Esports and the spectacularisation of events. The case of League of
Legends
Esports y espectacularización de eventos. El caso League of legends
doxa.comunicación |
nº 38, pp. 333-357
| 333
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ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Martín Ramallal,P. and Jódar Marín, J. A. (2024). Esports and the spectacularisation of events. e case of League of Legends.
Doxa
Comunicación
, 38, pp. 333-357.
https://doi.org/10.31921/doxacom.n38a1955
Pablo Martín Ramallal.
Lecturer specialising in Social Sciences and Communication at the university level since 2010.
He is the Head Professor and Degree Coordinator at Centro Universitario San Isidoro, aliated with the Universidad
Pablo de Olavide, the rst private university centre in Andalusia with ANECA Audit Seal certication. At San Isidoro,
he teaches subjects in Ocal Degrees in Communication and Digital Communication, covering diverse subjects
such as Graphic Design, Digital Image Processing, Augmented Reality, Web Design and Vectorial Design. Moreover,
he is a dissertation supervisor, overseeing nal degree projects and has been involved as an assessor in Final Degree
Examination Boards since 2017. As a researcher, he has published articles indexed in indexes such as Scopus or JCR
and has authored and co-authored several book chapters in prestigious publishing houses. He has participated in
international conferences and led teaching innovation projects funded by the Junta de Andalucía. In addition, he is a
reviewer for indexed journals in Scopus and JCR. His academic qualications include a PhD in Communication from
universities in Cadiz, Seville and Malaga, where he was honoured with the Extraordinary Doctorate award.
Centro Universitario San Isidoro de Sevilla, Spain
[email protected]
ORCID: 0000-0003-3055-7312
Juan Ángel Jódar Marín.
Senior Lecturer at the University of Granada. He is also the Academic Coordinator of the
Degree in Audiovisual Communication at the UGR. He teaches in the Audiovisual Communication Degree and the
Ocial Masters in New Interactive Media and Multimedia Journalism. He holds a PhD in Audiovisual Communication
from the University of Seville, specialising in the Digitalisation of Audiovisual Media. He participates in funded projects
such as Erasmus Project
+
“Post-crisis Journalism in Post-crisis Libya: A Bottom-up Approach to the Development of
a Cross-Media Journalism Master Program” (2019-2021) and in the R&D+i Project
Transmedialización e hibridación
de cción y no cción en la cultura mediática contemporánea
(FICTRANS) (2021-2023). In addition, he has authored
several research papers published in national and international indexed journals.
University of Granada, Spain
[email protected]
ORCID: 0000-0003-0861-1124
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
Received: 19/04/2023 - Accepted: 11/10/2023 - Early access: 30/10/2023 - Published: 01/01/2024
Recibido: 19/04/2023 - Aceptado: 11/10/2023 - En edición: 30/10/2023 - Publicado: 01/01/2024
Abstract:
Esports are a prominent cybercultural agent of postmodernity. What
seemed to be an insignicant phenomenon may change the status
quo of entertainment as new generations disengage from non-native
digital broadcasting. is article focuses on the videogame League
of Legends, analysing its spectacuralisation through the opening
Resumen:
Los esports son un agente cibercultural destacado de la postmoderni
-
dad. Lo que parecía un fenómeno intrascendente puede cambiar el sta
-
tus quo del entretenimiento pues las nuevas generaciones se desvinculan
de la difusión no nativa digital. El artículo toma como objeto el video
-
juego League of Legends, analizando su espectacularización a través de
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1. Introduction
Video games have gained a widespread following that transcends the boundaries of age, gender, or social class. e rise in
subscription-based gaming has boosted this popularity, the emergence of freemium video games such as
Fortnite
and the
impact of the COVID-19 pandemic (Ke and Wagner, 2020), among others. ey have evolved signicantly, with the digital 2.0 era
taking precedence over oine experiences (extradiegetic). It is a widespread and consolidated discourse that eclipses cinema
and television in many aspects. Understanding contemporary society and specic social interactions would be impossible
without considering video games, especially among young people. Video games have become a focal point for prominent
inuencers such as Ibai Llanos, who co-owns the esports team club KOI. Spectacularisation is reshapìng sports as established
as football, as shown by the King’s League promoted by Gerard Piqué (Tomás, 2023). e gaming industry is leading the way
in entertainment and has a powerful cultural and narrative inuence (Martín-Núñez and Navarro-Remesal, 2021). ey serve
as a catalyst for innovation and are a source of inspiration across various cultural industries (Martín-Ramallal and Micaletto-
Belda, 2021) and even foster learning (Rodríguez-González and Del-Moral-Pérez, 2018).
Since the rst consoles in homes, video games have become an essential entertainment hub and a gateway to consuming
content on the Internet. e internet is a denitive wake-up call as it is the channel through which “new forms of interactive
digital communication is disseminated, from videogames to communication on mobile devices” Scolari (2014: 74). e
smartphone is a portal to any type of content and oers games as popular as
Fortnite
, allowing users to play anytime and
anywhere they please.
ceremonies of its world championships. Iconographic and semiotic
patterns that characterise this industry and its appeal among young
people are identied. Barthes and the 2.0 culture are used to carry out a
discourse analysis supported by a focus group and a Likert questionnaire.
e results show a discursive and meaning hybridisation between
symbols and icons typical of videogame and young peoples’ narratives,
propagability, a scenography in line with big shows and festivals, and
a rewriting of mass sports. e ndings show an evolution towards
controlled environments with cutting-edge immersive techniques.
Transmediality increases in these performances. Elements such as
music, and links to contents such as books and animation series become
relevant, which implies a growth of the narrative universe. Loyalty was
detected from leading brands, demonstrating the persuasive capacities
of this type of event.
Keywords:
Esport; spectacularisation; semiotic analysis; inuencer; new
generations; sponsorship.
las ceremonias de apertura de sus campeonatos mundiales. Se identi
-
can patrones iconográcos y semióticos que caracterizan esta indus
-
tria y los atractivos entre los jóvenes. Se recurre a Barthes y a la cultura
2.0 para realizar un análisis del discurso apoyado en un focus group
y un cuestionario Likert. Como resultados se observa una hibridación
discursiva y de signicado entre símbolos e iconos propios del videojue
-
go y narrativas juveniles, la propagabilidad, una escenografía en línea
con los grandes espectáculos y festivales, y una reescritura del deporte
de masas. Las conclusiones aprecian una evolución hacia entornos con
-
trolados con técnicas inmersivas de vanguardia. La transmedialidad se
incrementa en estas actuaciones. Cobran relevancia elementos como la
música, los nexos con contenidos tales como libros y series de anima
-
ción, lo que implica un crecimiento del universo narrativo. Se detectó
delidad por parte de marcas de primera línea, evidenciando las capa
-
cidades persuasivas de estos eventos.
Palabras clave:
Deporte electrónico; espectacularización; análisis semiótico; inuencer;
nuevas generaciones; patrocinio.
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Esports (electronic sports) are becoming a dening characteristic among new generations. eir distinctiveness and inuence
are capturing the interest of the media and traditional sports industry. Esports have managed to engage young people, who
have become increasingly challenging to reach. In connection to this, the president of Real Madrid asked “Why is it that 40% of
young people between 16 and 24 do not have any interest in football?” (Martín-Ramallal and Merchán-Murillo, 2021). Given
the circumstances, there is a push to implement gamication techniques to reach these audiences (González-Díez, Labarga-
Adán and Pérez-Cuadrado, 2019). erefore, responding to their unique characteristics is essential as they cross the barrier
from the virtual to the physical realm, establishing themselves as a prominent cybersocial actor.
2. From the classic videogame to the origin of esports
Video games are cultural products materialised in multimedia and interactive rule-dominated software that are supported
by one or more hardware platforms with dierent narrative levels, created mainly to entertain and generate personal or
multiplayer oine or online and/or 2.0 experiences. ese experiences (Murial, 2018) are hyper-diegetic narratives (Murial,
2018) that can have applications such as edutainment, medical therapies, marketing, or
serius games
, although in these cases
some do not consider them as such because their mission is not to entertain (Calvo-Ferrer, 2018).
