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Mine, Yours and Ours: How narrative structures may influence User Generated Content Thais Arrias Weiller1 1

University of São Paulo, Brazil.

Abstract. : This article investigates the existence of different kinds of User Generated Content (UGC) and the connection between UGC and some narrative structures of the media product itself. The corpus of the analysis is constituted by videogames and the UGC related to them, in particular Halo and Metroid series and illustrates how small differences in, for instance, character presentation may influence both player’s understanding of the character itself and the kind of production is mainly created in the subject. Keywords: collaborative web, user generated content, fandom, videogames, narrative

1 Introduction The internet’s characteristics of just in time distribution and many-to-many dissemination have permitted users all over the word to share, discuss and create content in a way never possible before. Nowadays, almost anyone with a computer and, at least, a dial-up connection can read online news, comment and share to all others across the web her opinion. By this means, this new media has allowed fans not only to watch, read or play their beloved subject (especially popular culture productions), but also to show their opinions, regards and creations of it to the whole word to see it. Before the internet popularization, this display was restricted to some family members and closer friends. But now, in doing so, not only those fans are able to display and admire their work, but also mixing, cataloguing, mashing up and building new content between them. To this alternative creation of official commercial material is called User Generated Content (UGC) [2,3,5]. In Convergence Culture, Jenkins [3] takes cases of UGC from different shows, books and films expressed in different media. For instance, the group of Survivor fans (known as spoilers) to whom the biggest fun about the show was to discovery before it was aired the program’s features and development and publicizing it. In order to do that, they took advantage of the fact that the whole season was filmed months before it being aired and used both simples means, as psychological analysis of contestants, and more complex ones. Jenkins describes a pair of spoilers who where specialists in recognizing the kind of vegetation and geography in early Survivor teasers and used a liaison with a satellite imaging company to search out for the contest sites before they

have been announced. Jenkins also describes the history of a young girl who started writing a fictional newspaper entitled The Dailly Prophet which alleged depicted news of Hogwarts, the fictional magic school of J. K. Rowling's Harry Potter story. Since the newspaper was published online, it didn’t took much time to others fans enlisted to join in the writing tasks and the paper started being famous between other kids and Harry Potter fans. News in The Daily Prophet went from the narrative of anecdotes happening to Harry Potter’s characters to the narration of events happening to the kids, portrayed as Harry Potter’s universe characters. Another interesting example pointed out by Jenkins was the case of stop motion videos made from popular culture action figures. Toy Wars and Probot Productions are results of some of these creations, both created by two pair of friends that equally loved pop culture and film making. Toy Wars is a fan made reshot of Star Wars: A New Hope, while Probot Productions made several popular films, such as Indiana Jones and Alien, in their action figures versions. While some action figures filmmakers try to maintain originality, other take advantage of some characters’ features or some interesting scenes and mash it up with other shows, films and popular chracters. That is the case of Evan Mather, which were mentioned by Jenkins, and Robot Chicken TV show. Though both productions share no (known) staff or even influence relation, both have a very similar style: mixing of different characters from different universes and styles in unlikely situations, aiming mainly humorous relief. Comparing all those different creations about different popular products, it’s possible to observe that between many similarities, there is also some intrinsic differences as all of them do not have or require the same characteristics. For instance, the puzzle resolving of the Survivor fans didn’t involve much creative conception but implicate in hard work, previous knowledge, team work and even some level of social interaction (between members and in relation to sources of information). In The Daily Prophet, much more creativeness was involved and even some level of team work, but not much interaction between writers or general knowledge not concerning the Harry Potter universe. By the other hand, action figure movies required both great movie making and general culture knowledge and different levels creativity, but almost no team work or social interaction. These differences imply that there are distinct kinds of UGC, some which have more personal creativity of the creator infused while others don’t; some are the result of efforts made by one or a limited number of contributors whereas there are other productions which are the result of many hands working together and so on. Based on those characteristic, it’s possible to roughly classify any UGC into a scale based on diverse parameters of Creativity, Collective Engagement and Audience Reached. Creativity feature do not classify the author’s level of creativeness; only states the intensity of liberty he took in relation to the original material. Collective engagement refers to the number of people and their interaction in the content construction. Finally, audience reached states the public or potential public for the content under consideration. Though this methodology may not be the most precise one, it’s probably the most effective in comparing diverse UGC. Videogames are not an exception to the fan creations and many titles, old and new, have an immense amount of user generated content. In this article, it’s used as

