Friday 22 November 2013

Gaming Notes and Revision Materials

 The Games Industry Notes and Revision Handout

 

Section B: Institutions and Audiences

A study of the production, distribution and marketing of a specific game within one or across various gaming platforms, along with its reception by a variety of (British) audiences.
This should be accompanied by study of the impact of next generation capabilities (HD, Blu-Ray, online services etc) on the production, distribution, marketing and consumption of games.
Candidates should be prepared to understand and discuss the processes of production, distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions.
In addition, candidates should be familiar with:
1. The issues raised by media ownership in contemporary media practice;
2. The importance of cross media convergence and synergy in production, distribution and marketing;
3. The technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
4. The significance of proliferation in hardware and content for institutions and audiences;
5. The importance of technological convergence for institutions and audiences;
6. The issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
7. The ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.

Who owns the games industry?

The gaming industry is controlled by a handful of large corporations. This is known as an oligopoly. These corporations are Microsoft, Sony and, Nintendo. They have more money and power than all the other companies in the industry.
Smaller companies for example Rockstar (the company that made GTA IV and Red Dead Redemption) need to find ways of staying in business. It engineered the Rockstar Advanced Game Engine (RAGE).
This is a game engine developed in order to facilitate game development on the XBOX 360, Playstation 3, Microsoft Windows and Nintendo Wii systems.
It should act as a form of protection for the company as all ‘next-gen’ consoles will need this upgrade in order to play all future Rockstar releases.

What is the purpose of the games industry?

The answer obviously is to make money. These companies want consumers to 1) stay loyal to them and 2) use their platform for other things besides games and become home entertainment hubs.

1. They maintaining loyalty by:

  • Producing successful franchises ‘in house’. E.g. Nintendo’s Legend of Zelda.
  • Buying up companies that make successful games and ensuring all future releases of the franchise are made for their platform. E.g. Bungie was a studio that made Halo until Microsoft bought it.
  • “Sweet heart” deals e.g. Rockstar Games released exclusive episodic content for the Xbox 360 version of GTA IV. Microsoft paid Take-Two (the publisher) a total of £40 million for the first two episodes.
  • Incentives for gamers – E.g. the Rockstar Games Social Club is a web site that displays the gameplay statistics of registered users and features competitions and awards based on player activity within the game. Rockstar also rewards visitors to their PlayStation Home apartment with ‘goodies’ such as clothing for their avatar and items and decorations for their own PlayStation Home apartment. Also, X Box Live offers exclusive downloadable content
  • Holding back new technology so that people still buy current platforms and drip-feeding innovations into the market to ensure new must have features. Consoles have built in obsolescence.

Many households as a result of the above own more than one platform.

2. Home entertainment hubs besides play games allow users to:

  • Download games and expansion packs
  • Surf web
  • Watch Blu-ray DVDs
  • Download films and play films
  • Download and play music
  • Buy music in games - the developers of GTA IV originally considered letting players purchase music in virtual reality by allowing them to visit an in-game record shop.
  • Internet telephone
  • Instant messaging and chat
  • Store personal data like photographs
  • Shop (buy goods online)
This is known as technological convergence.
Console companies want you to replace your DVD player, PC, home phone, stereo system with their system. This will either put other companies who supply these out of business or force them to do deals with Microsoft, Sony or Nintendo.
It will also allow them to reach you easier and sell you new products and services. In the future, there will be less advertising on broadcast TV and more product placement on Xbox live and in games e.g. billboards in Gran Turismo.

How Games are Produced, Published, Distributed and Marketed

Production

In recent years the games industry has gone through a revolution. Game development in the 1980s used to be a ‘cottage industry’ i.e. a single programmer or a handful of programmers working alone producing games that were then bought by publishers such as Electronic Arts.
Now games are produced by hundreds of people working on different aspects of the game sometimes in different countries. Around 150 game developers alone worked on Grand Theft Auto IV.
Overall, Grand Theft Auto IV took over 1000 people and more than three and a half years to complete, with a total cost estimated at £80 million, making it the most expensive game ever developed.
Production companies are more like established film production companies nowadays e.g. Working Title (a company that has made 100s of films e.g. Hot Fuzz) with 100s of people involved in production.
Both films and production companies are called studios. Rockstar, the studio that created GTA IV has also funded films like The Football Factory (2004) and Sunday Driver (2005).
A typical present-day production team includes:
1. Artists who draw characters and settings before they are rendered on the computer
2. Designers who visually recreate the characters and levels on a computer.
3. Programmers who write the machine code to make all the visuals move.
4. Sound engineers (composers, for sound effects and voice acting)
5. Directors for the actors, cut scenes and camera angles.
6. Testers whose job it is to find bugs.
All these would be divided into project teams with its own manager.
Games can be developed by an independent production company or the development branch of a publisher or the development branch of a corporation that makes consoles.
Games now share many of the production techniques of films. Games use famous actors to voice characters e.g. Kiefer Sutherland in Call of Duty, Stephen Fry in Fable 2.
Famous musicians are commissioned to provide the sound tracks e.g. Hans Zimmer who composed the music for Gladiator also composed the music for Call of Duty: Modern Warfare 2.
The camera in the game mimics the techniques of films that belong to the same genre. The cut scenes look just like exerts from films. Rockstar’s latest game Red Dead Redemption is inspired by and often mimics classic Westerns such as The Good, The Bad and The Ugly and The Wildbunch.
Games are not made until a publisher puts up the money to fund the development process.
E.g. Rockstar developed GTA IV and Take-Two Interactive funded and published it.

Publishing

When you write a book you need to find a company that will print, package it and send it out to shops. Similarly games have to be published.
Publishers can be independent e.g. Electronic Arts or separate branch of a corporation that makes consoles e.g. Nintendo. Independent publishers are known as Third Party Publishers and Microsoft, Sony and Nintendo as First Party Publishers. EA and Nintendo are the top two in the industry. The biggest British publisher is Codemasters.
Apart from funding the development, publishers are responsible for the manufacturing and marketing of games. Larger video game publishers, like EA, also distribute the games they publish.
A publisher may pay a production company £10m to make a game. They then package the game and advertise it. This may cost another £2m. They decide the price of the game and sell as many units as possible. If they sell 15m copies the publisher will recoup its costs and make a profit.
GTA IV cost £80m to make and made £24.4m on the first day of its release and from an estimated 6 million units sold worldwide more than £400 million in revenue was made in the first week.

