Henry Jenkins - fandom blog tasks

1) What is the definition of a fan?
A person with an extreme and uncritical enthusiasm or zeal - shortened to fan.

2) What the different types of fan identified in the fact sheet?

• Hardcore/True Fan:lot of time and often money in becoming hard core fans. They take pride in how long they have been a fan and also the quantity and quality of the knowledge they have amassed whilst being a fan.

• Newbie:fans of any given text and do not have the longevity of devotion or depth of knowledge that hard core fans have and are initially viewed as the ‘out-group’ within fandoms.

• Anti-fan: ‘Anti-fans’ are those which identify themselves with media texts but negatively so;they loathe or hate the text but unlike ‘true’ fans they do not form their relationship with a text through close readings, they develop their emotional attachment ‘at a distance’ (Gray) through marketing publicity such as trailers.

3) What makes a ‘fandom’?
Fandom can be narrowly defined and can focus on something like an individual celebrity, or be more widely defined, encompassing entire hobbies, genres or fashions. In recent times media critics have suggested that fandoms can even be applied to the love of consumer goods or brand such as Apple.

4) What is Bourdieu’s argument regarding the ‘cultural capital’ of fandom?
Bordieu argues a kind of ‘cultural capital’ which confers a symbolic power and status for the fan, especially within the realm of their fandom.

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

• midnight screenings of The Rocky Horror Picture Show (1975) helped secure its cult status with students and gay and lesbian fans who would cross-dress like the characters, use props and re-enact the actions in particular scenes.
• The Lord of the Rings has intensified following the release of Peter Jackson’s film versions, leading many to conclude that the Hobbits and in particular Frodo Baggins and his servant and companion, Samwise Gamgee are homosexual. Such readings have also intensified through fan-fiction, and in particular the sub-genre of ‘slash fiction’, which focuses on depicting same-sex relationships between characters such as Frodo and Sam or Star Trek’s Kirk and Spock.

6) Why is imaginative extension and text creation a vital part of digital fandom?
Digital fandoms use technology in multiple ways and Fiske sees this as the ‘cultural economy’ of fandoms, one that is focused not on making money but on expressing the complex ideas and value systems behind fandoms. Fans use the original media texts and get creative and innovative with the material.

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?

message boards and chat rooms, Tomb Raider fan art and fiction, Lara Croft game and movie image galleries, Tomb Raider Level Editor help and downloads, Lara Croft models and costumes/cosplay, screenshots, wallpapers, comics and collectables.

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.
The links suggest that the tomb raider community is quite a niche as there is an average amount of content on the fan site.

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?
This description does describe a typical gamer as it says, 'caffeine junkie' and  'optimist' which would be considered as stereotpyical elements from the media.

Now look at this Metroid fansite and answer the following: 

1) What does the site offer?
This site offers 

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

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?

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?
This means that now in the digital era there is a new form of relationship between the media producers and its consumers. Now as this is increasing the consumers are taking an active role in the media and now majority of social media sites allow the audiences to express themselves and give them something to do.

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." This links to the end of audience culture as everyone has free will and media has become more diverse.

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

• “loyals,” stressing the value of consumer commitment in an era of channel zapping; some are calling them “media-actives,” suggesting that they are much more likely to demand the right to participate within the media franchise than previous generations; 
•  “prosumers,” suggesting that as consumers produce and circulate media, they are blurring the line between amateur and professional; some are calling them 
• “inspirational consumers”  or “connectors” or “influencers,” suggesting that some people play a more active role than others in shaping media flows and creating new values.

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

Argues that investing in niche properties with small but committed consumer bases may
make economic sense if you can lower the costs of production and replace marketing costs by building a much stronger network with your desired consumers.

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

Fan tastes are dominating television (resulting in the kind of complexity that Steven Johnson celebrates in his new book, EveryAfterword:  The Future of Fandom 359 thing Bad Is Good for You [2005]); where fan practices are shaping the games industry (where today’s modders quickly get recruited by the big companies). Indeed, many media analysts believe that these communities

of prosumers, multipliers, loyal, influencers, fans, will play an even greater role in the future as people begin to explore the use of the video iPod as a distribution channel for media content 

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’.

"A new generation of media makers and viewers are emerging which could lead to a sea change in how media is made and consumed." this quote is relevant in today's society in how the mainstream media works and audiences may reshape the media from bottom up because now producers rely on consumers whenever something is created.

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

 He suggests that today the ideal consumer talks up the program and spreads the word about the brand. 

8) Why is fandom 'the future'?

Consumption as a social, networked, collaborative process (“harnessing collective intelligence,” “the wisdom of crowds,” and all of that), whereas so much of the recent work in fan studies has returned to a focus on the individual fan. 

