MCYT Metazine

This bind was supposed to come right after the Etho Zine bind, but a combination of work pressures, Ramadan, post-Ramadan shenanigans, and me being burnt out from all the previous stuff delayed the completion of this zine. For weeks the unfinished text block sat below my cabinet workspace, calling me to clothe the pages.

About a week ago, I finally kicked myself to finish it!

a while ago we wrote an essay for the @mcytmetazine. now it's on AO3. as a visual eye-catcher for this announcement, here are all the character illustrations which accompany it. they're transparent!

(this was written for the @mcytmetazine! it was a pleasure to write for this zine and i'm very happy to finally share my piece. a quick disclaimer - i wrote this piece mostly over spring of this year, so more recent videos and developments in mcyt music are not covered. a very special thank you to jet @jumped-for-the-yaoi, who made some absolutely beautiful art for this piece featured in the zine!)

enjoy!

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What makes a memorable Minecraft Youtube video? Is it the creator themself, or the elements within the video? Over the last few years, music has risen to the forefront of crucial elements within an MCYT video – often without viewers noticing how important music is to the content they consume. For a majority of creators, music is a key factor in defining their content — whether background, intentional, or a key element their video would not succeed without. When the viewer watches the video, music can be the deciding factor to whether the viewer clicks away or sticks around to watch. In recent years, music within the MCYT space has evolved to resonate with the viewer, enhance storytelling, and craft a specific narrative that would be impossible without the intentional choices of certain tracks. With these creative directions, music has become one of the most imperative elements in a Minecraft upload. Of course, not every facet of MCYT can be explored — there are hundreds of subcommunities within MCYT, and exploring every single one's relationship to music is impossible. In this essay, each of the three main types will be discussed, and analyzed to better understand what a successful video in the MCYT sphere is. Before that discussion, a brief overview of the history of music in MCYT and the recent evolvements will be given.

With the ability to monetize content on Youtube (1), many creators dedicate time into making their videos as retention and algorithm-friendly as possible. From clickbait thumbnails to certain editing styles, every element of a Youtube video has been ticked down to a science (2) — sometimes to the detriment of creativity. In the Minecraft community, study of the algorithm has been no exception. Some creators, such as Karl Jacobs, follow the tried-and-true MrBeast style of over-editing, packing each minute with content built specifically to keep the viewer completely hooked. Other creators, like Wato1876, have worked against the retention standards to create content of a more unique style (3). For most MCYT creators, they fall somewhere between the two ends of the spectrum.

As a key element, music in the Minecraft space has evolved over time. In the earlier years of MCYT, music often was not added, instead relying on the in-game Minecraft music itself, which, while a masterpiece, did not reinforce the creator's content. Today, most MCYT videos utilize certain DMCA free tracks to underscore the tone of their videos. Textbook examples of this can be found in many of Grian's, Smallishbean's, or TommyInnit's videos. In these cases, the music typically stays upbeat, is often used repetitively throughout the video and in subsequent videos, and is used as a simple tool to match the content on-screen. Notably, these videos do not have much storytelling. The music is there to support the entertainment, but does not become a key in their videos. However, thanks to the reinforced usage of certain tracks, it becomes easy to identify songs with a certain creator. For TommyInnit, the Able Sisters track is an example, while Grian and Smallishbeans use the same easily recognizable track in many of their build montages. As a general rule, Grian's videos stay relatively PG. Under these circumstances, Grian's content rarely dips into a deeper storyline, since the heavy undertones could turn away younger viewers and parents. However, in 2021, a new meta emerged, encouraged by the roleplay drama of the Dream SMP, and started to shape itself thanks to a couple experimental moves made by MCYTers, including Grian.

During Grian's Third Life finale, an unexpected shift in his music heightened the emotional ending of his series. Rather than ending the series on the usual upbeat, Grian recognized the potential his series had to tell a story — and took the opportunity. 'Someone to Save' by Timothy Lewis, a track licensed under Epidemic Sound, became the farewell to Third Life (4). The song gave the viewer hope — and despair, as the melodies and chords of the song bid the viewer to stew in what had occurred. Song usage in this way was not common yet, with other members of the series barely editing in music if at all. During Limited Life, InTheLittleWood attempted a similar stunt, adding a suspenseful track moments before he betrayed the final two players (5) left to win the series. In the rest of the MCYT space, 'classic' tracks including songs from Animal Crossing or Undertale dominated storytelling videos. Grian and Martyn were ahead of their time — but ultimately, they never took the plunge into the groundbreaking usage seen today. When considering their audience, this makes sense, although many of their fans greatly enjoyed the dramatic shift.

