Video Games Flashcards

1
Q

Who owns the games industry?

A

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.

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2
Q

how does rockstar, the smaller company stay in business?

A

Smaller companies for example Rockstar (the company that made GTA V 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.

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3
Q

What is the purpose of the games industry?

A

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.

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4
Q

how does the games industry maintain loyalty?

A

1) Producing successful franchises ‘in house’. E.g. Nintendo’s Legend of Zelda
2) 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.
3) “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.
4) 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.
5) 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.

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5
Q

what is technological convergence?

A

Home entertainment hubs besides play games allow users to preform many functions like Surf web
Watch Blu-ray DVDs
and even buy good online

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6
Q

technological convergence

A

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.

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7
Q

how has production changed over time?

A

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.

whereas nowdays, 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 GTA IV. its also costed 80 million and took 3 and a half years to complete

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8
Q

how are production comanies more like established film companies?

A

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).

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9
Q

how do Games now share many of the production techniques of films.

A

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.

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10
Q

how is the video game industry becoming more like the film industry

A

1) Games use famous actors to voice characters e.g. Kiefer Sutherland in Call of Duty, Stephen Fry in Fable 2.

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.

3) 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.

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11
Q

what are publishers responsible for?

A

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.

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12
Q

how is distribution changing

A

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.

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13
Q

Game campaigns now includes:

A

Film style trailers
Film tie-ins
Soundtracks
Magazine and Newspapers
Ambassadors
Online advertisements
Posters in public
Viral marketing
Publicity stunts
Celebrity endorsements

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14
Q

Celebrity endorsements

A

e.g. Wayne Rooney FIFA Football

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15
Q

Film style trailers

A

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.

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16
Q

Game conventions

A

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.

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17
Q

Corporate synergy

A

As part of its “It Only Does Everything” marketing campaign for Move Sony has entered a synergistic relationship with Coca Cola.

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18
Q

benefits of sandbox game

A

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.

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19
Q

narratives in video games

A

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.

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20
Q

Murray’ s agency

A

“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.

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21
Q

stereotypes of gamers changing

A

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.

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22
Q

what are the 3 major territories that video games are culturally and financially significant.

A

Japan, Europe and the USA

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23
Q

Curran and Seaton

A

Curran and Seaton suggested that media concentration generally limits or inhibits variety, creativity and quality.

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24
Q

What are the main reasons for the shift towards digital distribution?

A

Casual gamers, mobile phone gaming models, improved sales margins

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25
Q

Why do so many titles now release DLC after the initial game release?

A

Micro-transactions are big business, extending the life of a game, maintaining franchise loyalty

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26
Q

To what extent is it important that consoles allow access to other media formats, e.g. film and television?

A

Responding to new ways that people access their media, convergence

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27
Q

Why has Steam been successful on PC’s and Macs?

A

Connects users across the two platforms, latest releases and updates, independent games

28
Q

Are there any problems linked to digital distribution models?

A

Bandwidth capability, piracy,

29
Q

PSvita

A

The PS Vita was attempting to tap into the increasing success of mobile gaming. The PS Vita was designed with many features usually associated with smart phones (touchscreen as well as Wi-Fi, 3G and Bluetooth capability).
Assassin’s Creed III: Liberation used the handheld’s numerous touchscreens and its gyroscope to their full advantage by the inclusion of minigames for activities such as:

Tearing open a letter
Holding up a piece of paper to a bright light to locate treasure
Tilting a maze puzzle

30
Q

Cultural Industries – David Hesmondhalgh

A

He tells us that the cultural industries maximise profit and mininise risk.
Assassin’s Creed is part of an established franchise with a large fan-base. Producers are clearly attempting to harness the popularity of this franchise and safe genres.

31
Q

Globalistion is?

A

Globalisation considers the idea that different parts of the world are becoming interconnected which in turn creates interaction and interdependency.

32
Q

Vertical Integration

A

Owning more than one step of the supply process

33
Q

Horizontal Integration

A

A conglomerate owns several companies at the same level

34
Q

Convergence

A

Technology has meant that media forms have been brought together

35
Q

Synergy

A

Media texts serve to promote each other to create hype

36
Q

Benefits of convergence and synergy

A

The institution can control more of the production, distribution and exhibition cycle.
The institution can save money by keeping production, distribution and exhibition costs within one main company.
The institution can absorb financial losses in one subsidiary into the others. The institutions have the financial resources to invest and develop new technologies, such as Virtual Reality.
Large institutions with access to vast sums of money can make products that would otherwise be impossible to make, such as films with a high budget like Avatar and audiences get to experience these technological developments, such as 3D.

