Thursday, 28 November 2019

OSP & Videogames case study 3: Zoella

Our final Close Study Product for Online, Social,  Participatory media and Videogames is the YouTube sensation Zoella.

This is another in-depth CSP so we need to make sure we have studied this text across media language, audience, industry and representation. Unfortunately, due to exams we don't have a huge amount of lesson time to work on this CSP so you will need to do some important work at home on the case study tasks below.


Zoella: notes

Language

GLOW: Key words

Blog: A regularly updated website usually from an individual, written in an informal style. 
Vlog: An online blog using videos.
Convergence: When two or more media forms meet in one e.g Zoella’s website where you can buy her book, read her Twitter feed, see her Instagram photos and buy her beauty products. 
Online dialogue: Communication online e.g between a celebrity and a fan. 
Endorsement: When a celebrity or influential figure recommends something to the public. 


Meet Zoella

Zoella (born 1990), real name Zoe Sugg, started a fashion, beauty and vlog on YouTube in 2009 called ‘Zoella’. Her online profile has grown hugely since 2009:
  • 11.6 million subscribers on YouTube [November 2019]
  • 10 million followers on Instagram [November 2019]
  • 2.5 million likes on Facebook [November 2019]
  • Over 1 billion total views
Her profile has grown from YouTube to a range of social media channels. 

Her success has led her to branch into a range of other forms of merchandising and she has significant influence on her target audience.


She [and other vloggers] symbolise how creative use of technology can create a new generation of self-made online celebrities. She also is a good case study in how celebrities  can participate in online dialogue with their audiences and collaborate with other YouTube content providers. Zoella is considered a digital influencer in the modern media landscape.

Activity: check out her YouTube channel here.


Zoella: background and history

 




Who is Zoella and what does she do?
  • Fashion, beauty hauls and ‘favourites’ other videos, showcasing her favourite products from the previous month. These are mostly beauty or fashion picks.  
  • Second channel MoreZoella, contains mostly vlogs where she talks viewers through her day. 
  • Appears on channel Daily Mix with other Youtubers and does collaborations for their channels. 
  • Launched a range of beauty products under the brand name Zoella Beauty in 2014. The ‘bath and beauty range’ was very successful. 
  • In 2016 Zoella and her brother (Youtuber Joe) released branded merchandise under the name ‘Sugg Life’ which is a play on ‘Thug Life’ (popularised by 90s rap and a recent meme on the internet)
  • Her debut novel, Girl Online, was released in November 2014 and broke the record for highest first ever book sales for a first time novelist. The book is aimed at a young adult audience and features a 15 year old anonymous blogger whose blog goes viral. She has published two more novels and a non-fiction book giving advice on entertaining guests and hosting parties.
  • Convergence: She is dating Youtube star Alfie Deyes and announced their relationship on a public blog post in 2013. Her younger brother, Joe Sugg, is also a vlogger and internet personality known as ThatcherJoe. She was featured in the 2014 single for ‘Do They Know It’s Christmas?’ raising money to help the West Africans combat Ebola. She has appeared on adverts and on television panel shows such as Loose Women and This Morning. She was also on the comic relief edition of The Great British Bake Off. 
  • The Telegraph cited Zoella as one of ‘Britain’s most influential Tweeters’ in 2013.


Vlogging: codes and conventions

Reminder: Codes and conventions are established practices that tend to underpin different media products. Zoella uses a range of range of codes and conventions.  These tend to focus on:
  • A Vlog name which gives information about what it contains. 
  • A question that underpins post.
  • Quirky music.
  • Writing on the screen.
  • Speaker central to the screen and speaks directly to the camera.
  • Some props to keep video engaging.
  • Lots of cuts (jump cuts – where the camera position is the same).
  • Different angles and shots for variety. 
  • Personal – this builds connection and trust with audience.
  • Often conversational and informal in tone.
  • Makes the start as compelling as possible: the hook.

Industries

How does Zoella make money?