Distribution

Distribution is the process by which finished games get sent out to members of the public.
The only way to buy games used to be from high street shops such as Game and HMV. As more people became connected to the Internet they bought them from such websites as Amazon.co.uk.
Now, as more people acquire broadband it is quicker and easier to download a game direct to a console or PC.
TV adverts for X Box games now say ‘ready to download’ rather than ‘in shops now’.
As broadband increases in capacity this will become more popular and may signify the end of the high street stores selling games.

Marketing

The marketing of game releases is now comparable to that of films. Games are now embedded in mainstream culture.
Game campaigns now includes:
1. Film style trailers – game trailers often look and sound exactly the same as film trailers.
E.g. trailers for games such as Gears of War 2 and Call of Duty: World of War begin with a slow dramatic establishing shots then aim to excite the audience by quickly cutting to a montage of intense action scenes from the game to a dramatic soundtrack. They sometimes imitate famous scenes from films.
E.g. Medal of Honour: Allied Assault mimicked the beach assault in Saving Private Ryan.
Trailers are carefully targeted. For example, on TV adverts for Wii Fit would be shown when advertisers know families and women are watching e.g. Coronation Street (pre-watershed broadcasts).
Trailers for shoot’em up games would be shown in the cinema before action films such as The Dark Knight and Avatar.
2. Film tie-ins - often games are made to cash in on the popularity of a film.
The games publisher has to pay the film studio to gain rights to the name of the film. Recent examples include Harry Potter, Lord of The Rings and Star Wars.
This can work the other way also with the film studio cashing in on the popularity of hit games. The studio has to pay the game publisher to use the name of a game. This also leads to more sales for the game. Recent examples include Resident Evil, Hitman, Max Payne, Final Fantasy, and Avatar.
3. Soundtracks - Rockstar paid as much as £4,000 per composition and another £5,000 per master recording per track.
Soundtracks contribute to the gaming experience and shape the character of the games. Sometimes game soundtracks are released as albums or compilations in their own right. E.g. Grand Theft Auto IV.
4. Magazine and Newspapers - Reviews of games and magazine articles with actors and designers are covert adverts for games – i.e. they appear to be independent and part of the magazine when they are really just increasing the games’ publicity.
GTA IV was on the cover of nearly all videogame magazines for months both before and after the release (this is known as prior advertising).
Dozens of newspaper articles were written about it e.g. Sunday 4th May 2008 – The Observer dedicated a page of its ‘Arts and Culture review’ section to debating ‘whether or not GTA IV is a work of art’.
The May 2008 issue of Official Xbox Magazine (UK) published the first Grand Theft Auto IV review, giving the game the maximum score of 10/10.
PlayStation Official Magazine branded the game as “a masterpiece”. The film magazine Empire gave the game a perfect 5/5 in its game reviews section, calling it “damn-near perfect”.
5. Ambassadors - people who are offered incentives by companies to promote their games on forums and introduce new users.
6. Online advertisements on websites and forums that are accessed by the target audience e.g. Facebook, YouTube etc
7. Posters in public on buses, billboards etc
8. Viral marketing - this is where people pass adverts or links to each other via their phones, Facebook, Twitter or email and help companies do their advertising.
9. Publicity stunts e.g. live BMX competitions to launch a new BMX game.
10. Email newsletters that feature incentives such as discounts to buy new games.
11. Adverts on the consoles themselves via live Internet connections.
12. Playable demos in stores. For example shopping centres.
13. Celebrity endorsements e.g. Wayne Rooney FIFA Football, The Redknapps Wii Sports, ex BB contestants and Mr T World of Warcraft.
14. Game conventions e.g. E3 generate hype for future releases - Microsoft vice president Peter Moore announced at E3 2006 that GTA IV would appear on Xbox 360, by rolling up his sleeve to reveal a GTA IV temporary tattoo.
15. Sponsor events like football matches and extreme sports events.
16. Free demos – give users a taste of the game
17. Controversy - The prequel to GTA IV, Grand Theft Auto: San Andreas, created major controversy when released in America in 2005.
A patch unlocked a hidden sex mini-game that led to calls in the media for the game to be banned.
However in the end it only created more publicity for the game.
Similarly Manhunt was banned in the UK – it was eventually released, and the media coverage created more publicity for the game.
18. Bundles – E.g. PlayStation 3 Sports Champion Move Bundle – An introductory package for PS3 newcomers, which includes a PS3 system, a PlayStation Move motion controller, a PlayStation Eye camera, Sports Champions Blu-ray game and PlayStation Move game demo disc.
19. Corporate synergy – As part of its “It Only Does Everything” marketing campaign for Move Sony has entered a synergistic relationship with Coca Cola.

Game Audiences and Consumption

TV, films and games now compete against each other for people’s money.
GTA IV was hyped in the same way a blockbuster film like Dark Knight. TV and films are passive while gaming is becoming more interactive all the time. GTA IV is an example of a sandbox game, which allows users to depart from the game’s narrative and create their own.
In films the audience has to watch the plot unfold in sandbox games there are lots of possible endings the user can choose from. This is known as non-linear game play. The latest generation of games let users create their own content. The narrative and action goes in the direction the player wants it to. An example of this is Little Big Planet.
Online game play has an advantage over TV and film in that allows users to communicate with each other, compete and become part of a community.

Games as Narratives

However, in videogames, understanding how the story elements work often does help players to win. Narratives are most apparent a game’s cut scene which can be thought of as mini movies existing inside a game. They borrow many techniques from cinema, such as camera moves (the pan, zoom and tracking shots) and angles (the mixture of close up and wide). Compare for instance the cut scenes in Red Dead Redemption to the films of Sergio Leone.

Immersion and Agency

Immersion, the feeling of being completely involved in something, is associated with other media.
People often get lost in a good book or film but only games offer what Janet Murray in her 1997 book Hamlet on the Holodeck calls ‘agency’. She defines it as “the satisfying power to take meaningful action and see the results of our decisions and choices”.
Games provide many opportunities for players to exercise agency which Murray argues makes them more immersive.
The stereotypical gamer used to be a lonely, obsessive teenage boy. Now games are mainstream gaming crosses all social, gender and age barriers. The Wii is often marketed towards women and families.

