Coursework: Print brief research and planning

The Print aspect to our coursework brief is as important as the video work we have been focusing on so far. 

It is crucial that you research, plan and design print work that could comfortably hold its own alongside professional examples. You will also need to make sure you have included a section regarding your print work in your Statement of Intent final draft. A reminder of our coursework brief is here, with the key tasks as follows: 

Print

Create three adverts for the band/artist. The adverts will use the conventions of print advertising but will be distributed online via the band/artist's social media accounts. Each advert should aim to appeal to the target audience but use different strategies to engage the audience. You may include the promotion of a specific product or event if you wish. For example:

• a live show
• a TV appearance
• a new release
• a streaming event
• any other product or event you feel is appropriate.

Each advert should be different but the campaign should create a recognisable visual branding for the band/artist. The adverts should include content that encourages the audience to share the adverts on social media.

What are the minimum requirements?

Three print adverts for your artist (portrait OR landscape OR a mix of the two - your choice). You may want to use A4 size but consider the element of the brief concerning distribution via social media. A square design for Instagram, for example, may work best for one of the adverts. 

The minimum requirements from the brief:

• Three different adverts, each aiming to engage the audience as identified in the brief 
• Appropriate layout and design choices for each advert
• A common visual style to the overall campaign creating a recognisable brand and visual identity for the band/artist
• A distinct marketing strategy should be identifiable across the campaign
• At least three original images across the three adverts with a different dominant image in each advert
• Images should be created and chosen to appeal to the target audience
• Appropriate choices of font, type sizes and colours to create meaning
• Appropriate consideration of the industrial context of production.

Research and planning blog tasks

Create a blogpost called 'Print brief research and planning' and complete the following tasks to plan and prepare your print work:

1) Research music artist print promotion key conventions. Find at least five examples of posters promoting a music artist and post them to your blog. You may wish to search for print promotions via the headings suggested in the brief - live show, new release, streaming event etc.

2) Note down the design elements you notice in each print example you research and look for aspects you can use in your own work (e.g. a particular camera shot, page design or colour scheme). 

3) What key conventions can you find across different types of poster - e.g. tour poster, single release, album poster etc.

Here are a few examples to start you off: 

Ed Sheeran is a good example of consistent branding across different print products - note the font, style of photo, use of props (guitar) etc.:

These Billie Eilish posters have markedly different brands (which you won't be able to do) but offer a range of different marketing strategies. Here you'll see a tour poster (left), awards poster (centre) and album poster with track listing (right): 

These Dave posters offer both consistent branding (the first two) and a really creative lyrics-based design for the third:

These Sam Smith posters have a similar visual style / black and white colour scheme. One advertises a live show while on the right it highlights a single release: 

Like the Billie Eilish examples, these Stormzy posters use very different branding but are good examples of different marketing strategies. You have a single release (left), tour poster (centre) and Amazon appearance (right):

Planning and sketching

1) Plan the marketing strategy and main focus of each of your posters. For example:

Poster 1: album release

Poster 2: tour poster

Poster 3: live appearance / social media event 

2) Plan the images you will take for each poster.

3) Write the copy (words) you will use on each poster - e.g. artist name, album/single/tour name (if relevant), any additional information such as review quotes etc.

4) Plan the social media content you will include in each poster e.g. hashtags, TikTok/Instagram etc.

5) Research and select the font or typography you will use for your posters - particularly your artist's brand identity. Remember to be consistent with what you have in video promotion too.

6) Produce sketches of your three posters, deciding which will be portrait/landscape/square and where the key information will be placed on each design.

Extension task

Create three new documents in Adobe Photoshop in either A4, portrait, landscape or square and start designing your print work (even if you don't have the images yet you can add the text, correct font/typography, social media content etc.) See the tutorials below to help you.

Photoshoot

1) Who do you need to photograph for your print posters? Remember, you need three separate original images - one for each poster. 

2) What camera shots do you need? Write a shot list for your photoshoots. Make sure you plan a variety of camera shots you will look to capture - medium shots, close-ups etc.

3) Plan the mise-en-scene. What costume, props or make-up will you require for your photoshoots? Think carefully about music genre and creating synergy with your video production.

4) Finally, note down the time and date for your photoshoots. This may be inside or outside school (or a combination of both). You will have Media lesson time for this in the week after the mock exams.

