The Sims FreePlay CSP - Audience and Industries blog tasks

 Audience

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

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

'Create their story' - ability to design your own sims and control their lives 

'Virtual community' - emphasis on the ability to control every aspect of the game and create your own world/lives 

'Real life connect' - ability to connect with other real players 

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

Links directing players to their twitter, facebook and instagram communities 

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

Links to audience pleasures - escapism, personal relationships, entertainment 

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?

He originally described the game as a train set or a doll house.

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

They weren't interested as they believed that 'doll houses were for girls and girls don't play video games.'

3) What is ‘modding’? How does ‘modding’ link to Henry Jenkins’ idea of ‘textual poaching’?

Modding is where players manipulate the games coding to change aspects of the game. This links to Jenkins' idea as players are remaking/reworking game content which contributes to the game.

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

Jenkins:

"There were already more than fifty fan Web sites dedicated to The Sims. Today, there are thousands."

Pearce:

"The original Sims series has the most vibrant emergent fan culture of a single-player game in history."

Wright:

"We were probably responsible for the first million or so units sold but it was the community which really brought it to the next level."

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

Star Trek, Star Wars, The X-Files, Japanese anime and manga, Lord of the Rings, The Matrix

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

Transmedia storytelling  is where the original story is dispersed among multiple forms of media. The Sims allows players to create it by allowing them to create their own stories and share them through the in game social media to other players. Players also create films/comics using the game which they share online. 

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

The communities have developed as there was once only 50 online communities but this has grown to thousands over time. There is also large groups of models who are trying to share their knowledge to new models and keep the game entertaining so that it doesn't die.

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

The writer suggests it will be remembered for its long lasting cult following and for the impact it had in shaping the foundation for in game participatory culture.

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

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

Gee believes the game is important as it acts as a gateway from gaming to designing.

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

He wants players to create their own content and organise communities around the game.

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

I somewhat agree, I believe the sims is more than just a game, It’s a creative space. However, it does still have many a characteristics of a game and players still have to make strategic decisions. 

Industries

Electronic Arts & Sims FreePlay industries focus

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?

It started as just a few characters, small world and a few careers but over time developed to give players more choice and freedom.  

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

She says games aren’t products, they’re services. She says this because games are no longer a one off sale, they require constant updates to keep the game alive. 

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

Very active and always looking for new content/updates. 

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

Regular updates and listening to feedback from their community/players. 

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.

200m+ downloads and 78,000+ years 

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?

control, escapism, personal relationships 

2) What examples of downloadable content are presented?

Expansion packs and stuff packs

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

They removed part of an expansion pack so they could resell it. 

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

sims 1 created the niche for life simulation games 

Sims 2 refined the virtual families, allowing players to create multi-generational legacies.

The Sims 3 gave access to “every inch of a hyper-realistic world.”

The Sims 4 innovations include:“the capability to travel between multiple neighbourhoods,”“download other players’ creations through the ‘Gallery’,”“customise gender options… to improve diversity,”

5) In your opinion, do expansion packs like these exploit a loyal audience or is it

simply EA responding to customer demand?

I believe expansion packs can be considered exploitative when they contain things that should’ve been available for free already but otherwise fans want new content and it costs money to produce new content so it’s fair for EA to charge for expansion packs and to continue producing them. 

The ‘Freemium’ gaming model

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

1) Note the key statistics in the first paragraph.

Freemium games account for about 70–80% of the $10 billion or more in ios revenue each year.

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

They have to keep developing new updates to keep players engaged and interested.

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

Possibility - done with console games 

Risk - developers prioritise money and free to play players suffer

Regulation – PEGI

Research the following using the Games Rating Authority website - look at the videos and FAQ section.

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

Video game age classification company which provides ratings to tell consumers what ages the game is suitable/safe for. PEGI ratings are legally enforced and its illegal to sell games to people under the PEGI age rating.