The (Near) Future of Gaming

Move and Kinect

Move’ and ‘Kinect
By introducing the Wii, Nintendo have successfully widened the appeal of consoles by making games more social and kinetic.
Previously, Sony and Microsoft have had nothing to compete with Wii Fit, Wii Sports etc. They are attempting to rectify this and capture Nintendo’s market.
Within the next year, Sony are releasing Playstation Move and Microsoft the Xbox Kinect. Move is a motion sensor system similar to the controller for the Wii but Kinect goes one step further and involves motion capture technology that promises controller free gaming. I.e. your body is the new controller.

3D

A growing number of games are being launched in 3D – Avatar, Batman: Arkham Asylum, Killzone 3 and Grand Turismo 5. As 3D displays including TVs become cheaper expect this trend to continue.

The Death of the Console

A new online service launched recently in America promises to serve games to your living rooms, live, and without the need for a console or a high-powered personal computer.
It is a ‘cloud’ service called OnLive which launched in the USA last June. It instantly delivers games direct to your TV screen, using a small receiver unit that connects to your existing broadband connection.
All the processing that consoles used to do is performed by a network of powerful remote servers using compression routines. Players provide the inputs using a joypad, as normal which are streamed back with almost non-existent lag.
Users will pay a $14.95 (£9.99) subscription fee each month, plus the cost of either buying or renting each game. In this regard OnLive has several very significant advantages: there is no need to invest any further in a game you are not enjoying; you can sample all the latest releases with minimal costs.
OnLive enjoys the support of many high-profile games publishers – removing the need to manufacture and physically distribute games is an obvious and lucrative benefit to them. High profile titles such as Borderlands, Prince of Persia and Assassin’s Creed are among the launch games announced so far.

Glossary

Avatar - An avatar is a computer user’s representation of himself/herself or alter ego. It can be in the form of a three-dimensional model used in computer games, a two-dimensional icon (picture) or a one-dimensional username used on Internet forums and other communities.
Game engine - A game engine is a software system designed for the creation and development of video games.
There are many game engines that are designed to work on video game consoles and desktop operating systems such as Microsoft Windows, Linux, and Mac OS X.
The core functionality typically provided by a game engine includes a rendering engine (“renderer”) for 2D or 3D graphics, a physics engine or collision detection (and collision response), sound, scripting, animation, artificial intelligence, networking, streaming, memory management, threading, and a scene graph.
The process of game development is frequently economized by in large part reusing the same game engine to create different games.

Minecraft Case Study

Minecraft Case Study

 
click on images to enlarge

Production and Distribution

Minecraft is a massively commercially successful and critically acclaimed multi-platform ‘Open World’ game. In terms of genre (see ‘Genre’ below) it is a Sandbox Indie Game although key focus is on building, strategy and to a lesser extent survival. It was created by Markus ‘Notch’ Persson, a Swedish Computer Programmer who is not a traditional Games Developer which may account for its mathematical, formulaic interfaceMinecraft does not attempt to impress with high end representational/cinematic graphics and instead chooses a grid based Voxel graphic format (see ‘Style and Format’) which allows for cuboid building. Persson spent years developing the game himself (thus reducing costs) but was assisted later in the project in projects by Jens Bergensten.
The game was first developed and published in November 2011 by Mojang, a company that was originated by Persson from the money made from an Alpha, developmental version in 2009 – between 15 to 20 developers now work on the game. As an indie game Minecraft is technically without a publisher as Mojang do everything from development to promotion. This is including encouraging distribution of the game and selling the game from their own Minecraft website, www.minecraft.net. With ‘Notch’ Persson so pivotal in the design of the game and as originator of Mojang, Minecraft has to be described as an auteur project. Minecraft makes clear intertextual references to Dwarf Fortress, Infiniminer and Dungeon Keeper which is acknowledged by the developer but by 2011 Persson allowed Bergensten to take over full creative control of Minecraft while he remained as developer, choosing instead to focus on a new project – a new space game also being developed by Mojang.
Minecraft was initially made for PC but now in its multi-platform format it is available on Xbox, iOS (Apple) and Android. The game has been critically successful as well as commercially securing five awards at the 2011 Games Developers Conference and numerous innovation and new game awards. It evidences commercial success with over 8 million copies sold on PC and 17.5 million across the above platforms. Reflected by this is the considerable profit margin made by Mojang with the game costing a one off fee in the UK of £20 – no subscription is required and you can play online or offline which is split 50:50 among gamers.
No extra money is charged for plug ins or add ons but if the gamer wants to spend money then servers can be purchased from £5 a month to £50 per month depending how many multi players you want, minimum PC specification for example would be 1GB of RAM. The cost is half the price of many other games. Some Minecraft players prefer solitary building (single player mode) while others enjoy the teamwork and building together and once one person has purchased the server you can link to it at no extra cost (as long as you are permitted to do so by the owner of the server). Online play is multiplayer only.
Minecraft has been described as the online version of Lego (there is now an unconnected version called ‘Minecraft Lego’) in that the primary objective of the game is to build, albeit on a grand scale – gamers often build entire cities for example, recreate sets from Harry Potter e.g. Hogwarts, sets from Game of Thrones and Lord of the Rings (I am sure, as of writing in late December 2012 there are already Hobbit landscapes and builds) but the scale of the game has enormous potential – technically you can build a whole world that is 6 times the size of the Earth which is the limit of the game. Other builds can include statues, any form of replica or even art with the most interesting building project (by enthusiastic gamers) building a game within a game. In this regard it could be argued there are endless possibilities building whatever you want within the world you have.
Merchandising is an additional, again hugely successful area for Minecraft and Mojang – Jinx are the company who design and manage the marketing of Minecraft (and many other games) and also distribute it to online retailers like Amazon. Branded products include Minecraft bags, books and clothing ranges particularly T-Shirts which sell well. Examples of T-Shirts reflecting the more dedicated gamer include “No food, no sleep, just Minecraft”.