It has been calculated that in 2014, Zoella earned £443.41 per hour.  How does she make this money through a YouTube channel?
  1. YouTube pre-roll adverts: YouTube vloggers make ‘on average $0.001 per view.’ – and with Zoe’s channels averaging 22 million video views a month that works out a £15,000 monthly cheque. 
  2. Blog: Away from Youtube, Zoella.co.uk the written blog then pulls in 7.4 million unique views a month, which generates an estimated £4,000 a month from ads too.
  3. Product Placement: Many companies want Zoella to showcase and promote their products and she can demand up to £20,000 when she does this in her videos.
  4. Beauty range: Zoella has launched her own beauty range sold through Superdrug. She managed to sell a record breaking 70,000 units in its first month alone.  With the average price of one of the products being £6.50, that works out an estimated £455,000 in sales. It is unknown how much of a cut Zoe sees of that amount.  In the following four months since Superdrug released these stats, it’s estimated the range has gone on to sell a further 150,000 units resulting in an additional £975,000 of sales. This has been an excellent way for Superdrug to reach their target teenage audience. 
  5. Books: Zoella’s ‘Girl Online’ book series racked up £2 million in sales so far by February 2015, which Zoe will presumably receive a percentage of.  If this wasn’t staggering enough, Zoe was also paid a whopping £100,000 advance before it even hit the shelves.
  6. Vlog Tour: linking with other popular Vloggers, tours around the UK [including more expensive VIP packages to meet the celebs] generate substantial income.

Industry collaborations

Zoella has established regular online collaborations with other popular YouTubers to produce new, popular content and to increase audience figures.  

Collaborations playlist: view Zoella's YouTube collaborations here.

Digital influencers and traditional media

We are increasingly seeing Zoella (and others) becoming more convergent with these traditional media. As Zoella has become more successful, she has made more appearances in traditional media such as TV, newspapers and magazines:




Audience

Zoella: teenage target audience

Think about Zoella's target audience and how she uses media language choices to attract that particular demographic. What would her specific target audience be:
  • Gender?
  • Age range?
  • Psychographics?

Zoella: audience pleasures

Applying Blumler and Katz's Uses and Gratifications theory, Zoella offers her target audience a range of audience pleasures. Her relaxed, informal videos offer a sense of entertainment and escapism to teenagers who also feel a sense of personal identity in seeing their own lifestyles and interests reflected in her vlogs. Over time, audiences build a personal relationship with Zoella and want to follow updates from her life. She also provides information and learning through make-up tips, 'life-hacks' and more.

Zoella - love her or hate her?

Applying Stuart Hall's Reception theory, Zoella's ‘dominant reading’ is as a down-to-earth girl that the audience can relate to and align themselves with. However, she is so well known that some people will take an oppositional reading of her work. Indeed, she has been criticised for some of her decisions and videos. 

Zoella: criticisms
  • In 2014 Sugg was criticised for filming whilst driving her car. 
  • In 2017 there was negative publicity surrounding the release of her 12-door advent calendar for which she was charging £50. The calendar was criticised for being ‘over-priced’ and ‘poor quality’, containing some items such as a small packet of confetti. 
  • In 2017, she had to issue an apology after controversy emerged when people brought up social media posts she had made between 2009-2012 mocking gay people and ‘chavs’. She apologised and said that she had not intended to offend anyone. 
  • Vloggers in general have been criticised for making up to £20,000 a month through being paid to promote certain products and therefore influencing young people. 
  • Personally, Zoella has been criticised for being a poor role model for girls, suggesting that her message is that being pretty and feminine and interested in looks is important. 
  • It has been suggested that she used a ‘ghost writer’ for her novel but this has not been officially confirmed. This book has been criticised by UK newspapers for ‘not being challenging enough’.


Representations

Zoella raises many interesting questions regarding how she constructs her representation in the media. How does Zoella represent herself? Is this the real Zoella or merely a media construction of herself designed to sell products?

What representation of celebrity does she provide? Is a self-made YouTube celebrity more authentic or positive than a traditional music or TV star?

Does Zoella provide a positive or negative representation of women?
  • Zoella was listed as one of The Telegraph’s ‘40 best beauty bloggers’ in 2014 and ‘Queen of the Haul’ by British Vogue. 
  • She was included in the 2015 Debrett’s 50, listing the most influential people in Britain. 
  • In 2015 she was named ‘Most Inspirational Woman of the Decade’ in technology by Grazia. 
BUT... 
  • She was also named the 34th Sexiest Woman in the world by FHM magazine.
  • She has included more ‘adult’ themed photos on her Instagram and been criticised (see above) since her target fan base are pre-teen and early teenage girls. 


