OSP: Marcus Rashford - Context & LIAR

Our OSP CSPs are the online presence of former Manchester Utd and England footballer Marcus Rashford and celebrity influencer Kim Kardashian.

These are in-depth CSPs so we need to study all four areas of the theoretical framework: Language, Industry, Audience and Representation. This first case study will focus on Language and Representation.

Who is he? Marcus Rashford

Footballer

A Premier League and international footballer, widely praised for his very effective use of social media.

Campaigner

Uses his platform for food poverty, homelessness and books-for-children campaigns - and has influenced government policy.

Brand

Endorses products and is sought after by brands; his official website covers both his football and his campaigning.

KEY INFO: His focus is mainly his football career now - reportedly after criticism of players focusing more on off the pitch actions.

Why study him? Marcus Rashford

1. 'Effective use' of social media

A model example of an influencer who uses platforms expertly and purposefully.

2. Real-world impact

Influenced government policy (e.g. free school meals) and mobilised companies and individuals.

3. Industry & regulation

Shows how platforms profit and why brands (Burberry, Aldi, Nike, Tesco) want to associate with him.

4. Activism, not just profit

He directs most effort to good causes rather than commercial gain - unusual for an influencer.

5. Rich representation issues

Gender, ethnicity, age, class - a young Black working-class man as role model and campaigner.

6. A contrast to study

A useful contrast with Kim Kardashian's more commercial, materialistic online presence.

Where does LIAR come in?

Media Language

HOW meaning is made: codes, conventions, semiotics. Main focus = His official WEBSITE.

Genre and narrative

Marcus Rashford has created a strong personal brand that merges different genres – footballer, campaigner / activist, influencer, celebrity.

His online presence emphasises his working class background and how hard his mum worked as a single parent. This creates a narrative of success against the odds. He then uses this to drive his campaigning work on food poverty and reading.

Media Industries

HOW his platforms are made, owned, funded and regulated.

Marcus Rashford net worth

Marcus Rashford’s net worth has been estimated at around £16m (source: Sunday Times rich list). This includes:

• £300,000 per week from Manchester United (£15.6m a year)
• £2m endorsement deal with Nike
• Additional deals with Burberry, Jaguar Land Rover, Coca-Cola and others

He is also the youngest person to top the Sunday Times Giving List for raising £20m for good causes.

Media Audiences

WHO are his platforms for, why they use it, how they read it.

Target audience: demographics and psychographics

What is the target audience for two CSPs? 

- Demographics: CAGE? 

- Psychographics? 

Audience engagement

Instagram engagement rate is a measure of how much audiences engage with posts (e.g. likes, comments). An engagement rate of 1-3% is considered good and anything 6%+ is extremely high.

Marcus Rashford’s power as an influencer is shown by his engagement rate of 4.03% (although this has dropped and risen over time due to increasing his follower count and focusing more on football rather than his brand development).

What is the appeal of Marcus Rashford audiences? Think about their campaigns, use of social media and brand associations. Also, consider their appeal to different audiences.

Use Blumler and Katz Uses and Gratifications theory:

• Diversion
• Personal Identity
• Personal Relationships
• Surveillance/information

Media Representations

WHO/WHAT is shown and how: selection, construction, mediation.

Marcus Rashford’s online presence offers a real mix of representations – some reinforcing stereotypes of masculinity, footballers and race/ethnicity but others subverting them. He also looks to challenge stereotypes regarding poverty, benefits and social class.

Use Daniel Chandler’s representation theory of CAGE to analyse representations in the media. Here's an example for Marcus Rashford’s online presence:

C – Class (social class – working class people)

A – Age (youth)

G – Gender (masculinity)

E – Ethnicity (black British)

Glossary Terms:

Technical Codes - Design and image choices: photography, colour, layout, typography, video.

Genre Conventions - Expected ingredients of a personal/official website and of social platforms (menus, feeds, captions).

Semiotics - Reading signs: denotation (what we literally see) and connotation (what it suggests).

Convergence - When two or more media forms can be accessed in one place or one device e.g Marcus Rashford’s website also links to his books, social media feeds and video content. 

Online engagement/dialogue - Communication online e.g between a celebrity and a fan. 

Endorsement - When a celebrity or influential figure recommends something to the public. 

Blog Tasks:

Context:

1. Open his official website (marcusrashfordofficial.com). Find ONE thing that is about FOOTBALL and ONE thing that is about CAMPAIGNING. What does this balance suggest about his brand priorities?

Language:

Analyse the website (or a page of it) using the denotation/connotation method, then judge its coherence.