In 1958 the rst sports simulator emerged,
Tennis for Two
, a ping pong game for visitors to Brookhaven National Laboratory
(Eguía-Gómez, Contreras-Espinosa and Solano-Albajés, 2012). Two players playing against each other would be a distant
precursor to esports, although it lacked many characteristics, including a commercial premise or media distribution
(Mandiberg, 2021). e sector took a signicant leap forward with “
Pong Madness
” (Atari), which echoed
Tennis for Two
(Wolf,
2012; Egenfeldt, Smith, and Tosca, 2013), generating interest in esports. During the 1990s, video games experienced a golden
age with the emergence of the “16-bit generation”, with examples such as
Mega-Drive
and
Super-Famicom
(Wolf, 2012). During
this period, PCs played a signicant role. eir capabilities gave rise to a variety of themes. e compact disc revolutionised
the way content was understood (Pérez-Arranz, 2004) due to its capacity, cost, and ability to be copied. Paradoxically, piracy
contributed to video games becoming mass culture (Garas-Frías, 2010). Classic rst-person shooters (FPS), considered by
some to be the origins of esports, emerged, evolving from 2D to 3D.
Wolfenstein3D, DOOM
, and
Quake
gained signicant
recognition (Sanglard, 2019; Martín-Muñoz and Pedrero-Esteban, 2019).
2.1. Present-day status of esports and their spectacularisation
Nowadays, online multiplayer video games form the core of esports when they come together as a mass spectacle (Martín-
Muñoz and Pedrero-Esteban, 2021). ey recreate environments and situations where players can control objects and/or one
or more characters through an avatar or rst-person perspective to achieve a specic objective(s) within predetermined rules
(Martín-Ramallal and Merchán-Murillo, 2019). Semantically, they carry the prex e, which stands for electronic. ey are
also known as professional games (pro-gaming) (Establés-Heras, Guerrero-Pico, and Contreras-Espinosa, 2019). It could be
considered an umbrella term, which includes shows such as drone races. In this regard, Kin and Kin (2018:710) state that
they, “have been recognised as a new type of esports since they involve digital communication technology”. ere is a mixed
consensus as to what they are, some do not even consider them to be sports (Wahyuni, 2020). But, what is sport? For Tiedemann
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(2004), it is “an area of sporting activities where people develop and train mental or physical skills” to which Wagner (2006)
adds that esports combine. “… the use of information and communication technologies”, thus incorporating a wide range of
themes. ey are usually understood as multiplayer networked video game competitions broadcast on streaming platforms
that may have a live audience. Hamari and Sjöblom (2017: 211) bring the concept up to date with ICT:
Sport is where electronic systems facilitate the fundamental aspects of sport itself. e interaction between players and teams, as well
as the output of the esports system, is mediated by computer interfaces. In practical terms, esports refers to video game competitions
broadcast over the Internet.
For Establés-Heras
et al.
(2019: 218), “ey were born out of modernity. In other words they are the product of globalisation,
neoliberalism, aective social changes, and the ubiquitous proliferation of ICTs”. eir origins date back to the reinvention
of arcades, the emergence of the Internet, and the expansion of LAN parties and Internet cafes. e inclusion of online video
games demonstrates the elements that pave the way for esports.
Quake
(1996) is the rst game that centres on competition with
these characteristics (Chanson, 2017: 18). Nevertheless, its particularities have undergone changes and developments over
time. e rst one is the competitive nature between humans and a tangible prize for the winner(s). Fairness is paramount,
skills matter more than accumulated resources and bonuses (such as weapons, boosters, shields, etc). Clear rules outline
penalties for unsportsmanlike behaviour such as cheating (Holden, Rodenberg, and Kaburakis, 2017; Irwin and Naweed,
2020) and need to be streamed via platforms such as Twitch, or Facebook Games. Broadcasting takes on 2.0 traits, such as
commenting, rating, or liking something. For Antón (2018: 459), “ they have become a new form of entertainment that oers
an alternative form of video game consumption”.
Carillo-Vera (2016), understands that the broadcasting of visual content inuences how information about a sporting event
is presented. In this context, various elements outside the sport are incorporated to enhance the entertainment value for the
audience. For instance, these include pre-game discussions, context-providing reports, and post-event analyses, among other
resources related to the sporting event. ese strategies are adapted for esports, which are tailored to the type of video game
and digital platform. To this extent, esports events often experience a spectacularisation eect, which this study understands
as a tendency to present or represent something exaggeratedly and oversized to capture the audience’s attention and generate
interest, for which it uses media and techniques from various disciplines. is eect tends to distort reality through fantasy to
evoke emotional responses from viewers.
Esports come in various types and scopes, ranging from amateur leagues at national and international levels. Esports teams
are usually comprised of players hired by companies (Establés-Heras
et al.,
2019), who occasionally vie for million-dollar
prizes in world championships. Competitions are typically organised into annual leagues. e Intel-sponsored ESL (Electronic
Sports League) is the most popular, which promotes games like
Call of Duty, LoL, Starcraft II, Counter-Strike
, and
FIFA
.
Another alternative is the cups, which usually last for one day. It should be noted that the
Intel Extreme Masters
(IEM) is an ESL
competition in its own right.
It is common for top video games to be PC and/or game console-compatible. It is usual for the top games to be compatible with
both PCs and game consoles, as they are online-oriented, increasing their potential fan base.
Clash Royale
deviates from this
norm, since it is designed specically for mobile devices (Martín-Mu
ñ
oz and Pedrero-Esteban, 2019: 89). When a person buys
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the game and subscribes to its platform it can be likened to joining a federation, which involves dierent levels of engagement
that can sometimes lead to professional status (Taylor, 2012b; Establés-Heras et al., 2019). France, through Decree N°2017-
872, which concerns professional esports players, and Decree N° 2017-871 2017, already cover this situation.
It is worth noting who the publishers or publishing houses are (Peng
et al.,
2020). ey are part of the developers’ network and
their position often leads to accusations of monopolistic behaviour and abuse of power (Miro, 2018; Arin, 2020). Prominent
among them are Sony Entertainment, Electronic Arts, and Ubisoft. It is also worth mentioning e League of Professional
Videogames (LPV), which is dedicated to organising and promoting competitions, such as
LoL
tournaments, promoted by Riot
Games. Likewise, platforms such as Epic Games, Uplay, Microsoft Xbox, Nintendo, and Sony Playstation promote activities to
gain subscribers and widen their fanbase.
2.2. LoL, a brief description of the phenomenon.
Set in the magical world of Runaterra,
League of Legends
(hereafter,
LoL
) is a videogame released by Riot Games (2009), and
is the leading MOBA today (multiplayer online battle arena) (Mora-Cantallops and Sicilia, 2016; Taylor, 2012b; Establés-Heras
et al.
, 2019). It is initially inspired by the
Warcraft III
map
, Defense of the Ancients: Allstars
. e game consists of a battle with
complex mechanics and rules, lasting between 15-50 minutes. e teams (usually composed of ve players) must destroy an
opponent’s structure known as the Nexus. is generally involves taking out the opponents’ turrets and inhibitors in a lane.
e players’ avatars, known as champions, have unique traits that they can enhance throughout the game using gold earned
in various ways, such as by defeating opponents. e participants are divided into seven ranks (ladders), from the lowest, iron,
to the highest, master +.
Every day, millions of users worldwide enjoy the video game, and its world championships reach over 200 million viewers,
establishing
LoL
as a cultural phenomenon. From an isometric perspective, games can be viewed on streaming platforms,
fundamental for the success and conception of esports. e world championships, known as Worlds, are held annually in
dierent countries, featuring an opening ceremony that lasts an average of 15 minutes. e tipping point that enhanced the
reputation and fame of video gaming took place in October 2018 in South Korea, one of esports’ hotspots (Pyun et al., 2023).
e event was an explosion given its signicance and reach. e Seoul stadium hosted 40,000 fans in a groundbreaking event
watched by 90 million viewers, with up to 200 million simultaneous followers during the nal.
LoL
has emerged as one of the most inuential video games in history and its signicance can be attributed to several aspects.
