Videogames: The Sims FreePlay part 2 - Industries

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 PEGI website.

1) What is the VSC and how does it link to UK law?

VSC is a PEGI administrator as PEGI 12+ age ratings are legally enforceable 

2) Note down the key statistics on the homepage.

• 13938+ games rated 
• 15141+ apps rated 
• 1702 number of member outlets
• 30 years in operation 

3) What is the purpose of PEGI?

To give games appropriate age ratings depending on the game's content 

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

PEGI 3

The majority of games in this category do not contain anything that requires rating or warrants a content warning. Games given this rating are considered suitable for all age groups.

 

Some violence in a comical context or child-friendly setting is acceptable, as is nudity when shown in a completely natural and non-sexual manner such as breast feeding.

PEGI 7

Any game that would normally be rated at 3 but contains some possibly frightening scenes or sounds may be considered suitable in this category.

 

A little more violence is permissible at PEGI 7. It is always unrealistic and often directed towards fantasy characters, though very mild non-realistic violence to humans may also feature. Implied violence (for example the bombing of a city where violence is not seen directly) is also dealt with at this level.

PEGI 12

At a PEGI 12 level more detailed and realistic looking violence towards fantasy characters is allowed. Any violence towards human characters must look unrealistic unless it consists of only minor or trivial injury such as a slap.
Sexual posturing of the type often seen in music videos is also allowed at this level as is sexual innuendo.

 

Some bad language is allowed but it can be no more than mild swearing.

 

At PEGI 12, games may provide some instruction on casino-style gambling, for example they can feature an explanation of the rules for Blackjack or Poker. This descriptor also appears on PEGI 16 and PEGI 18 games.

 

A game at this level may feature horror content such as strong threat and dread or graphic injury details.

PEGI 16

At the 16 level you can expect to see more mature and realistic violence against human characters. The game may deal heavily with death and injury to humans. 

 

Sexual activity can be shown but it must not include visible genitals. Depictions of erotic nudity may feature.

 

The worst forms of bad language can be heard and will often include sexual expletives.
Prominent use of tobacco and alcohol may be featured, as well as the use of illegal drugs. The game could glamorise crime.

PEGI 18 

The adult classification is applied when the level of violence is both realistic or severe in nature, often being graphic with blood and gore.

 

The game may include detailed descriptions of criminal techniques, or it may in some way glamorise the use of illegal drugs. Encouragement of tobacco or alcohol may also be included.

 

Sexual activity with visible genital organs may be shown. If a game is released physically in the UK and is likely to attain an R18 rating, the game will be referred to the BBFC for classification.

5) Scroll down to look at the ‘How games are examined’ infographic. What is the PEGI process for rating a game?

First the developer must send a detail list of what the game contains, from there evidence of such actions with a video and a copy of the game is necessary. the game then goes to playtesting, from there the game developers get a certification. 

The ‘Freemium’ gaming model

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

1) How does the freemium model work?

Fremium is another way of saying free but you have to pay money to get good. Freemium games tend to offer certain very important aspects of the game easier to obtain/get to with money 

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

Freemium results in games taking weeks or even months to make significant progress, making modern gaming more tedious than ever.

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

I personally see none. I believe it does help more independent game developers finance future games; but other than that, I am wholly against the freemium, pay to win model.

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.

80% of the $10billion in iOS revenue- received from in-app purchases ( each year) 

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

The better the game, the longer the game, the more likely that people are going to keep playing it and purchase currency, lootboxes etc.

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

Game developers may receive scrutiny due to

• Kids accidentally purchasing items
• Standard games becoming boring. 

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

1) Why did Temple Run use the freemium model?

It's a game that doesnt end, if it doesnt end then the potential of making money is very high.

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

It's mainstream and has proven its ability to make significant amounts of money

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

Producers like EA have already established business models that would require a large amount of effort to change into a freemium service, while indie developers will not need as much effort or time to do so.

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?

The Sims FreePlay has evolved into a more intricate game over time with far more features and developments 

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

Since video games can be such a personal medium for gamers and game developers, Amanda Schofield suggests that games aren't products anymore as they now act more as a relationship between said gamers and game developers 

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

The Sims Gaming community has become almost as involved with the development of the game as the developers

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

Constant updates and game changes has kept the audience interested

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.