corpus UGC of different videogame franchises. To make a comparison plausible, it was chosen to restrict the corpus to games that shared many characteristics in common as possible. The characteristics selected were games which had stories focused in one strong main character, that were futuristic and space themed and in which the main plot consisted of “saving the galaxy” from a alien sentient form of being or group. Based in those filters, many games were selected, thus to creating an interesting counterpoint, two main series were chosen in order represent the main corpus. Therefore, the discussion will be focused on Metroid and Halo series, both prolific franchises that fill all the requirements, but other videogames that also fit them will be used as reference ever now and then, when it is considered as needed. In this way, it’s possible to study different gaming popular culture material that has as many similarities as possible, from the gameplay to the setting, for to state the differences, if present, of the general aspect of the UGC and, if possible, glimpse the possible motives behind it. The empirical research began in online communities that focus each game or some kind of craft were observed ad well as general games online communities. Those communities were used as “clusters” to reference user generated content in a more traditional sense. Though the discussion in these communities is also a kind of UGC and are very fruitful in the purpose of permitting users to construct knowledge, both from the game as to game design in general and their craft, the focus in this article were external works that are somewhat done and not work in progress. Some might, then, even question the use of wikis as corpus, which are eternally in change and discussion, but even wikis have a “public” and somewhat “finished in itself” presentation while the discussion happens in a different tab. To make the reflections here, many excerpts from the original contents were particularly examined them [4,5] and compared to each other, as well as the general idea of them [1], however, not all these passages are present in the article overdue the article limitations; only the most relevant or insightful extracts were kept.

2 Halo Halo is a first person shooter with a futuristic, science fiction and space theme. In the 26th century, while exploring the space, humans stumble across a massive ringed shape metal structure which is habitable in the inside surface. That structure is then named as Halo and humans discovery it was created by an ancient civilization known as the Forerunners. However, humans weren’t the only ones to find it; an alien faction known as the Covenants also came across Halo and wishes to use it to their own religious purpose. Nevertheless, humans discover that Halo might be a mass destruction weapon, so they decide whether to take control over or to destroy it. Obviously, both sides don’t reach an agreement about Halo use and a war is instituted. In between this conflict, emerges The Flood, a kind of epidemic that infects sentient creatures, affecting both sides, and that control of the infected life form. The Flood resembles very much a fungus contamination and it is credit in the game as the cause of the Forerunners extinction and reason why they built the Halos, which should be Flood-free environments.

The plot takes place sometime after the beginning of the war and centers on Master Chief, a hero in the intergalactic war. Master Chief’s real name, past or even appearance is not revealed; all the player knows is that she is on control of Master Chief and all other characters around seems to know and reverence him. Player experience in Halo is based in shooting different species of Covenants (there are some aliens species united under the faction) and Flood infected life forms, from different Covenants species to human mutations. While doing so, the player is constantly guided by Master Chief’s superiors and Cortana, an artificial intelligence that takes somewhat the part of Master Chief’s partner. The first game in the series was Halo: Combat Evolved, released in 2001, which is basically composed by the intrigue above. Halo 2, 2004, picks up from the point when the first one ends and adds up the discovery of a new Halo and the alliance between humans and one race of prior Covenants, the Elites. Halo 3, 2007, takes place a little after the two previous ones and center in the discovery of a new Halo, outside the Milky Way, that is the key one in activating all others. Both Halo 2 and 3 have a gameplay system very similar to the first game, adding few new features. In point of fact, though there are minor changes between the first one and the later ones, there is almost no significant difference between se Halo 2 and Halo 3’s gameplay. If gameplay changes aren’t very expressive, by the other hand the graphic evolution is quite representative, being the last one, Halo 3, considered by players one of the prettiest graphics in a multiplayer mode. These games compose the main story line of Halo, but there are also other three games other games based on spin-offs and some novels about both spin-offs and focusing parts of the timeline not very explored in the main games. Since only the main trilogy fits this article specifications, those are the games to be considered. This storyline has not only tangled fans all over the world to play Halo (it’s estimated that the sales sum of the whole series ad up to over 34 million copies worldwide), but also have stimulated them to create based upon Halo. Currently, Halo’s wiki1 have almost seven thousand articles concerning items, weapons, armors, characters, levels, vehicles, races and Halo’s universe history. It’s important to emphasize that none of this content was in anyway produced by Halo’s developer, Bungie, or publisher, Microsoft; it’s was each and every part made by Halo enthusiasts. The process of creating a wiki is it's not very simple. Of course, it's doesn't take too much to just create the wiki itself and add up some pages and some links. However, the importance of a wiki doesn’t lie on it existence but in its content reliability and variety. Achieving as much as one thousand articles is not a accomplishment easily done and sure demonstrates a high level of both characteristics. More "usual" interests as coffee and Apple Inc. have generated only 2502 and 9653 pages for now, what makes even more remarkable the extension of Halo Wiki in almost seven thousand. It's size and range of themes only suggest the number of people involved in writing and cataloging here, indicating Halo Wiki’s high collective engagement. Catalog, as matter of fact, is a key word here because that's what in the bottom line a wiki, 1