2) What are the age ratings and what content guidance do they include?

PEGI 3 - Suitable for all ages; no frightening sounds/images; only very mild, cartoon-style or child-friendly violence; no bad language.

PEGI 7 - Might include scenes or sounds that could mildly scare young children; still only mild or non-realistic violence allowed.

PEGI 12 - May include fantasy violence or non-realistic violence against human-like characters, mild bad language or mild sexual innuendo

PEGI 16 - Realistic-looking violence and/or more severe bad language; might include games of chance, depiction of drug use, alcohol or tobacco. 

PEGI 18 - Adult-only content: likely to include gross violence, explicit sexual activity or imagery, glamorised drug use, strong themes

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

The Sims FreePlay CSP - Language & Representations

 Language / Gameplay analysis

1) What elements of gameplay are shown?

Building your own characters and relationships with characters/pets, exploring the world/city, 

2) What audience is the trailer targeting?

Youth/teenage audience 

3) What audience pleasures are suggested by the trailer?

Diversion and personal relationships 

1) How is the game constructed?

The game is very simple and easy to play as the game gives hints throughout and starts with a tutorial that covers the basics of gameplay (e.g. sim creation and building)

2) What audience is this game targeting?

Youth/teenage boys and girls but it could be argued its leaning more towards young girls as the female characters have more options

3) What audience pleasures does the game provide?

Surveillance, diversion/entertainment and personal relationships 

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

It allows users to save time through the use of crystals which can be earned through watching ads or purchased through the shop

Representations

Re-watch some of the expansion pack trailers and answer the following questions:

1) How do the expansion pack (DLC) trailers reinforce or challenge dominant ideologies?

The DLC packs reinforce ideologies about consumerism/capitalism as they promote the idea that buying things achieves happiness. They also reinforce ideas about success meaning career progression/ making more money which also links to capitalistic ideology. 

The Chic Boutique trailer focuses heavily on fashion, shopping and appearance which reinforces the dominant ideology that women are interested in appearance/style.

Characters shown in the trailers seem to be slim and meet western beauty expectations. 

However they do also challenge common ideologies by representing teens as independent, they also promote ideas of creativity over conformity by encouraging users to express themselves and challenge social pressures to dress “normally”. 

2) What stereotypes have you identified in The Sims FreePlay?

Western beauty standards - Slim bodies, flawless skin, perfectly styled hair.

Happiness comes from buying things, not relationships or personality.

Gender stereotypes - Women linked to home decor, childcare, beauty and fashion. Whereas Men shown more in careers, hobbies or active roles.

Family stereotypes - nuclear family 

3) What media theories can you apply to representations in The Sims FreePlay?

Stuart Hall – Representation Theory

Stereotypes used to simplify complex identities.

Mulvey – Male Gaze

Fashion packs present female Sims in ways that emphasise appearance

Gauntlett – Identity

The game allows players to construct identity through customisation

Representation reading

Read this Forbes article on gender and racism in The Sims franchise and answer the following questions:

1) How realistic does The Sims intend to be?

The Sims aims to be somewhat realistic (life, death,relationships,etc.) but avoids darker themes which aren't suitable for younger audiences to make the game more enjoyable.

2) How has The Sims tried to create more realistic representations of ethnicity?

The create a sim feature lets players create their own sim and make it whatever ethnicity they'd like. However, the feature was criticised for making some ethnicities look very stereotypical/cartoonish so they had to rework it. 

3) How has The Sims responded to racism and sexism in society?

The game doesn't include direct links to racism/sexism as they avoid topics that would make the game feel "too real".

4) What is The Sims perspective on gender fluidity and identity?

The game only allows players to pick between male or female sims but the game does include same sex relationships which shows support for the LGBTQ+ community.

5) How does The Sims reinforce the dominant capitalist ideologies of American 

culture?

