The article focuses on the rising phenomenon of Twitch.tv as a worldwide entertainment provider with several million monthly viewers and an increasing number of developers, game journalists and opinion leaders actively involved. In order to stage the first exploration of the portal, a multidisciplinary framework (cultural studies, game studies, media studies) based on the concepts of ‘Circuit of Culture’, ‘diffused audience’ and ‘immersion’ was applied towards consumption, identity and production dimensions of Twitch.tv. Accordingly, a triangulation of methods was harnessed to assess these articulations empirically: N=16 plays were analysed and N=96 spectators replied to a quantitative survey. The results point towards shared patterns in media consumption and production, offering insights for future and more specific research. Specifically, three types of Twitch.tv streaming were observed: the challenge (performed by the ‘professional’), based on ruling the game and a top-down direction; the exhibition (performed by the ‘hedonist’), depending on the twitchers’ performance skills and partial interaction; and the exchange (performed by the ‘companion’), relying on nostalgic feelings and open to the spectators’ insights.

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The use of video is commonplace for professional preparation in education and other fields. Research has provided evidence that the use of video in these contexts can lead to increased noticing and reflection. However, educators now have access to evolving forms of video such as 360 video. The purpose of this study was to adapt and validate an instrument for assessing immersive 360 video use in an undergraduate preservice teacher university training program. Data provided evidence of the validity of the Extended Reality Presence Scale (XRPS) for 360 video research in preservice teacher professional development. Moreover, evidence from the study suggests that those with higher feelings of presence are less likely to jump around (or twitch) while watching 360 videos. The main implications are that: a) the XRPS is a validated and reliable instrument and b) more research is needed to examine the presence and practices for in‐service and preservice teachers while watching 360 video. What is already known about this topic? Instructional videos are widely used in preservice teacher training. 360 videos show promise for improving preservice teacher professional development in terms of immersion and presence. What this paper adds? An instrument for assessing 360 video teacher presence is presented (XRPS), targeting a current gap in the literature. Data provided evidence of the validity of the tool for future 360 video research and integration. Implications for practice and/or policy Practitioners can use XRPS for assessing preservice teachers’ experiences in immersive environments and evaluating 360 videos. Higher feelings of presence are associated with more focused viewpoints. Therefore, practitioners should support and facilitate this watching behavior. Higher scores of presence are associated with a perceived sense of agency and emotional attachment. Therefore, 360 videos should include design elements promoting these feelings.

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In current Game Research, gaming service platforms such as PlayStation Network, Steam, and Twitch.tv represent a still poorly investigated topic. Despite the millions of monthly viewers and members, little efforts have been done to shed light on their dynamics and trends. This article aims to address such a lack by presenting the findings of an empirical inquiry guided by the key concepts of “platform” and “actor–network theory” with the support of a novel network visualization technique. Specifically, the role-playing game Dark Souls 3–related activity on Steam and Twitch.tv was collected for the first 20 days from the release (12 April–1 May 2016). Targeted data concerned several variables among which: most viewed streamers, streaming types, debating topics and reviews’ highlights on Steam (etc.) through screenshots, user-generated content, and text gathering. Data were processed and then visualized with the network-oriented software Gephi for uncovering associations and patterns in the targeted online environments. The action game The Division worked as an exploratory case study and counter-example for stressing the proposal. Although with some limitations, the visualization strategy adopted (four networks for each platform) proved to be effective in framing and communicating the results in a straightforward way. Finally, findings enlightened a phenomenon (i.e. gaming service platforms), that is, getting increasingly central in digital entertainment, and might inform further investigations with alternative designs and focuses.