However, in American journalistic accounts, the former set of preferences is more frequently associated with a middle-class (or upwardly mobile) university “frat boy” identity a possible misassociation which only a few journalistic voices have challenged. This set of tastes contrasts with the games often celebrated within the enthusiast press (and sometimes overrepresented in games studies academia) namely MMOs, single-player RPGs, games from Japan, and narrative-heavy games in sci-fi or fantasy settings. Existing research on gaming and social class in Europe finds that working-class masculinity is often associated with a preference for communal play of predominantly Anglophone sports, racing and military shooting genres. By concentrating on journalistic (and some industrial) representations of a subgroup of male players, the paper hopes to contribute to existing research on player identities by showing how social class affects not only the material dimension of access to technology, but also the values involved in being the “type of gamer” to whom much videogame journalism is addressed.
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The author analyses a series of discourses surrounding these terms, and their role in the maintenance of a subcultural gamer identity in the face of newly emergent markets of more mainstream players.
The paper offers an investigation into terms like “dudebro”, “bro shooter” and “bro gaming”, which entered regular usage on English-language gaming websites in around 2011. Why are people listening to videogame music, one that is designed for an interactive medium, in a linear medium (such as a CD, an audio file, or a re-interpretation)? In what ways does the game experience and the music create associations that affect the audience at a personal level? How did game music become this consumable object and what is its value for consuming audiences? How does the consumption of OSTs affect future game music composition and what is the role of the audience in this? And what does this mean for the shelf-life and marketability of videogames? This media migration generates questions regarding its effects and the motivations why people listen to videogame music outside of the game, and the ramifications of this consumption at the personal, social, and game industry levels. At the heart of this study is the intention to demonstrate that videogame music has become a very important part of a videogame’s concept, design, and marketing it not only plays a significant role within the game, it has also transcended the medium and is enjoyed by audiences beyond the game. This dissertation proposes a three-part consumption model that describes these different motivators and the interactions between these imperatives. This study seeks to present the motivators behind the consumption of videogame soundtracks outside of the gameplay environment.
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