9) What does it mean when Jenkins says we shouldn’t celebrate ‘a process that commodifies fan cultural production’?
This means that it should stop being exaggerated as companies use this to target specific audiences within the media. 

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 believe that the future of fandom is expanding and people are becoming interested in new media due to the increase in material and digitalisation. 

Metroid Prime 2: Echoes - blog tasks

Language

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

1) How does the cover communicate the genre of the game?
The genre is communicated through the typography and sci fi colour scheme promoting the action and adventure aspect.The characters costume also is setting the theme as it is robotic and has a gun which could be interpreted as a phallic symbol representing potency and power.There is intertextuality as it could be similar to star wars and this occurrence of light conveying the genre.

2) What does the cover suggest regarding gameplay and audience pleasures?
The audience pleasures could be diversion and personal relationships as applied to Blumer and katz theory. There is element of autonomy as the player has full control over the characters in the gameplay. This is what Rigby accentuates in her theory of audience pleasures along with competence and relatedness as fans and players are bought together because this is not the first edition.

3) Does the cover sexualise the character of Samus Aran? Why/why not?
The cover does not over sexualise the character as the character can be seen as non binary and be gender fluid as it is presented with more male traits. The character's expressions aren't overly exaggerated compared to Lara Croft's character.


Trailer analysis

Watch the trailer for the game:




1) What do you notice about genre?
It is action and adventure. there are visual codes codes and audio codes used to represent the genre as exaggerated sounds are used and colours like purple, orange and yellow. The camera  movement is also cinematic and dramatic with shot reverse shots and pan to highlight the scientific element.

2) How is the character introduced? Is Samus Aran obviously female?
The character is introduced as independant and strong rather than overly female. She is not obviously female but camera angles do make her look overly curvy at some points.

3) How can we apply Steve Neale’s genre theory that discusses “repetition and difference”?n
Steve neale's theory can be used as the there are trailer conventions of repitition and differ


ence is where the female character is not made explicit on the cover but in the video it is. There is a multiplayer element which is the difference but is in first person shooter perspective.

Gameplay analysis

Watch the following gameplay clips again:













1) What does the gameplay for Metroid Prime 2: Echoes involve?
This involves the multiplayer and single player choice.and involves characters to have choices and gadgets within the game to help them. The game sets instruction and text on screen and codes to be broken. You can identify where the game is going as a result.

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 genre is action and fast paced for audience with exaggerated sounds and audio and visual codes. The typography is scientific and camera shots and movement is in cinematic style. 

Game construction:
The character is in complete control and independant it encourages the player to try harder with enigma and action codes available to the player.

Narrative:
The narrative theory of Todorov Propp's theory can be applied here of proppian hero and a binary opposition as the character of Samus Aran can be seen as the hero and the villian in the background creating the binary opposition of good vs evil.

mise en scene:
The mise en scene is constructed through the costume of the character making it appear more strong and dominant. Furthermore the lighting and camera angles are set for audiences to identitify the sci fi genre.

3) Analyse the clips for audience pleasures, applying audience theory and considering media
 effects.
The audience pleasures could be diversion and personal relationships as applied to Blumer and katz theory. There is element of autonomy as the player has full control over the characters in the gameplay along with agnecy. This is what Rigby accentuates in her theory of audience pleasures along with competence and relatedness as fans and players are bought together because this is not the first edition.

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.
older and younger audiences as it has the nostalgic appeal for audiences as the first edition came out in the 1980's. The psychographics would mainly be the main streamers.

2) How has Nintendo’s audience changed since the original Metroid game in 1986?
The audience has changed as now the audience is getting older the gaming industry is growing into adulthood as more adults are getting involved with gaming.This is due to the nostalgia appeal of the previous franchises. 

3) What audience pleasures are offered by Metroid Prime 2: Echoes or the wider Metroid franchise?
The audience pleasures could be diversion and personal relationships as applied to Blumer and katz theory. There is element of autonomy as the player has full control over the characters in the gameplay along with agnecy. This is what Rigby accentuates in her theory of audience pleasures along with competence and relatedness as fans and players are bought together because this is not the first edition.

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?

Adolescent boys

2) What has changed this?
There has been a change as now 50% of gamers are women and now there is wider variety of games to choose from whether on PC or tablet or console or smart phone.Games are availabke on app store with wider choices appealing to all types of audiences.

3) What role do women play in the videogames market? Quote statistics from the article here.
42% of women have Xbox or playstation whilst only 37% of men do. The games are thought to be a stress reliever after a hectic day.

4) Why are older gamers becoming a particularly important market for videogames producers? How can you link this to the Metroid franchise?
Older video gamers are important in the market because of the nostalgia of previously marketed video games. This links to the Metroid franchise because the first edition came out in the 1980's so it allows other audiences that played the previous editions to also take part in the further editions.


