YouTube Gaming — a big, competitive world
YouTube Gaming is a recent invention of YouTube. When I first joined YouTube back in around 2007, I had no idea that videos could be uploaded to near-no end, that videos could be “Unlisted” (accessible by link only), and most of all, videos longer than fifteen minutes could be uploaded for all who were in good standing. Alongside some surprises were one of my videos I released as a kid was a choppily produced machinima entitled “The Mission”. It was available-to-publish out of seemingly nowhere, despite being rejected for being over the 15 minute limit.
You may be aware that YouTube saves a copy of your original master file, and derives it (makes new copies) to the highest quality possible as time goes along. Videos from 2010 and rendered in 60fps, are now 60fps. Likewise, videos that were published in mere “HD” (that is, 720p) back in 2010 can be bumped up to 1080 if that was the resolution uploaded. The ecosystem of YouTube has been constantly involving, and it would not be far off to say it is high time you, as a user, make YouTube your bitch.
Here is what I mean: YouTube offers virtually unlimited video storage, allowing durations above 10 hours at a time, and supports live streaming services. Several competitors of YouTube and YouTube Gaming, such as Twitch, allow for the option to publish videos on YouTube, with resolutions as high as 4K and at framerates of up to 60 frames per second. The flash-based YouTube Editor feature offers functionality to trim and add simple effects to your YouTube video, as well as the option to blur text and other identifying features, at the expense of limiting the video’s quality to 1080p60–1080p at frames per second.
However, it is not always a sunny day in YouTube. The advent of Google Plus integration — which still permeates the service despite reports to the contrary — unleashed a cruel furtherance of spam and self-promotion at the hands of bottom-feeding YouTubers. Comments such as “nice video! subbed, hey I have a competition going on to get free subscribers” are unpoliced by YouTube, and in this garden of content, we are left barren in terms of having quality discourse and discussion.
One is left confused and perhaps aloof with such a wide-cast next, often questioning how to make sense of such big data. YouTube users, us included, are indeed the participants of a social experiment gone intimate. Analytics track video retention, demographics (disclosed by the user upon sign-up or inferred via search history), in addition to subscription counts and how we choose to network with. I am not one intent on being the “hey guys, what’s going on with these funny moments”, but I nevertheless recognize as a catchphrase and the “funny moments” value as a search term.
Actually, no I fuckin’ don’t. The only people curious of funny moments, absolutely, are marketers; and the only people who are searching funny moments are either marketers or those who want to be entertained. Long removed are people such as Pewdiepie making moments that are merely “funny” for the sake of being funny, or Markipliers beholden gameplay of Five Nights at Freddy’s 1, 2, 3, 4, or the Sister Location. That shit might crack me up, but neither have such a large fan-base as it is to grab attention off the “funny moments” spam-train.
There seems to be a disconnect from users and content creators (the professional-consumers in this new age of media) and how they interact. Where the new generation is so self-absorbed, they can’t be bothered to delight themselves in the content of the old. This is where we all should come together — to digitize the previous generation, so that we can compare and remind ourselves what’s so great about own. I am not too sure (beyond the depths of my irony) what’s so great about franchises approaching their seventh installation, if they forget the magic of the first and second.
In closing, when you’re posting content, think of the Shrek rule. Don’t go forth without thinking of 2, or you’ll suffer from the Third’s success.
beatstar is a veteran video creator, editor, and producer. He has worked on fan animation dubs, written industry critiques, and managed an online video game awards show for three successive years: working with individuals from all over the world to ensure project success.