Online, social and participatory case study 3: Zoella blog tasks

Create a blogpost called 'Zoella CSP case study' and complete all the following questions under the subheadings Language, Representation, Industries and Audience.

Language

Read this Marie Clare article on Zoella as an online phenomenon.

1) Who is Zoella and why is she famous? How many subscribers does Zoella's YouTube channel have currently?

2) What is convergence?

3) What are Zoella's videos about? Find five video titles and write them here:

4) What are the codes and conventions of vlogging videos?

5) How does Zoella use media language choices to create her online identity? Write about Zoella's use of mise-en-scene (CLAMPS) - particularly costume and make-up.


Industries

1) How does Zoella make money? (You might want to read this Heatworld feature for more on this.)

2) What is a digital influencer? Why is Zoella considered a digital influencer?

3) Why do companies want to place their products in Zoella's videos?

4) Why are YouTube collaborations so important for helping digital influencers like Zoella to grow?

5) How has Zoella moved into a more traditional media landscape in recent years?


Audience

1) Who is the target audience for Zoella's channel?

2) How are audiences encouraged to participate in or feel part of Zoella's brand? 

3) What audience pleasures are provided by Zoella's videos and associated products?

4) Applying Stuart Hall's Reception theory, what would a preferred and oppositional reading of Zoella?

Preferred (people who love Zoella):
Oppositional (people who hate Zoella):

5) Why has Zoella been criticised by some people?


Representations

Read this Independent article arguing Zoella is a bad role model for young women.

Next, read this Independent article arguing the opposite

1) What is your opinion on this debate - is Zoella a positive role model for young women?

2) What representations of women are provided by Zoella?

3) What representations of celebrity are provided by Zoella? Is a self-made YouTube celebrity more authentic or positive than a traditional music or TV star?

4) How does Zoella represent herself? Is this the real Zoe Suggs or a media construction designed to sell products?

5) What criticisms could be levelled at the representation of Zoella? 


Grade 8/9 extension tasks: reading and response

To give you up-to-date information on Zoella, read this HITC feature on what Zoella has done recently after scaling back her YouTube videos.

Read this critical article on The Tab Calling time on Zoella. What criticisms are levelled at Zoella in this article? Do you agree with the writer's argument?

Read this excellent New Statesman feature on the moral aspect of how influencers like Zoella make money.


There is a lot of work here but you will have lesson time and a fair deadline. Due date: Thursday 12 December.

Monday, 18 November 2019

Videogames case study 2: Kim Kardashian Hollywood

Our second videogames, online and participatory media Close-Study Product is another phone/tablet game: Kim Kardashian Hollywood.

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. 

Kim Kardashian Hollywood: notes

Language

Gameplay

The gameplay for Kim Kardashian: Hollywood is explained in detail in the app store or Google Play store:
Join KIM KARDASHIAN on a red carpet adventure in Kim Kardashian: Hollywood! Create your own aspiring celebrity and rise to fame and fortune! 
CREATE YOUR OWN STAR and customize your look with hundreds of style options, including Kim Kardashian’s personal picks!
⋆ STAR in a huge interactive adventure as you encounter other celebs, dedicated fans, persistent paparazzi… and even hang out with Kim herself!
⋆ RULE THE RED CARPET as an A-list movie actor, cover model, fashion designer and more – what you do is up to you!
⋆ TAKE OVER L.A. in a virtual world complete with exclusive clubs, upscale boutiques, and luxury homes! Travel to New York City and Miami!
⋆ DATE AND DUMP CELEBS at the best parties and hottest clubs! Flirt and become the next huge celebrity power-couple!
⋆ BRING YOUR FRIENDS ALONG FOR THE RIDE using Game Center and Facebook – help each other rise to fame, compare styles, send gifts, and see who can be the biggest star!
Game trailer:



Gameplay example:



Kim Kardashian: Hollywood - Narrative and objectives

The aim of Kim Kardashian Hollywood is to work your way  up the celebrity scale from Z-List to A-List.  As you play you will interact with a range of real and fictional characters in the United States and around many of the world’s most glamourous and famous locations.  As you progress, there are collectibles and missions that will allow you to develop the status of your customisable character. Your ranking is determined by your position on the Top Stars list in Hollywood. They are sorted into six different lists, Unlisted being the lowest rank to the A-list being the highest rank. You rise up in ranks by gaining fans. The goal of Kim Kardashian: Hollywood is to gain as many fans as possible by doing well on projects, getting attention from Starnews, and dating to get to the A-list.

