Academic Study Categorizes Iranian Video Game Streamers into Three Distinct Performance Styles

According to the Economic Desk of Webangah News Agency, the engagement with video games has significantly increased among Iranians, especially the younger generation, transforming gaming from a solitary pastime into a major social space shaping language, leisure, and behavior.

This surge in activity has naturally drawn the attention of social and communication scientists. A notable study focusing on Iranian streamers was conducted by Behrouz Ashraf Semnani, a Ph.D. candidate in Cultural Sociology at Allameh Tabataba’i University, alongside two academic colleagues. The researchers aimed to systematically examine active Iranian streamers to differentiate between their various styles of content creation and engagement.

The research methodology combined semi-structured interviews with fifteen recognized Iranian streamer-influencers and systematic observation of their broadcasts. The flexibility in the interviews allowed researchers to deeply explore the context of the content, interaction methods, and overall atmosphere cultivated during streams.

Findings from the study established a framework for classifying these content creators based on several core criteria: the type of content produced, the intended audience, the method of audience communication, personal objectives, and the streamer’s perception of gaming as a media platform.

Utilizing four general categories and multiple subcategories, the researchers ultimately distilled the Iranian streaming scene into three principal groups. These groups demonstrate varying approaches to gameplay and audience interaction, resulting in distinct viewer experiences.

• The first group consists of “Challenging” streamers, whose primary focus is testing game mechanics and showcasing individual skill mastery.
• The second category comprises “Competitive” streamers, who center their activity on rivalry with others and generating real-time excitement.
• The final group includes “Leisure” streamers, whose main goal is audience entertainment and fostering an intimate, relaxed atmosphere for shared time.

These three prevalent models underscore that live streaming in Iran is not monolithic but adapts its execution according to the streamer’s objective and target audience.

The research indicated that while some Iranian streams share similarities with international benchmarks, significant domestic differences exist. Specific Iranian conditions, including platform restrictions, variations in content production infrastructure, and challenges in monetization, have profoundly shaped these distinct streaming pathways. Furthermore, a smaller audience pool and differing local preferences have compelled Iranian streamers to forge unique content strategies.

A crucial observation made by the research is the fluidity within these classifications. Streamers may transition between categories over time due to changes in income, age, or life circumstances. For instance, some streamers initially focused on challenge or competition may gradually shift toward more leisure-oriented content, as this often presents lower pressure while offering broader audience appeal and more stable revenue opportunities. This dynamic suggests that streaming is less a static activity and more an evolving social process.

These scholarly results have been published in the journal Modern Media Studies, a publication affiliated with Allameh Tabataba’i University and the Iranian Society of Cultural and Communication Studies, which focuses on media developments and emerging communication phenomena.