First, it revolutionises the way digital entertainment is consumed, combining strategic skills and mechanics in a competitive
virtual environment. At its peak, the game boasted over 100 million monthly players (Collis, 2021), and it has become a
cultural phenomenon that transcends spatial and generational boundaries. What’s more, its size has played a crucial role in
its expansion.
e game has established an international competitive ecosystem, with numerous tournaments and professional leagues
that attract players and spectators alike. e League of Legends (LCS) in North America, e European League of Legends
(LEC) in Europe, and various regional leagues across Asia, Latin America, and other regions have boosted competition to
unprecedented levels. ese streamed events have converted players into electronic athletes with professional careers and
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high nancial returns in a seemingly unexpected environment, some of whom have gained star status. Streaming has had
such a profound impact on sports that it has inuenced popular culture and society as a whole. Traditional sports, such as
football, are beginning to imitate esports’ techniques in response to this threat.
LoL’s
iconic characters, generationally rich
narrative, and distinctive visual art have inspired fan art, cosplay, literature, and music, converting it into a source of global
creative inspiration. e phenomenon’s international community has fostered social connections, encouraging fandom
and communication through online forums, social networks, and live events. is sense of belonging and camaraderie has
solidied
LoL
as an unparalleled cultural entity with unique implications derived from its transmedia universe (Bárcenas-
Curtis, Lemus-Pool and Gobernatore-Moreno, 2019).
Figure 1. LoL opening ceremony Worlds 2018
Cada día disfrutan del
videojuego
millones de usuarios y los mundiales alcanzan grandes
audiencias superiores a los 200 millones de espectadores, lo que lo convierte a
LoL
un
fenómeno cultural. Con perspectiva isométrica, dispone de la posibilidad de visionar las
partidas en plataformas de
streaming
, algo fundamental para el éxito y concepción de un
esports
. Los mundiales se denominan Worlds y se celebran anualmente en diferentes
países. La duración promedio de la ceremonia de apertura es de unos 15 minutos. El punto
de inflexión reputacional que impulsó la fama del videojuego se produjo en octubre de
2018 en Corea del Sur, uno de los puntos neurálgicos de los
esports
(Pyun
et al.
, 2023).
Supuso una explosión dada la trascendencia y difusión del acto. El estadio de Seúl reunió
a 40.000 fans en un hito seguido por 90 millones de espectadores y con unas audiencias
en la final de hasta 200 millones de seguidores simultáneos.
LoL
ha emergido como uno de los videojuegos más influyentes de la historia. Su
importancia radica en
diversos
aspectos. En primer lugar,
revoluciona
la
manera
en que
se consume entretenimiento digital, fusionando habilidades estratégicas y mecánicas en
un ambiente virtual competitivo. Con más de 100 millones de jugadores mensuales en su
apogeo
(
Collis, 2021
)
, se ha convertido en un fenómeno cultural que trasciende barreras
espaciales
y generacionales.
Su
dimensión ha sido un factor determinante en su expansión.
El juego ha establecido un ecosistema competitivo internacional, con multitud de torneos
y ligas profesionales que atraen a jugadores y espectadores por igual. La Liga de
Leyendas (LCS) en América del Norte, la Liga Europea de Leyendas (LEC) en Europa,
y
diversas
ligas regionales
por
Asia, América Latina y otras regiones, han impulsado la
competición a niveles
inéditos
. Estos eventos, transmitidos en
streaming
,
han
transformado a los jugadores en atletas electrónicos,
con
carreras profesionales y grandes
réditos
económico
s en un entorno, a priori, inesperado. Algunos alcanzan la categoría de
estrellas
.
Su
impacto es tal
streaming
en el ámbito deportivo,
que
ha influido en la cultura
popular y en la sociedad en general. Deportes tradicionales como el fútbol comienzan a
imitar sus técnicas ante la amenaza. Los personajes icónicos, la narrativa rica en
referencias generacionales y el arte visual distintivo de
LoL
ha
n inspirado
fanart
,
cosplay
,
literatura y música, convirtiéndose en una fuente de inspiración creativa global. La
comunidad
mundial
del fenómeno ha creado una conexión social, fomentando el
fandom
y la comunicación a través de foros en línea, redes sociales y eventos presenciales. Este
sentido de pertenencia y camaradería
contribuye
a
consolidar
a
posicionar
LoL
como un
ente
cultural sin precedentes con implicaciones únicas derivadas de su universo
transmedia
(Bárcenas-
Curtis,
Lemus-
Pool y
Gobernatore-
Moreno, 2019)
.
Figura 1. Apertura de LoL Worlds 2018
Fuente:
c
anal oficial de LoL (2018)
Source: LoL ocial channel (2018)
3. Methodology
e main aim of this article is to emphasise the iconographically and semiotically distinct characteristics of esports, which
combine cyberculture and sports. is objective is achieved through an in-depth examination of the discourse, focusing on
a representative example of how video games have become emblematic spectacles. Consequently, the main objective of this
article is to highlight the unique iconographic and semiotic characteristics of esports as cybercultural and sporting events. It
seeks to achieve this through a discourse analysis focusing on an emblematic case of spectacular videogame spectacularisation.
To achieve this purpose, the following specic objectives have been set out:
–
To understand esports appeal to young people. is will be done through an iconographic and semiotic analysis of the ope
-
ning ceremonies of the
League of Legends (LoL
) world championships. e aim is to identify the particularities that explain
the success of the spectacularisation phenomenon, which goes beyond the sporting or competitive component.
–
To dene the characteristics that dene esports as spectacles, so that these qualities can be replicated in their specic and
other contexts. It is acknowledged that these events have a signicant rhetorical-persuasive component that makes them
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attractive, especially for a young audience. It is important to note that while this article focuses on the spectacular aspects, it
consciously references the sports sphere framed within esports, thus oering a more comprehensive view of the phenomenon.
3.1. Methodological approach
Video games, esports, and academia have long been interconnected, forming close connections as a eld of study of growing
relevance.
LoL
is a recurring material object when addressing esports (Martín-Muñoz and Pedrero-Esteban, 2019; Rodríguez-
González and Del-Moral-Pérez, 2018), as well as its relationship with spectators (Zyza, 2022). is article is framed within game
studies (Stenros and Kultima, 2018), adopting a qualitative and quantitative nature (Hernández-Sampieri, 2018), but without
statistical intent, using a descriptive explanatory focus (Yin, 2017). It brings the study of iconographic and spectacularising
elements as a novelty to the study, aspects of the cybercultural entity,
e study uses an inductive approach as general contributions are extracted from an object considered referential and
paradigmatic. Connotative aspects are studied within an iconic approach, using content and discourse analysis based on
Barthes’ ideas, which are universally applicable and valid in the digital world. e items analysed are image, pose, synthesis,
trickery, and iconicity. e study provides a perspective on composition connotation, allowing us to observe technical
parameters that convey meaning, which converge with proxemics, kinesics, and scenography. In addition, technical parameters
are observed that contribute to a holistic understanding of esports’ event spectacularisation. By hybridising these approaches,
a study is carried out on scenography and audience, players-champions and teams, sound and music, production and special
eects (VFX), brand identity, the 2021 Worldcup, and the gala presenter.
e ocial videos of the
LoL
world championship and its transmedia universe (Alberich-Pascual and Gómez-Pérez, 2017) were
used as a basis for this study. e World Cup opening ceremonies from 2018 to 2022 were interpreted. Moreover, two tables
describing parameters are included to optimise decoding and the understanding of the study. e nal phase is contrasted
by convening a focus group (FG), which involves a carefully planned and designed dialogue to inform and understand a
pre-constituted area of interest in a permissive, non-directive environment (Krueger, 1991; Silverman, 2015). In this way,
the frictions of the case study are eliminated (Beiske, 2007). e authors collaborated with seven players and
LoL
fans and
moderated discussions with them. eir insight allows us to elicit common and individual issues, knowledge, habits, and
emotions evoked by esports. e discussion provided unforeseen data by not following a closed structure, thus enriching
the experience shown in the results phase. A questionnaire based on the Likert scale was used to support the qualitative
instrument. In this context, it made it possible to quantify the participants’ responses, thus adding a numerical dimension to
the study.