Marketing and Promotion

Minecraft inspired videos gained significant popularity on YouTube generating viral hype and talkability. The game was carefully marketed to audiences as identified above, as an online version of Lego and in doing so aligned itself with one of the most iconic ‘learning construction education products’ in history. The novelty of the game when first released was also used to develop interest and the fact that it was such an auteur project made it desirable and interesting as free from the creative control of major distributors. The words ‘create’ and ‘imagination’ were used in the marketing of the game and as such, have been used in education in the past two years to help with building and construction and arts based courses.
By May 2012 the hype developed from YouTube videos was evidenced by the fact that there were 4 million ‘Minecraft related videos’ about all aspects of the game. Many of these were parodies of the actual game for example; Minecraft Style which was a homage to Gangnam Style which by December 2012 had 2 billion hits on YouTube itself. Synergy is clearly evident here and further homage is paid to two phenomenally successful brands that have come from nowhere to achieve commercial success and become embedded in popular culture in under two years. Other YouTube videos include screen captures of ‘walkthroughs’ of the game illustrating various tasks. Mojang did use some above the line advertising to release Minecraft but a limited budget meant that its success spread via word of mouth and virally – gamers talked repeatedly about the iconic ‘look’ of the game which has gone on to inspire cloned games such as Ace of Spades and Total Miner.
It has been suggested that people don’t so much like Minecraft, they like the ‘idea’ of Minecraft and the possibilities and solutions it can offer – ‘Notch’ Persson has been described as someone who has duped 40 million people into understanding CAD CAM (Computer Aided Design and Computer Aided Manufacturing). Initially ideas about Minecraft being used to help build real world environments was ridiculed until projects started developing globally with the first being in Nairobi when young people have been using Minecraft to participate and become involved in upgrading public spaces. Minecraft is user friendly and lends itself to the mapping onto actual built environments such as public buildings and parks.
The success of Minecraft without a major publisher and without a significant advertising budget has been a real feather in the cap for indie games – it has showed that games outside of the conventional blockbuster format can change the industry. Even Hollywood have got involved by offering to produce Minecraft related television shows but remaining true to their indie roots, these offers were rejected by Mojang. Mojang stated that they would only be interested in the ‘right idea’ which at the moment suggests a form of purist, artistic integrity not dissimilar to Lego. The game is so popular now that other games like Borderlands 2 and Team Fortress 2, not even remotely like the format of Minecraft make clear intertextual references to the oxymoron that is the ‘indie giant’.

Style and Format – Genre, Narrative and Representation

Official Minecon Trailer 2011

Minecraft Style

Textured cubes create a 3D generated world – this ‘blocky style’ is iconic to Minecraft and is a voxel based format.
It is easy to build with cubes and squares which allows for much of the designs but as with many objects of desire this simplistic interface has become instantly recognisable as a brand with its low resolution graphics and pastel colours. Music played during game play is normally a non lyrical form of ambient music by a German composer. In the above trailer and in ‘Minecraft Style’ we unusually see an upbeat, fast paced narrative when in fact during game play the whole idea of narrative is almost non-existent – the narrative for many players is ‘what do I want to build?’, ‘OK, I’m going to build this’.
Obviously Survival Mode is different in that players have to gather resources in order to develop certain blocks and items with monsters suddenly appearing making this a lot more difficult; still building but with ‘things’ making it a lot harder. There is even a ‘Health’ and a ‘Hunger’ bar charting your progress making this part of it similar to other games where you are challenged while trying to achieve tasks. In normal game play the default setting is first person typified by the ‘camera’ travelling with the gamer from behind as you move through space and worlds but there is an option to play in the third person. The core game play involves breaking and placing blocks and is in a grid format. Everything (more or less) is a cube and movement is normally vertical or horizontal. Whether in Creative mode or Survival mode even the characters are just blocks with arms and legs made up of rectangular blocks suggesting almost a retro appeal.
In terms of narrative at the start of the game the player is placed in their virtual world where they have the option of ‘walking through’ a range of different terrains including mountains, forests and caves, deserts and jungle with narrative time compressed – a typical 24 hour cycle is represented by 20 minutes and within this given time a player can come across a range of characters known as ‘mobs’. These are non players whose role within the narrative is to hamper or help the player as they can be hostile or non hostile ranging from cows, pigs and chickens that may be hunted for food or crafting materials to spiders and skeletons that spawn at night. Some characters are iconic to Minecraft, such as the Creeper which is an exploding creature that sneaks up on a player. Players explore the world using a ‘seed’ which is obtained from the ‘system clock’ when the world is created.
There is a form of narrative structure that although technically open ended recognises a beginning and an end although this is not reflected by traditional narrative closure – ‘The End’ is one of two alternate dimensions where the boss dragon, Enderdragon lives. If you kills the dragon it cues the game’s ending credits and players are then allowed to teleport back to their original ‘spawn point’ and will get an ‘achievement’. Another dimension is Nether which is a hell like environment accessed by player built portals (notions of having to travel through something to get to the other side). Travelling and movement are a key feature of Minecraft and the idea of ‘digging’ is fundamental to the creation of replicas, worlds, cities; whatever the player decides he/she wants to develop. This allows for a high degree of interactivity if engaging in online multi-play and suggests the need for logic and high end communication skills to achieve your objectives.
As well as defying the stereotype of a video game narrative Minecraft resists genre classification in the traditional sense – yes it is an ‘Indie Sandbox Game’ but that is as far as the game can go in terms of classification. The term ‘Sandbox’ simply implies a world where you can go wherever you want and do whatever you want, there are very few limits. The game is clearly hybridised with the format of strategy games as there is a need to develop a strategy and a plan to progress. Fantasy genre elements are referenced with the idea of dragons and non human characters but there are little other conventions in this regard. Minecraft is a functional game where you ‘do’ more than ‘experience’. There are also action elements but again only up to a point and it is ultimately up to the player if they wish to create a realist or a non realist world. Whole fictional worlds can be created from fantasy to science fiction, from Hogwarts to the Star Ship Enterprise but this does not identify the game as such as belonging to this genre, just the worlds. A completely realist representation (within a virtual world format) can be created with the only non realist aspect being the format of the game.
Above is a typical human representation from Minecraft – a male character but without clear form or traditional re-presentation. Every part of the body is square or rectangular which presents players with generic form which, like genre again resists a more traditional form of interpretation. Villagers are supposed to not be identifiable via gender, as are most characters and this was the intention of Notch Persson, to create a genderless game although it seems obvious that many of the characters are ‘male’. ‘Minecraft Guy’ is a recognised representation in the game. Persson argue that it is the blocky look that makes the character seem more male and that interestingly gender identification is perceived and constructed by the player, not the game developer. Persson goes on to argues that even the mobs are genderless and that they exhibits characteristics of male and female humans (cows have horns as well as udders). Breeding takes place between animals but there is no obvious gender role.
This lack of gender representation creates an interesting problem for the player – do they care about and reference gender or do they just want to build and survive? Minecraft is almost unique in this regard but academics have suggested by implication Minecraft is a male world and that ‘Minecraft Guy’ is a mutually agreed concept. If you study the above trailer and even the Gangnam Style parody gender representation is arguably clear – Minecraft Guy, in terms of his dress code looks like he is wearing trousers and a top which does not allow for the representation of more rounded, stereotypically ‘feminine lines’ although a few extra blocks here and there could construct gender (see Minecraft Style). It seems obvious but Minecraft Guy has no breasts and ‘his’ hair is short, he has a determined male gate as he travels through space and gestures and moves his body in a stereotypical male way. Some Minecraft characters are also given ‘facial hair’ through shading and studying the Minecraft Style parody it seems obvious that gender is subscribed and female representations are evident through longer hair and flared clothing representing a skirt.
The game on paper then suggests no gender, pale skin tone suggests a Caucasian identity while national identity is not obvious. Minecraft players would consider an analysis of representation to be ‘pointless’ which is the word used by Persson himself when challenged on this level although as with any media text, decoding is as important as encoding and sometimes during the process of encoding, more is apparent than perhaps was initially intended.

