the group and suggested courses of action for the individual (e.g., suggested conversation topics, which groups may be more amenable to additional participants, which foods may be least messy to eat, etc.). This application could be programed to work in a number of social situations such as public speaking, shopping, dining out, and travelling. Additional functions could include situations under which users could practice the application and set preferences according to their personal fears and responses. The application could also be made to monitor autonomic arousal responses (much like a heart rate monitor on a treadmill) and alter suggestions based on the somatic responses of the user.

Augmented reality applications, though not perfect by any means, presents an alternative to specifically online or offline situations by creating a combination of the two. Though psychoanalysts may take issue with AR as therapy for social phobia, if an individual is given more control over their surroundings in the form of AR, there is every possibility that it can act as a sort of placebo which eases somatic responses to the phobias. The more open minded we as consumers are to augmented reality the more avenues open for therapy alternatives and psychological research in general.

References

Chayko, M. (2008). Portable communities : the social dynamics of online and mobile connectedness. Albany: SUNY.

Cole, H., & Griffiths, M. (2007). Social interactions in massively multiplayer online role-playing gamers. CyberPsychology & Behavior, 10(4), 575-583. doi: 10.1089/cpb.200739988

Gackenbach, J. (Ed.). (2007). Psychology and the internet : intrapersonal, interpersonal, and transpersonal implications. Amsterdam; Boston: Elsevier/Academic Press.

Liebowitz, M., Gorman, J., Fyer, A., & Klein, D. (1985). Social phobia: Review of a neglected anxiety disorder. Arch Psychology, 45, 729-736. Retrieved from: http://archpsyc.jamanetwork.com/

Orr, E. S., Sisic, M., Ross, C., Simmering, M. G., Arseneault, J. M., & Orr, R. R. (2009). The influence of shyness on the use of Facebook in an undergraduate sample. CyberPsychology & Behavior, 12(3), 337–340. doi:10.1089/cpb.2008.0214

Fog of War: References for Weeks 1 and 2

Before We Get Started…

Let me say, before I list these, that I’m attempting to bring in both perspectives in ways that are not offensive. These aren’t research articles that are necessarily representing my point of view, but rather provide insight into all views (without calling the opposing view stupid or wrong).


Week 1: Sexualization, Marginalization, and Causation- OH MY!

For week one, we talked about the sexualization of characters, marginalization in gaming communities, and possible causation of sexism in gaming. Per our discussion, I haven’t been subjected to sexism in gaming, and Micah sees it happening and thinks that the players are at fault; not the game devs. John brought up the advertising aspect, noting that advertisers lead the trends, and gamers follow. I reminded him that while we have correlation, we don’t really have causation.

References:

Bice, M. (2011). On men’s sexualization in video games. Gamasutra. Retrieved from: http://www.gamasutra.com/blogs/MattieBrice/20111129/9003/On_Mens_Sexualization_in_Video_Games.php

Bycer, J. (2012). . The difficulties and controversies of designing female characters: Or how not to add a woman’s touch. Gamasutra. 

Cassell, J., & Jenkins, H. (2000). From Barbie® to Mortal Kombat: Gender and Computer Games. MIT Press.

Dickey, M. D. (2006). Girl gamers: the controversy of girl games and the relevance of female-oriented game design for instructional design. British journal of educational technology37(5), 785–793.

DuVoix, H. (2012). Venus in Mars: Gender equality in fighting games. Ontological Geek. Retrieved from: http://ontologicalgeek.com/venus-in-mars-gender-equality-in-fighting-games/

Ivory, J. D. (2006). Still a Man’s Game: Gender Representation in Online Reviews of Video Games. Mass Communication and Society9(1), 103–114. doi:10.1207/s15327825mcs0901_6

Nerdlove. (2011). Nerds and male privilege. Paging Dr. Nerdlove. Retrieved from: http://www.doctornerdlove.com/2011/11/nerds-and-male-privilege/

Sharkey, S. (n.d.). Top 5 most attractive, non-sexualized women in games. 1Up.com. Retrieved from: http://www.1up.com/features/top-5-attractive-nonsexualized-women

Week 2: An Ode to Those Media Literate Kiddos!

