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.  

Videogames - Metroid Prime 2: Echoes

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

The first notable element of the game cover is the main character Samus and her gun/arm she's holding. This immediately shows that the game genre is definitely an action oriented game, and possibly a sci-fi one too. The aliens on the left of the cover confirm the prior assumption of it being sci-fi since aliens are often limited to sci-fi games. These factors combined with the other elements such as the colour scheme and the background elements support this.  

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

the gameplay images on the side of the cover confirm the fact that the game is a FPS (First Person Shooter). this is supported by the gun/arm like weapon that samus has.
3) Does the cover sexualise the character of Samus Aran? Why/why not?

I would say it doesn't, her body isn't overly played and nor is the position she's in. If an individual who had no clue that samus was a female, I doubt they would assume that judging by that cover, that they would guess she's female, the same cannot exactly be said about Lara Croft.

Trailer analysis

Watch the trailer for the game:




1) What do you notice about genre?

It's a FPS (First Person Shooter) that takes place in space. It is obviously a sci-fi game with elements of aliens.

2) How is the character introduced? Is Samus Aran obviously female?

Samus is introduced in a very stereotypically action-esk way that does not hint the fact that Samus is a female.

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

if looking specifically at the genre, the main similarities present in the FPS genre can be seen by the HUD and guns. But there are plenty of differences to meet that similarity in the form of the environments and characters the main character will interact with. 

Gameplay analysis

Watch the following gameplay clips again:





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

It looks to be divided in three different parts. One being the exploration of the games different environments and scanning of different objects. Two, would be the puzzle solving that also includes the exploration and finally. Three, the action sequences of the game which mainly includes Samus shooting aliens  

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.

Genre:
The games construction directly resembles the genres the game falls into. The main genres being adventure, action and sci-fi (FPS in gaming definitions). The environments in the game resemble different games within the same game genres such as Halo and Doom. The HUD given to the player resemble sci-fi and action games, this can be seen with an ammo count and a map in the different sides of the screen. The gameplay is the biggest hint to this with it being a FPS with the main character shooting aliens, playing into the idea that the game is a sci-fi shooter.



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

the clip contains instances of typical fps conventions that would cater to the needs of an older generation of gamers who want to see more action in their games. This combined with the fact that the game also still remains quite cartoon esk means that the game is still accesible to younger players.


Audience

Research the audience for Nintendo and specifically the Metroid franchise, including Metroid Prime 2: Echoes. You may wish to start with the following pages:

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.

From the original metroid game, compared to the 2007 one, it would be safe to assume that the audience will have reached adult hood. This brings in two differences. One, that the game now has a nostalgia factor that the game didn't have before hand, this acts as USP as sorts for Metroid and Nintendo. Second, since the original demographic has now grown up significantly, they will now also have different wants from the game, the main thing would be mote actions, or at least more graphic action.

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

They have grown up quite significantly since the original game to meet this change, the metroid series has evolved to meet a more mature audience, this can be seen by the newer colour schemes, the audio used and gameplay also heavily play into this change. 

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

The three main pleasures would be the diversion, personal identity and personal relationship. Diversion due to the fantasy/sci-fi nature of the game, personal identity due to the long time relationship samus has had with female gamers since Samus often acts a role model for female gamers; and finally, personal relationship is prevalent due to metroids nostalgic factor seeing that most people who played the game when it released, grew up with the franchise.

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

I don't feel like metroid as a game would have many effects. The only real effect I can think of is a possible increase in people seeking out sci-fi content. The game is not explicit and the action is limited to very cartoonish action.


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

1) Who is considered to be the stereotypical gamer?

The stereotypical gamer is often seen as the the adolescent male.

2) What has changed this?

The introduction of mobile games have changed the demographic significantly.

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

They make up a new majority of gamers after it was seen that, if mobile gamers were added to overall gaming population, they make the majority.

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

The original gamer generation have now become the older generation of today, they form a core market of sales for gaming companies now and keeping this generation in mind when making games. 

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?