Target Audience / Positioning / Appeals

Players of Minecraft suggest an adventurous, curious and logical streak with the need to plan, communicate, create and build. Stereotypically a Minecraft player has a level of education that allows for this functional process and again stereotypically the game requires patience that is normally associated with older gamers – there is no quick fix in Minecraft, no immediate gratification, no real ‘wow’ factor in terms of graphics and representations. Minecraft audiences are interestingly young primarily in this regard, 14-25, ABC1, aspirational with a large body of players in their mid 20s. Strategy and challenge drives the player to achieve and a sense of self worth is bestowed on the player once a creation has been realised. Audiences are positioned into this feel good factor on completion by the format of the game play and one of the key appeals is to stand back and ‘look at what you have done’. Again, like Lego the act of construction is intriguing and the result is satisfying.
There is however, a lot more to Minecraft than this – some players buy into the whole cult of the game and its endless possibilities and because it is technically an indie game it has form of niche appeal in that it is not a generic blockbuster FPS game or an RPG. Players are predominantly male (reflecting the representations and stereotypes – see above) but with a secondary female demographic which should not be underestimated. Forums tend to attract the stereotypically ‘geeky’ male gamer though posting and sharing experiences within the game are not as commonplace as games like World of Warcraft. Entertainment values are less of an appeal with the game taking a much more functional approach which is reflected by its use in education and in recent real world projects identified above.
Minecraft has ‘taken off’ in a short period of time and has an individualistic, global appeal that crosses cultural boundaries. Gamers want to be at the coal face of a game that is still relatively new but hugely successful.

Mini Glossary of Terms

  • Open World Game: A game where the play takes place in different environments.
  • Voxel: A cube based format.
  • Developer: The company or person responsible for originating the idea and concept of a game.
  • Publisher: The organisation who provides the funding to release the game to the public.
  • Plug Ins / Add Ons: Patches that are purchased on acquired to enhance game play.
  • Auteur: Someone that has their own individually recognisable style.
  • Screen Captures: Images of the game.
  • CAD CAM: Computer aided design, Computer aided manufacturing – in Minecraft players uses a computer to design and create.
  • Oxymoron: Words that seems contradictory when placed side by side.
  • Ambient Music: Background music.
  • Stereotypically ‘Feminine’ Lines: The stereotype that women are more curvy than men.
  • RPG: Role Player Game – the game player takes on a role or character.
  • Interactive: A two way form of communication between game and player.
  • Brand: The established identity of a product.
  • Stereotyping: When something is labelled as belonging to a group.
  • Mainstream: Media consumed by mass audiences.
  • Viral Marketing: Where a product is advertised using hype and a non paid for form of communication to a target audience. Viral marketing disguises the fact that it is an indirect form of advertising.
  • Intertextuality: One media text that references another.
  • Talkability: Something that people talk about – a form of viral marketing.
  • Interface: The surface that the game is played on – what you see as a game player.
  • Colour Palette: The colour scheme in front of you.
  • Demographic: A word used to describe the target audience but in detail.
  • Aspirers: Audiences who seek to improve their lives.
  • Virtual World: A make believe world that is common in game play.
  • Cult: Where audiences become so devoted to a media text that it achieves ‘cult’ status because it is disproportionately liked so much.
  • Audience Positioning: Where and audience is deliberately meant to understand the encode meaning – they are ‘led by the hand’ or ‘positioned’.
  • FPS: First Person Shooter – computer / video games like Grand Theft Auto.
  • Convention: Something that is common to a genre.
  • Open Ended Narrative: Where a narrative has no obvious ending.
  • Narrative Structure: Where a media text has a beginning, middle and end.
  • Encode: Meaning that is put in to a media text.
  • Realism: The degrees or reality evident in a media text, e.g. a computer game.

