Melinda Jacobs - Academia.edu (original) (raw)

Papers by Melinda Jacobs

Concepts, Methodologies, Tools, and Applications

Within the Internet, a range of international and multicultural communities abound, especially wi... more Within the Internet, a range of international and multicultural communities abound, especially within the context of interactive online games known as Massively Multiplayer Online Role-Playing Games (MMORPGs). The clashing of cultures in one particular MMORPG, Omerta, has caused many problems within the related online community. These conflicts have led to online instances of culturalism – discrimination based upon cultural-mindset – within this international online community (Jacobs, 2009). This chapter examines the following questions: Do players in international online gaming environments have the right to discriminate based on cultural attitudes and perceptions, or should a player’s right to not be discriminated against dominate in such international contexts? And how can multiculturalism be successfully managed in international online spaces?

Conference of the Digital Games Research Association, 2009

This paper proposes a new way of looking into the „sociality ‟ of social (network) games. On the ... more This paper proposes a new way of looking into the „sociality ‟ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

This paper proposes an approach to gamification that moves away from thinking of gamification as ... more This paper proposes an approach to gamification that moves away from thinking of gamification as an ‘additive’ process and towards thinking of it as a ‘holistic’ process. To do so, this paper proposes a definition that treats gamification as a complete system in itself, positioning it as the process of adding an actionable layer of context.

G a M E Games As Art Media Entertainment, 2012

Over the past several years, there has been an increasing amount of discussion concerning the pop... more Over the past several years, there has been an increasing amount of discussion concerning the popularity of the, now infamous, ‘social games’ of Facebook. Although there are many arguments as to why these games are so successful, three core arguments stand out: 1. the games are free-to-play; 2. the games are social in gameplay; and 3. the games offer engaging gameplay. This research questions the validity of these three observations and addresses whether or not these are the true reasons behind the success of social network games. Are these games really free-to-play, or do they require a hidden cost of ‘referral marketing’ and 'word of mouth marketing'? Do these games really rely on a core social gameplay design, or are the player’s friends closer to non-player characters (NPCs)? And finally, the question must be asked whether or not these games are truly games, or are they closer to the ‘gamification of clicking’?

Journal for Cultural Research, 2008

This article looks at racism, nationalism, and culture wars within multicultural Internet communi... more This article looks at racism, nationalism, and culture wars within multicultural Internet communities, specifically looking at Omerta, an international mafia-temed text-based massively multiplayer online role-playing game (MMORPG). Omerta allows players to live and ...

This paper proposes a new way of looking into the „sociality‟ of social (network) games. On the b... more This paper proposes a new way of looking into the „sociality‟ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

With the expansion of consciousness driven by further discovery and creation of the digital realm... more With the expansion of consciousness driven by further discovery and creation of the digital realm, scholars have witnessed the birth of societal structures and cultures, originally found in the physical realm, within the digital realm. This has been documented mainly in the creation of communities within MMORPGs and synthetic worlds [1]. Although these communities are defined as being based around fundamental principles of “play” and “fun” [1], I argue identical communities are being formed within sites dealing with consumerism, and these communities are not exclusive to these virtual worlds. Within my paper I will address the concept of consumerism as play using the wholesale outlet site woot.com, and their live-time sales experience, called a “woot-off.” I will analyze how the Internet has allowed for such a type of consumerism that breaks the norms of consuming in the physical world, allowing what once was a normally individualistic goal – purchasing an item for oneself that one ...

CHI 2013: Changing Perspectives, Association for Computing Machinery, Apr 2013

This paper proposes an approach to gamification that moves away from thinking of gamification as ... more This paper proposes an approach to gamification that moves away from thinking of gamification as an ‘additive’ process and towards thinking of it as a ‘holistic’ process. To do so, this paper proposes a definition that treats gamification as a complete system in itself, positioning it as the process of adding an actionable layer of context.

Published in G|A|M|E, 2012

Over the past several years, there has been an increasing amount of discussion concerning the pop... more Over the past several years, there has been an increasing amount of discussion concerning the popularity of the, now infamous, ‘social games’ of Facebook. Although there are many arguments as to why these games are so successful, three core arguments stand out: 1. the games are free-to-play; 2. the games are social in gameplay; and 3. the games offer engaging gameplay. This research questions the validity of these three observations and addresses whether or not these are the true reasons behind the success of social network games. Are these games really free-to-play, or do they require a hidden cost of ‘referral marketing’ and 'word of mouth marketing'? Do these games really rely on a core social gameplay design, or are the player’s friends closer to non-player characters (NPCs)? And finally, the question must be asked whether or not these games are truly games, or are they closer to the ‘gamification of clicking’?

