This article contributes to research on children's participation on social media by analyzing "toy unboxing" videos. Toy unboxing videos are a popular genre on the video-sharing platform YouTube, in which children and adults record themselves unpacking and reviewing various commercial toys. Emerging research in this area has focused on case studies of how these videos are consumed within the home as a means of augmenting offline toys and play practices, or, more commonly, on case studies of how these videos fit within YouTube's broader economies of play and performance. Drawing on data produced through a content analysis of 100 recent toy unboxing videos, this article analyzes the place of children in the YouTube genre's "affinity space." The toy unboxing videos are coded across five key categories-genre, product, narration, production, and branding-to analyze variations of expertise, professionalism, and promotion across the genre. The findings indicate that children's modes of production as amateur content producers both shape and are shaped by the shared and standardized conventions of this video genre. That is, while well-known "professional" channels such as EvanTube often seek to produce a semblance of playful amateur authenticity, the ostensibly "amateur" child unboxers mimic the production and branding strategies of the "professional" channels. We argue that this reciprocal relationship between professional and amateur content production can be best understood through the concept of "mimesis," which characterizes the qualities of play and commercialization within the toy unboxing genre.

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of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

This article examines how the process of platformisation is manifesting in videogame development. Rather than reinforcing a top-down perspective of platformisation centred on distribution platforms like app stores, we focus on often overlooked game-making tools and the independent, entrepreneurial, and fringe communities that govern and use them. We draw on case studies of Unity and Twine, two such tools that have transformed videogame creation and distribution. By considering how they complicate existing understandings and definitions of both 'platform' and 'platformisation' , we move beyond reductive narratives that frame platformisation as a fixed, hegemonic process. Instead, we reveal a much more ambiguous and complex relationship between game makers and the platforms they use. Issue 4This paper is part of Trust in the system, a special issue of Internet Policy Review guestedited by Péter Mezei and Andreea Verteş-Olteanu.

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