Twitch, la televisión de la generación Z
DOI:
https://doi.org/10.31637/epsir-2024-626Palabras clave:
Twitch, SLSS, streamer, contenido, audiovisual, plataforma, transmisión, IRLResumen
Introducción: Para la generación Z, el streaming es un nuevo concepto de lo que es ver televisión. La era del streaming está marcada por tendencias cambiantes en los modelos de distribución audiovisual y publicidad. Los servicios sociales de transmisión en vivo SLSS, emergen de las comunidades multimedia en línea. Twitch, ha evolucionado para convertirse en el segundo servicio social de transmisión en vivo SLSS más popular en términos de audiencia. El presente trabajo se enfoca en los streamers que crean contenido en español en la categoría IRL (en la vida real). Metodología: El presente trabajo se fundamenta en una metodología mixta que incluyó una revisión exhaustiva de la literatura y entrevistas a profundidad en Cali, Colombia. Resultados: Los streamers colombianos son más cercanos a su comunidad, las interacciones son más genuinas y la jerga ayuda para esta conexión. Discusión: ¿Podría ser Twitch el surgimiento de un nuevo estándar sin anuncios en la industria de la producción y distribución audiovisual, paralelo al de la televisión y otras plataformas? Conclusiones: Twitch presenta potencial para los streamers colombianos debido a que países como Chile y Perú, con menos habitantes aportan incluso el doble de streamers Top en la categoría IRL.
Descargas
Citas
Abarbanel, B. y Johnson, M. (2020). Gambling engagement mechanisms in Twitch live streaming. International Gambling Studies, 20(3), 393–413. https://doi.org/10.1080/14459795.2020.1766097 DOI: https://doi.org/10.1080/14459795.2020.1766097
Aguilar, M. (2020). Twitch, la red social de gamers, terreno fertil para marcas e influencers. TopicFlower. https://bit.ly/3y0hlCY
Ask, K., Spilker, H. S. y Hansen, M. (2019). The politics of user-platform relationships: Co-scripting live-streaming on Twitch.tv. First Monday, 24(7). https://doi.org/10.5210/fm.v24i7.9648
Ask, K., Spilker, H. S. y Hansen, M. (2018). The politics of streaming platforms: Co-scripting features of live-streaming on Twitch. Working paper, in review. Trondheim: NTNU. https://doi.org/10.5210/fm.v24i7.9648 DOI: https://doi.org/10.5210/fm.v24i7.9648
Benselin, J. C. y Ragsdell, G. (2016). Information Overload: The differences that age makes. Journal of Librarianship and Information Science, 48(3), 284-297. https://doi.org/10.1177/0961000614566341 DOI: https://doi.org/10.1177/0961000614566341
Bingham, C. M. (2020). Talking about Twitch: Dropped frames and a normative theory of new media production. Convergence, 26(2), 269-286. https://doi.org/10.1177/1354856517736974 DOI: https://doi.org/10.1177/1354856517736974
Bonner, F. (2003). Ordinary Television: Analyzing popular TV. New Delhi: Sage Publications. DOI: https://doi.org/10.4135/9781446221716
Burroughs, B. y Rama, P. (2015). The eSports Trojan Horse: Twitch and streaming futures. Journal of Virtual Worlds Research, 8(2), 1–5. https://doi.org/10.4101/jvwr.v8i2.7176 DOI: https://doi.org/10.4101/jvwr.v8i2.7176
Churchill, B. y Xu, W. (2016, octubre 8). The modem nation: A first study on Twitch.tv social structure and player/game relationships. En: Proceedings of the2016 IEEE international conferences on BDCloud, SocialCom, SustainCom, Atlanta, GA, USA. https://doi.org/10.1109/BDCloud-SocialCom-SustainCom.2016.43 DOI: https://doi.org/10.1109/BDCloud-SocialCom-SustainCom.2016.43
Deloitte (2024). Digital media trends. https://bit.ly/4d4E67H
Durlach, N. y Slater, M. (2000). Presence in shared virtual environments and virtual togetherness. Presence: Teleoperators and Virtual Environments, 9(2), 214–217. https://doi.org/10.1162/105474600566736 DOI: https://doi.org/10.1162/105474600566736
Ericsson Consumer Lab (2017). Report on TV and Media 2017: A consumer-driven future of media. https://bit.ly/465tROj
Gamir-Ríos, J., Cano-Orón, L. y García-Casas, D. (2024). Twitch’s Second Phase of Development: Analyzing Streamer Profiles and Content Trends That Boost Its Evolution into a Mass Media. Games and Culture, 0(0), 1-23 https://doi.org/10.1177/15554120241257030 DOI: https://doi.org/10.1177/15554120241257030
Gaudiosi, J. (2016). Twitch launching ‘rocket league’ into eSports. Fortune. http://fortune.com/2016/03/02/twitch-launching-rocket-league-into-esports/.