Digital Virtual Consumption, Routledge, 2012

This research addresses the way game structure, when blended with consumer culture, results in a ... more This research addresses the way game structure, when blended with consumer culture, results in a new form of consumerism, consuming as gameplay. The playful structure of the shopping website Woot has resulted in a community that works together – driven by the want for more and the desire to know what is next – to purchase products (often unwanted) purely to progress further in the ‘game’. This chapter explores how Woot has turned consumerism from what is normally individualistic goal (purchasing a personally wanted item) into a group goal, helping other get to items they wish to purchase by “taking one for the team”.

Think Design Play: The fifth international conference of the Digital Research Association (DIGRA), 2011

This paper proposes a new way of looking into the ‘sociality’ of social (network) games. On the b... more This paper proposes a new way of looking into the ‘sociality’ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

Computer-Mediated Communication across Cultures: International Interactions in Online Environment, IGI Global, 2011

Within the Internet, a range of international and multicultural communities abound, especially wi... more Within the Internet, a range of international and multicultural communities abound, especially within the context of interactive online games known as Massively Multiplayer Online Role-Playing Games (MMORPGs). The clashing of cultures in one particular MMORPG, Omerta, has caused many problems within the related online community. These conflicts have led to online instances of culturalism - discrimination based upon cultural-mindset - within this international online community (Jacobs, 2009). This chapter examines the following questions: Do players in international online gaming environments have the right to discriminate based on cultural attitudes and perceptions, or should a player's right to not be discriminated against dominate in such international contexts? And how can multiculturalism be successfully managed in international online spaces?

Unpublished Research M.A. Thesis, 2010

“Things that go bump in the night” have a notorious reputation for being frightening. Yet what is... more “Things that go bump in the night” have a notorious reputation for being frightening. Yet what is it about these instances that make them such? Why things “in the night” and not things “in the light?” Why not things “that appear” but instead things that make indefinable noises “that go bump?” Why despite the fact we are arguably frightened by such instances are we curious enough about them to investigate and tell stories about them? What is it about these “things that go bump in the night” that have capture our attention and are so relentless about not letting go? And perhaps most importantly, why is it that when it is electronic media that are the cause of these “bumps” that we are even more frightened and intrigued? The answer lies in the uncertain, unpredictable, and familiar yet unfamiliar nature of the uncanny; specifically the uncanniness of the paranormal and its connection to the uncanniness of electricity and electronic media. I address and expand upon these issues through a case-specific study of the uncanniness of ghost hunting reality television programming. I will begin this exploration in Chapter I with the theoretics surrounding the uncanny. Chapter I analyzes the uncanny and sets a foundation on which the other chapters can build upon. It will address the uncanny within a Freudian (1919, 1933, 1939), Lacanian (1949, 1951, 1955, 1960, 1964, 1977, and Jentschian (1906) framework. Chapter II then continues by combining the framework of the uncanny from Chapter I with the subject of the ghost hunting reality television programming, the paranormal. It addresses why the paranormal is uncanny within itself (outside of the context of the programming), and how the Freudian, Lacanian, and Jentschian uncanny addressing in Chapter I is critical to understanding the paranormal. Chapter III then builds upon the momentum created by Chapter I and II and addresses the general uncanniness of electricity and electronic media. It explores the uncanny elsewhere of the television, and how electronic media are uncanny through the perceived consciousness and unpredictability of the nature of electricity. While the first three chapters consider the theoretical framework of the uncanny, the uncanny within the paranormal, and the uncanny within electricity and electronic media, Chapter IV and V offer a detailed application of these theories within the specific context of ghost hunting reality television. Chapter IV addresses the uncanniness of electricity and electronic media used in the medium. It considers how the use of the camera, lighting, and equipment crew can create uncanny instances for the viewer. It also addresses how the ability for sound to be separated from its source can be uncanny when transplanted through post production into the programming. Finally, Chapter IV addresses how post production gives time the uncanny ability to travel (in a spatial and temporal direction) within the programming. Chapter V then takes the uncanniness of electronic media and addresses it within the message. It considers how the use of electronic equipment by investigators in the programming is uncanny, linking the uncanniness of the paranormal in Chapter II with the uncanniness of electronic media and electricity in Chapter III. Chapter V also addresses how the presentation of evidence, and the evidence itself, is uncanny through its creation and presentation through electronic media. This thesis takes the reader on a journey through the uncanny and into the paranormal world of ghost hunting reality television programming. It explores the awe and mystery which reaches from the inner mind to those things that go ‘spark’ in the night.