1.  Write 3 things you DENOTE (literally see).

2.  For each, write what it CONNOTES (suggests).

3.  Identify ONE technical code and ONE genre (website) feature.

4.  Judge: Is the site 'bitty' or 'well-integrated and coherent'? Why - and what does that say about his brand?

5. Describe 3 differences between his website and his Instagram/Twitter (look / content / purpose).

6. How does Marcus Rashford's online presence use the narrative of his childhood upbringing to create a positive brand identity?

Industry:

Imagine a brand (e.g. Burberry or Aldi) is deciding whether to pay Marcus Rashford to promote its products. Build the case.

1.  List 3 reasons it is in the brand's interest to associate with him.

2.  Explain HOW social media is used to make the association.

3.  Identify ONE risk to the brand if it goes wrong.

4.  Decide: would you advise the brand to go ahead? Justify.

5. Investigate ONE brand linked with Rashford (Burberry, Aldi, Nike or Tesco). Why does that brand benefit from associating with him, and how is social media used to make the link?

Audience:

Take one of his campaign posts and write all THREE readings of it.

1.  Preferred: what does he want you to think and do?

2.  Negotiated: where might a follower half-agree?

3.  Oppositional: how might a critic reject it?

4.  Which Uses & Gratifications need does this post serve best? Why do you believe this?

5.  Explain how his website's mode of address (style) speaks to BOTH football fans and campaign supporters.

Representation:

Choose a post/page from Rashford’s website (himself, a campaign, or fans).

1.  Selection: what is shown? What is left out?

2.  Construction: which media-language choices (Mise-en-scene, camera shots/angles, etc) build the representation?

3.  Stereotype check: positive, negative, or challenging a stereotype? (Consider stereotypes on all of CAGE) Justify.

4.  Describe one way he is represented positively and one stereotype he challenges.

5.  Evaluate: 'Rashford's online presence challenges negative stereotypes.' How far do you agree?

Challenge: Analyse how Marcus Rashford’s online presence has been constructed to create a positive representation of the footballer. (6 Marks)

Year 11 Baseline Assessment: Revision and Preparation Recap

Year 11 assessment week is coming up before the next set of interims. In line with this, we are going to give you a mini-Paper 1 assessment to help revise content from last year.

Your assessment will be similar to the exam you did at the end of last year but this time will focus on Paper 1. Your exact date will depend on the timetable as these assessments are in-class. Your Media teacher will be able to tell you when your assessment will run.  

Below is a full guide to what you need to revise for this assessment.   

Know your exams

One of the most important aspects of preparing for examinations is knowing exactly what topics could come up in each exam. For your Paper 1 assessment, this is what might come up:

Paper 1

Paper 1 Section A: Language and Representation

• Unseen text: advert, social media screengrab or music promotion of some kind. Multiple choice questions plus media language analysis. 
• Advertising & Marketing: Key Conventions, Gender Representation in Marketing, OMO advert, Galaxy Audrey Hepburn advert and the NHS Represent blood donation campaign.

Paper 1 Section B: Audience and Industry

• Media Industries / Audience questions - media terminology / theory / regulation etc.
• Music Video: BLACKPINK - How You Like That and Arctic Monkeys - I Bet You Look Good On The Dancefloor.
• Radio: Launch of BBC Radio 1 - Tony Blackburn, Kiss FM Breakfast Show.

Your real Paper 1 exam will also contain a 20-mark essay on either Film, Radio, Music Video, Newspapers or Videogames/Online, Social and Participatory Media but this will not be part of this assessment as it is only half the full exam. 

Paper 2

You will not be taking Paper 2 as part of this assessment but we will take on a full 90-minute Paper 2 as part of the December mock exams. More details on that nearer the time!  

How to revise

Revision is a very personal thing and everyone has different techniques. Personally, I strongly recommend using flash cards (they are often called record cards if you are trying to buy them online or in WHSmiths). The simple act of distilling topics into a few key words or phrases to put on the card will seriously help in remembering the key information in the final exams. We recommend having three sections to your revision cards:

1. Media terminology and key words
2. Media theories
3. CSPs

I have spare flash cards in DF07 if you'd like some.  

Good luck with your revision and give this assessment your best shot!

Welcome to GCSE Media Studies Year 2!

This is your new blog home for Year 2 of GCSE Media Studies - Welcome!

This is where you'll find everything you need for coursework and exam preparation for this crucial second year of the GCSE Media course.

A few key reminders:

1. Summer Project - Due in your first Media lesson back.

2. Baseline Assessment - Coming up in Year 11 assessment week

Good luck and let's earn those top grades!  