For this discussion, music use in MCYT has been categorized into three different 'Types' of music form. The first type of music has already been discussed above. Type A, 'The Expected Conventional', includes creators who use classic non-DMCA music for their videos, or do not use their music for narrative-driven storytelling. Many Hermits, Lifestealers, and content creators within Empires SMP are classed here. In many cases, tracks overlap between creators, reminding of the constraints of DMCA — or, to the informed viewer, confirming the creator subscribes to a music service to safely use music without fear of a DMCA notice (6). When listening to the music in these videos, it becomes quickly apparent that music, for creators in Type-A, isn't a relied-on aspect for their content beyond retention.

To understand the key difference between Type-A and Type-B creator's music decisions, careful consideration must be made to the content both types of YouTubers make. Where Type-A keeps their stories lighthearted, with a focus on the game instead of a plotline, Type-B: The Plot-Driven Unexpected delves into Minecraft Roleplay (MCRP), and heavily focuses on telling a lore-driven story. In these cases, the creators still use DMCA-free songs — but each song is chosen carefully, with the goal of pushing their narrative forward. The flair and personality of the creator shines through each song, and in some cases, completely changes the perception of the content.

One example of Type-B can be found from Pentar, an up-and-coming YouTuber with 76.9k subscribers at the time of writing. From his first upload, Pentar's sense for understanding how important music choice is sticks out. A montage of placing fences times perfectly with the beat in the background, drawing attention to the content in the video, and therefore raising the retention rate (7). In many of his videos, Pentar uses music to create a signature for himself, and shape his own narrative. In his recent series, dubbed the Secrets Trilogy, Pentar takes the events of Lifesteal SMP and crafts a specific narrative, all wrapped around his teammate ECorridor. Without the music in certain scenes, heavy emotions and nuance is lost, and when added, the viewer feels every ounce of what Pentar feels. For one scene (8), Pentar struggles morally with the balance of lying to ECorridor for personal gain versus giving up violence for peace with ECorridor. Pentar chose to use the track 'Forgotten' by Evan Honer, with the following lyrics:

If I'm gone will they remember?

How they watched me burn down to embers?

Or will they make up a lie

And tell everyone I was a great guy?

This is far from the first time Honer has appeared on Pentar's channel, especially as insight into Pentar's character. Songs from Honer are used at the rawest moments in each video, typically just once — so Pentar's choice to use his music is intentional, with lyrics from Honer's songs heightening emotions, relatability, and heartbreak from the viewer. Beyond that, Pentar does use Epidemic Sound and MusicBed, but specifically uses tracks that flow perfectly with the scenes in his videos. These choices reminisce to Grian and Martyn's moments in the Life Series, but Pentar keeps the tone throughout the video, choosing to step into territory that is somewhat unexplored. 

Other creators headed in their own unique directions include Wifies’ ARG videos, where he uses tracks to heighten the horror of his videos; DumbisDumb, who uses a style similar to Pentar (9); and Wato1876. For Wato, her music use is almost exclusively video game OST (especially Minecraft), but used in a way that directly contradicts the retention meta of Youtube. Another worthy mention of a Type-B creator is Wemmbu. His Unstable Universe series uses non-DMCA music in the narrative-driven style, with each upload raising the bar for himself on how carefully music choices are made. Unsurprisingly, he’s recently been following in his co-creator's footsteps, which may soon place him in the Type-C category.

Each of these styles encourages the viewer to connect with the character on-screen in a deeper, more meaningful way than the Type-A creators — and the reward is a video that drives plot forward through emotion and sound, and stands out to the viewer. Because this is a newer type of meta, many creators stylizing their videos are smaller, but are quickly rising to mainstream MCYT. However, recently, a third type of music use has transcended the already high expectations for this category.