The game focuses on consumerism/materialism as players have to constantly buy things to make their sims happy. The game also focuses on career based success where sims have to work their way towards a better life by getting paid more which links to ideas of the 'American dream'.

Henry Jenkins - fandom blog tasks

 Factsheet #107 - Fandom

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

1) What is the definition of a fan?

A fan of a media text is someone who likes and consumes a media regularly. 

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

hardcore,newbie and anti-fan

3) What makes a ‘fandom’?

A group of people who have been brought together by their shared passion for something/someone.

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

Bourdieu argues that fandom gives fans ‘cultural capital’ such as knowledge, taste and expertise which gives them status/power in fan communities.

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

The Vampire Diaries – fan influence on the show’s writing

The Lord of the Rings – fan fiction/ debates about relationships

Star Trek – early fan fiction 

Harry Potter – mashups and fan edits

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

Fans use digital media to extend and reshape stories 

Henry Jenkins - degree-level reading

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

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

It means people no longer just consume media. They participate, create and connect with others through it. 

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?

loyals, media-actives, prosumers, inspirational consumers, connectors, influencers, multipliers, and lead users

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

 fan communities can be profitable as small but passionate audiences means less spending on advertising.

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

The tastes of fans now shape the box office,TV and the gaming industry.

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’.

“This bottom-up generation of media makers and viewers is emerging which will reshape the media landscape.” I agree, I believe audiences will reshape the media landscape from the bottom up as consumers are now able to produce their own media. 

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

Someone who talks about, shares, and promotes the media they love

8) Why is fandom 'the future'?

Fan participation has become normal in digital culture and everyone now behaves like a fan online.

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

Companies profit from fan behaviour without rewarding fans.

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 fandom will no longer be as niche as it once was as almost everyone is now a fan of something/someone and behave as a fan online by reposting/sharing content or posting about things they’re passionate about. 

OSP: Final index

 1) OSP: Clay Shirky - End of Audience blog tasks 

2) OSP: Influencers and celebrity culture

3) OSP: Taylor Swift CSP - Language and Representations

4) OSP: Taylor Swift CSP - Audience and Industries 

5) Baseline Assessment learner response

6) OSP: Postcolonial theory - Gilroy and diasporic identity

7) OSP: The Voice - blog case study

The Voice CSP: case study blog tasks

 The Voice CSP: case study blog tasks

Language and contexts

Homepage

Go to the Voice homepage and answer the following:

1) What news website key conventions can you find on the Voice homepage?

Range of soft/hard news, advertising - their own book, subscribe, short info to make you want to click and read more 

2) What are some of the items in the top menu bar and what does this tell you about the content, values and ideologies of the Voice?

News,sport,lifestyle,entertainment,competitions,opinion and faith - they try to focus on positive things and celebrating success rather than focusing on hard news.

3) Look at the news stories on the Voice homepage. Pick two stories and explain why they might appeal to the Voice's target audience. 

'Community mourns ‘trailblazer’ Baroness Ros Howells' - Mourning the death of/paying their respects to a national hero in the British black community. 

'Making Black history today: the leaders shaping innovation in public health' - celebrating the hard work and successes of healthcare professionals 

4) How is narrative used to encourage audience engagement with the Voice? Apply narrative theories (e.g. Todorov equilibrium or Barthes’ enigma codes) and make specific reference to stories on the homepage and how they encourage audiences to click through to them.

The Voice uses enigma codes by using pictures with very short captions, such as: '2025 Ethnicity Awards are a big hit',which makes audiences want to know 'why were they a big hit?' and makes them click on the story to read more.

Lifestyle section

Now analyse the Lifestyle section of the Voice and answer the following:

1) What are the items in the sub-menu bar for the Lifestyle section and what does this suggest about the Voice audience?

Fashion and beauty,food,health and wellbeing, relationships,travel - the audience are likely people who care about their physical/mental wellbeing and want to improve their lifestyle.   

2) What are the main stories in the Lifestyle section currently?