Final exam preparation and revision links

Here's everything you need to know for your revision and preparation for the final exams.

The final weeks and days before the exams are a good opportunity to go over what you know and test yourself against the kind of questions that AQA like to use. 

Exam: Media Paper 1

Media Paper 1 is on Monday 18th May in the afternoon.

Section A: Media Language, Representations and Contexts

Note: It's important to remember that either Newspapers or OSP / Videogames can come up in Paper 1. Whichever comes up in Paper 1 usually means the other topic will come up in Paper 2 so we'll be watching carefully. 

Unseen text analysis

• Unseen text analysis - look at previous assessment LRs and revise mise-en-scene (CLAMPS) and other key media language from your GLoW Media glossary. When you annotate the text, first identity anything interesting on the media product that you could write about (image/text/colour scheme/font and typography etc.) Then, work out the connotations of each of those and which will help you answer the question. 

Magazines

• CSPs: Tatler & Heat
• Magazines index here  
• You can find the original lesson slides here in our GCSE lesson slides folder on Google Drive.

Advertising & Marketing 

• CSPs: OMO, Galaxy Audrey Hepburn Chauffeur advert, NHS Represent campaign
• Advertising index here
• You can find the original lesson slides here. 

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Section B: Media Industries and Audiences

Note: It's important to remember that either Newspapers or OSP / Videogames can come up in Paper 1. Whichever comes up in Paper 1 usually means the other topic will come up in Paper 2 so we'll be watching carefully. 

Music Video

• CSPs: BLACKPINK: How You Like That and Arctic Monkeys: I Bet You Look Good On The Dancefloor
• Music Video index is here
• You can find the Music Video lesson slides here.

Radio

• CSPs: Launch of BBC Radio 1 Tony Blackburn show in 1967 and Kiss FM Breakfast show with Jordan and Perri
• Radio index is here
• You can find the Radio lesson slides here.

Film Industry

• CSPs: Black Widow & I, Daniel Blake
• Film Industry index here
• You can find the Film Industry lesson slides here.

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Exam: Media Paper 2

Media Paper 2 is on Tuesday 2nd June in the afternoon.

Section A: Television

Television

• Clip from CSPs: Doctor Who OR His Dark Materials - Google Drive folder with CSP videos here
• TV index to original blog tasks here 
• You can find the original lesson slides here 

Section B: Newspapers OR Online, Social and Participatory Media / Videogames

Two 20 mark essays on one of the following topics: 

Newspapers 

• CSPs: The Daily Mirror and The Times
• Newspapers index is here
• You can find the lesson slides here 

OSP

• CSPs: Kim Kardashian and Marcus Rashford
• OSP CSPs - Language and Representations
• OSP CSPs - Industries and Audience
• You can find all the lesson slides here.

Videogames

• CSPs: Lara Croft Go and Kim Kardashian Hollywood
• Lara Croft Go - blog notes here 
• Kim Kardashian Hollywood - blog notes here

Links and revision resources to help you

We have a range of resources to help you prepare for your final exams.

ZigZag practice papers and mark schemes

Use your paper copies of the ZigZag practice papers and mark schemes for Paper 1 and Paper 2. This is particularly good to prepare for the unusual or left-field questions that AQA like to put in their exams sometimes. Remember, if you know the terminology, the theories and the CSPs you can't go far wrong. 

If you don't have a copy of any practice papers then you can collect them from DF07.  

Exemplar questions and answers

You can find a document of exemplar questions and answers from previous years here. This google doc will be updated as we look at more questions and sample answers in revision lessons before the exams.

Media terminology glossary

You can find AQA's full subject glossary on their website here. Note that we won't have covered every word of this in lessons - there are too many terms and not enough time. Some of these have been covered in grade 8/9 blog extension tasks and others in additional notes on blogposts. 

Revision booklet - Google Slides

We have kindly put together a revision booklet on Google Slides. You need to open the link, make a copy and save it in your own Google Drive. Then you can fill in the boxes or simply use it as a base for your own revision or knowledge organisers.

CSP Knowledge Organisers

We also put together a brilliant set of Knowledge Organisers to revise the CSPs last year. Look through these and then create your own to test your knowledge!

Revision is the key

It's important that you really put the time into your revision to make sure you know these CSPs inside out. If you would like revision cards to revise with feel free to pop in to DF07 and I'll happily provide you with them for free - you need create revision cards for all the exam CSPs and also for media terminology and theory (e.g. Mise-en-scene, Reception theory, Uses & Gratifications theory etc.) Aim to have three separate categories of revision cards:

• Media terminology
• Media theory
• CSPs

To help, here's a short blog on what makes a good flashcard - always useful to get top tips on effective revision techniques.