Type-C: The Plot-Driven Groundbreakers contains creators fashioning their music in ways previously completely unseen in the MCYT space. For this class of creators, it is difficult to compare and contrast, because the unique directions each of them have taken sets them apart from each other as much as it places them firmly in the same category. In many cases, the creativity has proved lucrative, with fans praising the effort and recognizing their intent. However, some in this category have faced backlash and misunderstandings from fans about the intent and purpose of songs used. This raises a question: is taking the risk with drastic narrative music worth it? Additionally, where does the line for 'success' versus 'failure' fall? What decides whether or not music in a video matches the narrative, or fails to meet it?

One of the first creators to push into unexplored territory, IvoryCello, found her niche in prewritten scripted content. Ivory's Whitepine series launched last summer, shortly after her return to content after a hiatus. As soon as the first episode aired, one of the notable aspects fans noticed was the use of original piano music. The tracks held a weight to them previously not found in MCYT, and matched Ivory's story in a way no other track could. Ivory not only wrote, directed, and edited Whitepine, but also composed and recorded the piano tracks herself. They are crucial to Whitepine, tied in with a piano in the episodes, and often, the music accompanies plot-relevant montages of moments in the series. Each track is mixed to sound like an older song, as if the musician is part of the world on screen. Without these tracks, Whitepine would not hold the audience as well, nor would the series have the early 1920s atmosphere nailed down. Whitepine has proven itself to be a success, with episodes releasing every month or so, and fans consistently praising the music. Parallel to Ivory, AvidMC's SkyBlock Kingdom series contains tracks composed by him for the series. However, Avid combines non-DMCA tracks with them, and his songs have lyrics sung by himself. As a much smaller creator than Ivory, Avid's work has gone nearly unnoticed by the greater MCYT community. Nonetheless, it firmly falls into the Type-C category.

For Parrotx2, shifting from Type-B to Type-C music use started with his exit from Lifesteal SMP, when he posted an edited compilation of his time on the server (10), starting from his first season all the way to his final. For the first time on Parrot's channel, an overarching narrative took the forefront, with the video clocking over three hours of runtime compared to usual twenty minute videos. This step over the threshold of storytelling marked the start of a new meta - custom soundtrack commissioning (11). Parrot commissioned someone to make tracks that could better accompany his narrative than tracks he could find. At the time, not much note was taken of the decision, nor did Parrot repeat the choice until six months later. By that point, Unstable Universe, a scripted SMP, was well underway. Every episode fell firmly into Type-B, but Parrot's musical decisions gained attention, with fans commenting on the immersive song choices that transcended other MCYT scripted content. Starting in September of 2024 (12), Parrot chose to start commissioning artists for parts of his videos, and has not stopped since. The use of custom soundtrack in his Unstable series birthed a new meta that can now increasingly be seen in a few other creators' videos. Parrot ensured the connection between the story and viewers was as coupled as possible by using the custom soundtrack–following the same meta that movies today use (13). Emotions from the viewer heightened, retention rates rose, and the viewer cared about the story at a greater level than before. Additionally, the story itself is strengthened - by using tracks the way he does, Parrot instills expectation in the viewer, meets it, then is able to use that expectation to break it if needed.

The risk of breaking expectations in MCYT editing and meta is a potentially career-devastating play in the Youtube sphere. When a creator breaks against the standard or decides to try something experimental, the uncertainty and danger of losing their audience heightens. Combined with the ever-changing inhuman algorithm, taking a leap of faith completely differently to any other creator can lead to backlash, and is likely the reason many creators stray away from risking it. The final creator to discuss as an example for Type-C is Spokeishere, a third perspective of Unstable Universe. By the end of last season, Spoke's videos also fell into Type-B. At the start of season two, however, Spoke tried out an unconventional use of music - repeated overuse of commonly used tracks on Youtube, mostly by Kevin Macleod (14). This sparked debate amongst the viewers - what was the purpose of such a decision? Why use tracks that did not match the narrative on the screen? 