Characters

Characters are NPCs (Non-Playable Characters) that appear in goals or locations and the storyline as you progress in Kim Kardashian: Hollywood. These exclude NPCs you meet in the game that you can date or network with. These types of contacts are randomly generated according to each individual game.

The characters in Kim Kardashian Hollywood are a mixture of real VIP characters and fictional characters. There are 100s – you can see a few opposite.

In your pursuit of celebrity some of the fictional characters work with you and some actively try to ruin your journey by beating you to A-List.

Settings

There are a range of locations in the game that try to mirror the stereotype of the celebrity lifestyle of an A-lister:



Narrative: special events

Special Events are temporary goal arcs that are available only during Weekend Events in the game. By completing them, players can not only earn Cash Cash, XP XP, Energy Energy and Star Stars, but also Special Event stars.  These regularly happen and keep the game fresh.  It also means established players keep coming back to the game to see what the latest updated events are.

By collecting Special Event stars, players can unlock exclusive rewards and Kustomize items. The Kustomize screen, also known as your wardrobe, is the screen where you can customize your character to your liking. You can purchase tops, dresses, pants, skirts, shoes, hairstyles, facial features, nail colours and fashion accessories like bags, jewellery, and tattoos.

You can change your look whenever you like. The game encourages players to "keep on top of current fashion to maximise your fans!"




Audience

Kim Kardashian: Hollywood is incredibly popular. It has been  downloaded over 50 million times and generated $200 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 Kim Kardashian: Hollywood?

Watch this video of Buzzfeed staff trying to play the game:






Representation

There are some key questions we need to consider regarding representation in Kim Kardashian: Hollywood:
  • How are women represented?
  • How is celebrity represented?
  • How is race/ethnicity represented?
Kim Kardashian: Hollywood contains quite controversial representations of women, celebrity and race/ethnicity.

It has been criticised for offering a representation of women focusing on appearance, modelling and dating as a way to be successful. Similarly, celebrity is represented as something to aspire to even without an obvious talent or ability.

On a more positive note, the game has been praised for its representation of race, ethnicity and sexuality – with the game offering a diverse range of characters.


Industries

Kim Kardashian: Hollywood was developed by Glu Mobile, a highly successful mobile game developer and publisher. It was released in June 2014 and was marketed heavily using the Kim Kardashian brand.

With social media promotion, the game quickly shot to the top of 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 Kim Kardashian Hollywood involve media convergence?

The game: TV Show and social media channels are referenced in game.  Player encouraged to engage online and gain bonus items for sharing on Facebook etc.

Social media: Game appears on Kim’s actual social media platforms. Also, need to tweet in game.

TV Show: Game appears on Keeping Up with the Kardashians episodes.  TV Show is also referenced in game.

Marketing and promotion

Watch this TV advert for the game:



Glu: monetising Kim Kardashian: Hollywood

The game is free to download but makes huge amounts of money from in-app purchases and subscriptions. Players need to buy energy to complete tasks (or wait 30 minutes for energy to replenish). They can also buy subscriptions:
  • Gold: 49.99 USD / month (or local equivalent)
  • Silver: 19.99 USD / month (or local equivalent)
  • Bronze: 4.99 USD / month (or local equivalent)
Small print

Due to the addictive nature of the game and the potential to spend huge amounts of money on in-app purchases, the developers place warnings in the app store before purchase:
PLEASE NOTE: - This game is free to play, but you can choose to pay real money for some extra items, which will charge your iTunes account. You can disable in-app purchasing by adjusting your device settings. - This game is not intended for children. - Please buy carefully. - Advertising appears in this game. - This game may permit users to interact with one another (e.g., chat rooms, player to player chat, messaging) depending on the availability of these features. Linking to social networking sites are not intended for persons in violation of the applicable rules of such social networking sites.

Videogames case study 2 - Kim Kardashian: Hollywood blog tasks

Create a blogpost called 'Kim Kardashian Hollywood CSP case study' and complete all the following questions under the subheadings Language, Representation, Industries and Audience.

Language

1) What is the objective when playing the Kim Kardashian: Hollywood game?

2) What is an A-list celebrity? Why is it important in Kim Kardashian: Hollywood?

