Gambling is How Finopower Feels: Ozark and the Art of American Neoliberalism

Nicoll, Fiona

doi:10.1007/978-3-658-35635-4_9

Cited by 1 publication

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“…Perhaps the qualities of mimesis and vertigo that make the platform so sticky induced a behavioral response of selfextinction. Perhaps the appearance of this overwhelming number triggered a feeling that the young trader's economic life was "game over" (See Nicoll, 2013, 2019, 2022. This case and others show that, while playful platforms disembody and dematerialize the markets from which the app generates its numbers, consequences of failing at the game of trade for individuals are ultimately material and embodied.…”

Section: This Is What Risk Looks Like: Robinhood and The Piracy Of Se...mentioning

confidence: 99%

“Almost the Same but not Quite”

Nicoll

2022

CGS

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Digitally mediated social networking is now an ordinary aspect of everyday life and gambling platforms are designed accordingly. This article explores how changing iconography has facilitated gambling’s rapid integration within social media and interactive entertainment products and platforms. While there is a substantial literature in cultural studies of digital video games and virtual worlds, most of the academic literature on gambling addresses clinical and regulatory challenges associated with problem gambling. As a consequence, the role of visual iconography, gameplay, narrative and soundscapes in constructing cultural spaces and products of gambling has been largely neglected. Critically engaging with established and emerging theories of mimesis and play, we explore how visual design facilitates the growth of new markets for gambling in a digital culture that privileges interactive forms of consumption.

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Section: This Is What Risk Looks Like: Robinhood and The Piracy Of Se...mentioning

confidence: 99%