is has allowed for the identication of trends and patterns in the responses, which in turn validates and supports the
conclusions drawn from the hermeneutic process. e scale was designed according to ve levels, thus striking a balance
between sensitivity and simplicity, making it an eective tool for gathering relevant and easy to analyse information. e
form (see Table 2) served as a semi-structured script for the group interview, as it was answered using Google Forms once the
discussion was over. e data were processed with Microsoft Excel software according to the variables and formulas of the
Likert system (Leung, 2011). is approach is justied given the limitations associated with the use of a focus group including
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ISSN: 1696-019X / e-ISSN: 2386-3978
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possible biases due to group dynamics, the diculty of obtaining deeply individualised opinions, and the need to carefully
manage interactions between participants. Quantication and the contrasting criteria of the authors’ hermeneutics minimise
this casuistry.
e FG consists of 5 men and 2 women whose ages range from 20 to 23, who are
LoL
players and are familiar with the world
championship opening ceremonies. Participants t the parameters that dene Generation Z (Martín-Ramallal and Micaletto-
Belda, 2021) but take on the role of experts, so the authors took their predisposition toward the subject into account. ey are
undergraduates and graduates in Communication and Digital Communication, so they have mastered the related concepts.
e test took place in December 2022, lasted 150 minutes, and was accompanied by a research presentation and videos of the
opening ceremonies (
LoL
, 2018; 2019; 2020; 2021; 2022) and its highlights. A presentation is followed by the completion of a
form, which serves as the semi-structured script of 25 questions that have been validated by communication professionals and
academics (Figure 2).
Figure 2. Stages of the focus group
ceremonias de apertura de mundial desde 2018 a 2022. Hay presente dos tablas
describiendo parámetros con el fin de optimizar la decodificación y la compresión del
estudio. La fase final se contrasta convocando un
focus group
(FG) que supone un diálogo
planificado minuciosamente y diseñado cuya finalidad es informar y conocer un área de
interés previamente constituida desde un ambiente permisivo no directivo (Krueger,
1991; Silverman, 2015). De tal forma, se eliminan las fricciones de los estudios de caso
(B
eiske, 2007). Se colabora con siete jugadores y fans de
LoL
moderados por los autores.
Su visión permite sacar a colación cuestiones, conocimientos, hábitos y emociones
comunes e individuales relativas a los
esports
. La discusión proporcionó datos
imprevistos al no seguir una estructura cerrada enriqueciendo la experiencia, los cuales
se expresan en la fase de
resultados.
Para dar respaldo a instrumento cualitativo, se
recurrió
a un cuestionario basado en la escala Likert que, en este contexto, permitió
cuantificar las respuestas de los participantes,
añadiendo
a
sí una dimensión numérica.
Esto ha
permitido
identificar tendencias y patrones en las respuestas, lo que a su vez
redunda en la validación y respaldo de las conclusiones obtenidas del proceso
hermenéutico. Dicha escala se diseñó conforme a cinco niveles, pues así se logra un
equilibrio entre sensibilidad y simplicidad, haciendo que sea una herramienta efectiva
para recopilar información pertinente y simple de analizar. Se ha de indicar que el
formulario
utilizado
(véase Tabla 2) sirvió como guion semiestructurado de la entrevista
g
rupal, pues el mismo se respondió mediante Google Forms una vez acabado el debate.
Los datos fueron tratados con el software Microsoft Excel conforme a las variables y
fórmulas propias del sistema Likert (Leung, 2011)
.
Este proceder se justifica dado que
las limitaciones asociadas al empleo de un grupo focal incluyen posibles sesgos debido a
la dinámica de grupo, la dificultad para obtener opiniones profundamente
individualizadas y la necesidad de gestionar cuidadosamente las
interacciones
entre
participantes. La cuantificación, y el criterio contrastado de los autores
propios
de la
hermenéutica
minimiza esta
casuística.
El perfil de los miembros del FG consiste en 5 chicos y 2 chicas cuyas edades comprenden
los 20 a 23 años, son jugadores de
LoL
y que conocen las ceremonias de apertura del
campeonato mundial. Encajan con los parámetros que definen a la generación z (Martín
-
Ramallal y Micaletto
-
Belda, 2021) pero asumiendo el papel de expertos, por lo que los
autores contemplan su predisposición hacia el asunto. Cursan estudios universitarios en
Comunicación y en Comunicación Digital por lo que dominan los conceptos. La prueba
tuvo lugar en diciembre de 2022, duró 150 minutos y se acompañó de una presentación
de investigación y los vídeos de las ceremonias (
LoL
, 2018; 2019; 2020; 2021; 2022)
junto con aquellos de los momentos más significativos. Se realiza una presentación para
seguidamente rellenar un formulario sirviendo este posteriormente como un gui
o
n
semiestructurado de 25 preguntas el cual ha sido validado por profesionales y académicos
en Comunicación (Figura 2)
.
Figura 2. Estadios del focus group
Source: created by the authors (2023)
To process the ve-level Likert data (Leung, 2011) means were calculated by assigning numerical values to the responses from
1 to 5, 1 corresponding to “Strongly disagree” and 5 to “Strongly agree”. en the average of these responses was determined
to obtain the overall mean. An answer lower than 3.5 was considered decient as this model requires correction since there
tends to be an upward trend, especially when the participants have favourable ties to the subject matter, as in this case. Since
the averages provide an overview of the responses, context, and qualitative interpretations were considered through content
analysis and pre-constituted discourse analysis.
3.2. Esports, an object of visual and iconographic analysis
Esports and their scenography are referents for the codes of digital society, mixing classic and postmodern narratives. e
player is a redenition of the hero, and team iconography is reshaped, resulting in a reworking of mass sport with elements
from cyberculture, video game items, and socialisation 2.0. ey can also be viewed through iconographic patterns adapted to
the current connected world. In this part of the methodology, the elements of the iconographic approach are briey outlined.
Firstly, the primary persuasive channel is through the static or dynamic image. It serves as a metaphor for reality and the ideas
and concepts conveyed. It is a reliable reection of a given moment, typically perceived unequivocally. Barthes (1986: 13-14)
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goes further and states that it is “language without code”. Understanding the image-connotation relationship (Galindo et al.,
2014), frames are chosen to capture a time-lapse, selecting a shot and a composition (Castillo, 2012). e personal touch is
inalienable, just as much as the presence of a certain objectivity. e last stage is postproduction, where a more signicant
iconic symbolism can be incorporated (Aparici, 2009). Synthesis encompasses two aspects, on the one hand, it relates to the
place that something occupies within the space. On the other hand, Barthes’ idea (1986), where the actual image is a unit or
element of a sequence. Another syntactic foundation is the image-text relationship. When acting on its own, an image has
a more unambiguous meaning, but when placed in relation to others, it changes the message (Costa, 2003). is symbiosis
reinforces what is intended to be conveyed. We apply this logic to the visual identity and branding of esports.
Faces have several areas, each conveying unitary messages on its own, although we will decipher them collectively. Esports
players embody archetypes and, understanding their intentions allows them to adapt to the environment. e pose includes
complicated strategies such as non-verbal communication, which in the case of esports can be gallantry, strength, bravery,
surprise, and emotion. For Barthes (1986: 18) “there is a reservoir of stereotypical attitudes that constitute established elements
of meaning”. Non-verbal communication incorporates resources that help to convey messages with a given purpose. Gestures,
environment, and clothing dene them and can have a given explicit symbology, as in the case of esports. Inuenced by
culture and experiences, the audience interprets the message beyond its obvious meaning.
In esports, the stadium and scenography convey an idea. Marketing capitalises on this using clichés, common places, lifestyles,
and prescribers, imbuing events with values that resonate with the target audience. at’s why esports is becoming more
sophisticated.
Finally, there is trickery, production, post-production, and intentional manipulation to alter meaning. All promotional images
are manipulated with specic intentions (Ramos-Hilaguera and Martínez-Guirao, 2016: 73-74). ey enhance traits without
appearing unreal, assigning them rhetorical power by using presumed denotation to convey subtle messages. CGIs (computer-
generated imagery) and holography create impossible or unreal elements.