Breaking New Ground: Innovation in Games, Play, Practice and Theory: Proceedings of the 2009 Digital Games Research Association Conference, 2009

With the expansion of consciousness driven by further discovery and creation of the digital realm... more With the expansion of consciousness driven by further discovery and creation of the digital realm, scholars have witnessed the birth of societal structures and cultures, originally found in the physical realm, within the digital realm. This has been documented mainly in the creation of communities within MMORPGs and synthetic worlds. Although these communities are defined as being based around fundamental principles of “play” and “fun”, I argue identical communities are being formed within sites dealing with consumerism, and these communities are not exclusive to these virtual worlds. Within my paper I will address the concept of consumerism as play using the wholesale outlet site woot.com, and their live-time sales experience, called a “woot-off.” I will analyze how the Internet has allowed for such a type of consumerism that breaks the norms of consuming in the physical world, allowing what once was a normally individualistic goal – purchasing an item for oneself that one wants – to turn into a group goal – helping others get to items they wish to purchase by “taking one for the team.”

Journal for Cultural Research, 2008

This article looks at racism, nationalism, and culture wars within multicultural Internet communi... more This article looks at racism, nationalism, and culture wars within multicultural Internet communities, specifically looking at Omerta, an international mafia-themed text-based massively multiplayer online role-playing game (MMORPG). Omerta allows players to live and create a world of their own where groups of players, called families, interact and work together in peace and war. The text-based aspect leads the majority of play dealing with negotiations in multi-user chat (Internet Relay Chat), with the focus being on diplomacy and negotiation. Within the Omerta game, players of Turkish nationality have been refused admission into some families due to the perception that their primary loyalties are to other members of their own nationality, rather than members of their current family. This has led to much turmoil within the community and the creation of “Turkish Alliances”— families consisting of only Turkish players due to the lack of recruiting from other nationalities. What does this say about the functionality of multiculturalism and the possibility for success?

Concepts, Methodologies, Tools, and Applications

Within the Internet, a range of international and multicultural communities abound, especially wi... more Within the Internet, a range of international and multicultural communities abound, especially within the context of interactive online games known as Massively Multiplayer Online Role-Playing Games (MMORPGs). The clashing of cultures in one particular MMORPG, Omerta, has caused many problems within the related online community. These conflicts have led to online instances of culturalism – discrimination based upon cultural-mindset – within this international online community (Jacobs, 2009). This chapter examines the following questions: Do players in international online gaming environments have the right to discriminate based on cultural attitudes and perceptions, or should a player’s right to not be discriminated against dominate in such international contexts? And how can multiculturalism be successfully managed in international online spaces?

Conference of the Digital Games Research Association, 2009

This paper proposes a new way of looking into the „sociality ‟ of social (network) games. On the ... more This paper proposes a new way of looking into the „sociality ‟ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

This paper proposes an approach to gamification that moves away from thinking of gamification as ... more This paper proposes an approach to gamification that moves away from thinking of gamification as an ‘additive’ process and towards thinking of it as a ‘holistic’ process. To do so, this paper proposes a definition that treats gamification as a complete system in itself, positioning it as the process of adding an actionable layer of context.

G a M E Games As Art Media Entertainment, 2012

Over the past several years, there has been an increasing amount of discussion concerning the pop... more Over the past several years, there has been an increasing amount of discussion concerning the popularity of the, now infamous, ‘social games’ of Facebook. Although there are many arguments as to why these games are so successful, three core arguments stand out: 1. the games are free-to-play; 2. the games are social in gameplay; and 3. the games offer engaging gameplay. This research questions the validity of these three observations and addresses whether or not these are the true reasons behind the success of social network games. Are these games really free-to-play, or do they require a hidden cost of ‘referral marketing’ and 'word of mouth marketing'? Do these games really rely on a core social gameplay design, or are the player’s friends closer to non-player characters (NPCs)? And finally, the question must be asked whether or not these games are truly games, or are they closer to the ‘gamification of clicking’?

Journal for Cultural Research, 2008

This article looks at racism, nationalism, and culture wars within multicultural Internet communi... more This article looks at racism, nationalism, and culture wars within multicultural Internet communities, specifically looking at Omerta, an international mafia-temed text-based massively multiplayer online role-playing game (MMORPG). Omerta allows players to live and ...

