<div dir="ltr">Dear List, <div><br></div><div>
<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">I'm a PhD Student at Indiana University studying bureaucratic and affective consumer labor. I'm interested in the cultural politics of fantasy, ideologies of productivism, and systems of social compensation, as they interplay in branded game worlds. This research draws from a year and a half of ethnographic fieldwork with player collectivities of <i>World of Darkness</i> live-action role playing games and <i>EVE Online</i> massively multiplayer game. These gaming properties are connected through their management by CCP Games, which has sought to brand itself as a developer of open game worlds animated by player created content across transmedia platforms. </font></p>
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<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">I will present "Magic Nerd Money: Work and Compensation in Ludic Bureaucracies." This paper reconstructs two transformative clashes between players and producers. I suggest how contrastive communicative scales, structures, and understandings of laborious contributions to a transmedial commons may account for different modes of collective action. On the one hand, the live-action format is played out through bureaucratic structures. This organizational structure may have facilitated collective legal action by players against the company. On the other hand, the massively multiplayer format is often played through consumer collectivities with network enterprise structures. This organizational structure may have facilitated collective ludic actions such as in-game protests and rage-quiting, which unlike the aforementioned legal action, are contained within and arguably absorbed by the contractual frame between producers and consumers. </font></p>
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<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">In contrast to the voluntary, modular, flexible, and creative work that make up consumer publics, consumer bureaucracies are maintained by obligatory work that is often tedious, feminized, and undervalued. In other words, unlike unpaid digital labor of fans and gamers, the labor in consumer bureaucracies feels unmistakably like work. Unlike unpaid digital labor that can be compensated by informal reputation systems, bureaucratic work demands compensation with ludic rewards in highly codified systems that anchor and perpetuate player investment. This compensation system highlights the strengths and weaknesses of consumer bureaucracies - non-portable investments of labor facilitate enhanced motivations for collective action; however, coordination capacities limit its operational complexity and scale. </font></p>
<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span"><br></font></p><p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">Looking forward to the discussion at the Conference!</font></p>
<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span"><br></font></p><p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">Aleena Chia</font></p>
<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">PhD Candidate</font></p><p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span">Indiana University</font></p>
<p style="margin:0.0px 0.0px 0.0px 0.0px;font:12.0px Arial;color:#232323"><font class="Apple-style-span"><u><a href="mailto:achia@indiana.edu">achia@indiana.edu</a></u></font></p></div><div class="gmail_extra">
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