4. Results
4.1. Audience and Scenography Study
From the perspective of esports scenography, a key feature stands out: the staging is designed to be visually engaging from
multiple angles, avoiding a central focus. is approach is reinforced by large screens that provide a comprehensive view of
the event from any location. In the 2022 edition, a notable innovation was a wide curvature, creating a circular structure that
intensied the audience’s immersion. Furthermore, this setup also functions as a multimedia backdrop, featuring players and
kicking o the show. In recent editions, the oor has gained prominence by being highly reective and acting as an extension
of the screen, enhancing the sense of immersion and the perception of the esports stage.
e displays combine real images with cinematic scenes taken from the video game, from the transmedia universe, or created
specically for the event, enhancing the storyline immersion and sensory experience. e championships typically begin with
a countdown. In the 2018 edition, CGIs of female singers from the saga were showcased, highlighting the growing importance
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Esports and the spectacularisation of events. The case of League of Legends
ISSN: 1696-019X / e-ISSN: 2386-3978
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of women in the video game world. Screens play a crucial role in presenting the champions, featuring background montages
of the participants in a style reminiscent of the battle royal in
Hunger Games
(Ross,2012). Fire, posing, staring into innity, slow
motion, and other iconographic eects are inspired by these narratives intrinsic to youth. Rhetorical devices of this nature are
relevant since they comprise elements of the new generation’s imaginary. It is noteworthy that at Worlds 2022, the beginning
was longer but austere, a dynamic that would be repeated in dierent aspects of the gala.
Elements from the videogame and the synthesis of
LoL
inspire the actual environments. e ceremonies are held in large,
modern auditoriums featuring props based on the world of Runeterra. Moving parts can partition areas to divide performance
areas, such as for bands or teams. Internal and external movement serves as a persuasive audiovisual tool, constantly capturing
the audience’s attention through
LoL
set designs. e spatial iconography, or commonplace, is a mixture of fantasy, dystopian
future, Victorian era, modern underground urban, Far Eastern, and science ction motifs to name a few. Other resources such
as smoke (including virtual smoke), reworks, synchronised lighting, or lasers are commonly used. e audience actively
participates and is given luminescent merchandise and materials to enhance their engagement in the show and choreographies.
e scenography and audiovisual editing blend the Super Bowl nal (U.S.A) style, hybridising them with other iconographies such
as oriental themes and the videogame itself, as shown by using traditional Japanese taiko drums. During these events, images from
previous galas, games, the winners, and the audience are commonly displayed, accompanied by epic music reminiscent of festivals
like Tomorrowland.
e trophy is an important icon. Its presentation is always grandiose, often accompanied by spectacular eects such as CGIs or
urns that open to reveal the coveted prize. It is common for it to be placed in the middle of the music group while they dance
and sing around it. An illustration of the impact of esports is the 2019 trophy, which was presented in a Louis Vuitton suitcase.
e luxury brand continued collaborating in subsequent editions and brought out a separate collection, designed by Nicolas
Ghesquiére, rejuvenating the prestigious brand.
e audience plays a vital role. For them to participate actively, they are provided with elements like glow-in-the-dark bracelets
and cylindrical balloons screen-printed with
LoL
iconography. e audience interacts with the artists and players like in
musical events, enhancing the audiovisual appeal. e dimmed lights and active engagement result in a captivating ambience.
is sense of connection extends to those attending the events and the streaming audience, who yearns to participate in
person despite the comfort of watching from home (Kim and Kim, 2018). Starting the show at sunset generates a psychological
connection, transitioning viewers from the real to the ctional world, especially for those in the broadcast’s time zone.
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Figure 3. Worlds 2019
ganadores y del público acompañado
s
de m
ú
sica épic
a
, en sintonía con los festivales de
có
mo podría ser
TomorrowLand
.
El trofeo es un icono importante. Su presentación es siempre grandiosa, acompañada de
recursos espectaculares como CGIs o urnas que se abren para mostrar el anhelado premio.
Es común que se sitúe en medio del grupo musical mientras baila y canta a su alrededor.
Un ejemplo de la penetración de los
esports
será el trofeo de 2019. Estaba inserto en una
maleta de Louis Vuitton. La firma de lujo continuó su colaboración diversas ediciones y
sacó una colección
spin off
, diseñada por Nicolas Ghesquiére. Estos nexos rejuvenecieron
a la
elitista
marca.
El público es un elemento vital. Para que este sea parte proactiva se le dota de elementos
como pulseras luminosas y globos cilíndricos serigrafiados con la iconografía de
LoL
. El
auditorio interactúa con los artistas y jugadores al igual que en eventos musicales, lo que
posee atractivo audiovisual. Con la luz a oscuras el resultado es llamativo y seductor. La
complicidad crea lazos en los propios
eventos
físicos, así como con el público que lo
visiona en
streaming
, el cual anhela participar presencial pese al bienestar que le reporta
la telepresencia (Kim
y
Kim, 2018). El hecho de que los espectáculos comien
zan
al ocaso
genera vínculos psicológicos con un cambio de situación, de lo real a lo ficcional, al
menos entre los que coinciden con el huso horario de la retransmisión.
Figura
3
. Worlds 2019
Fuente:
c
anal oficial de LoL (2019)
4.2
. Jugadores
-
campeones y equipos
Los jugadores son
mayoritariamente
jóvenes varones con perfiles multiétnicos dada su
procedencia internacional y la globalización audiovisual de
LoL
. Esto convierte el acto
en un fenómeno con un potencial para su retransmisión global. Las indumentarias son
deportivas personalizadas por marcas, algo propio del deporte profesional del cual copia
muchos recursos de producción audiovisual. Tanto realización como el jugador del
esports
son conscientes de esta fuerza expresiva.
Cada participante dispondrá de un alias que se convierte en su identificación tanto en el
mundo real como en el virtual. Incluso los entrenadores pueden ser presentados,
destacando así la profesionalización y la relevancia del evento en su conjunto. Portan
chándales con logomarcas de los equipos y de las marcas
patrocinadoras
, los cuales se
pueden ver fácilmente en los planos. Suelen lucir un pelo bien peinado y cuidado con
estilos típicos de la juventud, portando una simbología ciertamente explícita. Los
l
ogotipos es algo característico de los
esports
pues son una reinterpretación del blasón
desde las ópticas de la modernidad globalizada y del videojuego. Desprende la
procedencia de los jugadores o el mensaje que tratan de transmitir.
Source: ocial LoL channel (2019)
4.2. Player-champions and teams
e players are mainly young men with diverse ethnic backgrounds due to the international nature and the audiovisual
global reach of
LoL
, making the event a phenomenon with global broadcasting potential. Players wear customised sportswear
provided by brands, similar to professional sports players from which it borrows many audiovisual production elements. Both
the production team and the esports players are aware of the impact of this visual expression.
Each participant has an alias that becomes their identication in the real and virtual worlds. Even coaches are introduced-
highlighting the overall professionalisation and relevance of the event. ey wear team-branded tracksuits featuring sponsor
logos, which are visible in the shots. eir hair is usually neatly combed and groomed and reects youthful styles, carrying
explicit symbolism. e logos are characteristic of esports, reinterpreting traditional coat of arms from the perspective of
globalised modernity and videogames, conveying players’ origins or the message they are attempting to transmit.
As such, gamers are a fundamental pillar. In the case of
LoL
, the gamers embody an ethnographic prole specic to each
region. e fact that they are in the nals is an opportunity to showcase that they are in tune with new fashion trends or
hairstyles. While they are selected for their skills and not their physical appearance, it enhances the connotative eectiveness
of the ceremonies. eir physical appearance reects that of ordinary young people, sharing the new generations’ concerns
and distinctive traits. is relatable appearance allows them to connect with fans more intimately, authentically, and seriously,
strengthening their bonds with followers, which has not been seen in other sports, such as professional football. Moreover,
they often discuss issues typical of Generation Z on their social media platforms (Madden, 2017).
e uniforms are provided by major sponsors such as Nike, Red Bull, Panda TV, and OPPO. Chinese brands Panda TV and
OPPO highlight esports’ potential to reach Asian targets. e sponsors are usually technology brands, that align with esports,
reinforcing their message.