Production and Distribution

Production and Distribution

World of Warcraft is an immensely popular, established RPG that was released in 1994. Several game sets and expansions later it has 10 million subscribers with the fourth expansion Mists of Pandaria released on September 25th 2012 (the date was eagerly awaited and much promoted in the same way an Event Movie is marketed). It is the world’s most subscribed MMORPG (see below).
Technically WoW is described as a MMORPG (Massively multiplayer online role playing game) and is only available to play online via subscription on PCs and MACs. As such it is interactive and often is played in groups e.g. 5 person, 10 person etc. dependent on what you are doing within the game - teamwork may be required fighting against enemies or individual crafting may involve a more solitary activity like making weapons. Guilds are much larger groups that allow for broader social interaction where players involve themselves in ‘Raids’ which is basically getting into groups to fight larger bosses / enemies. Social interaction from group play can often lead to meet ups with other players from a range of countries evidencing its global appeal.
To enter the game the player must select a character from a race and a class e.g. a priest, warrior, hunter, monk, death knight, paladin, rogue, shaman, mage, warlock or druid while a character is like an avatar reflecting a number of different creatures from Orcs, Trolls, Humans, Dwarves, Night Elves, Gnomes, Draenai, Worgen and the Undead. A realm or server is also selected (the people you meet will be on this server)and game play can be all about defeating monsters and completing quests or as open player versus player for example – all realms have in game support for the most experienced or novice game player. Narrative complexities of the game and backstories going back 50,000 years dictate that, for example, you can have a Troll who is a shaman but you cannot have an Orc who is a priest.
The game is developed and distributed by Blizzard-Activision who are an American based, global game playing distributor but Blizzard Entertainment remain the independent management company who are responsible for the brand. Technically World of Warcraft as a brand was first announced in 2001 although the first game was Warcraft: Orcs and Humans first developed as identified above in 1994. The game is exclusively manufactured for PCs and MACs due to the power required to run the game reflecting early internet connectivity but fundamentally it is because of the keyboard requirements of game play.
WoW is a high production game; Blizzard have developed high quality graphics (high scale but not top end) and constantly develops and releases patches sometimes every two months to satisfy even the most hardened game player – a regular game player will invest £60-£70 initially and then pay a £10 per month subscription with the option of in game purchases which is not that common. Most revenue is from these subscriptions but Blizzard also make money from popular books about the stories in the game, significant merchandising (T-Shirts, Action Figures), organising yearly conventions and extra subscriptions from hype about constant rumours of a film, Warcraft. Ideas for a WoW film were originally scrapped after it was suggested in terms of mise-en-scene and representations it would be too much like Lord of the Rings. Starcraft (RTS – Real Time Strategy) and Diablo (Isometric action RPG) are the other major games made by Blizzard.

Marketing and Promotion

Blizzard advertise using primarily digital mediums such as YouTube, Amazon, eBay and on gaming websites reflecting the stereotype of young target audiences accessing new media. However, high production value television adverts are sequenced leading up to the release of a new expansion – currently, as of December 2012 (launch September 2012) television adverts for Mists of Pandaria are currently still being broadcast on Watch, Syfy, E4 and Dave targeting the primary male audience who are into escapist moving image media such as Science Fiction and Fantasy.
Advertising often also targets devoted players of the game via digital pre sale (see above) where you can receive in game add ons before the game is released as long as you pay a little extra – this is common for many popular mainstream computer games like Call of Duty, Halo and Minecraft.The date of the game’s release is also part of the marketing and promotion – as identified above the strategy used is similar to an Event Movie where the date of release is an integral part of the marketing process. This way, viral marketing via hype and word of mouth builds excitement and anticipation within the target audience.
Iconic, established games like WoW have also been subject to viral hype via intertextual references through other media – despite the initial negative representation of WoW gamers as overweight and ‘geeky’ in the 2006 South Park episode, ‘Make Love, Not Warcraft’ the programme pays homage to its success and longevity. Blizzard made no attempt to sue the programme makers, perhaps opting instead for the philosophy that as long as someone is still talking about you then you are still in the public’s eye. Most non gamers have at least heard of World of Warcraft because of its high profile media presence. Star marketing has also been used in WoW advertising to ensure this high profile media presence continues – martial arts star Chuck Norris has appeared promoting the game with the narrative voice over stating “There are 10 million people in WoW because Chuck Norris allows them to live” while Ozzy Osbourne challenges the Prince of Darkness and Jean Claude van Damme also lends his gravitas to TV commercials.
A trial DVD version of WoW is also available as a promotional item, sold in retail outlets like Game and HMV with 20 levels of gameplay (there are a possible 90) – once complete if the gamer wants to progress then a credit card is required to purchase a minimum 30 day gameplay duration. Blizzard’s approach to encouraging new gamers to subscribe is far from aggressive, relying instead on the perceived value of the game to be communicated through talkability and friendship groups and also commonly through family members. Regular press releases are available through the Blizzard website that guides interested parties through key events e.g. the release of the game in different countries.
An accompanying quarterly magazine was launched in 2009 by Future publishing, funded by Blizzard which interestingly carries no advertising, reflecting the ‘purist’ approach of many gamers wanting no interference to their passion and pastime, either online or in print. Mists of Pandaria was heavily promoted within its covers and early audits indicated 2.7 million copies were sold in the first week of release. As successful as this indicator is, a minimum of 3 million in the first week was projected with sales acknowledged as slower than other expansions.

Style and Format

Cinematic Trailer

WoW has a ‘soft’ interface – pastel colours are non-threatening and allow audiences to absorb the mystical, fantasy worlds of Azeroth. Green and red are common colour palettes, as in the Jade Garden (part of Pandaria) reflecting the lush, fertile lands of Pandoria but other colour palettes reflect different scenarios e.g. red for fire. Aerial shots show a landscape that is green and mountainous in parts of Pandaria, a new world that gamers can explore and conquer. Gameplay follows your character through forests, trees and kingdoms with the option of following paths lessoning your chances of attack from roaming mobs - as with every WoW expansion you seek to level up your character through winning battles and succeeding in given quests. Knowledge of the map is necessary to get around and complete quests set while trouble can be around any corner. The mise-en-scene shows realist ground based ‘architecture’ while it is the creatures that are essentially mythical.
Creatures are graphic in their design but also ‘cute’ – the Pandaren race are humanoid pandas who practice a unique form of unarmed combat – at times beer loving farmers the Pandarens can also be fierce fighters who protect their land from amongst others, the Mogu and the Mantid (an insect like species). Mist occasionally shrouds Pandaria referencing the reason why it was never discovered for 10,000 years and introduced to gamers as an undiscovered land. Pet battles are a new feature to Mists of Pandaria where you can have up to three pets on your team; there are literally hundreds of pets to collect and you level your pet the same way you level your character. Gamers are constantly attached to their character, everything takes place in the first person while pop ups and displays guide you through your status and health. If you die you either get resurrected or turn into a ghost, the game is never over…..