Known as Halo Nation, had as much as 6,923 articles by the time of the retrieving. From http:// halo.wikia.com/wiki/Main_Page. Retrieved in April 11, 2011. 2 From http://coffee.wikia.com/wiki/Main_Page. Retrieved in April 11, 2011. 3 From http://apple.wikia.com/wiki/Main. Retrieved in April 11, 2011.

and consequently Halo Wiki, is. There isn't and can't be creative input in the text theme or form; all articles must have as much information and connections and be as straightforward as possible in order to convey as much and as efficient as possible information to the reader. Such strict guidelines don't exist in some other kinds of UGC related to Halo, as fanfics and machinimas. Both are production in which generally there is a high creative rate and, commonly, are not collectively made while these two productions vividly vary in audience reached. Fanfics are histories written by fans using characters, locations and other features of the original production universe while machinimas are videos using footage captured in-game, using avatars as some sort of actors. Though fanfics represent a lot of its writer creativity and ideas, they generally don't grasp big audiences’ attention and are restricted to the discussion of a small group of writers. The same can't be said about machiminias, which, in Halo’s case, are commonly ironical, criticizing both game features and some players behavior, making them a big audience reached. Two interesting examples of well succeeded machinimas are Red vs Blue 4 and Arby‘n’the Chief5 whose first episodes’ views summed up to almost ten million exhibitions. Red vs Blue ironically portrays the civil war between two Halo factions, making references to science fiction, military life, the game itself and others similar games. Arby'n'the Chief is a full of clichés parody of the two main characters of the series as of Halo 2, Master Chief and Arbiter Thel 'Vadam (a previous Covenant ally that switch sides and became a playable character in both Halo 2 and 3). The characters are simply addressed as Chief and Arbiter or Arby and represent classic stereotypes of players: the intellectual and catharsis-full one (Arbiter) and the no-brainer immature and childish player (Chief). Another interesting feature of Arby'n'the Chief is that it is actually both a machinima and a action figure production since there are both moments in most episodes, being the action figure ones the "real life" of the characters and the machinima ones their interaction in-game. Many other games have rich fanfic and machinima production, but generally, machinima creation is somewhat related to multiplayer modes of games. Of course, games with only the single player option also have machinima made though them, but those cinematograph creations are restricted to many of the game rules, as the camera and scenario, and can have no other player actors interacting to him, only non playing characters (NPCs). By the other hand, in the multiplayer modes, one player can act as the cinematographer while other players are actors and others are responsible for ingame special effects, supporting roles and things of the sort.

3 Metroid Metroid is a Nintendo action-adventure space themed franchise. The first game dates from 1986 and it was a platform NES game with a gameplay described by many as something in between Mario and Zelda but with a much darker atmosphere. The game premise is simple: the bounty hunter Samus Aron travels through the caverns 4 5

From http://www.youtube.com/ watch?v=9BAM9fgV-ts. Retrieved in April 10, 2011. From http://www.youtube.com/watch?v=kb8rdc-0OpQ. Retrieved in April 10, 2011.