In week two, we talked about children (of all ages) and the benefits of media literacy. We discussed educational uses for media, motivations in gaming, and things that can be learned from each genre of game. Micah, John, and I all discussed our favorite game genres, and what we feel we’ve learned from them.

References:

Annetta, L. A. (2010). The “I’s” have it: A framework for serious educational game design. Review of General Psychology14(2), 105–112. doi:10.1037/a0018985

Barnett, J., & Coulson, M. (2010). Virtually real: A psychological perspective on massively multiplayer online games. Review of General Psychology14(2), 167–179. doi:10.1037/a0019442

Cole, H., & Griffiths, M. D. (2007). Social Interactions in Massively Multiplayer Online Role-Playing Gamers. CyberPsychology & Behavior10(4), 575–583. doi:10.1089/cpb.2007.9988

Dieterle, E., & Clarke, J. (in press). Multi-user virtual environments for teaching and learning. In M. Pagani (Ed.), Encyclopedia of multimedia technology and networking (2nd ed). Hershey, PA: Idea Group, Inc.

Floyd, D. (2008). Video games and learning[Web Video]. Retrieved from: http://www.youtube.com/watch?v=rN0qRKjfX3s

Gackenbach, J. (Ed.). (2007). Psychology and the internet : intrapersonal, interpersonal, and transpersonal implications. Amsterdam; Boston: Elsevier/Academic Press.

Giles, D. (2010). Psychology of the media. Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan.

Ohler, J. (2008). Digital storytelling in the classroom new media pathways to literacy, learning, and creativity. Thousand Oaks, Calif.: Corwin Press. Retrieved from http://catalog.hathitrust.org/api/volumes/oclc/86038208.html

Rosas, R., Nussbaum, M., Cumsille, P., Marianov, V., Correa, M., Flores, P., Grau, V., et al. (2002). Beyond Nintendo. design and assessment of educational video games for first and second grade students.pdf. Computers & Education, 40(2003), 71–94.

Zhou, Z., Jin, X.-L., Vogel, D. R., Fang, Y., & Chen, X. (2011). Individual motivations and demographic differences in social virtual world uses: An exploratory investigation in Second Life. International Journal of Information Management, 31(3), 261–271. doi:10.1016/j.ijinfomgt.2010.07.007

Technophilia

Being in love with technology (aka ‘technophilia) is not as shocking as it may seem. A passion for inatimate things, living things, things that make our lives easier, and things that facilitate secret (or not so secret) desires has long since been a common thing; unspoken though it may be (Kelly, 2010).

Harlow (1958) introduces the concept of love after measuring a monkey’s preference of articial mothers. If, in 1958, a monkey can show an affinity for an inatimate object, why is it then so hard to admit or imagine that we are able to have real emotions for technology? Mary Chayko (2008) relays the emotional connectedness that we find using virtual technologies; relationships are formed and brought to fruition virtually every day. People, frustrated with their real life situations, find solace in virtual communities and online games which provide alternate realities for them to escape to (Zhou, Jin, Vogel, Fang, & Chen, 2011).

How can technology facilitate these accomplisments, and escape our attention and our devotion? An appreciation for the thing allowing us to reach our goals is inevitable. The more we embrace technophilia, the more prevalent it will become (Kelly, 2010).

References:

Chayko, M. (2008). Portable communities : the social dynamics of online and mobile connectedness. Albany: SUNY.

Harlow, H. (1958). The nature of love. The American Psychologist13, 673-685.

Kelly, K. (2010). Technophilia. In J. Dibbell (Ed.). The best technology writing 2010. New Haven: Yale University Press.