Gutiérrez, J. F. y Cuartero, A. (2020). El auge de Twitch: nuevas ofertas audiovisuales y cambios del consumo televisivo entre la audiencia juvenil. Ámbitos, 50, 159-175. https://doi.org/10.12795/Ambitos.2020.i50.11 DOI: https://doi.org/10.12795/Ambitos.2020.i50.11
George, D. (2015). Rocket league got heavy Twitch stream play last month. Gameside. https://bit.ly/3LoZLM2
Hamilton, W. A., Garretson, O. y Kerne, A. (2014, abril 26). Streaming on Twitch: Fostering participatory communities of play within live mixed media. En Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, ACM, New York NY, USA. https://doi.org/10.1145/2556288.2557048 DOI: https://doi.org/10.1145/2556288.2557048
Iyer, R. (2023). Q3 2023 Global Live Streaming Landscape: YouTube Gaming breaks records, Kick continues upward trajectory. https://acortar.link/vYKMDq
Jacobs, N. y Booth, P. (2021). Converging experiences, converging audiences: An analysis of doctor who on Twitch. Convergence, 27(5), 1324–1342. https://acortar.link/Zz1CyN DOI: https://doi.org/10.1177/1354856520976447
Jenkins, H. (2006). Convergence Culture: Where old and new media collide. New York: New York University Press.
Johnson, M. R. (2018). Inclusion and Exclusion in the Digital Economy: Disability and Mental Health as a Live Streamer on Twitch.tv. Information, Communication and Society, 22(4), 506-520. http://doi.org/10.1080/1369118X.2018.1476575 DOI: https://doi.org/10.1080/1369118X.2018.1476575
Johnson, M. R. y Woodcock, J. (2019). “And today’s top donator is”: How live streamers on Twitch. tv monetize and gamify their broadcasts. Social Media+ Society, 5(4) 1-11. https://doi.org/10.1177/2056305119881694 DOI: https://doi.org/10.1177/2056305119881694
Johnson, M. R. y Woodcock, J. (2019). ‘It’s like the gold rush’: the lives and careers of professional video game streamers on Twitch. tv. Information, Communication & Society, 22(3), 336-351. https://doi.org/10.1080/1369118X.2017.1386229 DOI: https://doi.org/10.1080/1369118X.2017.1386229
Johnson, M. R. y Woodcock, J. (2019). The impacts of live streaming and Twitch.tv on the video game industry. Media, Culture & Society 41(5) 670-688. https://doi.org/10.1177/0163443718818363 DOI: https://doi.org/10.1177/0163443718818363
Kaytoue, M., Silva, A., Cerf, L., Meira Jr, W. y Raïssi, C. (2012, abril 16). Watch me playing, I am a professional: a first study on video game live streaming. En Proceedings of the 21st international conference on world wide web, New York NY, USA. https://doi.org/10.1145/2187980.2188259 DOI: https://doi.org/10.1145/2187980.2188259
Kim, M. y Kim, H. M. (2022). What online game spectators want from their Twitch streamers: Flow and well-being perspectives. Journal of Retailing and Consumer Services, 66. https://doi.org/10.1016/j.jretconser.2022.102951. DOI: https://doi.org/10.1016/j.jretconser.2022.102951
Leith, A. (2021). Parasocial cues: The ubiquity of parasocial relationships on Twitch. Communication Monographs, 88(1), 111-129. https://doi.org/10.1080/03637751.2020.1868544 DOI: https://doi.org/10.1080/03637751.2020.1868544
Livingstone, S. (2015). Active Audiences? The debate progresses but is far from resolved. Communication Theory, 25(4), 439-446. https://doi.org/10.1111/comt.12078 DOI: https://doi.org/10.1111/comt.12078
Market Research Future (2021). Live streaming market size share industry demand global analysis, 2027. https://www.marketresearchfuture.com/reports/live-streaming-market-10134
