Introduction: developing a major argument
Distribution channels on the Internet serve as tools through which content creators discover channels to disseminate their creation. It is important to define the channels and virtual space that can allow the visitors and audience to receive the information (Boyd n. p.). Due to the development of online technologies, the limitations to the access to the content information have vanished and, as a result, the distributions channels have become the channels of consumption.
Despite the absence of limited access, the attention-grabbing function of the content information can still be limited because it is often hard to define the goals, as well as purpose, which guides people to either access the content or not (Boyd n. p.). In this respect, digital media distribution is among the most popular platforms through the target audience can reach the information. Graphics and videos are in the highest demand in the population (Wright n. p.). The proposed video, therefore, is based on the assumption that teamwork should rely on courage, trust, and collaboration. Reliance on experience and trustworthy relationships can contribute to the achievement of the objectives.
Defining space as a participatory culture
The chosen space for placing the DM product is chosen because of the high popularity of YouTube, being an effective media platform for placing a wide range of videos (Summerflyloo7 n. p.). Moreover, the virtual space is widely used to introduce video directly from the television. In this respect, the presented possibilities increase the demand and popularity of the audience. Representing the content of the game via this distribution channel fits perfectly due to the popularity of Counter-Strike, as well as due to the wide access the DM production receives.
Apart from the comfortable place of the product distribution, the content of the DM product is also extremely popular among the target audience, which involves a vast majority of teenagers, as well as elder groups of the U.S. population in particular and the world community in general. Specifically, Jenkins has defined that about 215 million video and computer games have been bought by the Americans, which counts over two games for a household unit (Art Form for the Digital Age 1).
Also, the game and video industry is a profitable industry that can compete with the incomes produced in Hollywood. Due to the development of the World Wide Web, specifically, the emergence of the Web 2.0 platform, online users have received a great opportunity to build a participative culture by actively engaging in video games activities (Art Form for the Digital Age 1). Computer games, therefore, have become a new form of art, as well as a significant part of mass and popular culture.
DM production and its response to a rhetorical situation to reach a target audience
The spreading nature of Web 2.0 as a collaborative model of online communication and interaction is closely associated with the function and nature of video and computer games (Art Form for the Digital Age 2). As proof, the emergence of new applications enhances the popularity of online communication, as well as contributes to the development of mass culture, although the role of Web 2.0 was not in accord with the current tendencies of participation (Why Participative Culture Is not Web 2.0 n. p.). However, further development of media platforms and distribution channels has blurred the distinctions between the two notions.
Conclusion
As video game has become an inherent component of American culture and popular culture all over the world, the emergence of Web 2.0 platform allowed the audience to create new opportunities for developing and spreading the culture. The video posted on YouTube, therefore, can attract the attention of the majority of the population who are interested in video game culture.
Works Cited
Boyd, Dana. Stream of Content, Limited Attention: The Flow of Information through Social Media. Web 2.0 Expo. New York. 2009. Web.
Jenkins, Henry. Art Form for the Digital Age. Tech Review. 2002. Web.
Jenkins, Henry. Why Participative Culture Is not Web 2.0: Some Basic Distinctions. Official Weblog of Henry Jenkins. 2010. Web.
O’Reilly, Tim. What Is Web 2.0. O’Reilly. 2009. Web.
Summerflyloo7. We Are the One (Counter-Strike). YouTube. 2012. Web.
Wright, Will. Dream Machines. Wired. 2006. Web.