Zhou, Z., Jin, X.-L., Vogel, D. R., Fang, Y., & Chen, X. (2011). Individual motivations and demographic differences in social virtual world uses: An exploratory investigation in Second Life. International Journal of Information Management, 31(3), 261–271. doi:10.1016/j.ijinfomgt.2010.07.007

Social Influence in Gaming, Social Media, and Social Marketing

Joinson, Mckenna, Postmes, and Reips (2009) discuss three main types of social influence: compliance, norm-based influence, and interpersonal influence. Compliance takes place when an individual molds their actions around what is expected of them in a social situation; they act on other peoples’ expectations. Norm-based influence is when an individual makes a change to their behavior in order to fit in with their in-group, and do so of their own volition. Interpersonal influence takes place when and individual sees themselves as distict, and obtains information or perspective from other individuals which they see as useful, influential, or relevant; we may be persuaded by others whom we see as being applicable to our needs or personal validity.

Evidence of these social influences are readily found in online gaming communities. Barnett and Coulson (2010) discuss the formation of organized groups of players (aka guilds) in massively multiplayer online games (MMOs) and what motivates players to join them. They note that due to the varying roles that must be played in order to accomplish goals within these guilds, players must trade information while still fulfilling their individual purposes. In this way, players exibit interpersonal influence on one another. Other research notes that players are influenced socially in game play, but do not clearly define whether the influence is compliant or norm-based (Cole & Griffiths, 2007).

An example of compliant social influence was uncovered when studying Facebook group use (Park, Kee, & Venezuela, 2009). Students report using Facebook groups because they felt compelled by fellow students and identified doing so as an in-group normative behavior.

Finally, norm-based influence can be found in social martketing (McKenzie-Mohr, 2000). When social marketers present desired behaviors as social normatives, individuals may alter their behaviors of their own choosing to match the desired behavior presented in the campaign. In this way, the individual avoids cognitive dissonance and is able to percieve themselves as complying with the more desirable behavior; that of the in-group as presented by the campaign.

When we understand how social influence affects behaviors and changes, as well as personal identities, we can not only understand changes in individuals but we are better equipped to use these influences to overcome marginalization, develop various skills, and teach others to follow suit.

References:

Barnett, J., & Coulson, M. (2010). Virtually real: A psychological perspective on massively multiplayer online games. Review of General Psychology, 14(2), 167–179. doi:10.1037/a0019442
Cole, H., & Griffiths, M. D. (2007). Social Interactions in Massively Multiplayer Online Role-Playing Gamers. CyberPsychology & Behavior, 10(4), 575–583. doi:10.1089/cpb.2007.9988
Joinson, A. N. (2009). The Oxford handbook of Internet psychology. Oxford; New York: Oxford University Press.
McKenzie-Mohr, D. (2000). Fostering sustainable behavior through community-based social marketing. American Psychologist, 55(5), 531–537. doi:10.1037//0003-066X.55.5.531
Park, N., Kee, K. F., & Valenzuela, S. (2009). Being immersed in social networking environment: Facebook groups, uses and gratifications, and social outcomes. CyberPsychology & Behavior, 12(6), 729–733. doi:10.1089/cpb.2009.0003

The Value of Words

Words have the merit to change behavior. Conditioned responses are the result of a repeated pairing of unconditioned stimulai and conditioned stimulai. Just as Pavlov’s dogs were conditioned to salivate at the sound of a bell, people are conditioned to react to different words in a variety of ways. Words such as ‘war’ and ‘love’ invoke different emotions in every person who hear/see them, but these reactions vary based on the recipient’s past experiences or conditioning (Anderson, 2000).

Words have the merit to change perception of self. They are instrumental in the verification of one’s identity. Feedback allows individuals to determine whether their identity standard matches the identity they exhibit to others. Words allow those who are marginalized to try on identities via online connectivity without having to come face to face with others (Burke & Stets, 2009). When we do come face to face, words allow relationships to be conveyed and maintained (Pinker, 2005).

Therefore, the merit of words is directly related to the effect they have on the recipient of those words.

References:

Anderson, J. R. (2000). Learning and memory : an integrated approach. New York: Wiley.

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

Pinker, S. (2005) The Stuff of Thought. TED Talk. Retrieved from http://blog.ted.com/2007/09/11/steven_pinker/

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.