Teams tend to remain the same in each edition due to their professional skills, which helps to increase their fan base. Featuring
these players in repeated events and promotions, who have similar proles to their targets, transforms them into a concept
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akin to a “group of friends” boosting engagement. ey share common interests and hobbies with the public. ey are dierent
from athletes in other sports, such as football, since their physiques are conventional, and they demonstrate their skills in
cyberspace. is relatability for young people, combined with the captivating nature of this recreational activity, keeps the
event engaging for viewers.
e players’ credibility and strong ties with their followers make them eective mediators. ey take on the role of heroes
(Jung, 2002) adapting it to postmodernity and cyberculture. Following Jungian thought, players in
LoL
embody courageous
gures ghting against their inner demons. ese heroic characters unintentionally set out to confront an overwhelming
threat with bravery.
e notion of carefree, adventurous, brave, and somewhat unconventional behaviour is as common in
LoL
games as it is in
inuencers, exemplied in Spain by El Rubius or Ibai Llanos among others, who also broadcast their match. Subconscious
patterns and symbols (Rodríguez-Zamora, 2009) are instilled in target audiences so that they take it in as their own, making
them active players in their minds. is connection can be intensied in esports broadcasts.
From the perspective of proxemics, their position, and social distance imply that they are a cohesive unit. However, they
maintain a signicant distance from the opposing team and the audience, which exalts them. eir kinesics, especially facial
expressions, and their upright, energetic posture resemble video game characters. ey only deviate from the script when
mentioned by the speaker in the opening ceremony. Some may smile and wave to the audience, although it is obvious that
they are not following instructions since some even turn sideways and unconsciously bite their lip to hide their expression.
e deliberate gestures and the absence of wild gesticulations create the impression of adventurers about to embark on a
journey. In this context, Barthes’ theories make sense. At rst, their poses evoke boldness, daring, and superiority, akin to
video game characters. However, there is a radical shift when the competition begins as they are visibly excited and focused. As
they are immersed in the game, they compensate for this with dramatic facial tension in their mouth. ey also move quickly
and nervously, heightening the narrative intensity.
Figure 4. Worlds 2020
caras de emoción y concentración. Al estar inmersos en la partida, compensan esto con
gestos bucales dramáticos, desprendiendo tensión. También se mueven con velocidad y
nerviosismo, incrementando la intensidad
narrativa.
Figura
4
. Worlds 2020
Fuente:
c
anal oficial de LoL (2020)
4.3
. Sonido y música
Uno de los elementos principales de los
esports
es la música, con colaboraciones con
grupos cada vez más relevantes, como en la edición de 2020 donde la música corre a
cargo de
Take Henry Lau
,
Max Schneider
y el vocalista principal de
A Day to Remember
,
Jeremy McKinnon. Hay temas que pasan a integrarse en las listas convencionales de
grandes éxitos, como
Enemy
de
Imagine Dragons
, uno de los éxitos mundiales de los
últimos años. La música es algo fundamental en la promoción de los
esports
pues los
conciertos
durante las ceremonias son una etapa clave, así como en todo el universo
transmedia. Un ejemplo es la asociación de
LoL
con el Spotify para contar con su propio
canal. Las letras de las canciones no son un mero ornamento sonoro. Apoyan la idea de
combate, acción, equipo y demás elementos del ideario del MOBA, pudiendo incluso
tener influencia en la psique (Campo
-
Falla
et al.,
2023
; Berga
et al
., 2023
)
. Pueden contar
con extractos en varios idiomas, como el español, buscando un claro enfoque global,
como se manifiesta en la variedad étnica del videojuego y de los miembros y cantantes
del evento.
Junto con la música, los eventos están repletos de efectos sonoros, como explosiones, y
efectos ambientales, como el susurro del viento, que contribuyen a intensificar la
espectacularidad del acontecimiento. El ritmo visual va a la par que el sonido diegético y
extradiegético (efectos
-
música), en consonancia y armonía con el tempo de los planos
(Jodár-
Marín, 2017).
L
as coreografías
siempre
están cuidadas al extremo. La estética de
los bailarines es una fusión deportiva y de los ropajes del videojuego
coincidiendo
su
edad con la del público promedio de
LoL
. Algunos son incluso entes virtuales y/o
holográficos del
videojuego.
Figura
5
. Worlds 2022
Source: ocial LoL channel (2020)
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4.3. Sound and music
One of esports’ main elements is music, collaborations with increasingly relevant groups, like in the 2020 edition where the
music was done by
Take Henry Lau
,
Max Schneider,
and the lead singer of
A Day to Remember
, Jeremy McKinnon. Some songs
form part of the mainstream charts, such as
Enemy
by
Imagine Dragons,
one of the world’s biggest hits in recent years. Music
is fundamental in the promotion of esports with concerts during ceremonies being a critical stage, as well as in the entire
transmedia universe. An example is
LoL
’s partnership with Spotify to have its own channel. e lyrics of the song are not a
mere sound ornament. ey support the idea of combat, action, team, and other elements of the MOBA ideology, and can
even inuence the psyche (Campo-Falla et al., 2023; Berga et al., 2023). ey can include excerpts in several languages, such
as Spanish, catering to a global audience, as manifested in the ethnic variety of the videogame and its members and singers
of the event.
Together with the music, the events are full of sound eects, such as explosions, and ambient eects such as the rustling of the
wind, which contributes to intensifying the spectacularity of the event. e visual rhythm goes hand in hand with the diegetic
and extra-diegetic sound (eects-music), in consonance and harmony with the tempo of the shots (Jodár-Marín, 2017). e
choreographies are always carefully crafted to the extreme. e dancer’s aesthetic is a mix of sports and video game clothing
matching their age, coinciding with the average
LoL
spectator. Some are even virtual and/or holographic entities from the
video game.
Figure 5. Worlds 2022
Fuente:
c
anal oficial de LoL (2022)
Source: LoL’s ocial channel (2022)
4.4. Production and special eects (VFX)
e advertising items in esports use a wide variety of framing and angles, ranging from close-ups to long shots, which are fast
and abundant, creating a rhythmic and dynamic visual experience. ese shots are inspired by video games, sports, concerts,
and social networks and many shots of the ceremonies focus on the teams in formation. e sequence begins with a long shot
and then transitions to a medium shot, as the camera sweeps across each individual, which gives a sense of unity, introducing
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the players and giving them a collective entity. e use of panoramic shots, travelling, cranes, steady cams, and remote-
controlled zenithal add constant dynamism to the visuals.
e editing, both in the live broadcast and on the stadium screens, incorporates elements from video clips. e images and
videos employ various tricks and eects and make no attempt to disguise them. e players and audience are introduced to the
3D environment of the game through the use of visual eects (VFX) ) (Jódar-Marín, 2017) pronounced by striking animations
that enhance the immersive experience. ere is also artistry in the nishing of the images, an example is when they are treated
as if they belong within the world of LoL itself. is technique is consistently employed, creating a synthetic and cohesive
whole.
In 2018, the main attraction was the virtual K-Pop group K/DA featuring its virtual singers Soyeon and Miyeon from (G) I-dle,
Madison Beer, and Jaira Burn, a performance that profoundly impacted social media. In the same year, there was a dramatic
sequence that borders on pseudo-augmented reality (although not all elements were included), where one of the performers
opened a portal to the videogame, which combined animation with real-time footage of the stadium, leaving the audience in
awe.
All the ceremonies have an ICT punch that seeks to propagate 2.0 (Jenkins, Ford, and Green, 2015). e 2019 edition claims
holography, where the human singer performs together with the videogame character. It is common practice for the stadium
lights to be turned o at specic moments to make way for digital videos, which immerse the audience in the virtual narrative.
is technique also highlights digital productions, such as the holographic choreographies showcased at the Paris event
(2019). It is also common to implement grati overlays with a tag aesthetic, an urban element that young people can identify
with (Figueroa-Saavedra, 2007).
4.5. Brand identity
A crucial aspect in esports in general, including
LoL
, is the management of brand visual identities. World Cups serve as a
platform for sponsors to showcase their brands. e ceremonies open with the parent company’s logo, Riot Games, a
choreographed symbol of a st. Such
Hunger Games-
style gestures are recurrent. Team logos vary but align with youth-oriented
values and themes. ey draw inspiration from oriental motifs or incorporate features of American NFL teams where mascots
are important. Once again, the
Hunger Games
, as is the FPX logo, are referenced, with a pheonix similar to the Mockingjay, a
bird from the dystopian saga.