Statement of Intent

1) Once you have completed your research and planning, go back to your statement of intent and make sure you have included the print brief in your final draft. Then, submit the final draft statement of intent to your teacher.  

Online tutorials

Remember there are plenty of tutorials on YouTube that can help you create professional-level print work in Photoshop. If you finish all of your research and planning, search for examples like these: 

Use the next two weeks of lessons to complete these planning tasks - homework time is to finish exam work and revise for your mocks.

Due date for research and planning on Google Classroom.

Videogames: The Sims FreePlay part 2 - Industries

The second aspect of our in-depth case study on The Sims FreePlay focuses on industries.

We need to know how videogames are regulated and also the companies behind the game. However, the most significant aspect of this concept is the 'freemium' model that The Sims FreePlay uses.

Notes from the lesson

Regulation: PEGI

• The videogames industry is regulated by PEGI – Pan European Game Information.
• In the UK, the Video Standards Council is responsible for regulating game content. In 2012, PEGI was introduced to UK law to make the age ratings legally enforceable.
• It is illegal to sell games to people below the age of the rating.
• The Sims FreePlay is rated 12+ due to mild references to alcohol, sexual content and similar adult themes.

Electronic Arts

• The Sims franchise is owned by Electronic Arts (EA), a huge name in the videogames industry.
• The Sims FreePlay was developed by Firemonkeys Studios, EA’s Australian subsidiary.
• The franchise was originally developed by Maxis after EA acquired the company.
• EA is famous for big-budget console games such as the FIFA series but has moved more into mobile gaming in recent years.

The 'freemium' model

• The Sims FreePlay uses the ‘freemium’ model – free to download and play but with in-app purchases. 
• Although initially more popular with smaller, independent game developers, the freemium model is now a huge revenue generator for major publishers like EA.

The Sims FreePlay - Industries blog tasks

Create a new blogpost called 'The Sims FreePlay case study part 2 - Industries' and complete the following tasks.

Regulation – PEGI

Research the following using the VSC website PEGI page - look at the videos and Q&A section.

1) How does the VSC and PEGI ratings system work and how does it link to UK law?

2) Click on the PEGI Rating tab in the top menu. What are the age ratings and what content guidance do they include?

3) What is the PEGI process for rating a game? 

The ‘Freemium’ gaming model

Read this Lifewire feature on freemium gaming and answer the following questions:

1) How does the freemium model work?

2) Why do some gamers believe freemium is ruining games?

3) What are the positives of the freemium model for gaming?

Now read this Business Insider feature on freemium gaming and multiplayer games. Answer the following questions:

1) Note the key statistics in the first paragraph.

2) Why does the freemium model incentivise game developers to create better and longer games?

3) What does the article suggest regarding the possibilities and risks to the freemium model in future?

Read this New York Times feature on freemium gaming and answer the following questions:

1) Why did Temple Run use the freemium model?

2) The bigger gaming studios like Electronic Arts used to avoid the freemium model. Why are they now embracing it?

3) Why does Peter Farago suggest independent game makers benefit more from the freemium model than the major publishers like EA?

Electronic Arts

Read this Pocket Gamer interview with EA’s Amanda Schofield, Senior Producer on The Sims FreePlay at EA's Melbourne-based Firemonkeys studio. Answer the following questions:

1) How has The Sims FreePlay evolved since launch?

2) Why does Amanda Schofield suggest ‘games aren’t products any more’?

3) What does she say about The Sims gaming community?

4) How has EA kept the game fresh and maintained the active player base?

5) How many times has the game been installed and how much game time in years have players spent playing the game? These could be great introductory statistics in an exam essay on this topic.

Finally, read this blog on how EA is ruining the franchise (or not) due to its downloadable content. Answer the following questions:

1) What audience pleasures for The Sims are discussed at the beginning of the blog?

2) What examples of downloadable content are presented?

3) How did Electronic Arts enrage The Sims online communities with expansion packs and DLC?

4) What innovations have appeared in various versions of The Sims over the years?

5) In your opinion, do expansion packs like these exploit a loyal audience or is it simply EA responding to customer demand?

Complete for homework: due date on Google Classroom.

Visiting speaker: Jasmine Dotiwala

Broadcaster, Producer, Director and Columnist Jasmine Dotiwala is visiting Greenford to give a talk on Friday 16 December at 11am. 