(fig. 1: A screenshot of a comment from one of Spoke’s videos during the ‘100 days’ arc) 

(fig. 2: Another screenshot of a comment from Spoke’s videos, this one criticizing his music choice) 

(fig.3, fig. 4, fig 5: Further examples of negative comments on Spoke’s videos during his experiment)

By video two, most fans were annoyed with Spoke, and on video three, the majority of comments left in the first few hours were hate-filled or misunderstanding his intention. All five of the figures above are screenshots taken from Spoke’s final ‘100 days’ video. Comments filled with more vicious hatred have been deleted by Spoke, or pushed down by Youtube’s algorithm due to community effort (15). However, by watching the series with a critical mind and an understanding that Spoke chose the music for the narrative, it quickly becomes apparent that the choice was made to match his character's mental wellbeing. Spoke's character, quite literally, is losing his mind - and every single track used pushes a dissociative feeling, to look away from what is really happening. As the episodes progress, Spoke's plan takes forefront, with the visuals, narration, and music all combining together to form a fractured narrative (16). As Spoke's mental state deteriorates, the viewer feels and experiences it with him. The moments Spoke snaps to reality, the music also snaps out of the repetitive overuse. Track use like this elevates Spoke into Type-C, with no creators attempting something similar. However, the backlash and hatred spewed in his Youtube comments and on various social media sites remind of why risks are not often taken. Many viewers have not picked up on the reasoning for Spoke's editing, but some are starting to understand. In the future, Spoke will likely bring his audience back around - but the chances of seeing Spoke take another groundbreaking chance like this is low, given the amount of backlash and viewers who refuse to look deeper.

What defines failure versus success in Type-C? It certainly isn't views — IvoryCello averages less than 450k views per Whitepine upload (17), and yet was the most suggested creator by members of the community when asked for examples of unique music usage in MCYT (18). AvidMC averages around 3k-5k views per video, but has a strong community built up that actively engages and appreciates his music. On the flip side, neither Parrot nor Spoke have any Unstable Universe uploads under a million views (19), but Spoke has faced more controversy regarding his music than any other creator mentioned. If success in music use is decided by community response, Spoke's experiment could be a failure. It is a mark of character that these creators have not moved to exclusively music usage that definitively works within the elusive algorithm. Thus, the answer to the success question is subjective. For Avid and Ivory, their experiments are successful because their communities are established and appreciative of the story built with the music. For Parrot, success is found in the community’s love for his story and immersion, and the spread of custom music commissioning. As for Spoke, an argument could be made that his success is more in the self-satisfaction of telling the story his own way, and in the comments of the individuals who recognize the potential in his music choices.

To conclude, what decides the success of any creator when it comes to their music choices? Depending on the type of creator, this changes person-to-person. Type-B creators find their success in high engagement levels with their audience, and in the emotional connection their viewers reach with their character. Additionally, Type-B creators can mark success in how their music visibly affects the narrative, pushing their stories to new heights for the viewer to enjoy. Success, for Type-B, is attention, acknowledgement, and discussion of the story. As for Type-A, the connection and plot is less relevant, and thus their success in music use is more dependent on ensuring their videos meet the mark in other ways. As the MCYT community changes, so does the meta — and currently, Type-B and Type-C are on the rise. Several creators have recently started commissioning custom soundtrack, as creators analyze what's working to draw in audiences. Type-A creators are in no trouble when it comes to audience, but their music use is currently stagnant. As the new generation of creators starts to rise, the music meta will continue evolving — and for now, the future is bright for MCYT storytelling and MCRP.

Note: A playlist of videos from creators referenced, and additional examples of all three types can be found here.

Footnotes:

For more information about monetization on Youtube: “Welcome to the Youtube Partner Program”, Youtube Partner Program, Youtube, https://www.youtube.com/creators/partner-program/

Example of one such study: 133 slide presentation analyzing the MrBeast video style

Wato1876. “I don’t want to keep viewer retention, I want to keep your curiosity. Why? If you are curious, you’ll want to watch it through, if I just have your attention, I only keep it as long as I give you more and more. End Barrens was not for attention, it was for curiosity.” Twitter, 24 Mar. 2025, 6:26 p.m., https://x.com/Wato1876/status/1904314434220110048

To see the exact example: 3rd Life: Episode 8 - THE FINAL LIFE (timestamp 28:52)

Exact example: OUT OF TIME - Minecraft Limited Life #8 (Finale) (timestamp 32:17)

For more information about Epidemic Sound Licensing: https://www.epidemicsound.com/how-it-works/

How Music Can Boost Engagement: The Psychology of Sound in Content Creation

 Exact example: I Have Minecraft's Deadliest Secret timestamp 37:48

Dumb has acknowledged the importance of music choice in their official Discord: https://imgur.com/a/niAF899

Exact example: The Full Story of Lifesteal SMP. Timestamp not included - custom soundtrack moments can be found throughout the video.