This paper proposes a new way of looking into the „sociality‟ of social (network) games. On the b... more This paper proposes a new way of looking into the „sociality‟ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

With the expansion of consciousness driven by further discovery and creation of the digital realm... more With the expansion of consciousness driven by further discovery and creation of the digital realm, scholars have witnessed the birth of societal structures and cultures, originally found in the physical realm, within the digital realm. This has been documented mainly in the creation of communities within MMORPGs and synthetic worlds [1]. Although these communities are defined as being based around fundamental principles of “play” and “fun” [1], I argue identical communities are being formed within sites dealing with consumerism, and these communities are not exclusive to these virtual worlds. Within my paper I will address the concept of consumerism as play using the wholesale outlet site woot.com, and their live-time sales experience, called a “woot-off.” I will analyze how the Internet has allowed for such a type of consumerism that breaks the norms of consuming in the physical world, allowing what once was a normally individualistic goal – purchasing an item for oneself that one ...

CHI 2013: Changing Perspectives, Association for Computing Machinery, Apr 2013

This paper proposes an approach to gamification that moves away from thinking of gamification as ... more This paper proposes an approach to gamification that moves away from thinking of gamification as an ‘additive’ process and towards thinking of it as a ‘holistic’ process. To do so, this paper proposes a definition that treats gamification as a complete system in itself, positioning it as the process of adding an actionable layer of context.

Published in G|A|M|E, 2012

Over the past several years, there has been an increasing amount of discussion concerning the pop... more Over the past several years, there has been an increasing amount of discussion concerning the popularity of the, now infamous, ‘social games’ of Facebook. Although there are many arguments as to why these games are so successful, three core arguments stand out: 1. the games are free-to-play; 2. the games are social in gameplay; and 3. the games offer engaging gameplay. This research questions the validity of these three observations and addresses whether or not these are the true reasons behind the success of social network games. Are these games really free-to-play, or do they require a hidden cost of ‘referral marketing’ and 'word of mouth marketing'? Do these games really rely on a core social gameplay design, or are the player’s friends closer to non-player characters (NPCs)? And finally, the question must be asked whether or not these games are truly games, or are they closer to the ‘gamification of clicking’?

Digital Virtual Consumption, Routledge, 2012

This research addresses the way game structure, when blended with consumer culture, results in a ... more This research addresses the way game structure, when blended with consumer culture, results in a new form of consumerism, consuming as gameplay. The playful structure of the shopping website Woot has resulted in a community that works together – driven by the want for more and the desire to know what is next – to purchase products (often unwanted) purely to progress further in the ‘game’. This chapter explores how Woot has turned consumerism from what is normally individualistic goal (purchasing a personally wanted item) into a group goal, helping other get to items they wish to purchase by “taking one for the team”.

Think Design Play: The fifth international conference of the Digital Research Association (DIGRA), 2011

This paper proposes a new way of looking into the ‘sociality’ of social (network) games. On the b... more This paper proposes a new way of looking into the ‘sociality’ of social (network) games. On the basis of looking closely at the development of Frontierville, a popular Facebook game, and more abstractly at the development of its fellow Zynga Facebook-based games (such as Farmville or Cityville), we argue that various network-based forms of participatory design are increasingly becoming both influential and indispensable in social (network) based game design than ever before. Although participatory design in gaming is not new, the way in which participatory design is being used in social (network) games is new, giving the player a greater and more immediate role in the game design than ever before. Whether this is for better or worse, this form of participation fostered by the structure of social networks has allowed social (network) game players to become much more powerful than previous in their relationship to the game industry.

Computer-Mediated Communication across Cultures: International Interactions in Online Environment, IGI Global, 2011

Within the Internet, a range of international and multicultural communities abound, especially wi... more Within the Internet, a range of international and multicultural communities abound, especially within the context of interactive online games known as Massively Multiplayer Online Role-Playing Games (MMORPGs). The clashing of cultures in one particular MMORPG, Omerta, has caused many problems within the related online community. These conflicts have led to online instances of culturalism - discrimination based upon cultural-mindset - within this international online community (Jacobs, 2009). This chapter examines the following questions: Do players in international online gaming environments have the right to discriminate based on cultural attitudes and perceptions, or should a player's right to not be discriminated against dominate in such international contexts? And how can multiculturalism be successfully managed in international online spaces?