Jasmine grew up in this area before going on to work across a variety of media roles in a 25-year career. The Speakers for Schools website introduction for Jasmine says the following:

"Jasmine Dotiwala has over 25 years of experience as a Head of department, manager, broadcaster, producer, director and columnist at brands like Netflix UK, Media Trust, Channel 4 News, MTV and more. In 2020 she moved into a role working with the Netflix UK Editorial & Publishing team. She continues to support Media Trust programmes.

"As a multi-media reporter and producer as well as a reputed D&I specialist, Jasmine developed the industry lauded, ground-breaking Media Trust broadcast trainee programme London360, whose (over 400 to date) diverse alumni have since taken up senior positions all across TV broadcasters and the creative industries in the UK. As Head of Youth Media at Media Trust Jasmine oversaw media training programming from TV Production, to radio podcasting, to vlogging and more, with thousands of young people all across the UK Nations & Regions. She leaves a legacy of diverse talent across the creative industries."

This is a brilliant opportunity for Media students to hear from and question a key media personality - and also ask about diversity in the cultural industries. Think about David Hesmondhalgh's work in this area and what impact a lack of diversity in the media can have on society.

This Twitter thread from Jasmine is a brilliant example of what we can expect:

Think about what my industry was like before diversity was a focus.
I grew up never seeing people of different races, genders & sexualities on TV. I never saw disabled people on TV & ads.
Look what happens when we empower women to play football...Paralympic athletes....Pride..

— Jasmine Dotiwala (@jasminedotiwala) August 4, 2022

We're encouraging all Post-16 Media students to attend the talk but if you have another lesson at that time you will need to discuss this with your teacher in advance to ensure they are happy for you to attend. You will also need to catch up with any missed work.

We look forward to seeing you there!

January mock exams - what to revise for Media

Your January A Level Media mock exams are the real deal - the opportunity to put everything you have learned to the test. 

Students typically do better in the summer exams than the last set of mocks - but usually only by around a grade. This means you need to make sure you are fully prepared for these exams with the aim of achieving your target grade or just off it.

The following will help you plan your revision:

Media Paper 1

Section A will always focus on Media Language and Representations. This means the following CSPs could come up:

Advertising & Marketing
Score & Maybelline That Boss Life - Advertising index is here

Music Video
Letter to the Free & Ghost Town - Music Video index is here

Section B will always focus on Media Audiences and Industries. This means the following CSPs could come up:

Film Industry

Blinded By The Light - Film Industry index is here

Radio

BBC Radio 1 Newsbeat and War of the Worlds - Radio index is here

Newspapers (not in January mock exam - we haven't covered this yet)

The Daily Mail and The i

Unseen question

The first question in Media Paper 1 Section A will always be an unseen media product.

The second question will also relate to the unseen while also bringing in a CSP. This means it is likely the unseen product will link to advertising and marketing or music promotion.

20-mark essays

There will be TWO 20-mark essays in Paper 1 – at the end of each section. AQA states for your extended response questions:

“You will be rewarded for your ability to construct and develop a sustained line of reasoning which is coherent, relevant, substantiated and logically structured.” This means you need to write an essay that constructs an argument that answers the question you have been given.

You can look through this AQA Specimen Paper 1 paper to familiarise yourself with the structure of the paper.

Media Paper 2

The first question in Media Paper 2 will always be a 9-mark question on an unseen media product.

Aside from Q1, Media Paper 2 tests your in-depth topic areas:

TV

Capital and Deutschland 83 - TV index is here

Magazines

Men’s Health and Oh Comely - Magazines index is here

Online, Social and Participatory

Teen Vogue and The Voice - OSP index is here

Videogames

Tomb Raider Anniversary, Metroid Prime 2: Echoes & The Sims FreePlay - index is here.

Indeed, the majority of Paper 2 will be THREE 25-mark essays on your in-depth topics. AQA states for your extended response questions:

“You will be rewarded for your ability to construct and develop a sustained line of reasoning which is coherent, relevant, substantiated and logically structured.” This means plan and write an essay with a clear and convincing argument!