Urban Synergy continues to open doors - charity 

In review: Black Tech Fest 2025

Black joy takes centre stage at ‘The Sitdown UK’

Stars unite at Black Women Rising’s first Awareness Luncheon

3) Do the sections and stories in the Voice Lifestyle section challenge or reinforce black stereotypes in British media?

I believe the sections and stories in the lifestyle section subvert/challenge stereotypes, this is because it focuses on wellbeing, joy and success whereas stereotypically the media will discuss negative events.

4) Choose two stories featured in the Lifestyle section – how do they reflect the values and ideologies of the Voice?

Urban Synergy continues to open doors - this story reflects the values and ideologies of the voice because it promotes success and empowerment within the community. It also supports a charity which is opening doors for young people and helping them with their future careers.

Black joy takes centre stage at ‘The Sitdown UK’ - this story also reflects the values and ideologies of the voice because it focuses on success rather than struggle which is usually focused on by mainstream media, this helps inspire its readers and brighten their days with soft news. 

Feature focus

1) Read this Voice opinion piece on black representation in the tech industry. How does this piece reflect the values and ideologies of The Voice?

This piece reflects the voice’s mission to represent, empower and inspire the black British community by challenging the system and calling on workplaces to do better.  

2) Read this feature on The Black Pound campaign. How does this piece reflect the values and ideologies of The Voice?

This piece reflects the voice’s mission to represent, empower and inspire the black British community by promoting black businesses and raising awareness about the challenges black business owners face.

3) Read this Voice news story on Grenfell tower and Doreen Lawrence. How might this story reflect the Voice’s values and ideologies? What do the comments below suggest about how readers responded to the article? Can you link this to Gilroy’s work on the ‘Black Atlantic’ identity?

This piece reflects The Voice’s mission to represent and empower the Black British community by giving a platform to Doreen Lawrence’s views on racism and social injustice. The comments show a strong divide in opinions as one side strongly disagree with her and criticise her claims whereas some support her. This links to Gilroy’s Black Atlantic as it shows the ongoing struggle of the Black community trying to challenge racism and seek justice.

Social and cultural contexts - 40 Year of Black British Lives

Read this extract from The Voice: 40 Years of Black British Lives on rapper Swiss creating Black Pound Day (you'll need your Greenford Google login to access the document). Answer the following questions:

1) What is Black Pound Day?

Black pound day is on the first saturday of each month where people are encouraged to spend locally or online with Black owned businesses.

2) How did Black Pound Day utilise social media to generate coverage and support? 

High profile celebrities promoted the first event and online support led to it becoming a top trending topic on twitter during its launch in 2020.

3) How do events such as Black Pound Day and the Powerlist Black Excellence Awards link to wider social, cultural and economic contexts regarding power in British society?  

Events like Black Pound Day and the Powerlist Black Excellence Awards link to wider social, cultural and economic contexts by promoting Black empowerment, representation and equality in Britain.

Audience

1) Who do you think is the target audience for the Voice website? Consider demographics and psychographics.

The target audience for the voice website is likely to be young black British people as they’re more likely to be using the internet to access the news whereas the older black British community will probably still get their news from print. 

2) What audience pleasures are provided by the Voice website? Apply media theory here such as Blumler and Katz (Uses & Gratifications).

Diversion, personal identity and surveillance.

3) Give examples of sections or content from the website that tells you this is aimed at a specialised or niche audience.

There’s a section in the menu labeled ‘Black British Voices’ which shows a focus on Black identity and representation. 

4) Studying the themes of politics, history and racism that feature in some of the Voice’s content, why might this resonate with the Voice’s British target audience?

The Black British community has historically faced discrimination, under representation and racial injustice in Britain and British media. 

5) Can you find any examples of content on the Voice website created or driven by the audience or citizen journalism? How does this reflect Clay Shirky’s work on the ‘end of audience’ and the era of ‘mass amateurisation’?