Martín, E. (2021). Twitch: ¿Qué ofrece la nueva red social de moda? El Correo. https://bit.ly/3WaJPlw
Moseley, R., Wheatley, H. y Wood, H. (2014). Introduction: Television in the afternoon. Critical Studies in Television, 9(2), 1–19. https://doi.org/10.7227/CST.9.2.1 DOI: https://doi.org/10.7227/CST.9.2.1
Napoli, P. M. (2012). Audience Evolution and the Future of Audience Research. International Journal on Media Management, 14(2), 79-97. https://doi.org/10.1080/14241277.2012.675753 DOI: https://doi.org/10.1080/14241277.2012.675753
Nematzadeh, A., Ciampaglia, G. L., Ahn, Y. Y. y Flammini, A. (2016). Information overload in group communication: from conversation to cacophony in the Twitch chat. Royal Society open science, 6(10). https://arxiv.org/abs/1610.06497 DOI: https://doi.org/10.1098/rsos.191412
Payne, M. T. (2022). Twitch.tv: Tele-visualizing the arcade. En D. Johnson (Ed.), From networks to Netflix: A guide to changing channels (pp. 311-321). Routledge. DOI: https://doi.org/10.4324/9781003099499-32
Podara, A., Matsiola, M., Kotsakis, R., Maniou, T. A. y Kalliris, G. (2021). Generation Z’s screen culture: Understanding younger users’ behaviour in the television streaming age–The case of post-crisis Greece. Critical Studies in Television, 16(2), 91-109. https://doi.org/10.1177/17496020211005395 DOI: https://doi.org/10.1177/17496020211005395
Podara, A., Matsiola, M., Kalliris, G., Nicolaou, C. y Maniou, T. A. (2020). Transformation of Television Viewing Practices in Greece: Generation Z and audiovisual content. Journal of Digital Media & Policy, 13(2), 157-179 https://doi.org/10.1386/jdmp_00034_1 DOI: https://doi.org/10.1386/jdmp_00034_1
Purcell, D. (2016). Twitch y Psyonix combine to launch rocket league championship series. Gamezone. https://bit.ly/3Y6nmIZ
Quintas-Froufe, N. y González-Neira, A. (2022, septiembre 1). First studies of the migration of television content to Twitch in Spain. En Á. Rocha, D. Barredo, P. C. López-López, y I. Puentes-Rivera (Eds.), Communication and smart technologies: Proceedings of ICOMTA 2021, Bogotá Colombia. https://doi.org/10.1007/978-981-16-5792-4_36 DOI: https://doi.org/10.1007/978-981-16-5792-4_36
Rheingold, H. (2000). The Virtual Community, Revised Edition: Homesteading on the Electronic Frontier. Cambridge, MA: The MIT Press. https://acortar.link/5ZYNDB DOI: https://doi.org/10.7551/mitpress/7105.001.0001
Rubin, A. M. (1984). Ritualized and Instrumental Television Viewing. Journal of Communication 34(3), 67-77. https://doi.org/10.1111/j.1460-2466.1984.tb02174.x DOI: https://doi.org/10.1111/j.1460-2466.1984.tb02174.x
Sanson, K. y Steirer, G. (2019). Hulu, streaming, and the contemporary television ecosystem. Media, Culture & Society, 41(8), 1210-1227. https://doi.org/10.1177/0163443718823144 DOI: https://doi.org/10.1177/0163443718823144
Shared Be (2020). Twitch desbanca a Youtube entre los gamers. https://acortar.link/GfKQBk
Siapera, E., Kirk, N. y Doyle, K. (2019). Netflix and Binge: Exploring new cultures of consumption. Final Report. Broadcasting Authority of Ireland. https://acortar.link/gEm1iw
Siutila, M. (2018). The gamification of gaming streams. GamiFIN Conference, 131–140. https://ceur-ws.org/Vol-2186/paper16.pdf
Sixto-García, J. y Losada-Fernández, D. (2023). Spanish Twitch streamers: Personal influence in a broadcast model akin to television. Convergence, 29(3), 713-729. https://doi.org/10.1177/13548565221149892 DOI: https://doi.org/10.1177/13548565221149892