• Over 200m installs of the Sims Freeplay
• 78,000 game time ( by year) 

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?

Diversion along with personal identity and relationship 

2) What examples of downloadable content are presented?

Expansion packs and characters models 

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

They showed the main issue with a freemium business model by selling DLC (Downloadable content) that should have been in the game in the first point

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

• Gender options increased 
• Increased diversity present in the game. 
• Multi-generational legacies 
• Autonomy- gave gamers full access to the 'hyper realistic' world of Sims 3 ( travelling to different neighbourhoods)

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

Expansion packs have no other use than to make more money for game developers, this applies to EA too

Videogames: Henry Jenkins - fandom and participatory culture

1) What is the definition of a fan?

People who consume a media text regularly because they enjoy it
2) What the different types of fan identified in the factsheet?

There is the Hardcore, newbie and the anti-fan

Hardcore:
Hardcore fans are proud of the fact that they consume the media text on a regular, almost obsessive basis; along with this, a hardcore fan is proud of this fact.

Newbie:
A newbie is a fan that is just now being introduced to that media text, has begun to consume the media text on a regular basis, but not to the same extent as a hardcore fan

Anti-fan:
Negative stereotype of fans, an anti-fan consumes media texts from a distance.


3) What makes a ‘fandom’?

"Fandoms are subcultures within which fans experience and share a sense of camaraderie with each other and engage in particular practices of their given fandom"
4) What is Bordieu’s argument regarding the ‘cultural capital’ of fandom?

At a certain point, the more of a fan you are within that fandom (can be determined through how many pieces of merchandise you have etc) you then gain almost gain clout or cultural capital within that fandom.
5) What examples of fandom are provided on pages 2 and 3 of the factsheet?

Potterheads, Trekkies, whovians and the sherlock holmes fandom
6) Why is imaginative extension and text creation a vital part of digital fandom?

Imaginative extension and text creation is a vital part of keeping a community active and alive.

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?

Everything from fan art pages of lara croft to pages dedicated to one of the side characters Jeevs.

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 page.

It would suggest that the fandom is quite large considering that the page covers pretty much everything.

Tomb Reader (blog in English & Urdu)  - A blog that is also in urdu, showing an international audience from Pakistan.

Tomb Raider: Tears of the Dragon (14 languages) - A fan made film 

Tomb Raider News Channel

3) Scroll to the bottom of the page and look at the short ‘About me’ bio and social media updates. Is this a typical example of ‘fandom’ in the digital age? Why?

In the modern digital age, everything can be monetised. Due to this, I believe that an "About me" has become a standard way of gaining an increased amount of followers, which can then be turned into the means of making money.

Now look at this Metroid fansite and answer the following: 

1) What does the site offer?

podcasts, FAQ, news updates regarding metroid, interviews etc 

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

I believe it shows that the people who enjoy metroid is quite diverse, as it shows cosplayers, fan fics, discussions etc.

3) 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?

It shows that there has been a deep investment of time and money in the game since its launch. The in-depth questions being asked by the fans shows this. 

Henry Jenkins: degree-level reading

Read the final chapter of ‘Fandom’ – written by Henry Jenkins. 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?

The quote means that the idea of an audience has changed in recent history. While yes there are fans who don't belong to fandoms and are more casual; modern culture and the way modern texts are promoted is through the creation of such fandoms, it has become the norm and is wildly supported by millions of people around the world. The audience is no longer an audience, it's a community

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!)

In the age of the internet, no one is a passive consumer anymore because everyone is a media outlet. 

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

Prosumers, influencers, connectors and inspirational consumers. 

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

He suggests that if production costs could be lowered, only then would real economic benefit be realised 

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

You can tell it's become mainstream by the fact that the word fandom, or anyone associated with a fandom is no longer considered as nerdy. 

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’.

"The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course"

I think there will always be the media conglomerates that spend hundreds of millions of dollars to make Hollywood blockbusters. But I do feel that majority of films that will be created will be of a bottom-up nature, with independent creators taking the fore-front 

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

Jenkins suggests that the new ideal consumer is one that basically provides free advertising through sharing and communication. 

