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... Despite the fact that nowadays, e-sports are mostly consumed through streaming platforms, and in the case of the West through Twitch, television has also played a fundamental role in the development of professional competitive video games. In addition to helping the normalization of a stigmatized sector, it has also created a stylebook that has shaped a very specific operation when it comes to e-sports coverage (Hiltscher & Scholz, 2015). Regardless of the platform on which the content is broadcasted, the operation of esports broadcasts has a specific path: The publishing house of the video game, creates a professional competitive event or gives permission to a specialized external company to organize it, then they themselves, or the company that manages the event, is responsible for the broadcasting of the program, and all the aspects that make it up, such as logistics and production, so that the show is produced according to the established standards, After this celebration, the broadcasting rights are transferred or sold to the specific platform that is deemed appropriate -currently streaming websites have monopolized this service-, after that, the event signal returns either to the videogame publisher -in many occasions this signal is managed through local companies with commercial agreements with the parent company-, or to the event organizer, who through a specific channel and the chosen platform takes the content to the viewer. ...
The co-streaming technique is emerging as a new form of digital consumption in e-sports. Its latest major appearance corresponds to the development of the technique in the League of Legends World Cup 2022, through different content creators selected by language. In fact, its importance is beginning to expand to other entertainment industries such as in the premiere of the animated series ‘Arcane’, or in the audiovisual exploitation of the novel and media phenomenon of the ‘Kings League’. The positioning of content creators as a key figure in simultaneous and parallel retransmissions to the main ones, has become a strategy for generating and exploiting audiences. Given its success and expansion, this article aims to relate this novel form of consumption with its first manifestations, which had been developed with a community character and which were produced in a rudimentary way, without showing images and only providing synchronization tools to the community of viewers. In this way, a concrete classification of these manifestations can be established, in order to delimit, differentiate and rename the co-streaming phenomenon.
... El auge del videojuego permite que en el año 2011, el consorcio productor Riot Games organice un torneo mundial con una audiencia de 1.7 millones de visualizaciones que crecen a 32 millones respectivamente en tres años desde el evento anualizado, llevándolo a formar una base de usuarios de casi 12 millones de jugadores en 2014, siendo para 2020 más de 115 millones de participantes respectivamente, con un tráfico de entre 8 y 11 millones de videojugadores interconectados al mismo tiempo (The Wallstreet Journal, 2014;Hiltscher & Scholz, 2015;Active Player, 2020). ...