Don't forget there are other great resources out there - for example, Mrs Fisher's YouTube channel is great for videos on CSPs, theories and terminology. Here's Mrs Fisher's playlist of AQA CSPs:

The better you know the terminology, theory and CSPs, the better you'll do in the final exams. Good luck!

March Mock Exams - Learner Response

Now that you've had your final mock papers back and we are in the final stretch before your real exams we can carry on your revision by analysing both mock papers and working out what we need to focus on. 

The most important aspect of any mock exam is making mistakes and learning from them. With this in mind, after completing this learner response on the mock exams we will take on an in-class Walk-and-Talk Paper 1 mock exam to put it all into practice and develop our exam timing and technique.

Mock Exams Learner Response: Blog Tasks

Today, we need to closely analyse our performance across both papers and identity specific ways we will improve for the real exams on Monday 18th May and Tuesday 2nd June. 

Complete the following learner response tasks in a new blogpost on your Media blog called 'March Mock Exams - Learner Response':

1) Write something you've learned from going through each of the two papers in class. 

2) Which paper did you do better in?

3) Why do you think you did better in that paper?

4) Focusing on Paper 1, write down three things you need to improve on before the real exams. This may be a particular section or type of question (e.g. unseen analysis, 20 mark essay) or a particular type of media or CSP (e.g. advertising or NHS Represent).

5) Now look at Paper 2. Write down three things you need to improve on for Paper 2 before the real exams. Again, this might be a topic, type of question or specific skill. 

Extension Task: Take some revision cards and start revising the six things you have identified above. 

The lesson will be a walkthrough of the exam papers so you may need to complete this learner response for your homework - due date on SatchelOne.

Videogames CSP 2: BLACKPINK The Game

Our final Videogames Close-Study Product is another phone/tablet game: BLACKPINK The Game. This is our last CSP - well done on getting to the end of a LOT of content!

Again, this is an in-depth topic so we need to make sure we have studied this product across media language, audience, industry and representation. However, we have already studied BLACKPINK through our Music Video unit so this will build on that work nicely.

You can find the work we've done on BLACKPINK already here:

• Music Video: BLACKPINK - How You Like That

BLACKPINK: The Game: Notes

Language

Gameplay

The gameplay for BLACKPINK The Game is explained in detail in the app store or Google Play store:

A whole new journey with BLACKPINK

Become BLACKPINK's producer and manage your own agency, solve puzzles to clear schedules for BLACKPINK. Customize your members with stunning outfits and play mini-games with your friends in BLACKPINK WORLD.

MANAGEMENT

- Become a producer and run the management of BLACKPINK!

- Level up your own BLACKPINK members through various training departments of vocal, dance, acting and more!

SCHEDULE

- Collect/level up/upgrade exclusive photo & videocards of BLACKPINK!

- A whole new type of puzzle game where you destroy blocks in one stroke!

BLACKPINK WORLD

- Play real-time mini games with friends in BLACKPINK WORLD!

- A space where you can meet new friends in real-time!

AVATARS

- Play in adorable 3D version of the BLACKPINK members.

- Get various outfits to dress up your own BLACKPINK!

- Choose from a diverse collection of 1,000 outfits to show off each BLACKPINK member's style!

Game trailer:



Gameplay example:

BLACKPINK The Game - Narrative and objectives

The aim of BLACKPINK: The Game is to take on the role of the group’s main producer in an "alternate reality" to manage and debut the band members. As you play, you interact with CGI "chibi" versions of the band members, managing their hectic schedules and building various departments, such as recording studios and training rooms, to develop their careers. As you progress, you collect "Photocards" and complete Tetris-style puzzle missions that allow you to level up the members' stats and unlock exclusive content. Your success is determined by your ability to efficiently manage resources and clear puzzle levels to enhance the group's global status. The goal of BLACKPINK: The Game is to build the ultimate K-pop agency and foster a close relationship with the band by clearing "schedules," customizing their styles in "BLACKPINK World," and engaging in social interactions to turn the group into world-class icons.

Characters

The characters in BLACKPINK: The Game are a mixture of real-world global icons and fictional support figures that guide you through the "alternate reality" storyline. Unlike randomly generated NPCs, the central characters are fixed and essential to your progress as a producer.

The Band Members (JISOO, JENNIE, ROSÉ, and LISA): These are the core VIP characters. While they appear as stylised "chibi" CGI avatars, they are based on the real-life members of BLACKPINK. You do not play as them; instead, you manage their schedules, coordinate their training, and dress them in the "Blackpink World" social space.