The structure for the 25-mark questions in Paper 2 tends to be as follows:

• Q2: evaluation of theory question
• Q3: contexts question (e.g. social and cultural contexts)
• Q4: synoptic question 

Q4: Synoptic question

The final question in Paper 2 will always be the synoptic question – which requires you to demonstrate knowledge of the whole two-year course of study. AQA states:

“Question 4 is a synoptic question in which you will be rewarded for your ability to draw together different areas of knowledge and understanding from across the full course of study.”

How do we do this? Answer: Key concepts and CSPs. Try and answer the question by linking it to other key concepts (Language/Industries/ Audiences/Representations) and by mentioning other relevant CSPs that link to the question. This will demonstrate your knowledge of the whole course - but make sure you do stay focused the question!

You can look through this AQA Specimen Paper 2 paper to familiarise yourself with the structure of the paper.

How to revise

Revision is a very personal thing and everyone has different techniques. Here's a video on YouTube with top tips for A* A Level revision: 

Personally, I strongly recommend using flash cards (they are often called record cards if you are trying to buy them online or in WHSmiths). The simple act of distilling topics into a few key words or phrases to put on the card will seriously help in remembering the key information in the final exams. I have spare flash cards in DF07 if you'd like some.

Revision example and useful resources - thank you Assia!

One of our former Year 13 Media students, Assia, very kindly shared some of her revision resources with us when she left Greenford. These are notes on CSPs which you may find useful but I'd also recommend creating your own similar resources for the CSPs to help you remember the key details. By the way, this is what an A grade student looks like! You'll need your Greenford Google login to access these:

• Advertising - Score and Maybelline 
• Film - Blinded By The Light
• Music Video - Letter to the Free
• Radio - War of the Worlds and BBC Radio 1 Newsbeat

How to plan and answer A Level Media exam questions

One of the key skills you need to practice with the mock exams is exam technique. In order to help you, these 'walk and talk' videos go through a range of different A Level Media exam questions and cover the number of marks, how long to spend on the answer and what structure or points you could make in your answer. Not all of these question types or CSPs will come up in your mock exams (some CSPs have changed) but the videos will help with exam technique and revision regardless. 

Paper 1 Section A - 9 mark question on Advertising and Marketing:

Paper 1 Section A - 20 mark question on Music Video:

Paper 1 Section B - 6 mark question on Film Industry (note: different CSP to ours):

Paper 1 Section B - 9 mark question on Film Industry (note: different CSP to ours):

Paper 2 - 25 mark TV question:

Finally, revise EVERYTHING you have learned over the last 18 months for A Level Media in preparing for these exams - terminology, theory and CSPs. Good luck!

Videogames: The Sims FreePlay part 1 - Language & Audience

Our final videogames CSP is The Sims FreePlay (2011).

This is another in-depth CSP so will require significant work and research across three blogposts to complete your case study.

Background: mobile gaming

• The videogames industry has changed massively since the emergence of the smart phone and app store distribution model.
• Mobile gaming has changed the audience demographics for gaming and brought the industry into the mainstream.
• The app store model means tech giants such as Apple and Google are making significant sums from mobile gaming but mobile hits can still earn developers millions.
• Angry Birds made developer Rovio $200m in 2012 and broke 2 billion downloads in 2014.

The Sims FreePlay

• The Sims FreePlay is a spin-off from the hugely successful Sims franchise first published by Electronic Arts (EA) in 2000.
• The game is a strategic life simulation game (also known as the sandbox genre). 
• The Sims FreePlay takes the game on to phones and tablets and uses the ‘freemium’ model that makes money via in-app purchases.
• The game has seen more than 200 million downloads since 2011 – remarkable success.

The Sims FreePlay: Audience

• The Sims franchise has demonstrated there is a strong and lucrative market in female gamers.
• When The Sims was first pitched by creator Will Wright he described it as a ‘doll house’. 
• The development company Maxis weren’t keen because ‘doll houses were for girls, and girls didn’t play videogames’. EA then bought Maxis, saw potential in the idea and one of the most successful ever videogame franchises was born.
• Expansion packs available for The Sims FreePlay reinforce the view that the target audience is predominantly female.

Participatory culture

• The Sims franchise is one of the best examples of Henry Jenkins’ concept of participatory culture.
• Since the very first game in the franchise, online communities have created, suggested and shared content for the game.
• ‘Modding’ – short for modifications – is a huge part of the appeal of the game. Modding changes aspects of the gameplay – anything from the strength of coffee to incorporating ghosts or even sexual content.