Target Audience / Positioning / Appeals

click on image to enlarge
WoW has a very broad target audience ranging from young and old to male and female but as with any media text it has a primary demographic: 14-25, male, ABC1 aspirers who see the game as both exciting but also challenging which is one of the key appeals along with the high production values and escapist, fantasy representations. The whole idea of creating an avatar is escapist in itself with the ability to experience non realist, hyper real situations from safe, point of view perspective. It has been suggested that WoW is cathartic in the way it allows gamers to work through problems in their own lives by engaging in battles with fearsome foes as a possible unconscious metaphor for ‘real life’. Critics inevitably point the finger at gaming culture and games like WoW for creating a virtual world which prevents gamers from engaging in the real world, stifling verbal communication and presenting an alternative to the ‘normal’, physical exercise a young person needs. This criticism was explored, as identified above in South Park where WoW game players were represented as overweight, eccentric, geeky outcasts.
Using the Uses and Gratifications theory all four models of audience appeals apply – diversion (escapism), personal identity with characters, personal relationships with other gamers (this is a massive social appeal of the game) and surveillance where gamers are loaded with historical information on the background to the worlds and characters they virtually exist within – the fictional history is exhaustive, intricate and in depth and as a complex, involved narrative remains another key appeal of WoW. There is a form of snobbery within the game about how much information you know and to have significant cultural capital suggests a form of hierarchy among players. Many dedicated gamers will disproportionately play the game, attend conventions and devote much of their social (and often work time) to playing what can be seen as a cultish form of addiction – these are the gamers who will call the base game ‘Vanilla’ because it is so plain. It can be all encompassing and has been a subject of the passive consumption debate among parents.
Audiences are not exclusively male and are not exclusively young – educated male and female school and college kids enjoy the game with a significant secondary demographic but what remains interesting from research is the resentment younger players can have for the older, tertiary 25-45 ABC1 target audience who are as much into the game as they are. The common stereotype of geeky, male gamers who on their days off wander around the comic shop Forbidden Planet can apply to WoW but there are also older gamers who simply enjoy the narrative quests and challenges. The idea of narrative is very important to WoW and WoW players are as much interested in the multi stranded, linear narratives as they are the high end (not top end as mentioned earlier) audio visual sound and graphics. Some older gamers prefer the strategy elements, gearing up to get new items and equipment and achieving set goals as much as enjoying fights and battles.
The social aspect is important – many gamers get to know other players in their Guilds both in and out of the game and are prepared to travel to meet their virtual colleagues. Blizzard positions the gamer into exploring this possibility by the interactive elements of the game; the above cartoon lampoons the shared knowledge and shared understanding that is so important to game players developing a specialist language and specialist vocabulary. Players are positioned into a preferred reading of having to complete quests and continually level up to avoid ‘failure’. Success in the game is important to gamers and to achieve is to win. For non WoW players a lack of understanding of the complexities of the game often leads to an oppositional reading as explored in South Park.

Genre / Narrative

Within this fictional diegesis (world) Pandaria is one of four continents representing the planet of Azeroth – lush, green and inhabited by Pandarans (Pandas), Mantid (bog people), Mogu (giant humanoids), Hozen (Monkeys), Jinyu (Fish People) and other species who all fight between each other but defend their own turf – an example of this defence can be seen in the cinematic trailer above where Humans and Orcs land on Pandaria after a shipwreck, fight each other in Jade Forest but are attacked by a Pandaran who is defending his land. Unusual in the game play generally the Human and the Orc ally unsuccessfully against the Pandaran when normally they would be separate and clan based. There is always some form of war raging.
As with most MMORPG, in WoW the game player creates and controls an avatar which is played in the first person – unlike FPS games the focus is on the narrative; exploring the landscape, completing quests, interacting with other players and characters and fighting monsters / creatures. There is violence however during frequent skirmishes, fights and full on battles but the violence has a far less brutal, realist feel than representational action in games like Mortal Kombat and Call of Duty. WoW has a mise-en-scene that anchors the genre as fantasy and as such, follows the equivalent filmic conventions. At times WoW looks like Lord of the Rings – numerous battles and creatures including Orcs and also swooping aerial shots have similarities to the trilogy with helicopter shots over the New Zealand area of Waikato with its green grass and rolling hills. Dungeons and Dragons has also a similar visual representation in terms of settings and characters.
Mists of Pandaria markets itself on important additions to the narrative which a target audience with cultural capital will be aware of e.g. being able to work towards getting a legendary weapon from Wrathion, one of the last remaining Black Dragons or the talent and glyph systems which give people a choice as to how to personalise their character while reducing the chances of picking the wrong talents. You can now grow crops on your farm and have cooking specialisations (ideas brought in from other successful games). New patches continually update the game play as well as the narratives. WoW has to be identified as having an open ended narrative in this regard that resists closure – mini narrative episodes have a beginning, middle and an end (3 act structure) and are constant (battles etc.) but the whole point of the game play is that there is no ending, there are just new beginnings. The quests encode an investigative, often multi stranded narrative (see Quest Log below) and narrative arcs ensure familiarity with history.
Fantasy codes and conventions are omnipresent in WoW – it has young target audience who enjoy myth, magic and innocent excitement despite the apparent death and violence. It is how the death and violence is represented that grounds the game as belonging to the fantasy genre. Narratives can be emotive and often romanticised and characters have additional appeal beyond their manifest representation. The colour palette has clear connotations of the fantasy genre with rich colours but also earthy, natural colours (browns, greens, yellows) anchoring the aspirational representation of the kingdoms. Soft, pastel colours are also used to ensure the magical, mystical feel is maintained. Players will say some characters are ‘really scary’ and there is nothing ‘soft and pastelly’ about the game but fundamentally the mise-en-scene is non realist, escapist and non-threatening. The iconography includes a broad range of creatures which is very common to fantasy game play as well as fantasy films and audiences would expect and demand these conventions.