Technically, custom music commissioning has existed for a while as seen in many Hermitcraft videos and the occasional theme song for other creators. For the discussed type of commissioning (soundtrack and narrative-driven), this is a newer meta.

ParrotX2, “I Built Minecraft’s Safest Civilization,” 9 September 2024. 3:47:08, I Built Minecraft's Safest Civilization.

Understanding the Score: Film Music Communicating to and Influencing the Audience

Macleod’s music is often called ‘the internet’s music’ due to the widespread usage of his tracks. He has composed over 1,500 individual tracks, all royalty-free. His website: https://incompetech.com/wordpress/

In the initial backlash of Spoke’s third video, the author of this essay noticed the significant amount of hatred in his comments and arranged an effort between other community members and friends to leave positive feedback and encouragement on the video. Participants also liked each other’s comments, and disliked the hateful ones. These efforts succeeded, and have made the hatred less visible on both the third and fourth video of the ‘100 days’ saga. That being said, some hate is still visible upon scrolling down, although it does not appear as pronounced as before.Parts of the community rally can be found here: https://imgur.com/a/some-of-community-efforts-to-change-spokes-comment-section-NDA0IOw

Exact example(s): 100 Days Hidden in a Minecraft Chunk Base, timestamp 19:27.100 Days TRAPPED in a Minecraft Void Base..., timestamps 25:30, 26:17-27:55, 29:43. 

 Exact average is 409,500 views per Whitepine upload.

Members of the MCYT community were asked over a period of time in multiple Discords.

 At the time of writing, Spoke’s most recent U.U. upload is still under 1m views. However, at its current trajectory, it is expected to surpass 1m views within the month.

Most fans of Minecraft Youtube disagree with categorizing MCYT as RPF—so much so that in early 2022 the AO3 changed the fandom's tags, removing references to RPF in most instances of fandom, relationship, and character tags. However, the line between RPF and FPF in MCYT fandom is blurry. This essay is an analysis of the relationship between MCYT and RPF.

Additional Tags: Meta, Real Person Fiction, Minecraft Youtube, MCYT Metazine, Works Cited

under the cut for length; discusses lifesteal, the life series, and the dream smp, including discussion of canonical abuse and suicide. i want to say if i were doing it now i'd ramble more about both reality tv and historiography but in fact i had a word count limit and already had to cut a bunch of stuff lol. enjoy!

Minecraft roleplay is an under-studied medium in academia. This essay, as a part of the MCYT Metazine, looks into the presence (or lackthereof) of Minecraft YouTube, and, in particular, Minecraft roleplay, in professionally-published academic papers.

If you search the entire Dream SMP tag today, 8 of the top relationships are “&”, with the first 6 tags being platonic and the 7th being no romantic relationships. Entire events with thousands of works posted have taken place with an incredibly high proportion of works being Gen. At the time of writing there are 1,393 works that are tagged with MCYT Fic Fight (Archive of Our Own, 2025), a popular writing event based on Art Fight where teams “attack” other participants by writing fics for their prompts, and 1,111 of them are categorized as Gen. That’s 80% platonic. An analysis of a similarly large fandom with teenage protagonists and a young fanbase—僕のヒーローアカデミア | Boku no Hero Academia | My Hero Academia (Anime & Manga)—shows 75,978 of 365,212 works are tagged Gen, or 21% of the whole fandom. Dream SMP’s 44,152 Gen works out of 89,155 is sitting at a cool 50% of the entire fandom. Why was the fandom so focused on platonic relationships, and how did that impact the fandom space? I spoke to a number of writers about their experiences in the Dream SMP fandom and the romantic/platonic divide.

Status: 14/14 chapters, updated 29 November, 16,198 words

Fandom: Dream SMP

Rating: Teen and up Audiences

Category: Gen

Warning: No Archive Warnings Apply

Tags: Meta, Fanwork Commentary, Zine: MCYT Metazine, Interviews

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And it's time, I get to post my piece from @mcytmetazine! This was a doozy of a task that I had so much fun with—I interviewed 13 writers and had a wonderful time pulling their words together into a (hopefully) cohesive whole. Let's talk about platonic and romantic tropes in this fandom!

I promise I didn't intend to have two zine pieces air at the same time but like it happened.