5) What does the article suggest regarding audience pleasures and expectations for different generations of gamer?
For different generation gamers, there are various things that need to be considered like having less violent and harsh acts for children. The pleasures for women include relaxing after a long working day so the game helps divert their mind.



Industries

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

1) Why has Metroid never quite fitted with the Nintendo brand?
This is because sci-fi has never suited the Nintendo brand as it originally for entertainment.  



2) What franchises have overtaken Metroid in the sci-fi hyper-realism genre in recent years?
New franchises like Halo, Mass Effect, and now No Man's Sky have filled the space where Metroid had dominated back in the NES and SNES eras. 

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 links the bands as these bands also give audiences a nostalgic feel like the Metroid franchise does.The bands then carry on to appear to older audiences so then they can relate just like audiences can when they play Metroid.

4) What is an ‘AAA’ or ‘triple-A game’ in the video games industry?
In the video game industry, AAA or Triple-A is a classification term used for games with the highest development budgets and levels of promotion. A title considered to be AAA is therefore expected to be a high quality game or to be among the year's bestsellers.

5) Do you think there will be further Metroid games featuring Samus Aran? Should there be?
I think there may be games that will feature Samus Aron character as audiences like the game so much especially the older generation but also the game may not create any other with that character in it as so many editions have already been created with the character.
Representation

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?Its developers took inspiration from genre-definers like Mario and Zelda, as well as the film Alien. They further developed the weapon and armour upgrade system used in Zelda, and took the pioneering step of allowing players to explore at will by backtracking and revisiting areas of the map.

3) Why are the endings to the original Metroid considered controversial?
controversies over the sexualisation of Samus. Like the time she wore heels in a Super Smash Bros game. Fans have questioned whether their female icon deserves better than pandering to teenage male fantasies. Nintendo, meanwhile have been happy to push Samus as an icon of girl power.

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?
The approach would be very different as women's roles were completely different then and they were objectified  more than now. The attitudes have changed as women now are more independent and have better roles than before.5) How have later versions of the Metroid franchise sexualised the character of Samus Aran?
The character has been though of being transgender because of the figure and aesthetic given to the character. the hero has been celebrated for defying the gender stereotypes.

6) How can we apply Liesbet van Zoonen’s work to Samus Aran and Metroid?
This theory can applied as the character is socially constructed and These constructions reflect cultural and historical contexts and  objectification of the female body is a key construct of western culture (building on Mulvey – male gaze).

7) What did Brianna Wu suggest regarding the character of Samus Aran?
She suggests the character is transgender.

8) Do you see Samus Aran as a feminist icon or simply another exploited female character?
I believe that her character can be interpreted as another feminist character as she is not accentuated as a hyper feminine character.Her character is not overly sexualised but is independent and heroic.
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?
Sarkeesian points out that the female reveal sort of pales as Samus’s increasingly naked body is used as a reward for male skill. It doesn’t diminish Samus as a character, but it does sort of diminish the games themselves for using this sexist convention.

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

She claims to have  seen some fans argue that this refers to Samus having blood from the alien Chozo race in her veins, but Wu and McGrody also mention how Samus was originally portrayed to be 6’3” and more muscled in her appearance.

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. 

4) Why are Lara Croft, Zelda and Peach not ideal examples to argue for female equality in videogames?
 Lara Croft will always be haunted by her cartoonish, sexual appearance in early games, Zelda and Peach are damsels too often, and the anti-feminist as they objectified and presented as hyper feminine characters. 

5) What does the ‘SJW’ in ‘SJW-gender politics’ refer to?
Social justice warrior (SJW) is a pejorative term for an individual who promotes socially progressive views, including feminism, civil rights, and multiculturalism, as well as identity politics.

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’? 
 Cultivation Theory suggests Television influences its audience to the extent that their world view and perceptions start reflecting what they repeatedly see meaning TV is considered to contribute independently to the way people perceive social reality and will have an effect on the audience’s attitudes and values. The repetitive viewing of representations of women like this makes us get the impression of the way women should be which means an image is constructed for us.


7) Does the videogame industry have a problem with gender? Provide evidence for your argument.
The video game industry does represent gender stereo typically as representations are quite structural. this may make people object to the way the gender is presented.

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?

The Genre is communicated through the mise en scene like the lighting, clothing, propps and actor this is demonstrated through the weapons the female character is holding making her seem to be set to go on hunting or some wort of adventure. There is further reinforcement through he backpack and the lighting is brown and gold highlighting the ancient picture and making it seem as if she is being set to go on a quest.

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

This appeals to male audiences as it sets out the male gaze as Laura Mulvey reinforces making her look more sexually appealing and is highlighted through exposing of flesh. She is set to give erotic pleasure through he clothes of her wearing 'hot pants' to impress males. Her breasts is where the text begins and ends towards her lower back again reinforcing the male gaze. This could link with Sarkeesian's theory as women are portrayed as sex objects to appear as alluring towards men.