8) Why is fandom 'the future'?

Financially it's the thing that makes the most sense, it makes advertising and selling of media texts fast, accurate and easy. Both audiences and creators seem to enjoy it.

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

By commodifing fan cultural production, you ignore the reason for its production and create a new evolved Hollywood machine. Once again making money the forefront for expressive creativity 

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?

I think fandom like most forms of, well, anything, is going to hit critical mass, and when it does some new way of creating community is most likely going to take its place 

The Sims FreePlay - Language & Audience blog tasks

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

1) What elements of gameplay are shown?

Customisation, pets, relationships, exploring and stereotypical family values are all present in the gameplay trailer 

2) What audience is the trailer targeting?

I would assume women, due to the nature of the content, but seeing that the game is so wildly popular, it would be safe to assume that the game attracts men too. When looking at age, I would assume the net is quite large and would estimate it to be around 12-30

3) What audience pleasures are suggested by the trailer?

Personal Identity, relationship, diversion, and surveillance can all be debated.

Identity because the player can fashion a character to be of their likeness. Relationship because not only does the game allow for the player to make a literal family, but to also the player to form personal relationships with the characters they make.

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

1) How is the game constructed?

The game is constructed to be a life sim (simulation) with the main goal being to take care of your "sim" through an in-game currency that can also be bought with real money. 

2) What audience is this game targeting?

The audience this game is attracting is the same audience that the trailer is attracting. aged 12-30 mainly women

3) What audience pleasures does the game provide?

The same that the trailer does, personal relationship, identity, diversion and, debatably surveillance  

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

It does so through allowing players to purchase in-game currency with real money

Audience

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

1) What critics reviews are included in the game information section?

All types, from 5-1 star reviews.

2) What do the reviews suggest regarding the audience pleasures of The Sims FreePlay?

Hard to make an assumption based on the reviews given, but it can be seen that most people play the game for the same reason. 

3) How do the reviews reflect the strong element of participatory culture in The Sims?

The audience has an influence on the games future and current content through the sending of reviews.

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?

‘a train set or a doll’s house where each person comes to it with their own interest and picks their own goals’

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

They said that the sims catered for a female audience and that women don't play games 

3) What is ‘modding’?

Modding is, in essence, modifying the game with user-created content 

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

Textual Poaching is the idea of using already made content and editing it to make something different 

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

Pearce ‘The original Sims

series has the most vibrant emergent fan culture of a

single-player game in history’

Jenkins notes, ‘there were

already more than fifty fan Web sites dedicated to

The Sims. Today, there are thousands’

Wright saying: ‘We were probably

responsible for the first million or so units sold but

it was the community which really brought it to the

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

Players were literally recreating items from popular cultures such as star wars and X files. 

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

Players could mix characters from different IP's and form their very own relationships, creating transmedia storytelling. e.g. Marvel characters forming relationships with DC ones etc

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

They have become far larger and complex, instead of one or two, there is now a whole sub-culture of sims related gaming, talking, socialising, etc.

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

the individual preferences and practices of players can cause divides within the community

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

Its ability to create a community 

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?

"Such modding is the force that sustains a passionate affinity space that builds artistic, technical, social, and emotional skills. We wrote the book because these woman and girls rock, not because they are women and girls."

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

James Paul Gee, see's the game as more than a game. The sims also acts as a form of expression.

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

Empower people to think like designers

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

The sims is a game that evolved into something bigger. Having only dabbled with the game in the past, I can't say that I personally have experienced this phenomenon, and so to try and say I understand why this game has been catapulted into the gaming hall of fame would be disingenuous. But I can say that it was inevitable. When there is a medium to create and freedom is given openly, creative individuals help to expand and fill the potential of that medium. The Sims act no differently as the tools of creation and relationship building are given to an unexpected extreme, acting as an almost tool for storytelling, allowing for an abundance of diversion.

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?

I think we have gotten to that point already, and the flexibility and creativity are simply going to be improved rather than more widely implemented since it's implementation is already quite widespread. As AI gets better, the chance of storytelling and individually unique experiences increases significantly.