of the planet Zebes willing to stop the Space Pirates from exploiting the Metroids, specie that holds a huge power. In order to do so, Samus have to explore planet Zebes, coming across different ecosystems linked by an open map. The open maps means that the player can guide Samus throw many different paths while no kind of verbal communication or guidance is expressed, resulting in an even more immersive and solitary feel. For a Nintendo Entertainment System game, Metroid had quite complex scenarios and that’s no exclusive merit to the graphic department, instead, mostly to the design one. Its level design is based on an ecosystem criterion, in with determined species inhabit determinate areas while others can "live" in multiple areas and some exist in transition spots. Species goes from creatures that attack Samus to the vegetation in the background and even some creatures that try to interact with the player in a non hostile way. Most games in the series follow more or less those basic ideas, adding up some features, as 1991's Metroid II, 1994's Super Metroid (which considerably improves graphics and sounds from previous, making the whole experience even more immersive and solitary, which made it to be considered by many the zenith of Metroid games), 2002's Metroid Fusion and 2004's Metroid: Zero Mission (which is basically a remake of the first Metroid). There was also another game to be released on 2002, Metroid Prime, but though the history and ambience had maintained the feel of the previous ones, its gameplay have changed considerably. Metroid Prime spawned a trilogy of games in its gameplay likeness, with a first person camera and the scanner feature. The camera change irritated many fans that weren’t accustomed in “being” Samus and seeing though her eyes, but rather to control her having awareness of the whole environment, but most of them got familiar with it after sometime. The scanner allowed the player to have information about almost all fauna and flora specimens in the game. Both changes could noticeably boost player’s immersion and the scanner also add up even more to the environment complexity. The games in the Prime series are Metroid Prime (2002), Metroid Prime 2: Echoes (2004) and Metroid Prime 3: Corruption (2007), all having those same features. Beside those games, there are also Metroid Prime Pinball (2005), Metroid Prime Hunters (2006) and Metroid other M (2010), but their dissonance with the main series decharacterizes them as suitable to this analysis. Metroid also have a wiki which have 3,376 articles6, a elevated number to a series in which the none of the recent games were a huge public success as Halo7. Articles also cover a big gamma of topics, from weapons and armors to ecosystems and creatures that inhabit them. Wiki’s characteristics as UGC of huge collective engagement and audience reached and little or none creativity were debated in Halo section. As far for fanfics and machinimas, though Metroid do have many fanfics, it doesn’t seem to have much machinima production; at least not as much and not as relevant as Halo. Though this lack might be consequence of the lack of multiplayer features in the series (only the game Metroid Prime Hunters present it), that might not be the only reason as it will be discussed afterwards. Metroid’s fanfics generally center in Samus herself and not in the Metroid universe, but it’s interesting to point out that the protagonist’s personality changes significantly from author to 6

From http://metroid.wikia.com/wiki/Metroid_Wiki. Retrieved in April 11, 2011. a matter of fact, even being an older franchise, all Metroid games together sold approximately 16 million against Halo’s 34.

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author. While some authors portray her as an independent bounty hunter with a strong personality and phallic behavior, others represent Samus in a more passive, feminine, sexual and submissive way and most of them stay on between shades of those boundaries. Another interesting point about Metroid’s UGD is that Samus in very popular between crafts, from cross-stitch to paper craft, and arts in general, like painting and cartoons. Crafts are not commonly pointed as User Generated Content, but since patterns and templates are made by fans based on the game’s universe and made available to other fans, it is considered here as some kind of it. Metroid fan art is also a very prolific branch of the series, but again, very different ideas of the protagonist emerge, as it is exemplified by the subsequent images (Fig. 1 and 2).

Fig. 1. Samus digital painting made by David Marín8. Fig. 2. Samus digital painting made by Reinaldo Quintero9.

4 User Generated Content Asymmetry As it was seen, UGC in videogames can be roughly separated between more or less creative compositions if compared with the original videogame itself. For example, in the creativity scale, the least creative production goes from merely cataloging game items, characters and maps in a wiki to, in an intermediate level, mashing up pre-existing game content in new videos or fanfics to, in a further level, creating whole new stories and images only inspired by the game universe. Though most videogames (and popular culture all together) have UGC made through 8 9

From http://louten.deviantart.com/art/Samus-89996147. Retrieved in April 12. From http://reiq.deviantart.com/art/Samus-Aran-Corruption-90027192. Retrieved in April 12.