37
Q

Drawbacks of convergence and synergy

A

Smaller institutions cannot compete with the larger media conglomerates.
A large financial loss in one area of a media conglomerate could put other subsidiaries at risk.
The audience has a limited choicein what they can consume as the large institutions are so concerned with making profits. They only make products that are guaranteed some success.
The dominance of large media conglomerates means that smaller products made by smaller institutions, like independent films, are harder to get access to.

38
Q

Why is Assassin’s Creed Valhalla rated PEGI 18?

A

Suitable for ages 18 and older. It contains: Multiple, motiveless killing - Violence towards defenceless people.
This game allows the player to interact with other players ONLINE

39
Q

Sonia Livingstone and Peter Lunt

A

New technology opens up new opportunities and arguably new risks that complicate regulation.

40
Q

why are people against the use of violent video games?

A

Looked down upon as examples of ‘low culture’ - with simplistic storylines and stereotypical characters.
In 1980s and 1990s academic interest in videogames was centred on defining what negative effects they might be having on children. It was noticed in the early 1970s that videogames were very compulsive. Players returned again and again to games like Space Invaders playing them for many hours. Some games researchers saw videogames as a gateway into other addictive behaviour as if they were a drug. The language that was used to describe players was very emotive, even sensationalist at times.
For example the eminent psychologist Philip Zimbardo said, “videogame fanatics are like cocaine addicts who get an instant rush from an electronic fix” (quoted in Newman 2001, 62-63).
Videogames have been blamed as one of the causes of terrible gun crimes like the shooting that took place at the Columbine School in the US in 1999. Eric Harris and Dylan Klebold, both pupils at the school, killed 13 people and wounded 23 others before using the guns on themselves. Harris and Klebold were both keen players of Doom and had even created their own levels for the game. This led to suggestions that videogames were training children to kill: “every time a child plays an interactive videogame he is learning the exact same conditioned reflex as a soldier” (Dave Grossman, quoted in Newman 2001, 65).
Many people still regard them as causes for concern. A case in point is the recent attempt by the British Board of Film Censors’ (BBFC) to ban the adult videogame Manhunt 2 (Rockstar 2007) for its violent content.

41
Q

evaluation of violent video games

A

The number of well-conducted research studies is small.
The reliability and validity is questionable.
There has been little research into long term effects.
ELSPA have conducted studies into the educational and prosocial nature of games.
Media coverage tends to overemphasise the prevalence of violence.
Studies have concentrated on analogues of aggression rather than the aggression itself and it is clear that having aggressive thoughts after playing videogames does not necessarily translate into aggressive behaviour.
A survey of 151 arcade game players in California found that only 10% exhibited symptoms of what might be called compulsive behaviour (quoted in Chandler 1994).

42
Q

Hypodermic Needle Theory

A

Just like the syringe used to inject a drug into a body, the media ‘injects’ messages directly into the minds of the viewers/listeners/readers; and they can be as addictive as heroin

43
Q

Copycat or Modelling Theory

A

This approach suggests that people will imitate what they see in the media – e.g. if young people watch Natural Born Killers, they will go out on a killing spree.

44
Q

Desensitisation theory

A

If we are exposed to too much violence, or too much blatant sexuality, we will become less sensitive to real life violence and sexual behaviours.

45
Q

Cultivation Theory

A

As audiences watch more and more film and television, they gradually develop certain views about the world, some of which are ‘false’.

46
Q

Reception Analysis theory

A

Audiences are seen as active producers of meaning, rather than as merely consumers of media meanings. They make sense of media texts according to their social position (in terms of their identity) – and their gender, race, class etc.

47
Q

Young and Rubicam categories

A

Mainstreamer
Aspirer
Succeeder
Reformer
Explorer
Struggler
Resigned

48
Q

uses and gratofication

A

Information and Education
Entertainment
Personal Identity
Integration and social interaction
Escapism

49
Q

how do video games attract their audiences

A

genre
character
franchises
technical

50
Q

how does genre attract ?

A

The games are adventure and stealth. This is appealing for players that enjoy violent games and want escapism - uses and gratification. The violence is reflective of the PEGI 18 rating.

51
Q

how do the characters attract ?

A

gamers that are aspirational, they see the characters as themselves but the character canb do cooler things than they can, they aspire to the the character. Or they can identify with the character uses and gratification they feel a connection to the chater and feel attached, keeping them playing the game.

