By Kevin Jakubowski
It’s 1980-something and all nine-year-old Jake Doyle desires for Christmas is a Nintendo leisure approach. No Jose Canseco rookie card, no GI Joe hovercraft, no Teddy friggin’ Ruxpin—just Nintendo. but if a hyperactive Shih Tzu is unintentionally beaten to dying via a forty-two- inch tv set and each mum or dad on the town blames Nintendo, it’s as much as Jake to take issues into his personal palms. the result's a Christmas quest of large Mario Bros. proportions, packed with flaming wreaths, rushing minivans, misplaced retainers, faux Santas, sizzling lecturers, snotty sisters, “Super Bowl Shuffles” and one very bare Cabbage Patch child. instructed from a nostalgic grownup point of view, 8-Bit Christmas is a hilarious and heartfelt glance again on the child popular culture of the Eighties.
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Extra resources for 8-Bit Christmas
By taking part in the mediated production of meaning (content-related participation) and/or in the management of content production organisations (structural partic ipation) these citizens engage in ‘(semi-)collective mediated rituals’ that facilitate the (re)construction of their identities and imagined communities (Carpentier & De Cleen 2008, 6). According to Nick Couldry (cited in Carpenter & De Cleen 2008), even though the thematics of participation have inextricably been linked to the workings of media, power and the questions of representation – both in the formal political sense and in the broader sense of symbolisation – in modern democratic politics, the everyday experienced politics of participation reside in the intercon nections between the consumers and producers of media.
G. Castells 2001; Nieborg 2005, 3). The gendered nature of the emerging software culture which also acted as the basis for the contemporary social media scene has perhaps not been fully acknowledged yet, even though some valuable attempts at its analysis have been made (see in particular Herbst 2008). Nevertheless, the collaborative spirit that has continued to shape much of the background workings of the internet was not a self-evident result of computer programming practices. Before the 1970s, the computer industry was focused en tirely on producing and selling hardware.
Aarseth 2001; Jenkins 2002; Juul 1998). One of the main reasons for this is the somewhat rigid interpretation of the scopes of textuality and narrative (and textual analysis in practice) which have not been easily adapted to the study of such transient texts as games. As many new media forms, also games are defined by non-linearity. However, the underlying notion of the traditional sender-message-receiver model as the norm in communication re search continues to presume a certain linearity to all processes of media production and consumption.
8-Bit Christmas by Kevin Jakubowski