Support Characters (NPCs): As you build your agency, you interact with fictional characters who serve as guides, such as Blinky the Cat, who provides tutorials and navigation through the game’s various departments.

Social Avatars: In the "Blackpink World" area, you encounter other fans who present as band members. These serve as a community for networking and interaction rather than obstacles to your journey.

In your pursuit of building a world-class agency, the band members act as your partners. Your goal is to collect their "Photocards" and manage their careers to ensure their successful debut and continued stardom, rather than competing against rival A-Listers.

Settings

The settings in BLACKPINK: The Game are a blend of functional business environments and vibrant, social "alternate reality" spaces. Unlike the photorealistic or gritty locations found in traditional console games, these settings use a high-key, "chibi" aesthetic dominated by the brand's signature pink and black colour palette.

The Management Agency: This is the primary functional setting where you act as the producer. It consists of various customisable departments that you must build and upgrade, including Recording Studios, Training Rooms, and Office Spaces. These locations are essential for the "management sim" aspect of the game.

The Schedule Stages: These are the backdrops for the puzzle-based missions. They represent the "work" life of the band, featuring stylised versions of music video sets, concert stages, and rehearsal spaces where players clear "bricks" to complete the group's professional tasks.

BLACKPINK World: This is the game's expansive social hub. It is an open, online space where players' custom avatars can walk around, interact with other fans globally, and visit the Style Shop. It serves as a digital community space that mimics a colourful, urban "fan-land."

The Concert Hall: A specific high-status setting used for major milestones and the "The Girls" music video content, reinforcing the group's identity as global superstars.

In your journey as a producer, these settings serve as the stage for your success. You move between the "behind-the-scenes" business world of the agency and the public, social world of the fans, with the ultimate goal of expanding your agency's reach across all these digital locations.

Narrative: Special Events

Special Stage Events: These often coincide with new photocard themes, such as "BACK TO RETRO SPECIAL," "Lovely Valentine Special," "Christmas Special," and "MOON FESTA".

Bingo & Puzzle Events: Players can participate in Bingo Seasons (e.g., Bingo Event Season 3) to complete daily missions and earn rewards, or join special puzzle events like "BLACKPINK’S NEW YEAR GREETING".

Anniversary Events: The game hosts dedicated events for its anniversary, including "1 Year Anniversary Special Photocards" and unique gameplay modes like "Bomb Mode".

Seasonal Themes & Attendance Passes: The main lobby often changes to match seasons (e.g., Summer Beach theme, Winter/Christmas theme), accompanied by 28-day attendance passes that provide free gifts.

Board & Schedule Events: Special board games allow players to win exclusive rewards like Special Motions, Stardust, and Event Tickets.

These events are regularly updated to keep the experience fresh for players managing the group's schedules and acting as their producer. 

Representations

There are some key questions we need to consider regarding representation in BLACKPINK: The Game:

• How are women represented?
• How is celebrity represented?
• How is race/ethnicity represented?

BLACKPINK: The Game contains quite poignant representations of women, celebrity and race/ethnicity.

It has been criticised due to Avatars often portraying unrealistic stereotypes for women, featuring identical body types with small waists and hourglass figures. Similarly, the game presents a positive, idealised version of fame. It builds a para-social relationship by making the player "responsible" for the girls' success and allowing "direct" messages from the band members.

Audience

BLACKPINK: The Game was incredibly popular. It was been  downloaded over 4.4 million times and generated $1.9 million plus.

Why do audiences like it?

One way of understanding why audiences choose certain media texts is Blumler & Katz's Uses and Gratification Theory.

Uses and Gratification Theory states that audiences consume media products/texts for at least one of the following reasons:

1. Diversion, escapism or entertainment – escaping from normal life.
2. Personal relationships – fulfils their need for companionship. This is particularly true of social media products, online gaming and online communities. It can also apply to audiences developing an affection for certain stars or characters.  
3. Personal identity - seeing your own lifestyle, interests or ambitions reflected in a media product; reinforcing your own identity.
4. Surveillance – using media to find out about the world around them.

Which of these apply to BLACKPINK: The Game?

Industries

BLACKPINK: The Game was developed by TakeOne Company, experts in content convergence. It was released in May 2024 and was marketed heavily using the BLACKPINK brand.

With social media promotion, the game quickly shot up the download lists and iTunes app store charts.

Media Convergence

The game design means that there is a great deal of media convergence.  Media convergence is the merging of different media texts. How does BLACKPINK: The Game involve media convergence?