3) How do you download the Kim Kardashian: Hollywood game?

4) What is the narrative or storyline of Kim Kardashian: Hollywood? Where is it set?

5) What characters can you play as? What characters appear in the game?


Audience

1) Who is the intended audience for the Kim Kardashian Hollywood game? Why do you think this?

2) What audience pleasures are provided by the game? Use Blumler & Katz's Uses and Gratifications theory.

3) Why is the game so addictive for audiences?

Read this article from Forbes on why the Kim Kardashian game is so successful. If the website is blocked in school, you can access the text of the article here.

4) Why does James Liu think Kim Kardashian: Hollywood is so successful?

5) What does James Liu suggest is the reason players keep coming back to the game?


Representations

1) What representations of women can be found in Kim Kardashian: Hollywood?

2) What representations of race, ethnicity or sexuality can be found in the game?

3) How does the game both reinforce and subvert stereotypes in the media?

4) What does the game suggest regarding modern perceptions of celebrity and how to get famous?

5) How might someone criticise the representation of celebrity in Kim Kardashian: Hollywood?


Industries

1) How much does Kim Kardashian: Hollywood cost?

2) How does the game make money?

3) What subscriptions are available to Kim Kardashian: Hollywood?

4) How was Kim Kardashian: Hollywood marketed and promoted?

5) How does Kim Kardashian: Hollywood use media convergence to cross-promote the game and the Kardashian brand?


Grade 8/9 extension tasks: reading and response

Read this Independent article on the Kardashians and celebrity culture. Why does the academic Dr Meredith Jones think the Kardashians are important to study?

Read this Stylecaster article on 5 things we learned playing Kim Kardashian: Hollywood. How does the game encourage players so spend real money on in-app purchases?

Read this article on Glu Mobile, the game developer behind Kim Kardashian: Hollywood. What does the article say about targeting female gamers and using celebrity to sell the game?

Read this Guardian article on a Kardashian controversy regarding promoting products on Instagram. Why do some people regard Kardashian as a "toxic influence"? 

There is a lot of work here but you will have plenty of time to do it.

Due date: Thursday 5 December.

Thursday, 7 November 2019

Videogames case study 1: Lara Croft Go

Our first videogames Close-Study Product 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. 

Representation

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)

Industry


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 case study 1: Lara Croft Go blog tasks

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


Language

1) Who is Lara Croft and when did she 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)?


7) What iconography can be found in Lara Croft Go? How does this help communicate the sub-genre of videogame?


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 20 years?  



Representation


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 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)

Representation
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 - you will need to spend 2-3 hours on this but you will be given plenty of time. Due date: Thursday 28 November.

Monday, 4 November 2019

OSP & Videogames: An introduction

Our new media topic is called Online, Social, Participatory media and Videogames - an in-depth area of study on new and digital media with three Close-Study Products.

Over the next half-term, we need to study the following CSPs:

Lara Croft GO
Kim Kardashian: Hollywood
Zoella (YouTube channel link - a quick video about Zoella's background is here)

We need to study these products using all four key concepts: Language, Industry, Audience and Representation. We will start with videogames as Lara Croft GO and Kim Kardashian: Hollywood are both good examples of the changing nature of the videogames industry.

A brief history of videogames: blog task



Watch the YouTube video outlining the history of the videogames industry from the 1970s to the 2010s. Now answer the following questions:

1) What were the first videogames like?

2) How have videogames changed over time?

3) What do the most successful games have in common? Answer this in as much detail as you can. Think about audience pleasures - what do people like about playing videogames?

4) What criticisms have been made towards videogames?

Read this Guardian feature from last year about the sensationally popular videogame Fortnite: Battle Royale and watch the original trailer below.




Now answer the following questions:

1) How many Fortnite players are there worldwide?

2) Why is it so popular? What are the audience pleasures of the game?

3) Why might some people criticise Fortnite?

4) Copy and paste two comments from 'below the line' of the Guardian article - these are comments written by Guardian readers in response to the feature. Select one comment you agree with and one you disagree with and explain why.

Extension task: read this news story reporting that Prince Harry has called for Fortnite to be banned. Why does the Prince think Fortnite producer Epic Games is irresponsible?

You will have lesson time to work on this but will need to complete for homework - due date confirmed by your Media teacher.