Flags also play a signicant role. Each team has its logo symbol and, as in heraldry, they are used as battle signs, and each
team’s symbols of power and personality. During ceremonies, these ags are placed behind or beside the players, moved by
dozens of ag bearers in a display resembling martial arts acts and even military formations on a battleeld. is approach
adds a playful element that serves to animate the live audience and the streaming public.
In every opening ceremony broadcast, the y logo of the championship sponsored by Mastercard is superimposed on screens,
showcasing a liquid and collaborative identity. Notably, a nancial company, somewhat distant from the younger demographic,
often sponsors esports events to reach this social stratum, proof of its successful integration into this social sector.
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Pablo Martín Ramallal and Juan Ángel Jódar Marín
ISSN: 1696-019X / e-ISSN: 2386-3978
4.6. 2021 Worldcup. e Covid-19 edition
e 2021 edition deserves a special mention. In the 2020 tournament in Shanghai, China, due to the onset of COVID-19, some
teams were unable to participate despite the implementation of an “isolation bubble”. From 5 October to 6 November 2021, the
eleventh edition was held in Reykjavik, Iceland, featuring 22 teams from ve regions. Due to the threat of the virus, the event
was conducted without a live audience, leading to meticulous staging. A spectacular video mix combining digital rotoscoping
was created based on
Arcane
(2021), the
LoL
series produced by Netix. e video featured Vi and Jinx sisters, portrayed by
Hailee Steineld and Ella Purnell. Around minute four, the video transitions seamlessly to live action, where the viewer sees
a steampunk-inspired city before returning to animation around 5:30 minutes. e singer Bea Miller strolls through the Zaun
district and performs a song with an awe-inspiring display of production on par with an AAA video game.
e real-virtual, plot-video clip jumps (Imagine Dragons, JID, Denzel Curry, Bea Miller and PVRI) are repeated in the footage,
integrating the viewer into the narrative, as discursive bridges to ction are blurred. e plot is enhanced with visual and sound
eects, such as explosions, in time with the music. Light painting style overlays are superimposed on buildings and people,
depicting Jinx’s madness. In fact, mental health among young people is a growing social concern. Eventually, luminous glyphs
from a fantasy language appear, and a subjective aerial view of Piltover (Zaun), the city-state at the forefront of technology
where the plot unfolds, emphasising the vastness of the LoL universe. e journey concludes in a palace-fortress, featuring
a musical click in the real image where some young people with the player’s prole dance an energetic choreography that
resembles martial arts combat or shooting.
e 2021 winner’s ring is shown during the closing ceremony, reminiscent of major American football leagues. Holographic
fades transition to the competing teams (DWG KIA and EDward Gaming), portraying them as impassive gures, symbolising
the event’s signicance and that they are on another level of thought. eir poses and gestures emphasise their importance,
subtly detaching them from their humanity. is ceremony is a display of spectacularisation of LoL’s cross-media and
transmedia universe (Martín-Ramallal and Micaletto-Belda, 2021), comprised of the videogame, music, series, comics, books,
merchandising, and others, making it clear that is the biggest esport in the world (LoL, 2022).
Figure 6. Worlds 2021
Figura
6
. Worlds 2021
Fuente:
c
anal oficial de LoL (2021)
4.7
. El presentador
Una particularidad de los
esports
que los distingue de ciertos eventos deportivos
tradicionales es la inclusión de presentadores. Estos se encargan de introducir a equipos
y jugadores, al tiempo que animan al público. Su papel puede variar, ya sea asumiendo
un papel destacado o manteniéndose en un segundo plano como una voz en
off
.
5
. Focus group
Se presenta una tabla con los elementos detectados durante el análisis iconográfico y
semiótico de
LoL
. La misma, derivada del análisis discursivo, sirve como herramienta
para generar las afirmaciones de FG. Se genera un cuestionario Likert de cinco niveles
para comprobar la validez del proceso hermenéutico llevado a cabo por los autores (Tabla
2).
Se ha de indicar que los resultados arrojados por el focus group son interpretados en
confluencia
c
on el análisis del discurso y el análisis de contenido de
LoL
.
Tabla 1. Presencia de ítems iconográficos
ÍTEMS
2018
2019
2020
2021
2022
Lugar
Seúl
París
Shanghái
Reikiavik
México-
EEUU
Duración
15´01´´
14´00´´
14´46´´
13´59´´
12´42´´
Participantes
Género
Varones
Indumentaria
Chándales, zapatillas y camisetas deportivas
Interacción espacial
Altivo, desafiante, alegre
Peinado
Cuidado, desaliñado a posta, teñido
Imagen
Plano
Generales: estadio, escenario, público,
Detalle: copa, anillo campeón,
Primer plano: jugador
Angulación
Picado, frontal, contrapicado
Iluminación
Natural-Artificial
Artificial
Natural-Artificial
Artificial
Artificial
Postproducción
CGI
CGI
Holografía
CGI
Holografía
CGI
Rotoscopia
CGI
Escenografía
Escenario
Real-Inmersivo
Real-Inmersivo
Real-Inmersivo
Virtual-
Streaming
Real-Inmersivo
Efectos
Humo,fuegos,FX
Hologramas, láser
Humo
Real+Animación
Humo,holograma,láser
Source: ocial LoL channel (2021)
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4.7. e presenter
A particularity of esports that dierentiates them from traditional sports events is the inclusion of presenters. ey are
responsible for introducing teams and players while animating the audience. eir role can vary, either they play a signicant
role or remain in the background as a voiceover.
5. Focus group
e iconographic and semiotic analysis results of
LoL
are shown in the table below. is table, derived from a discursive
analysis, is a tool to generate statements from the Focus Group (FG). A ve-level Likert questionnaire is developed to test the
validity of the hermeneutic process carried out by the authors (Table 2). It should be noted that the focus group results are
interpreted in conjunction with the discourse analysis and
LoL
content analysis.
Table 1. Presence of iconographic items
ITEMS20182019202020212022
Place
Se Seoul
ParísShangháiRekyjavik
Mexico- USA
Duration
15´01´´14´00´´14´46´´13´59´´12´42´´
Participants
Gender
Males
Attire
Tracksuit, trainers and sports shirts
Spatial interaction
Haughty, deant, cheerful
Hairstyle
Well-groomed, deliberately dishevelled, dyed.
Image
Shot
Long shot: stadium, stage, audience,
Big Close-Up: cup, champion’s ring,
Close up: player
Angles
Front, back, front view
Lighting
Natural-ArticialArticialNatural-ArticialArticialArticial
Postproduction
CGI
CGI
Holography
CGI
Holography
CGI
Rotoscopy
CGI
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Scenography
Scenario
Real- Immersive
Real-Immersive
Real- Immersive
Virtual-Streaming
Real- Immersive
Eects
Smoke, re, FXHolograms, laser
SmokeReal+Animation
Smoke, hologram,
laser
Choreography
Choral. Individual
/ Virtual Choir
Choral. Individual/
Choral- Individual
Holographic
Choral. Individual
/
Choral- Individual
Holographic
Martial arts
Choral
Choral. Individual
Decoration-Props
LoL
– Oriental -
Fantasy
Virtual:
LoL
Underground
LoL
CGI-Real. VFX
VFX
Proxemics
Spatial location
High StageCentral stageCentral stage
Stage
Central stage
Relevant attitude
HieraticHieraticHieraticHieraticHieratic
Kinesia
Posture
Standing.
Team Formation
Standing.
Team Formation
Standing.
Team Formation
Standing.
Team Formation
Standing.
Team Formation
Gestures
Impassive-SmilingImpassive-SmilingImpassive-SmilingImpassiveImpassive
Facial expressions
Deant - Distant
Sound
Music (genres)
Indie
K-Pop
Indie
HipHop
Indie
K-Pop
Indie
HipHop
Indie
Sound eects
Diegetic-Extradiegetic
Source: created by the authors
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Table 2. Presence of iconographic items
Statements
<LowHigh>
L1L2L3L4L5Average
St1. Esports have characteristics that dierentiate them from other shows
524.28
St2 Esports appeal to young people.