The game is a prime example of synergy; it launched alongside a new single (The Girls) written specifically for the game, with a music video featuring the game's avatars.

Marketing and promotion

Look at these social media posts related to the games release:

Freemium Model: BLACKPINK: The Game

The game is free to download but makes huge amounts of money from in-app purchases and subscriptions. Players can use in-game currency or paid currency to obtain 5-star cards for better performance. The game includes options to buy "World Tickets" and other resources to speed up progress or purchase items for member styling. Over 1,000 outfits are available, with some being exclusive or requiring currency to obtain.

BLACKPINK: The Game CSP - Blog Tasks

Create a blogpost called 'BLACKPINK: The Game CSP' and complete all the following questions under the subheadings Language, Representation, Industries and Audience.

Language

1. What is the primary objective for the player in Blackpink: The Game?

2. What is an "Alternate Reality" narrative? How is this used to frame the storyline of the game?

3. Where is the game set? Identify at least two different types of locations the player interacts with.

4. What is the difference between the playable characters and the NPCs (Non-Playable Characters) like "Blinky"?

5. What specific activities and mini-games does the player perform to progress the band’s career?

Representations

1. What representations of women and femininity can be found in the avatars in BLACKPINK: The Game?

2. How does the game represent K-pop celebrity culture and the "idol" lifestyle to its audience?

3. How does the game reinforce or subvert traditional gender stereotypes through its character design and gameplay mechanics?

4. What does the game suggest about modern perceptions of fame and the importance of a "para-social" relationship between stars and fans?

5. How might a critic or a media student challenge the representations of body image or beauty standards presented in the game?

Audience

1. Who is the primary target audience for BLACKPINK: The Game? Identify at least two different groups of players the game appeals to.

2. What are "Blinks," and how does the game use brand loyalty to attract and retain its players?

3. Using Blumler & Katz’s Uses and Gratifications theory, what "pleasures" or "gratifications" does the game offer to its audience?

4. How does the "BLACKPINK World" social space encourage audience interaction and a sense of community?

5. How has the marketing for BLACKPINK: The Game (e.g., YouTube trailers and social media teasers) been designed to reach a global digital audience?

Industries

1. How much does BLACKPINK: The Game cost to download, and how does this reflect the "freemium" business model?

2. In what ways does the game make money? Identify at least three different types of in-game currency or micro-transactions (e.g., Pink Diamonds, World Tickets).

3. What role do "Gacha" (Gambling) mechanics and randomised rewards play in the game’s monetisation strategy?

4. How was BLACKPINK: The Game marketed and promoted to a global audience (e.g., social media "teasing," App Store screenshots, and YouTube trailers)?

5. How does BLACKPINK: The Game use media convergence and synergy to cross-promote the game alongside the band's music, such as the release of the exclusive single The Girls?

Grade 8/9 Extension Tasks: Reading and Response

Read this Korea Times article on the release of BLACKPINK: The Game Why do media scholars believe it is important to study BLACKPINK: The Game as more than just a promotional tool for the band?

Read this article on TakeOne's fortunate role in the release of BLACKPINK: The Game. How does the collaboration between TakeOne Company and YG Entertainment demonstrate the power of 'Brand Extension' in the modern media landscape?

Read this article on a Pop Up ran by the brand MINISO based on BLACKPINK: The Game. How does the MINISO x Blackpink: The Game pop-up in Indonesia demonstrate the shift toward 'experiential' marketing and global IP (Intellectual Property) synergy?

Complete for homework: due date on SatchelOne.

Videogames CSP 1: Lara Croft Go

Our first videogames CSP is phone/tablet game Lara Croft Go.

This is an in-depth topic so we need to make sure we have studied this product across media language, audience, industry and representation.

Lara Croft Go: Notes

Lara Croft: History

Lara Croft first appeared in 1996 Eidos Playstation game Tomb Raider and was the first computer game to feature a female character as the protagonist rather than a supporting role or a secondary character.

The narrative of Tomb Raider was influenced by Indiana Jones and featured the daughter of a Lord (later a famous archaeologist), called Lara Croft on various missions through settings such as jungles, tombs and jungles. The genre is action-adventure and involves many conventions of this genre such as fighting villains using weaponry.

Evolution of Tomb Raider:




Lara Croft: Beyond a videogame character

Lara Croft has featured in films (the first starring Angelina Jolie; 2018 version rebooted the character). She has appeared on magazine covers more times than any supermodel.

There have been advertising tie-ins, merchandise, comic books and  spin-offs featuring the character. The franchise has had numerous incarnations before Lara Croft Go in 2015. 