Representation

As with much fantasy the game has an element of realism combined with escapist imagery and WoW has an ‘old fashioned’ traditional look and feel – this is despite the futuristic and at times science fiction iconography. It feels nostalgic because you are in a game that is referencing ‘times gone by’ and thousands of years of history. Swords, shields and ‘magic’ have traditional connotations and this is one of the appeals; gamers are embracing digital technology but absorbing and embracing a fictional past, free from the stresses and strains of modern society. As with Disney films and fantasy films like The Hobbit representation is important because it is not always what is conveyed on the surface that is so important – Disney has been accused of unconsciously teaching gender roles and fantasy representations should always be carefully examined.
Dominant, aggressive creatures in WoW are frequently gendered as masculine but not exclusively - Goblins, Dwarves and Shaman inevitably have masculine representations with rough voices and dominant behaviour and actions, much the same as humans or humanoids but arguably WoW on one level represents some creatures in a non gender specific way. Pandarans for example seem to be just cute, humanoid Pandas who can be fierce fighters. The obvious Panda connotations help to engage the millions of game players in China, not just because of the areas of the world Pandas are found in but how their native habitat is represented within the game. They feel an affinity to the natural world and practice a form of Chinese martial arts which sees them win many battle and fight – they are also known for their art of acupressure, another known stereotype. Their surroundings have oriental connotations and their religion/belief system is very similar to Buddhism with meditation crucial and power gleaned from the Earth Mother.
Dwarves are a race who benefit from the ‘representation of the small’ in fantasy and popular culture – Dwarves and Elves make frequent appearances in fantasy and are usually subject to cultural stereotyping. In WoW their background werw as reclusive makers of weapons who lived in the mountains but who eventually had to rise up to defend their land. They fight well but when presented with an emotional situation reveal their weaknesses. Fantasy requires extreme, hyper real representations and Mists of Pandaria provides this with new races including the Jinyu, the Hozen (a monkey like race), the Virmen (a rabbit like race) and the Grummels (a race related to the Troggs). Some races in the game take their essence from, or are based on existing human races and ethnicity but the analysis can be very subjective – stereotypically some players see Humans are American, Worgen have been described as English, Taurens as native Americans, Trolls as Jamaican with Goblins amusingly described as the Italian Mafia. It would be difficult to develop characters or creatures for a game without drawing on an essence or a stereotype as stimulus.
The only issue would be are these negative cultural stereotypes being reinforced and circulated by the game and is there an issue of passive consumption? There is indeed a lack of strong, female independent characters in the game while women characters have been described as ‘barnacle characters’ whose existence depends on the storyline of others. Feminist writers have heavily criticised WoW makers and players as being white, male, straight and middle class who have encoded the World of Warcraft through male eyes, a male point of view. In 2006 Blizzard changed the body models for the new Blood Elf race because the existing models appeared too feminine – one of the things you can make a Blood Elf character say in the game is “Don’t you wish your girlfriend was hot like me”?

Mini Glossary of Terms

  • RPG: Role Player Game – the game player takes on a role or character.
  • Expansion: A new version of extension of the game.
  • Event Movie: Where the date of release of a film is used in its marketing.
  • Interactive: A two way form of communication between game and player.
  • Guild: A large WoW group.
  • Realm: An individual copy of the game world, sometime referred to as a server.
  • Brand: The established identity of a product.
  • High Production Value: Big budget.
  • Patches: Add-ons to the game play.
  • Mise-En-Scene: Everything in the shot – setting, objects and props, dress code, lighting, colour, graphics, character expression / pose / movement.
  • Stereotyping: When something is labelled as belonging to a group.
  • Digital Medium: A media platform e.g. a website that uses digital encoding.
  • Escapist: No realist representations that allow audiences to temporarily disappear from their own life and merge into a fantasy narrative.
  • Digital Pre Sale: Where goods are sold, normally online before a game’s release.
  • Mainstream: Media consumed by mass audiences.
  • Viral Marketing: Where a product is advertised using hype and a non paid for form of communication to a target audience. Viral marketing disguises the fact that it is an indirect form of advertising.
  • Intertextuality: One media text that references another.
  • Star Marketing: Well known celebrities that are used to endorse, advertise, sponsor or launch a brand / media text.
  • Narrative Voice Over: Non diegetic talking that is overlaid during post production.
  • Talkability: Something that people talk about – a form of viral marketing.
  • Press Release: Where companies release a statement about their product or brand.
  • Interface: The surface that the game is played on – what you see as a game player.
  • Colour Palette: The colour scheme in front of you.
  • Aerial Shot: A camera shot from high up e.g. from a crane, helicopter of aeroplane.
  • Level Up: Where you improve the health of your character and jump levels.
  • Demographic: A word used to describe the target audience but in detail.
  • Aspirers: Audiences who seek to improve their lives.
  • Hyper Real: Exaggerated representations for the purpose of entertainment values and audience identification.
  • Cathartic: A way of working through your own problems by watching similar issues to your own or fictional violence.
  • Virtual World: A make believe world that is common in game play.
  • Metaphor: Something that stands for something else.
  • Uses and Gratifications Theory: A theory developed by Blumler and Katz in 1974 suggesting audiences are active and gain different pleasures from media texts.
  • Cultural Capital: The knowledge, skills and experience that affect your understanding of a media text.
  • Cult or Cultish: Where audiences become so devoted to a media text that it achieves ‘cult’ status because it is disproportionately liked so much.
  • Passive Consumption: Where audiences are negatively affected by media output.
  • Multi Stranded Narrative: Different storylines, all interweaved together.
  • Linear Narrative: A narrative that follows a historical chronology.
  • Audience Positioning: Where and audience is deliberately meant to understand the encode meaning – they are ‘led by the hand’ or ‘positioned’.
  • Preferred Reading: The intended meaning of a media text.
  • Oppositional Reading: The opposite to the intended meaning understood by the audience.
  • Diegesis: The fictional world a computer game or any media text is set in.
  • FPS: First Person Shooter – computer / video games like Grand Theft Auto.
  • Anchor: Confirm definitely.
  • Convention: Something that is common to a genre.
  • Open Ended Narrative: Where a narrative has no obvious ending.
  • 3 Act Structure: Where a media text has a beginning, middle and end.
  • Encode: Meaning that is put in to a media text.
  • Narrative Arcs: Familiar storylines, characters or themes that go back often to the beginning of a game or other media text.
  • Emotive: Emotional.
  • Manifest: Obvious, on the surface.
  • Connotation: Implies meaning.
  • Iconography: Visual elements common to a genre.
  • Realism: The degrees or reality evident in a media text, e.g. a computer game.
  • Nostalgia: Fond longing for the past.
  • Feminism: A movement / ideology which focuses on a lack of female equality in all walks of life.

Thursday 13 June 2013

Gaming News

Please visit the BBC technology webpage and make notes on new game console designs and new game releases.  Keep your notes and pictures on your own blog.




BBC News Technology