The Korean Domination of MMO

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South Korea leads the online mmo market with its intelligent game design and collective following. With South Korean society being one of the most plugged in societies on the planet currently it goes without saying that it is the perfect global laboratory to try out new game concepts that has allowed the growth of a $28.5 billion global video game industry.

The game software companies of South Korea have become the global leaders and showrunners in the mmorpg market, a common pass time of the Korean public. Even still consoles and portable games remain the industry’s big revenue driver. This is subject to change with the increasing speeds of the Asian economies and broadband networks, along with tech-savvy gaming communities, the online entertainment and PC gaming industry is an increasing market segment.

NCsoft, the largest Korean gaming company, is already a contender in wealthy Western markets with the roleplaying games…

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The underlying cultural elements

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Storytelling in MMORPG and how it applies to the culture.

The genre of massively multiplayer online role-playing games or MMORPG are one of the most popular series of games in the online PC genre, because it utilizes the ability for users to play with millions of other players. The player has the control in these games, deciding a play style that suits themselves, as well as how they look in this fantasy world. The variation and interaction available in these online personas allow players to experience a world beyond their own, rich with culture and history to explore.

Most MMORPGs feature heavily from Western and Eastern myths and ancient stories, melding a perfect fantasy scape for the players. Originally creature designs and myths were borrowed from Western mythology, but as the genre become more and more popular in Asia there was a push to create from Eastern mythology…

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Games and the e-sports market.

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In South Korea the launch of “Starcraft II: Wings of Liberty” was more than just some game, it was the rise of the new national sport that would sweep the nation. South Korea has not only the highest broadband penetration rates in the world (so high that us poor Australians can not even imagine the speed of) but also a dedicated fan base and devotion towards Starcraft that rivals that of professional sports teams around the world.

The professional video game circuit can be highly lucrative for players, with contracts from professional teams and corporate sponsorships. These e-sport teams can earn small fortunes in broadcast tournaments, with the top 2 ranked Starcraft 2 players earning US$300,000 from matches and sponsorship deals. Over US$4,000,000 in prize money has been awarded in total.

Games are broadcast live on television in South Korea, something that is only just beginning to become established in…

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Godzilla: The trilogy

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Autoethnography is an approach to research and writing that seeks to describe and analyze a personal experience in order to understand the cultural experience. Autoethnography covers ways of doing research and representing others and treats research as a political, socially-just and socially-conscious act that is unheard of in other studies. An autoethnography researcher uses elements of both autobiography and ethnography to create an autoethnography. A a method autoethnography is both process and product.

Some of the ways one can conduct an autoethnographical study:

• record and communicate

• research and reflect

• expand and augment

• conclude and present

Autoethnography allows the researcher to become a communicator and a storyteller. Most things can be viewed through this research method, which allows us as students to broaden our digital artifacts and knowledge of Asian cultures.

With Asian cultures as our focus for the semester as a class we viewed the original ‘Godzilla’ together. Then keeping…

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Godzilla: A second look.

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So our newest exercise in DIGC 330 was to reflect back on our previous post. How we thought it was in relation to autoethnography and digital culture.

1. what is the primary narrative of your account and how might it be expanded?

The primary narrative was about my experience watching Godzilla for the first time but it was the idea of autoethnography that was the primary objective behind the post. In introducing the blog post I should have included a definition or a summary of what autoethnography is, and even why this was an import aspect of the class and blogging process.

An area that can be expanded on is on the point of cinematography I touched on and the links between the reveal of the ‘monster’ in both ‘Godzilla’ and ‘Jaws’. The similarities between these movies was a continuous narrative running through my head as I watched Godzilla.

2.Identify the…

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Godzilla.

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This week we will be using autoenthnography in response to my first viewing  of the1954 Japanese movie “Gorjia”.

Having never seen the classic black and white film that went on to model Japanese cinema, I went in with an average knowledge of what and who Godzilla (as I knew him) was.

The movie was so much different than what I was expecting, especially having seen the modern day remakes, the cinematography and use of camera angles did so much more for the terrifying atmosphere of the revealing of the sea beast than the newest CGI creations. Like the hit movie ‘Jaw’s’ it was the director being forced to be creative with using a monster that was not easy to film, so the directors used that. With lighting and sound the terrified faces of the cowering Japanese citizens was easier to relate to than a reused ‘Jurassic Park’ CGI skin.

The thing about…

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