1154.57
St3Young people prefer esports to
343.57
St4. Esports will overtake conventional sports
613.14
St5. Sports should use esports’ promotion models
254.71
St6. Player charisma is important in esports
523.28
St7. I would watch esports if they were broadcast on television
23112.14
St8. Music is fundamental in esports
52
4.28
St9. Special eects and set design is a basic requirement
52
4.28
St10. e annual technological surprise is important in the ceremonies
614.14
St11. I hope to see something innovative in esports events
524.28
St12. e presenter is important when following esports
2322
St13. I like LoL because of the transmedia discourse
1514
St14. I would play and watch LoL without the existence of this universe
21222.57
St15. LoL and videogames are culture
524.28
St16. I listen to LoL or esports music regularly
1334,28
St17. I can relate to a LoL character
1334.28
St18. Eects such as holograms and augmented reality are important
3313.71
St19. Broadcasting at sunset or night adds to the drama
4213.57
St20. I would pay to attend esports events as much as other sports
52
4.28
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St.21. Ceremonies are reminiscent of music festivals.
142
3.14
St.22. I nd elements of esports attractive for other things (e.g. advertising)
34
4.57
St. 23. I pay attention to the sponsoring brands.
34
3.57
St. 24. If mainstream sports were to do these shows I would follow them more.
1231
3.57
St. 25. Women should play a more signicant role.
124
4.42
Source: created by the authors
e focus group ndings indicate that esports are perceived as unique and highly appealing to young people. In terms of their
preferences compared to conventional sports, esports are favoured except for football, although this dominance could change
with the arrival of the touch generation in the future. is idea is especially strong among younger participants and the women
in the focus group. As to whether they will prevail compared to conventional sports, this is the case except for football. ey
believe esports will coexist with traditional sports, especially if it incorporates esports elements. e discussion determined
that individual charisma did not play a signicant role in competition as it is a team activity, although participants from Spain
and nearby regions were valued more. ey highlight that they physically resemble an ordinary young person, which makes
them more relatable, more than in sports requiring t bodies.
Conventional television was not persuasive for enjoying esports ceremonies since it lacked the exibility of other devices or
the ability to provide real-time commentary. Some claim to have watched the ceremonies on TV or YouTube, nding it more
spectacular. Based on their consumption habits, it would serve as a support screen due to its larger size complemented by
another device such as a smartphone (Ramos-Méndez and Ortega-Mohedano, 2016).
Music is fundamental. Everyone listens to it daily and values it, indicating that it is easy to hear it on mainstream radio or
online platform playlists. is did not particularly relate to music festivals, except for some scenographic elements. e intent
behind music festivals diered signicantly, although participants were open to their resources being adopted. Ceremonial
eects and technological surprises such as holograms and augmented reality were perceived as attractive and tting, as they
were eager to see how they would be surprised.; they were a major draw. Participants perceived each edition as evolving
towards immersion. Regarding the presenter, if there is one, they are considered secondary, although it is acknowledged that
they are a good source of energy.
e transmedia universe is important. ey state that
Arcane
(2021) or other narratives are a hook without which they would
not be so connected to
LoL
, and that possibly some would not play so much. Participants especially liked the series and that
it starred “two tough girls”, nding them relatable. Almost all of them could relate to some character. e rebroadcast time
generated some disagreement. It was acknowledged that the fact that it was at sunset could inuence the broadcast as it was a
delocalised event, this was of secondary importance, as it was usual for it not to coincide with the viewer’s time. Participants
expressed willingness to pay for events like these, as much or more than football, as the spectacle is considered far superior
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to that of conventional sports except for the big games. ey believed that producing events with these characteristics could
enhance their success and popularity among young people.
Regarding advertising in esports, they believe that if they were more inspired by esports they would resonate more among
young people. Several members of the FG argue that many advertisements are already drawing inspiration from esports
narratives. ey did not look closely at sponsors, except for a few caveats. Everyone remembered Mastercard, Intel, or Redbull.
A plausible explanation was that they were not products that they could identify with.
Lastly, it should be noted that although the audience increasingly enjoys women’s presence, women’s representation was
lacking among participants. e discrepancy was not gender-biased as open competitions allow anyone to participate. Given
that most
LoL
players are men, future suggestions included customising avatars with players’ uniforms and introducing a “god
mode” in esports broadcasts.
6. Discussion
is study allows us to bring into the discussion the approaches of Establés-Heras et al. (2019), whose contributions are
acknowledged. However, a possible divergence arises related to the claim that esports are equivalent to traditional sports,
given their cybermediated nature. is analysis clearly shows that esports spectacles have a unique discourse formed through
the fusion and appropriation of various conventional and cybercultural elements. ese events bridge the gap between video
games and sports and tend to incorporate transmedia techniques. e creation of complex universes, exemplied in cases
such as
LoL
, converge music, video clips, innovative scenographic techniques, social networks, television series, comics, and
literature, which not only generate prots but also engender a magnetic appeal and spectacularisation of the videogame,
resulting in active audiences hungry for related events.
Music plays a central role in this process, not only as a thread running through the plot but also to enhance interactions with
the audience. Although adapted to generational preferences, epicness prevails as a constant concept in esports shows, as its
absence is perceptible in the experience. While sporting events such as the NFL share similarities, they dier considerably
in terms of live streaming 2.0 experience and reliance on connected devices. e need to integrate advanced technological
components like laser lighting and holograms, is highlighted due to esports’ close relationship with technology. Combining
these resources with iconic youth elements, such as grati, sportswear, steampunk, or underground aesthetics, emerges as an
ideal perspective.
7. Conclusions
In light of the results, esports emerge as leaders in spectacularisation, embodying the paradigm of ludic entertainment 2.0
in hypermodernity, especially among new generations. In contrast to conventional sports, the amalgamation of technical,
technological, narrative, and rhetorical resources challenges the foundations of the current state of sports. e transmedia
universes surrounding this amalgam of entertainment signify a shift in young people’s entertainment preferences. In all
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Pablo Martín Ramallal and Juan Ángel Jódar Marín
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its dimensions, the intersection between culture and ICT serves as a magnetic formula that attracts them, inviting them to
participate in events merging physical presence with the intrinsic dislocation of live streaming and social networks.
For future research, exploring esports’ inherent discourse is proposed, considering its growing social relevance and ability to
generate new narratives through hybridisation. Fields such as marketing and sports journalism have shown academic interest
in this phenomenon. Investigating visual brand identities in esports also shows promise, merging concepts and iconographies
to reinterpret them as inspiration in hypermodern contexts related to young people. In addition, it raises discussion on the
gender issue, acknowledging the increase of female participants in video games, though not proportionally represented in
mass events. Adopting iconic elements from traditional sports, such as trophies and champion rings, and fusing the real and
the virtual, through holograms, screens, and videos, are valuable suggestions to further enrich esports shows.
8. Acknowledgements
is research has counted on the collaboration with the Department of Information and Communication at the University of
Granada.
is article has been translated into English by Sophie Phillips, whose work we sincerely appreciate.
is research is grateful for the collaboration of Dr. Juan Pablo Micaletto Belda of the Centro Universitario San Isidoro for the
validation of the methodological section.
9. Specic contributions of each author
Name and Surname
Conception and design of the workPablo Martín Ramallal & Juan Ángel Jódar Marín
Methodology
Pablo Martín Ramallal & Juan Ángel Jódar Marín
Data collection and analysisPablo Martín Ramallal & Juan Ángel Jódar Marín
Discussion and conclusionsPablo Martín Ramallal & Juan Ángel Jódar Marín
Drafting, formatting, version review and approvalPablo Martín Ramallal & Juan Ángel Jódar Marín
10. Conict of interests
e authors declare that there are no conicts of interest contained in this article.
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nº 38, pp. 333-357
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January-June of 2024
Esports and the spectacularisation of events. The case of League of Legends
ISSN: 1696-019X / e-ISSN: 2386-3978
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Pablo Martín Ramallal and Juan Ángel Jódar Marín
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