Lara Croft has been credited with bringing success on the Play Station for the games’ creators (selling 7 million copies world wide) and launching the female protagonist in games. She has also been widely thought of as a sex symbol. 

Lara Croft Go 

Lara Croft Go explores the ruins of an ancient civilization in the Amazon Jungle while fighting menacing enemies, overcome dangerous obstacles and traps, and ultimately, uncover the myth of the Queen of Venom.  There is no specific timescale – but is modern-day in Lara’s weaponry.

This concept of action adventure exploring and uncovering relics from ancient civilisations is not new and there is some intertextuality here with the Indiana Jones movies, original Tomb Raider games, Tomb Raider films and more.

Watch this online review of Lara Croft Go:



What are the features of the Lara Croft Go game?

In many ways, there are traditional Action Adventure elements to this game (she moves, she shoots, she avoids hazards).  However, this game is a ‘turn-based puzzle’ which involves by-passing enemies and unlocking paths in a sequential manner which suits the ‘short timespan’ that people can sometimes commit to mobile gaming. It faithfully preserves element of original Tomb Raider game and brings the original adventure up to date. 

The game also involves collecting items that unlock special powers and tools that help your progress through the game.  On the image to the left you can see many of the opponents that Lara comes across (Lizards, Snakes, Spiders) and some of the collectables. There are not many different enemies as memory is key.  

The three-act narrative structure proceeds from an orientation stage through various complications and blockages to a simple resolution.

Evolution of the character of Lara Croft

• Lara is depicted as athletic with brown eyes and hair, frequently tied back in a plait or ponytail.
• Her costume is usually a blue tank top, light brown shorts, calf high boots and long socks. 
• Accessories / Props include gloves, a backpack, a utility belt with holsters and two pistols. 
• Her original back story was that she was the daughter of an aristocrat who had a plane crash in the Himalayas, causing her to re-evaluate her life and seek adventure, leading her to become a thief and mercenary, living outside the law. The second era changed the narrative to her father being an archaeologist and her wanting to discover the reason for her mother’s disappearance. A third era focused more on both her parents being archaeologists and her mother disappearing and her father dying.
• All three narratives feature her transition from a vulnerable girl to an independent, fierce adventurer (hero).
• Most stories feature her being stranded on a mysterious, far away island although the location of this changes. 

Representations

Does Lara Croft reinforce female stereotypes in the media?

Yes (reinforces traditional stereotype):

• Object of sexual desire. Her body features were particularly exaggerated in early versions of games.
• Scantily-clad designed for male audience. Would a male character be designed like this?  
• Is Lara Croft is designed to be attractive to the male audience as she basically acquires all the features that some men would describe as perfect.

 No (subverts female stereotype):

• She is an action hero – traditionally a male stereotype in gaming.
• She is empowered female heroine – rare in gaming industry at the time.  “The heroine, Lara Croft, is an intelligent, butt-kicking, gun-wielding, sexpot, ready to take on whatever comes her way.” Katherine Walker, Portrayal of Women in Media (Video Games)

This video from Feminist Frequency (videogame blogger Anita Sarkeesian) highlights the way male and female characters are constructed in videogames:

 

Industries

We need to learn about two distinct areas for the industries key concept:

• Videogame regulation
• The companies/franchises behind the game

Regulation: PEGI

PEGI stands for Pan European Game Information and is a European video game rating system established to help consumers make informed decisions when buying video games or apps through the use of age recommendations and content descriptors.


PEGI was set up by the ISFE* – an independent group that represents European software companies. Important: this is an example of self-regulation, not government.

Lara Croft Go: Companies and franchises

Lara Croft Go is the combination of two successful franchises – Lara Croft Tomb Raider and the Hitman Go mobile game.

Tomb Raider is a media franchise that originated with an action-adventure video game series created by British gaming company Core Design. Formerly owned by Eidos Interactive, it is now controlled by Square Enix after their acquisition of Eidos in 2009. 

Square Enix developed Hitman Go in 2014 based on the successful Hitman game franchise.

Audience

We need to think about the following for the audience key concept:

• Audience pleasures
• Target audience for Lara Croft Go – and whether videogame audiences are changing

What is the appeal of Lara Croft Go?

“Acrobatics and platforming are key features of a Tomb Raider adventure, and we quickly realized that Lara had to be fully animated. Our animator did an amazing job of quickly producing a first batch of short animations for Lara, and immediately everything felt better. Again, we looked back at Lara’s classic animations from the first Tomb Raider and they fit right in with our turn-based game.”