all this scale, it’s common that each one proves to provide more fruitful content in one or few segments of this spectrum. It’s interesting to highlight again, however, that this creative ranking doesn’t intend to rank user’s creativeness in anyway, only to place fairly the comfortableness in which users take “property” of the original content and use it as a mean of expression. As it was presented, Metroid and Halo have a very similar in-game context, story and even gameplay (especially considering the Metroid Prime trilogy), nevertheless both series have different exponents in their UGC. For instance, Halo has many well succeed machinimas while Metroid don't. By the other hand, while Master Chief’s nature and personality seems to be somewhat clear enough to fans that it is possible to make parodies based on that with large public acceptation, Metroid seems to cause dissension not only about Samus's personality features but even about her looks. Though this heterogeneity may never be entirely enlightened, some game features might be partially response for that. Technical features, as gameplay, do have some impact as the above discussed multiplayer mode that facilitates and allow much more creativeness in the making of machinimas. However, what probably influence most is the image built by the player of the characters, the scenario and of the game. This construction happens mainly by what Jenkins [2] defines as videogame narrative, which, according to the author, cannot be understood in the same way as narrative in linear media as books, films and television. The videogame narrative, according to Jenkins, doesn't happen in the predefined succession of events in the same way of modern literature, but in a interactive and flexible way. Even linear games as Halo have a minimum amount or variability depending, for example, on the player’s performance. There are different levels of difficulty that allow to the player different in game experience while each and every player’s action in-game will trigger a somewhat different reaction of the game’s artificial intelligences. Another disparity pointed out by the author is that contemporary narrative’s idea of value is generally based on the physiologic development of the characters, but rather Jenkings propose that videogame one is more relevant in a similar system of mythical tales and legends. By this means, other attributes, as the space and time, gain a bigger hole as defining a part of the narrative while the player constructs the other part of the story by herself. Metroid and Halo both have a strong main character, Samus and Master Chief respectively. Both protagonists are not very well presented to the player and both have almost no verbal interaction with her as well. Both games are placed in exotic and intergalactic locations, with rich scenarios and beautiful art. The narrative in both is equally not innovative, basically constituted by the simple premise of save the human race and, maybe, the whole galaxy of oblivion and in well constructed enrolments. Also, in both the main villain is not a human, a human alliance or something familiar of the sort, but a sentient alien form or coalitions which or seeks more power (Metroid) or blind religious believes (Halo). But in the same way Metroid and Halo have similar ways of introducing the main character, the character get around in the game is clearly different. While in Metroid there is no or few contact with other humans or allies, the players conduces Samus all by himself understating this interaction and Samus position in the player's own ways, in Halo, while playing, the player always come across non playing characters (NPCs) which engage in conversations with Master Chief. Generally, those NPCs seems to know who Master Chief is and generally let the player know what they think about

him though the dialogue, allowing the player to form a idea of Master Chief's nature or, at least, what other think is his nature using direct and specified game clued. Whilst, Metroid players don't have a direct idea presented by the game of how Samus is, in the way that they end up projecting an idea of her character. The non specified material goes beyond in Metroid, where the player can also choose, free of any indication or suggestion, which ways to take, how to advance in the game, when to go back and so on. Naturally, there is an "optimized" way to go through the maze that the game is, but that's never clear to the player when playing for the first time, so as he has to discovery by herself. The player (together with Samus, by extension) is tangled is this hostile ambient trying to get by and complete the mission. This construction emphasize the relation that the player have to his avatar, to Samus, as both of them were together "against everything else" reinforcing a reliability feel between player and character. In Halo, the path is linear and the player is constantly orientated to the path she should take, what she will encounter next and even instructions of what is the most effective strategy in that moment. Of course, the player also feels close and relying on Master Chief too, mainly because of the gameplay, but the environment and game design don't stimulate it to go further as it do in Metroid. Thus, there seems to be a connection between some narrative structures and how the player relates to them and the game as a hole and the kind of UGC produced by this gamer. Generally, the more the videogame narrative elements, as the characters and the linearity of the story, are well delimited and specified, the less players have to discuss them and reach a consensus and more they share some kind of common ground about it, as in Halo. By the other hand, when those elements are more up to the player interpretation, the more the player feels comfortable in interpreting it in her own ways but fewer consensuses will be between players and more will be spent discussing those elements. As a result, UGDs of games in which there are more specified features have more consensus between players allowing certain UGDs that take have high creative significance to still be relevant and truthful to a big audience. Meanwhile, games that leave more attributes to player’s interpretation allow many understandings of its main aspects to be subjective in a way that more creative approaches rely on subjective interpretations which are not shared by a big number of players, making the content lose audience relevancy. Nevertheless, content in which creativity is not very important, as wikis, can be prolific in both kinds of games. Mass Effect is a interesting example of the later one. Unlike Metroid, in Mass Effect the protagonist, Captain Sheppard, is always interacting with other beings, human and aliens, talking and expressing his point of view. Nevertheless, all those utterances are defined by the player. All dialogues and most of interactions possibilities in the game offer to the player completely different choices which will unroll in completely different possibilities. In this way, though Sheppard can be a well defined character, it's not the game itself that defines him but the player's elections and her power in this definition is so decisive that those choices also result in Sheppard's sexual, moral and public orientation. As a consequence, Mass Effect UGC also doesn't have many content in which peak high in creativity and audience reached.