The Sims FreePlay - Language & Audience blog tasks

Create a new blogpost called 'The Sims FreePlay case study part 1 - Language & Audience' and complete the following in-depth tasks.

Language / Gameplay analysis

Watch The Sims: FreePlay trailer and answer the following questions:

1) What elements of gameplay are shown?

2) What audience is the trailer targeting?

3) What audience pleasures are suggested by the trailer?

Now watch this walk-through of the beginning of The Sims FreePlay and answer the following questions:

1) How is the game constructed?

2) What audience is this game targeting?

3) What audience pleasures does the game provide?

4) How does the game encourage in-app purchases?

Audience

Read this App Store description and the customer reviews for The Sims FreePlay and answer the following questions:  

1) What game information is provided on this page? Pick out three elements you think are important in terms of making the game appeal to an audience.

2) How does the game information on this page reflect the strong element of participatory culture in The Sims?

3) Read a few of the user reviews. What do they suggest about the audience pleasures of the game? 

Participatory culture

Read this academic journal article - The Sims: A Participatory Culture 14 Years On. Answer the following questions:

1) What did The Sims designer Will Wright describe the game as?

2) Why was development company Maxis initially not interested in The Sims?

3) What is ‘modding’?

4) How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

5) Look specifically at p136. Note down key quotes from Jenkins, Pearce and Wright on this page.

6) What examples of intertextuality are discussed in relation to The Sims? (Look for “replicating works from popular culture”)

7) What is ‘transmedia storytelling’ and how does The Sims allow players to create it?

8) How have Sims online communities developed over the last 20 years?

9) Why have conflicts sometimes developed within The Sims online communities?

10) What does the writer suggest The Sims will be remembered for?

Read this Henry Jenkins interview with James Paul Gee, writer of Woman as Gamers: The Sims and 21st Century Learning (2010).

1) How is ‘modding’ used in The Sims?

2) Why does James Paul Gee see The Sims as an important game?

3) What does the designer of The Sims, Will Wright, want players to do with the game?

4) Do you agree with the view that The Sims is not a game – but something else entirely?

5) How do you see the future of gaming? Do you agree with James Paul Gee that all games in the future will have the flexibility and interactivity of The Sims?

Complete for homework - due date on Google Classroom.

Videogames: Henry Jenkins - fandom and participatory culture

Henry Jenkins is a key audience theorist – an expert in fandom and participatory culture.

We need to apply Jenkins's ideas to our videogame CSPs but also think back to where his ideas are relevant with other media texts we have studied. His work on participatory culture links with Clay Shirky in places and the concept of fandom is important to many media texts - from TV drama to magazines.

Notes

Henry Jenkins is an expert in fandom and participatory culture. Key to this idea is the concept of the ‘prosumer’ – audiences that create as well as consume media. This culture has revolutionised fan communities with the opportunity to create and share content. It also links to Clay Shirky’s work on ‘mass amateurisation’.

Fandom is now big business – with Comic-Con events making millions. More importantly, the internet has demonstrated the size of fan communities so it is no longer a minority of ‘geek’ stereotypes but mainstream popular culture (such as Marvel, Harry Potter or Doctor Who).



Jenkins defends fan cultures and argues that fans are often stereotyped negatively in the media because they value popular culture (e.g. films or games) over traditional cultural capital (high brow culture or knowledge). The irony is fan culture is often dominated by middle class, educated audiences.

Jenkins discusses ‘textual poaching’ – when fans take texts and re-edit or develop their meanings, a process called semiotic productivity. Fan communities are also quick to criticise if they feel a text or character is developing in a way they don’t support.


EU copyright law: a threat to participatory culture?

A new copyright law currently moving through the European Parliament has been described as a potential 'meme-ban'. It would place the responsibility for the distribution of copyrighted material with the platform rather than the user or copyright holder - and therefore could lead to huge amounts of content being removed. If implemented in full, it could end textual poaching, fan-made texts and re-edits and many more examples of fandom and participatory culture. You can read more on the potential implications in this Wired feature.

Henry Jenkins - fandom blog tasks

The following tasks will give you an excellent introduction to fandom and also allow you to start exploring degree-level insight into audience studies. Work through the following:

Factsheet #107 - Fandom

Read Media Factsheet #107 on Fandom. Use our Media Factsheet archive on the M: drive Media Shared (M:\Resources\A Level\Media Factsheets) or log into your Greenford Google account to access the link. Read the whole of Factsheet and answer the following questions:

1) What is the definition of a fan?