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

This can be empowering for female Gamers as it presents the character of Lara Croft as being dominant and independant. This is reinforced through her posture and expression being in direct  mode of address straight at the audience. There is no male character present which means she has the autonmy as Rigby outlines so this gives audiences the gratification of being in control.

1) Note the statistics in the opening paragraph.

• Sold over 58 million video games.
• Graced 1100 magazine covers.

2) How does the article describe the cultural change in society and the media since the early 00s?
The cultural change has been women's equality in society as now more voices are being amplified regarding sexual harassment and claims that Lara Croft has helped bring and signify this change.

3) How was the original 1996 Lara Croft received by audiences and critics?
Lara Croft first tumbled into our lives in 1996, shooting bears, diving over booby traps and swinging between ledges with vines. She was strong, smart and had an amazing job: she was already a role model.

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

Lara Croft first tumbled into our lives in 1996, shooting bears, diving over booby traps and swinging between ledges with vines. She was strong, smart and had an amazing job: she was already a role model.

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


1) What does the gameplay for Tomb Raider Anniversary involve?
It involves the character of  Lara croft being on a mission trying to uncover things and allows the audience to be in complete control.

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:
For the genre, there are enigma codes that are set towards the audience suggesting the suspense and adventure genre. There are subtle intertextual references in the game reinforcing ideologies of Indiana jones gameplay.

Narrative:
Her character can be seen as a proppian Hero (Todorov). There are binary oppositions created of her character being represented as a sex icon or a character reinforcing feminist ideals.


Mise en scene:
The clothes used for Lara Crofts character can be seen as sexually appealing and demonstrate the male gaze (laura Mulvey). She has been made to appear with attractive feminist facial expressions and has a standardised figure.

Camera shots:
As the game proceeds the camera angles allow the audience to have full control over her allowing autonomy( Rigby). This enables audience pleasure and allows them to have voyeuristic and erotic pleasures.

3) Analyse the clips for audience pleasures, applying audience theory and considering media effects.
The audience pleasures include diversion helping audiences escape reality. This game includes erotic and voyeuristic pleasures for audiences as it reinforces the male gaze (Mulvey) and sexualizes her body significantly (Liesbeth Van Zoonen). There are also nostalgic pleasures as audiences may have played the first edition which means that could remind them of that game too. This could also be applied to Scott Rigby's theory of gratifications by providing autonomy as the player is in significant control of her.


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

1) Why is Lara Croft considered a “polarising figure among gamers”?
Her identification can be viewed as polarising towards audiences either as a feminist role model or as digital pin up girl just there to sexually appeal to men. Therefore she is known to be a sex icon or a feminist icon.


2) How did the limitations of game construction in the 1990s help to establish the way female characters were animated?
they were animated differently as flowing hair was difficult to design their hair would either be shorter of tied to establish their physique more evidently to audiences.

3) Why were Lara Croft’s physical attributes emphasised in the original games?
This is because the video game industry tend to be male dominated which means that her appearance is part of the stereotypical reprsentation of women.


4) How does Anita Sarkeesian describe Lara Croft?
 "She is a hyper-sexualised character that promotes a deep objectification of women."


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

Research shows that now over half characters in video games are female and crystal dynamics rebooted the franchise and gave her a more natural look, including trousers. Croft has managed to survive two decades in pop culture - straddling the line of the feminist figure and femme fatale - long after fellow 1990s girl-power symbols such as the Spice Girls and Xena the Warrior Princess have faded from relevancy. 

Industries

1) Why is Lara Croft such an iconic figure in the gaming industry?
She is known to be independent, dominant and subverting the female stereotypical representation. She is iconic as a result of being subverting some images of representations of women in video games.


2) What products and spin-offs have featured Lara Croft or the Tomb Raider brand?
comics, animated TV series and feature films.


3) Why might Lara Croft be considered a postmodern icon?
She may be considered as a postmodern icon due to her being presented as a real celebrity so a simulacrum is created as models are seen as to be dressed like Lara Croft. This means that a fictional character has become part of the real world.

4) Why is Tomb Raider Anniversary a 'case study in conglomerate ownership'?
This may be due to the fact it is used in advertising campaigns for products including cars and soft drinks.


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'?

• Her construction as a character the way she is designed is notably sexually appealing.
• Her movement and action and grunting is quite stereotypical.
• Male gaze reinforcement and Lara Croft appeals to some other women as being independent and very capable, but at the same time, there's no denying that she has often been presented as a sex object.

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

We can apply her theory as her gender is being constructed through the media language and cultural and historical factors. There is female objectification as well as constructions reflecting cultural and historical representations.