Unpublished Research M.A. Thesis, 2010

“Things that go bump in the night” have a notorious reputation for being frightening. Yet what is... more “Things that go bump in the night” have a notorious reputation for being frightening. Yet what is it about these instances that make them such? Why things “in the night” and not things “in the light?” Why not things “that appear” but instead things that make indefinable noises “that go bump?” Why despite the fact we are arguably frightened by such instances are we curious enough about them to investigate and tell stories about them? What is it about these “things that go bump in the night” that have capture our attention and are so relentless about not letting go? And perhaps most importantly, why is it that when it is electronic media that are the cause of these “bumps” that we are even more frightened and intrigued? The answer lies in the uncertain, unpredictable, and familiar yet unfamiliar nature of the uncanny; specifically the uncanniness of the paranormal and its connection to the uncanniness of electricity and electronic media. I address and expand upon these issues through a case-specific study of the uncanniness of ghost hunting reality television programming. I will begin this exploration in Chapter I with the theoretics surrounding the uncanny. Chapter I analyzes the uncanny and sets a foundation on which the other chapters can build upon. It will address the uncanny within a Freudian (1919, 1933, 1939), Lacanian (1949, 1951, 1955, 1960, 1964, 1977, and Jentschian (1906) framework. Chapter II then continues by combining the framework of the uncanny from Chapter I with the subject of the ghost hunting reality television programming, the paranormal. It addresses why the paranormal is uncanny within itself (outside of the context of the programming), and how the Freudian, Lacanian, and Jentschian uncanny addressing in Chapter I is critical to understanding the paranormal. Chapter III then builds upon the momentum created by Chapter I and II and addresses the general uncanniness of electricity and electronic media. It explores the uncanny elsewhere of the television, and how electronic media are uncanny through the perceived consciousness and unpredictability of the nature of electricity. While the first three chapters consider the theoretical framework of the uncanny, the uncanny within the paranormal, and the uncanny within electricity and electronic media, Chapter IV and V offer a detailed application of these theories within the specific context of ghost hunting reality television. Chapter IV addresses the uncanniness of electricity and electronic media used in the medium. It considers how the use of the camera, lighting, and equipment crew can create uncanny instances for the viewer. It also addresses how the ability for sound to be separated from its source can be uncanny when transplanted through post production into the programming. Finally, Chapter IV addresses how post production gives time the uncanny ability to travel (in a spatial and temporal direction) within the programming. Chapter V then takes the uncanniness of electronic media and addresses it within the message. It considers how the use of electronic equipment by investigators in the programming is uncanny, linking the uncanniness of the paranormal in Chapter II with the uncanniness of electronic media and electricity in Chapter III. Chapter V also addresses how the presentation of evidence, and the evidence itself, is uncanny through its creation and presentation through electronic media. This thesis takes the reader on a journey through the uncanny and into the paranormal world of ghost hunting reality television programming. It explores the awe and mystery which reaches from the inner mind to those things that go ‘spark’ in the night.

Breaking New Ground: Innovation in Games, Play, Practice and Theory: Proceedings of the 2009 Digital Games Research Association Conference, 2009

With the expansion of consciousness driven by further discovery and creation of the digital realm... more With the expansion of consciousness driven by further discovery and creation of the digital realm, scholars have witnessed the birth of societal structures and cultures, originally found in the physical realm, within the digital realm. This has been documented mainly in the creation of communities within MMORPGs and synthetic worlds. Although these communities are defined as being based around fundamental principles of “play” and “fun”, I argue identical communities are being formed within sites dealing with consumerism, and these communities are not exclusive to these virtual worlds. Within my paper I will address the concept of consumerism as play using the wholesale outlet site woot.com, and their live-time sales experience, called a “woot-off.” I will analyze how the Internet has allowed for such a type of consumerism that breaks the norms of consuming in the physical world, allowing what once was a normally individualistic goal – purchasing an item for oneself that one wants – to turn into a group goal – helping others get to items they wish to purchase by “taking one for the team.”

Journal for Cultural Research, 2008

This article looks at racism, nationalism, and culture wars within multicultural Internet communi... more This article looks at racism, nationalism, and culture wars within multicultural Internet communities, specifically looking at Omerta, an international mafia-themed text-based massively multiplayer online role-playing game (MMORPG). Omerta allows players to live and create a world of their own where groups of players, called families, interact and work together in peace and war. The text-based aspect leads the majority of play dealing with negotiations in multi-user chat (Internet Relay Chat), with the focus being on diplomacy and negotiation. Within the Omerta game, players of Turkish nationality have been refused admission into some families due to the perception that their primary loyalties are to other members of their own nationality, rather than members of their current family. This has led to much turmoil within the community and the creation of “Turkish Alliances”— families consisting of only Turkish players due to the lack of recruiting from other nationalities. What does this say about the functionality of multiculturalism and the possibility for success?