The semi-realistic sci-fi genre is a genre that has not really been one of Nintendos strong suits. That combined with the fact that the demographic that is often associated with that genre of games is also one that quite often has no interest in in Nintendo, the nerdy age 15-35 demographic

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

Halo
Destiny
No Mans Sky
Mass Effect


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?

The writer makes the analogy to boy bands when talking about Metroid as an example of how times change, and that is quite apparent with the current climate of games. 

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

An AAA game is a game which often has a very large budget and also often made by a massive game production company such as Ubisoft or EA, the two characteristics are not mutually exclusive. 

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

I feel that Metroid is too established of a game to leave in the side lines for long. The game is clearly still relevant seeing that Metroid and Samus are often still popping up in newer games. Two prime examples of Metroid still being relevant would be Super Smash bros and Monster Hunter; while Samus's inclusion in Super Smash Bros is self explanatory as the game is basically and avengers level collaboration of different Nintendo IP's, monster hunter is a different case seeing that the game has no ties to metroid, and is made by very different developers. Developed by Capcom, the monster hunter series has seen a variety of publishers publish their game, but most recently, Monster Hunter Generations sees the players be able to create cosmetics that resembles Samus's classic attire. This is a clear example that there is still interest in the game, and not having a new game at least planned would be a massive loss for the publisher. 


Representation

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

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

The plot twist at the end that reveals Samus to be a female is quite notable.

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

Mario, Zelda and the film Alien.

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

The faster you completed the game, the more items of clothing Samus takes off. 

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?

I think that the initial reaction my have been that of controversy, but they were probably not scrutinised, unlike in today's gaming climate where something like that would bring in waves of unneeded bad attention. 

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

The character model has remained skin tight when she isn't wearing the suit, with her body being oddly proportioned and very amplified. When she wears her suit although, I don't believe shes sexualized.

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

You could say that the non suit and suited Samus are made the way they are in order to appeal to men. The suited Samus Aran would appeal to the action side of a male player, with it looking fierce and powerful, the non suit Samus Aran then being used to then appeal with the sexual fantasies of both male and possibly female players.

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

Brianna Wu (somehow) tried to argue that Samus was transgender 

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

I feel like most female characters, shes become both. Depending on how you view feminism, her concealed and non-suit versions can both be argued as either a feminist icon or an exploited female character. Personally I feel like currently shes closer to a feminist icon than an exploited feminist 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?

She believes that the early Metroid games easter egg endings did not diminish Samus as a character but instead diminished the game itself 

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

Briana Wu suggests that Samus Aran may be transgender due to the character being referred to as a newhalf by its lead developer, which can be translated to shemale. That combined with the fact that Samus her self is depicted as a 6ft3 individual with highly defined muscles.

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

"Samus is the constant go-to for any argument about portrayals of women in gaming and sexism in gaming culture. If you question the number of female protagonists you’ll get a list that will virtually always start with Samus as a counter-argument. Never mind the fact that studies show men perceive gender equality when it hasn’t been reached. As long as they have Samus everything is fine."

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

Lara Croft will be forever linked to cartoonish body proportions, peach and Zelda have too often been linked to the damsel in distress 

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

Social Justice Warrior is basically a term used to label online individuals who overly campaign political correctness.

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’? 

Gerbner's Cultivation theory states that if someone is constantly showed something repeatedly, it is possible to have the ideas presented by that text to have a lasting effect on the viewer. When looking at video games, it is a valid point to make that if women were to be constantly showed in a sexual matter it is possible to have those sexual ideas be imprinted on the viewer.
7) Does the videogame industry have a problem with gender? Provide evidence for your argument.

I feel that It did have a problem. Much like the film industry where women were primarily given three roles, the eye candy, the help or the damsel in distress. But gradually with social change, women were given more developed characters resulting in the strong female lead becoming a main stay in mainstream media. I think the same can be said for modern video games; while yes there may still be examples of sexualized characters in some games, but often times, like in other forms of media, that character trait may be linked with how the character is written and it's importance to the story, rather than just being done for the male gaze. Like most things, the video game industry is in a steady pace of change, with brand new empowering women in the works.