Gram, więc jestem: Instancja autorska a konwencja let's play w serii File System Aging

This analysis examines the evolution of the let’s play format, contrasting the standardized, commercially driven content prevalent on platforms like YouTube with the subversive, auteur-driven approach of Robert Florence’s series, File System Aging. The study argues that while the let’s play format has largely become a commercialized, formulaic product designed for mass consumption, it retains the potential to function as a sophisticated, hybrid medium for personal expression and cultural critique.

The research focuses on the intersection of ludology, software studies, and memory, using Florence’s series as a primary case study. Through a qualitative analysis of the six-part series, the study highlights how Florence utilizes the let’s play format to perform a "defragmentation" of personal history, specifically regarding his relationship with his late father. By integrating elements of stream-of-consciousness narrative, oniric aesthetics reminiscent of David Lynch, and haptic interpretation, Florence transforms the act of gaming into a profound, intimate process of meaning-making that transcends the games themselves.

Methodologically, the analysis employs concepts such as the transgressive player, the ergodist, and playformance to categorize Florence’s work. It concludes that Florence’s approach represents a significant departure from the "buddy-culture" or professionalized showmanship of typical gaming influencers. By treating the game as a medium for memory rather than merely an object of entertainment, Florence successfully reclaims the let’s play as a legitimate, artistic form of public discourse. This shift demonstrates that when freed from the constraints of monetization and standardized audience expectations, the let’s play can serve as a powerful tool for exploring identity, nostalgia, and the complex relationship between the player and the digital world.