This class involved a great selection of academic essays and entertaining activities. Revolving around new media, it was a good class to flex my feminist writing muscles which I did in both my podcast, The Fourth Wave: Cyberfeminism, and the essay on Vlogs Vs Podcasts: A comparative essay from a consumer perspective:
For example, in the ‘Wonder Woman’ podcast (Mirk 2014) the author/speaker discusses how wonder woman’s back story has been changed and manipulated to, essentially, change her from having been born of female solidarity to being born from female rivalry. In the ‘Background Characters vlog’ (Sarkeesian 2014) the author/speaker discusses how, as video games are more interactive and players are not mere viewers but participants through their ability to manipulate the character’s world and actions, players are engaging in the sexual objectification of NPCs (Non-Player Characters). The vlog then cuts to numerous clips of players, through their character, paying NPCs for sex, paying for lap dances, picking up prostitutes and other such scenes. The author/speaker then points out that these actions have the same effect as the character getting a drink- using the women as sex objects increased health and status within the game. Again, the vlog cuts between those same scenes and a scene in which the character buys a drink from a vending machine. The audience themselves can now clearly see what the author/speaker is discussing with sickening clarity. Within the game, the sexual objectification of women is much the same as buying a drink. The author/speaker then announces that having NPCs displayed as sex objects only allows for them then to be dismissed as disposable. Toward the end of the vlog the same characters are then shown with the same NPCs in identical situations (paying for sex/lap dances) however afterward the character, at the command of the player, then physically assaulted and, in most cases, brutally murdered the NPC. Seeing this has a greater influence on the audience than merely hearing it can.
To begin with the ‘Background Character’s’ vlog (Sarkeesian 2014) issues a content warning, comes with a list of links and resources for further reading and a detailed summary of the series, unlike the ‘Wonder Woman’ podcast (Mirk 2014.) The ‘Wonder Woman’ podcast (Mirk 2014), whilst intelligently discussed and well put together, has received a mere 400 views compared to ‘Background Characters’ vlog (Sarkeesian 2014) which has 177 Twitter shares, 334,000 YouTube views, over 1,000 Facebook likes and has generated 11 cash donations for the Tropes Vs Women series. These viewer numbers support the findings of Helft (2013, p.1) who writes that “Viewers consume 6 billion hours of YouTube videos monthly — that’s almost one hour for every person on the planet”. If one compares Helft’s (2013) findings with that of Markman and Sawyer (2014), which state that podcast listeners didn’t listen to more than 30 minutes a week, it is clear which form is the more effective.
The revenue the ‘Background Character’ vlog (Sarkeesian 2014) alone has generated for the Tropes Vs Women series contrasts strongly with the reports by Markman & Sawyer (2014) that 39% of podcasters create no revenue and over 75% spend significantly on the creation of their product. The ‘Wonder Woman’ (Mirk 2014) podcast would, if it contained the some visual element, would undoubtedly do equally as well. In the discussion of podcast versus vlog topic and content are not of the utmost importance (Markman & Sawyer 2014). To engage an audience the delivery is of greater concern. Guest speakers and interviews help engage interest, though the addition of graphs, images and video cannot be valued highly enough. Had the ‘Wonder Woman’ podcast (Mirk 2014), on topic due to the upcoming movie, included the images being discussed, such as wonder woman wielding a sword, views would have surpassed the current count of 400, a belief backed by Markman and Sawyer’s (2014, p.4) observation that most “podcasters drew a small audiences.”