2) What the different types of fan identified in the factsheet?

3) What makes a ‘fandom’?

4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

6) Why is imaginative extension and text creation a vital part of digital fandom?

Tomb Raider and Metroid fandom research

Look at this Tomb Raider fansite and answer the following questions: 

1) What types of content are on offer in this fansite?

2) What does the number of links and content suggest about the size of the online fan community for Tomb Raider and Lara Croft? Pick out some examples from this site that you find interesting.

Now look at this Metroid fansite and answer the following: 

1) Look at the Community Spotlight page. What does this suggest about the types of people who enjoy and participate in fan culture?

2) There is a specific feature on Metroid Prime 2: Echoes. What do the questions from fans tell you about the level of engagement and interest in the game and franchise from the fan community?

A/A* optional extension: Henry Jenkins - degree-level reading

Read the final chapter of ‘Fandom’ – written by Henry Jenkins (note: link may be blocked in school - try this Google Drive link if you need it.) This will give you an excellent introduction to the level of reading required for seminars and essays at university as well as degree-level insight into our current work on fandom and participatory culture. Answer the following questions:

1) There is an important quote on the first page: “It’s not an audience, it’s a community”. What does this mean?

2) Jenkins quotes Clay Shirky in the second page of the chapter. Pick out a single sentence of the extended quote that you think is particularly relevant to our work on participatory culture and the ‘end of audience’ (clue – look towards the end!)

3) What are the different names Jenkins discusses for these active consumers that are replacing the traditional audience?

4) On the third page of the chapter, what does Wired editor Chris Anderson suggest regarding the economic argument in favour of fan communities?

5) What examples does Jenkins provide to argue that fan culture has gone mainstream?

6) Look at the quote from Andrew Blau in which he discusses the importance of grassroots creativity. Pick out a sentence from the longer quote and decide whether you agree that audiences will ‘reshape the media landscape from the bottom up’.

7) What does Jenkins suggest the new ideal consumer is?

8) Why is fandom 'the future'?

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?

10) Read through to the end of the chapter. What do you think the future of fandom is? Are we all fans now? Is fandom mainstream or are real fan communities still an example of a niche media audience?

Optional extension: EU copyright law - is a meme ban really being considered?

Read this Wired feature on the upcoming EU copyright law (Article 13 and Article 11) and discuss the potential implications for participatory culture and fandom. How might this impact on fans' 'textual poaching'?

There is plenty of work here but you will have the Christmas holiday to complete it. Exploring Jenkins will also give you a high-level academic theorist to employ in your upcoming mock exams.

Fandom work: due date on Google Classroom.

Videogames - Metroid Prime 2: Echoes

Our second videogames CSP is Metroid Prime 2: Echoes (2004).

This is another in-depth CSP so will require a decent amount of work and research for an extensive blog case study.

The basics

• First-person action-adventure game produced for Nintendo GameCube (2004)
• Part of Metroid franchise – 7th game in series, sequel to Metroid Prime (original Metroid was 1986 on NES; latest release was Metroid: Samus Returns in 2017 on 3DS)
• Sold around 800,000 copies worldwide (quite low based on Nintendo franchises and previous Metroid games) 
• Game follows bounty hunter Samus Aran as she is sent to rescue Galactic Federation Marines
• She must battle the Ing (a destructive race from another dimension) and a mysterious version of herself called Dark Samus
• The game’s head-up display simulates the inside of Samus’s helmet and features map, radar, health bar, weapons and more
• Prime 2 Echoes is the first Metroid title to feature a 4-player multiplayer element

Metroid Prime 2: Echoes - blog tasks

Create a new blogpost called 'Metroid Prime 2: Echoes case study' and complete the following in-depth tasks.

Language

Analyse the game cover for Metroid Prime 2: Echoes (above).

1) How does the cover communicate the genre of the game?

2) What does the cover suggest regarding gameplay and audience pleasures?

3) Does the cover sexualise the character of Samus Aran? Why/why not?


Trailer analysis

Watch the trailer for the game:



1) What do you notice about genre?

2) How is the character introduced? Is Samus Aran's gender clear? Why?