52
Q

how do franchises attrcat?

A

franchises ensure a pre sold audience, hard core fans of the franchise will play the game regardless Jenks fandom. the players have familiarity with the game play of the characters and the settings

53
Q

how does technical stuff atract?

A

Graphics looks aming they get better over time, players want to see motions of characters faces, they want a realist world, they want fidelity, truth and beliebloity. Realism. lost a real world.

54
Q

We respond differently to a media text depending on our relation with the media text (how we play the game)

A

Assassins creed is a 3rd person screen - we feel in power and authority.
Sims feels like we are omnipotent
Video games position us to be violent and reckless, brave, fearless, we do thing that we would not do in real life
We also feel frustrated by games when we face difficulty, like being unable to complete a level or unlock a character
We don’t get these feeling of frustration from any other media texts
Mode of address - one way a text can position its audience eg news papers are forward and shouty making us feel threatened
Assassins creed has a historic, serious, accurate, violent mode of address, therefore we feel like we have actually done things

55
Q

Dyers Utopian Pleasures

A

Media provide things that the real world can’t:
abundance
energy
intensity
transparency
community

Assassins Creed - intensity, const excitement and drama, the player never gets bored

56
Q

Halls reception theory:

A

dominant-hegemonic- preferred reading: the intended meaning is fully understood and accepted
negotiated reading: the legitimacy is acknowledged in general terms, although the message is adapted or negotiated to better fit the decoder’s own individual experiences or context
oppositional reading : the message is understood, but the decoder disagrees with it, reading it in a contrary or oppositional way.

Assassins Creed is an open world game so we can negotiate with a text, wonder round, however there is a story and narrative which you need to follow to progress.

57
Q

Shirky

A

Shirky
The relationship between text and audience has transformed due to the digital revolution.

previously the old media model was linea: producer - text - audience

Nowadays, according to Shriky the linear process does not exists,we are no longer passive consumers, we make media (fan art etc) and audience reception changes media (if the fans don’t like media text the producers change it).

In Assassin’s creed nexus, they brought Essio back as he was a fan favourite

58
Q

Fandom

A

A fan is not just a casual consumer of media. A fan goes beyond watching something. A fan does not consume media for academic purposes.

they have Commitment and attachment beyond the usual consumption of media

59
Q

Fandom includes:

A

Incredible knowledge about media text
Very loyal to the text
Committed to the text
Involved in the community of the media text

Not only do you consume it but you produce media of it (prosumer) Shirky

60
Q

Pierre Bourdieu

A

cultural capital means that you gain power in the community due to your knowledge. They are uber geeks.

61
Q

Tulloch

A

‘powerless elite’ – no power effectively but considered elite because of specialist knowledge of particular media. Powerless too in relation to the production of the media they consume (and cancellation of media)

62
Q

‘Textual poachers’ – Michel de Certeau

A

fans poach amongst the work of the powerful to take meanings / values. (jenkins)

63
Q

textual poaching ac

A

The franchise has a well-established fan community enhanced by digital convergent platforms facilitating interaction and responses to the game to be shared. Fans can play a role in the future development of the franchise.
Fans can play a part in the production of the media.

64
Q

fans have power example

A

Akuma was brought back in street fighter 5 because he was a fan favourite - fans do hae power!

65
Q

Why cosplay:

A

Personal identity
Money
Escapism
Credit within the fan community - cultural capital

66
Q

Henry Jenkins Fandom

A

1) There are codes and rules that exist within the community
The community would allow and not allow certain things
You cannot total transform a text, it should be out of love and stay faithful to the text

2) Majority of fan fiction is created by women
Its is a male dominated space
Women are claiming power through fan fiction, its is a challenge to the patriarchy

3) Fans are like cultural nomads
There are many subsections and crossovers

4) Fans create fan fiction to gain power, they are marginalised

5) Imbalance and struggle between fans and producers eg star wars, george lucas believes it is his, fans believe it is theirs

6) A fan is not just a consumer, a fan consumes the media text completely, repeated viewing is required

7) A fan must get into the meta textuality, you must have the ability to discuss the text on a minute detail, discussion and sharing of knowledge is key

8) Fans should feel like they have power

9) The gap between the text and audience has gone, the fans are so close to the text they are part of the text

10) Must be part of a big community, active and not passive

11) The industry have started to monetize it. The power balance is recognised by the industry. If they encourage the fans they will get more revenue.