– Square Enix

Audience pleasures: Blumler and Katz Uses and Gratifications Theory

Remember that audiences consume media products for a variety of reasons (from Blumler and Katz: Uses and Gratification Theory)

1. The need to be INFORMED and EDUCATED about the world in which we live (Surveillance) 
2. The need to IDENTIFY personally with characters and situations in order to learn more about themselves (Personal Identity)
3. The need to be ENTERTAINED (Diversion) and escape daily life. 
4. The need for SOCIAL INTERACTION (Personal Relationships)

Which of these apply to Lara Croft Go?

Target Audience

Who is the target audience for Tomb Raider / Lara Croft games?  They fall into various groups and may be a mixture of all three:

1. Those interested in the quality of the innovative gameplay.
2. Those with brand loyalty to the Hitman Go series.
3. Those with brand loyalty based on the feminine empowerment displayed.
4. Those with brand loyalty based on nostalgia or even the sexualisation of Lara Croft (especially if they played older Croft games when at a formative age)

Videogames: Lara Croft Go blog tasks

Create a blogpost called 'Lara Croft Go CSP Blog Tasks' and complete all the following questions under the subheadings Language, Representation, Industries and Audience. 

Language

1) When did Lara Croft first appear in a videogame?

2) What classic films influenced the creation of Lara Croft and the Tomb Raider games?

3) How has Lara Croft and Tomb Raider moved beyond just being a videogame?

4) What devices can you play Lara Croft Go on?

5) What type of game is Lara Croft Go?

6) How does Lara Croft Go use narrative (storyline) to make the game enjoyable for the audience?

7) What iconography can be found in Lara Croft Go? How does this help communicate the genre of the game? Think about mise-en-scene and setting here.

8) What other characters or enemies feature in the game?

9) What is the setting for Lara Croft Go? How does this compare to previous Lara Croft or Tomb Raider games?

10) Read this BBC article on the history of Lara Croft and Tomb Raider. How has the character of Lara Croft evolved over the last 25 years?

Representations

1) How are women usually represented in videogames?

2) How does the character of Lara Croft reinforce female stereotypes in the media?

3) How does the character of Lara Croft subvert female stereotypes in the media?

4) Why do some people believe the videogames industry is sexist and needs to change?

5) Do you think Lara Croft is an empowering feminist icon or just another objectified woman designed to appeal to male gamers?

Industries

1) What does PEGI stand for?

2) What is PEGI's job?

3) Which company created Lara Croft Go?

4) What two popular videogame franchises were combined to create Lara Croft Go?

5) What else is part of the Lara Croft/Tomb Raider franchise?

Audience

1) Why might an audience enjoy playing Lara Croft Go?

2) Where and when might an audience play a game like Lara Croft Go? Think about the device it is played on and the times of the day someone might want to play the game.

3) How did Square Enix design Lara Croft to make it appealing to an audience?

4) Which of Blumler and Katz's Uses and Gratifications theory might apply to Lara Croft Go?

5) Who is the target audience for Lara Croft Go? How does brand loyalty contribute to this target audience?

Exam practice optional extension task:

“Videogames are increasingly played and enjoyed by a wider and more diverse audience." 

Does your study of Lara Croft Go support this view?

Write a detailed three-paragraph answer to this question using the information you have learned in this case study.

Grade 8/9 extension tasks

Language
1) Watch some Lara Croft Go gameplay online or, even better, play the game yourself. How is the game constructed to attract and maintain the engagement of an audience?

2) How is narrative, character, iconography and setting used to create intertextuality? (Links to other genres and media texts)

Representations
1) Read this NME feature on the history of the Lara Croft character. Do you agree that she is now a 'feminist icon' rather than a 'trapezoid-boobed pinup'? What do these terms mean?

2) Have later versions of the Tomb Raider/Lara Croft franchise featured a less-sexualised version of the character? Does this suggest society is changing in its attitude towards women?

Industries
1) Why do videogame producers prefer the self-regulation of PEGI to government regulation? Why is videogame regulation increasingly important in the 21st century?

2) Watch the full lecture embedded above: Distilling a franchise - the making of Lara Croft Go. How did the designers make conscious decisions based on previous franchises to create a successful game?

Audience
1) How has the marketing of Lara Croft/Tomb Raider franchise changed over the last 20 years and how might an audience respond to this? Think about reception theory - preferred and oppositional readings. 

2) Does Lara Croft Go target a female audience? Why do you think female gamers dominate the phone/tablet market?

There is a lot of work here - so please ensure that you give yourself enough time to complete this full. Due date on SatchelOne.