3) How can we apply Steve Neale’s genre theory that discusses “repetition and difference”?

Gameplay analysis

Watch the following gameplay clips again:





1) What does the gameplay for Metroid Prime 2: Echoes involve?

2) Write an analysis of the media language choices in the construction of the game: e.g. genre, narrative, mise-en-scene, camera shots etc.

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects. You can use bullet points here and/or type up your notes from the analysis in class.

4) Choose one other theory to evaluate using the gameplay in Metroid e.g. gender theories or postmodernism. Again, use the notes from class to help you.

Audience

Research the audience for Nintendo and specifically the Metroid franchise, including Metroid Prime 2: Echoes. You may wish to start with looking at the following pages (note: some links may be blocked on school PCs):

Reddit discussion of why people play Metroid 
Giant Bomb forum: Who exactly is Nintendo’s demographics?
Reset Era: Nintendo’s audience getting older

1) Who might the target audience be for Metroid Prime 2: Echoes, based on your research? Discuss demographics and psychographics.

2) How has Nintendo’s audience changed since the original Metroid game in 1986?

3) What audience pleasures are offered by Metroid Prime 2: Echoes or the wider Metroid franchise?

4) What effects might Metroid have on audiences? Apply media effects theories (e.g. Bandura’s social learning theory, Gerbner’s cultivation theory). 

Read this Gamesparks feature on gaming demographics and answer the following questions:

1) Who is considered to be the stereotypical gamer?

2) What has changed this?

3) What role do women play in the videogames market? Quote statistics from the article here.

4) Why are older gamers becoming a particularly important market for videogames producers? How can you link this to the Metroid franchise?

5) What does the article suggest regarding audience pleasures and expectations for different generations of gamer?


Industries

Read this Destructoid blog on the Metroid franchise. Answer the following:

1) Why has Metroid never quite fitted with the Nintendo brand?

2) What franchises have overtaken Metroid in the sci-fi hyper-realism genre in recent years?

3) Why does the writer link old boy bands from the music industry to the Metroid franchise? Do you agree with this reading of the brand?

4) What is an ‘AAA’ or ‘triple-A game’ in the videogames industry?

5) Do you think there will be further Metroid games featuring Samus Aran? Should there be?


Representations

Read this BBC3 feature on Samus Aran and answer the questions below:

1) What was notable about the original Metroid game in 1986?

2) What were the inspirations behind the gameplay and construction of Metroid?

3) Why are the endings to the original Metroid considered controversial?

4) What reaction do you think the reveal of Samus Aran in a bikini would have got when the game was first released in 1986? Have attitudes towards women changed?

5) How have later versions of the Metroid franchise sexualised the character of Samus Aran?

6) How can we apply Liesbet van Zoonen’s work to Samus Aran and Metroid?

7) What did Brianna Wu suggest regarding the character of Samus Aran?

8) Do you see Samus Aran as a feminist icon or simply another exploited female character?


Read this Houston Press feature on Samus Aran and entitled male gamers. Answer the following questions:

1) What does Anita Sarkeesian suggest regarding Samus Aran?

2) Why does Brianna Wu (and others) suggest Samus Aran may be transgender?

3) Why is Samus Aran useful for male gamers trying to argue videogames are not sexist?

4) Why are Lara Croft, Zelda and Peach not ideal examples to argue for female equality in videogames?

5) What does the ‘SJW’ in ‘SJW-gender politics’ refer to?

6) How can we apply Gerbner’s Cultivation theory to representations of women in videogames as discussed in the article? How might this lead to ‘entitled male gamers’? 

7) Does the videogame industry have a problem with gender? Explain your opinion on this question and provide evidence for your argument.


A/A* extension tasks

Read this journal article called Mapping Metroid - which looks at the Metroid franchise's use of maps and brings in elements of game construction, narrative and postmodernism. It's a great example of academic writing and university-level videogame analysis. 


Complete for homework - due date on Google Classroom.

Videogames: Tomb Raider Anniversary

Our first videogames CSP is Tomb Raider: Anniversary (2007).

This is an in-depth CSP so will require significant work and research for an extensive blog case study.