Sjöblom, M., Törhönen, M., Hamari, J. y Macey, J. (2019). The ingredients of Twitch streaming: Affordances of game streams. Computers in Human Behavior, 92, 20–28 https://doi.org/10.1016/j.chb.2018.10.012 DOI: https://doi.org/10.1016/j.chb.2018.10.012
SocialPubli (2020). Marketing en Twitch con influencers. https://socialpubli.com/es/blog/twitch-influencers/
Sotamaa, O. (2010). When the game is not enough: motivations and practices among computer game modding culture. Games and Culture, 5(3), 239-255. https://doi.org/10.1177/1555412009359765 DOI: https://doi.org/10.1177/1555412009359765
Spilker, H. S., Ask, K. y Hansen, M. (2018). The new practices and infrastructures of participation: how the popularity of Twitch.tv challenges old and new ideas about television viewing, Information, Communication & Society, 23(4), 605-620 https://doi.org/10.1080/1369118X.2018.1529193 DOI: https://doi.org/10.1080/1369118X.2018.1529193
Švelch, J. y Švelch, J. (2022). Definitive playthrough”: Behind-the-scenes narratives in let’s plays and streaming content by video game voice actors. New Media and Society, 24(5), 1097-1115. https://doi.org/10.1177/1461444820971778 DOI: https://doi.org/10.1177/1461444820971778
Tapscott, D. (2008). Growing Up Digital. Boston: McGraw-Hill Education.
Terranova, T. (2004). Network Culture: Politics for the Information Age. London: Pluto Press
Twitch (2015). The 2015 retrospective. Twitch. www.twitch.tv/year/2015
Twitch (2022). Categories. https://www.twitch.tv/directory/
TwitchTracker (2024). Twitch Statics & Charts. https://twitchtracker.com/statistics
Veglis, A. y Maniou, T. A. (2018). The Mediated Data Model of Communication Flow: Big data and data journalism. KOME: An International Journal of Pure Communication Inquiry, 6(2), 32-43. https://real.mtak.hu/93478/1/KOME_VeglisManiou.pdf DOI: https://doi.org/10.17646/KOME.2018.23
Wolff, G. H. y Shen, C. (2024). Audience size, moderator activity, gender, and content diversity: Exploring user participation and financial commitment on Twitch. tv. New Media & Society, 26(2), 859-881. https://doi.org/10.1177/14614448211069996 DOI: https://doi.org/10.1177/14614448211069996
Wohn, D. Y., Jough, P., Eskander, P., Siri, J. S., Shimobayashi, M. y Desai, P. (2019, Octubre 22). Understanding digital patronage: Why do people subscribe to streamers on Twitch? En Proceedings of the Annual Symposium on Computer-Human Interaction in Play, Barcelona, Spain. https://doi.org/10.1145/3311350.3347160 DOI: https://doi.org/10.1145/3311350.3347160
Zimmer, F., Scheibe, K. y Stock, W.G. (2018, Julio 15). A model of information behavior research on social live streaming services (SLSSs). En: International Conference on Social Computing and Social Media, Las Vegas, NV, USA. https://acortar.link/VbUQoJ DOI: https://doi.org/10.1007/978-3-319-91485-5_33
Zhao, K., Hu, Y., Hong, Y. y Westland, J. C. (2019). Understanding Characteristics of Popular Streamers on Live Streaming Platforms: Evidence from Twitch.tv Journal of the Association for Information Systems. http://dx.doi.org/10.2139/ssrn.3388949 DOI: https://doi.org/10.2139/ssrn.3388949
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2024 Jiménez-Prado Carlos
Esta obra está bajo una licencia internacional Creative Commons Atribución-NoComercial-SinDerivadas 4.0.
Authors who publish with this journal agree to the following terms:- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under Creative Commons Non Commercial, No Derivatives Attribution 4.0. International (CC BY-NC-ND 4.0.), that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