5 Conclusion While revising User Generated Content of apparently similar games as Halo and Metroid, it was possible to perceive a disproportion in its characteristics. The characteristics in which the UGCs were examined were Creativity, Collective Engagement and Audience Reached. After comparing some specific videogame’s narrative properties with the preponderant kind of user generated content based on it, it was possible to observe a tendency: the less specified the game elements are, the more comfortable the player is to change them and the more there is discussions about those elements and what they mean, however, less consensus are accomplished. In addition, the less consensus and common grounds there is about a subject, the more the player will fill out the blanks by herself and the lesser will be the possibility of other players recognize that as truthful, so probably fewer are going to be able to appreciated. An interesting example of that happened to one of the series studied here but not in the UGD form. The latest game in the Metroid franchise, Metrois other M (2010) presents not only a different gameplay of its predecessors but also a different way of presenting the protagonist, Samus. In all previous Metroids, Samus was almost a empty canvas so as it was up to the player to bring together a idea of what Samus was besides a bounty hunter and alien smasher. But in Metroid other M, the new studio (Team Ninja) responsible by the game decided to present a more clear interpretation of Samus. The result was a somewhat insecure bounty hunter that tried to look tough but break down in many moments of the game. This image of Samus was sufficient for some players and critics, but many of them weren’t satisfied at all by this understanding of her. This disagreement conduced to heated discussions10 and many statements in the class of “this is not Samus”, which could be understood as “this is not my Samus”. Coincidence of not, this was game had one of the weakest sales in the hole Metroid series and one of the lowest scores. That makes a rare combination in Metroid games, which rarely have had both bad critics and bad sales before; generally slow sellers had great reviews (as Metroid Prime 2: Echoes). This polemics could have been diminished if the developers, Team Ninja, had spent more attention to the videogame’s UGD before making a major change like this In the game series. If they had, probably they would have noticed that this sole image of Samus presented by the game wasn’t in consensus with the idea of her that most fans have. Perhaphs, in better pondering the multiple existences of Samus to extant in Metroid’s UGD they could have reached a more judicious interpretation.

References 10

I personally highlight Abbie Heppe’s review to G4, in which the critic rates the game 2 from a total of 5 mainly because of the Samus personality issue. This article exhilarated enthusiastic comments and forum threads, both against and pro Heppe’s point of view. From: http:// www.g4tv.com/games/wii/61992/Metroid-Other-M/review/. Retrieved 13 April 2011.

1. Hine, Christine (1998) Virtual Ethnography. International Conference: 25-27 March 1998, Bristol, UK

2. Jenkins, Henry 2002, Game Design as Narrative Architecture. In: Harrington, Pat & FrupWaldrop, Noah (Eds.) First Person. Cambridge, MIT Press.Jenkins,

3. Jenkins, Henry 2008, Cultura da Convergência. São Paulo, Aleph Editora.Jenkins, Henry. Thorburn, David 2003, Rethinking Media Change. Cambridge, MIT press.

4. Puri, Anjali. (2007) The Webof InsightsThe art and practiceof webnography. International Journal of Market Research. Vol. 49 Issue 3, p387-408

5. Scolari, Carlos Alberto. (2009). Transmedia Storytelling: Implicit Consumers, Narrative Worlds, and Branding in Contemporary Media Production. In: International Journal of Communication 3, p. 586-606. 6. Verhaeghe, Annalies. Getting answers without asking question: The evaluation of a TV programme based on social media. From http://www.insites.eu/02/documents/whitepapers/ 04_Getting_answers_without_asking_questions.pdf. Retrieved in April 3.