The basics

• Released in 2007 on multiple consoles, PC and Mac. 
• The Wii version had active features; on Xbox it was the first game to be offered on Xbox Live Marketplace.
• 11th version of the Tomb Raider franchise.
• Marked 10th anniversary of original 1996 Tomb Raider game.
• Sold 1.3m copies – good but nowhere near original (7m+ copies).
• Game was based on original (offering nostalgia) but with updated graphics and gameplay – faster and more agile; more realistic visuals.
• Genre: Action adventure
• Protagonist/avatar (character player controls): Lara Croft
• Quest narrative driven by enigma and action codes and culminating in a final confrontation with antagonist. Lara Croft is dispatched to New Mexico to recover part of the Scion of Atlantis
• Gameplay involves: Exploration; Overcoming physical obstacles; Puzzles; Fighting; Gunplay.

Tomb Raider Anniversary: blog tasks

Language and Audience

Analyse the game cover for Tomb Raider Anniversary (above).

1) How does the cover communicate the genre of the game?

2) How does the pose and costume of the character appeal to primarily male audiences?

3) How might the cover be read as empowering for female gamers?

Gameplay analysis

Watch the following gameplay clips again:

1) What does the gameplay for Tomb Raider Anniversary involve?

2) Write an analysis of the media language choices in the construction of the game: e.g. genre, narrative, mise-en-scene, camera shots etc.

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects.


Representations

Read this NME feature on the evolution of the character of Lara Croft. Answer the following questions:

1) Note the statistics in the opening paragraph.

2) How does the article describe the cultural change in society and the media since the early 00s?

3) How was the original 1996 Lara Croft received by audiences and critics?

4) What did the 2013 re-launch do differently – and how successful was it?

5) How is ‘woke Lara’ defined in the conclusion of the feature?


Now read this feature – Tomb Raider’s Lara Croft: feminist or femme fatale? 

1) Why is Lara Croft considered a “polarising figure among gamers”?

2) How did the limitations of game construction in the 1990s help to establish the way female characters were animated?

3) Why were Lara Croft’s physical attributes emphasised in the original games?

4) How does Anita Sarkeesian describe Lara Croft?

5) Why has Lara Croft’s appearance and characterisation changed over time?

Industries

1) Why is Lara Croft such an iconic figure in the gaming industry?

2) What products and spin-offs have featured Lara Croft or the Tomb Raider brand?

3) Why might Lara Croft be considered a postmodern icon?

4) Why is Tomb Raider Anniversary a 'case study in conglomerate ownership'?


Grade A/A* extension tasks

Link Tomb Raider Anniversary to our work in the unit so far:

1) What examples from the Tomb Raider franchise are included in Anita Sarkeesian's video series 'Tropes vs Women in Video Games'?

2) How can we apply Liesbet van Zoonen's work to Lara Croft and Tomb Raider?


Complete for homework - due date on Google Classroom.

Coursework: Statement of Intent

Our coursework projects are developing well with the filming almost finished and our rough cut edits coming soon. We now need to update our Statement of Intent with our projects fully planned.

This week, we need to write and submit a second draft of our Statement of Intent that will be marked and given feedback in terms of a level and approximate grade. The Statement of Intent is worth 10 of the 60 marks so if we want A/A* we'll need something close to full marks on this component. 

 
One important point to remember is that your Statement of Intent is what you are planning to do - so it must be written in the future tense ('I will...' rather than 'I have...') This is not an evaluation but instead a written account of what you intend to produce.

You need to submit the second draft of your Statement of Intent as a NEW blog post AND email or share a version from Microsoft Word / Google Docs with your coursework teacher. Statement of Intent guidance is provided by AQA in their NEA Student Booklet but we strongly recommend you also look at our Statement of Intent questions to consider document too (you'll need to log in with your Greenford Google account to open these documents). 

Finally, here's an example Statement of Intent from a previous year (different brief - TV drama trailer) to give you some ideas on how you can use layout and bullet points to include a large amount of information while keeping close to the 500-word limit.

Statement of Intent deadline: Week commencing Monday 28 November

Mark scheme

A few of you have requested the mark scheme for the Statement of Intent. You can find it in the A Level Media specification document here - on pages 21-22 (if you keep scrolling you can also find the mark scheme for the remaining 50 marks for your productions).

If you need a recap on the brief from AQA, you can find it here - Brief Three: Music Promo.

Your statement of intent is a vital part of the project so make sure you are demonstrating your excellent knowledge of media concepts, terminology and theory.