They have a section for competition and section for comments where readers can share their opinions, this shows that the audience aren’t passive and are actively interacting with the media they consume. 

Representations

1) How is the audience positioned to respond to representations in the Voice website?

The audience is positioned to feel proud, empowered and represented as the voice speaks to and for the black community.

2) Are representations in the Voice an example of Gilroy’s concept of “double consciousness” NOT applying?

I’d argue that yes, it shows it not applying as the Voice showing positive and authentic representations of black people shows Black British people themselves directly rather than through the lens of white mainstream media.

3) What kind of black British identity is promoted on the Voice website? Can you find any examples of Gilroy’s “liquidity of culture” or “unruly multiculturalism” here?

Promotes a confident, diverse, and hybrid Black British identity while mixing British, African and Caribbean influences to show the liquidity of culture. 

4) Applying Stuart Hall’s constructivist approach to representations, how might different audiences interpret the representations of black Britons in the Voice?

Preferred reading - Black British audience feels pride and empowerment.
Negotiated - supportive but aware that not all experiences are represented.
Oppositional - some may see it as overly focused on race or exclusive.

5) Do you notice any other interesting representations in the Voice website? For example, representations or people, places or groups (e.g. gender, age, Britishness, other countries etc.)

Gender - They highlight and empower successful Black Women. age - young and older generations both represented   

Industries

1) Read this Guardian report on the death of the original founder of the Voice. What does this tell you about the original values and ideologies behind the Voice brand? 

This article shows that the original values and ideologies behind The Voice were about representation, empowerment and activism for the Black British community.

2) Read this history of the Voice’s rivals and the struggles the Voice faced back in 2001. What issues raised in the article are still relevant today? 

The issues mentioned which are still relevant today are the decline of print, the need for representation of the Black British community, staying relevant to a younger audience and accessing a more diverse audience. 

3) The Voice is now published by GV Media Group, a subsidiary of the Jamaican Gleaner company. What other media brands do the Gleaner company own and why might they be interested in owning the Voice? You'll need to research this using Google/Wikipedia or look at this Guardian article when Gleaner first acquired The Voice.

They also own The Gleaner which is Jamaicas daily national newspaper and The weekly Gleaner which is an edition for Caribbean communities abroad. This suggests that the reason they might’ve wanted to own the voice for is because they wanted to invest in a cause with meaning to them or they wanted to invest in a niche market where there was nobody else doing the same type of content consistently.

4) How does the Voice website make money?

Advertising, events and using it to promote their newspaper which increases readership (more people buy it and revenue from sales increases).

5) What adverts or promotions can you find on the Voice website? Are the adverts based on the user’s ‘cookies’ or fixed adverts? What do these adverts tell you about the level of technology and sophistication of the Voice’s website?

There was an ad for a show about music, art and activism at a performing arts theatre which matches the goals of The Voice. 

6) Is there an element of public service to the Voice’s role in British media or is it simply a vehicle to make profit?

The voice does seem to have an element of public service as it helps represent and empower the Black British community but to do this it does need to make a profit.

7) What examples of technological convergence can you find on the Voice website 

– e.g. video or audio content?

They have a section where you can access videos from their youtube and podcasts. 

8) How has the growth of digital distribution through the internet changed the potential for niche products like the Voice?

It allows them to access a wider/global market. 

9) Analyse The Voice’s Twitter feed. How does this contrast with other Twitter feeds you have studied (such as Taylor Swift)? Are there examples of ‘clickbait’ or does the Voice have a different feel?

Their Twitter feed focuses on celebrating the achievements of the Black Community but they post very rarely in comparison to other pages we’ve looked at. They also have much less followers which could show they have an older audience which are less tech-savvy. 

10) Study a selection of videos from The Voice’s YouTube channel. What are the production values of their video content?

Their videos have low video and audio quality and overall seem to be very low budget.