Industry and Audience analysis on Assassin's Creed Liberation

2. THE GAMING
INDUSTRIES

3. How old were you when got your first games console?
13
How many games consoles are there in your household?
1
At what age did you first play an 18+ game?
14
Which is better: Xbox or PlayStation?
Play Station
GETTING STARTED

4. Broadly speaking, the video games industry is relatively
new, compared to other media industries.
Its growth and expansion has been rapid.
It is seen as a serious media industry.
The profits within the industry rival those of major films.
The demographic profile of gamers has changed
enormously since the early days of video games.
HISTORICAL CONTEXT

5. What is the future of mobile gaming?
The future of gaming isn't mobile any more than the future of gaming is console or PC: the future of gaming is gaming.
Devices that are getting increasingly good at talking to each other and developer tools that work across different platforms
are only going to further unify what currently feel like disparate markets, and the games will follow. The companies that truly
reap the benefits from that shift are going to be the ones that use their skill and knowledge of game design to figure out new
experiences that gamers want, regardless of the platform
Is the 'console decline' a reality?
How does PC gaming fare in the overall market?
Is VR becoming more mainstream?
Virtual reality is becoming a more popular technology in the wake of high-profile product launches like the Oculus Rift and
HTC Vive but it is still several years away from “hyper growth” and mainstream adoption, a new study found.
How does ownership and usage compare globally, and by market?
QUESTIONS TO CONSIDER

6. 1. Artificial Intelligence has grown by leaps and bounds
Even a multiplayer video game where you don’t have anyone to play against is a dull and dreary experience. And that’s where the role of Artificial Intelligence comes
into play. Technically, AI has been around from the very beginning of the gaming industry. It is not anything innovative; it was there all the time when you were
playing Pong. In video games today, enemies may go for war tactics like flanking. This is something very similar to real life warfare.
2. Online play is an icing on the cake
With the advent of online gaming, multiplayer games received their much deserved recognition. At one point, online play even became a must have element that was
responsible for the success of a new release. Thanks to the evolution of MMORPG, online gaming has become an entirely different experience today. At present,
gamers can engage and play with fellow gamers online irrespective of their geographical locations.
3. The third dimension looks wonderful
Two dimensions have their own limitations. You can do only so much with them—top-down, platformers, and views. The possibilities of what you can do are going
to be exhausted eventually.
Three dimensional games were already present in the 1980s. With the betterment of graphics software, they are even looking better. The stride to the third
dimension has changed something fundamental regarding the way games look and feel.
4. Graphical upgrades are so much enhanced
Technology has apparently allowed for enhanced graphics by means of hardware upgrades. The Pong era, on the other hand, had limited processors. As a result
there wasn’t much that could be done to do away with choppy performance. Today is the scene of high-speed hardware, which allows for more instructions, pixels,
and shading—even on an enormous scale.
5. Portability has made gaming convenient
People could now game anywhere any time. They just needed to press the on switch, and entertainment took care of the rest. This meant no more having to tow
around TV and consoles to play a game against a friend. The technology behind portable gaming has lagged a bit for a while. But the uniqueness about being able to
game any time anywhere is just undeniable. It was actually this innovation that led to cell phones and mp3 players on the bus.
HOW HAS TECHNOLOGY CHANGED GAMING?
https://www.digitaledge.org/5-ways-technology-has-changed-gaming/

7. Here are the top 4 technological improvements that have radically changed the way games are being played.
1. Online Play – The great thing about online play is that it connects people with other like-minded gamers from all over the world. When it was
first introduced in games, there was an annoying lag time and the internet connection was often pretty shaky, which would make playing the
game pretty frustrating.
2. Better Graphics – Go online and find a website that allows you to play the original Super Mario Bros, it was one of the best games back in its in
heyday. Now go and play Mario Kart. The graphical differences are night and day, and can make one wonder how we suffered through such
pixilated graphics. As 3D games and VR games become more and more popular, we’ll be able to experience games in a way that was hard to
imagine just a few shorts decades ago.
3. Games are everywhere – Having a mobile device to play a game on isn’t new, Nintendo GameBoy and Sega Game Gear were available in the
late 80’s and early 90’s. But the ease of access, free downloads and a wide range of games, from learn to read games, to playing real casino
games and everything in between. In fact, mobile games are so popular that there were several apps that paid over five million dollars for a 30
second ad during the NFL Super Bowl.
4. Cloud Based Technology – This technology is anticipated to be a real game changer for gamers. In addition to freeing up space on the
computer, phone or game console, cloud based technology will make games more accessible for everyone. One of the biggest issues that
gamers have is making sure that their device has enough memory or good enough specs to properly play the game. Playing a game in the
cloud, frees up the gamer from making a significant investment when purchasing a computer or console without sacrificing for the quality of
the game.
HOW HAS TECHNOLOGY CHANGED GAMING?
https://vulcanpost.com/603333/technology-changed-gaming/

8. https://www.youtube.com/watch?v=91aRtGid2og

9. Virtual Reality becoming more of consumer products that people could now afford in their
homes.
How big of a game changer is Nintendo switch? Some of the controllers have trouble
connecting in situations and issues with online connectivity.
Sony and Microsoft target a mainstream bigger audience with Nintendo trying to fill a
niche audience. They are no threat.
Chinese Developers: they are at the largest gaming conference.
What's Next? We are going to be seeing a form factor to virtual reality and headsets. With
the way technology goes these could end up being semi transparent glasses within the
next 10 years. .

10. https://www.telegraph.co.uk/connect/small-business/driving-growth/uk-gaming-industry-growing-so-
fast/
The UK gaming industry is growing exponentially. Last year was a record year for both the monetary value of the UK gaming market (£4.33bn) and its impact on other sectors, such
as films and merchandising (£100.5m). And it’s not yet finished its growth spurt; estimates from PwC suggest that by 2021, the UK market will be worth £5.2bn, growing at a rate
of 6.7pc, making it Europe’s largest market and the fifth largest in the world.
About half of the UK population plays video games – be it on a games console, smartphone, PC, VR headset or online. The rise in the popularity of gaming is partly due to the
increased accessibility that the public has to them; at the tap of a screen, you can download games onto a smart device, order the latest physical releases, or watch world-class
eSports gamers take down their opponents. "It has led to funding opportunities, potential clients looking at games as a way of engaging audiences, and more people looking to work
in the sector – all of which influence gaming companies."
With a larger appetite for gaming in the UK –there’s more demand for the services of gaming professionals (and therefore more money moving through the industry).
Funding the level-up - One of the biggest drivers for growth in the UK gaming industry has been the availability of funding and support. Creative England, a not-for-profit funded by
industry bodies and the EU, is dedicated to growing creative talent and business. Its GamesLab programmes help England's gaming SMEs to develop quickly, upskill and grow. In
Wales, the Welsh Government's Digital Innovation Fund supports technical innovation and has helped drive growth in the gaming industry. "We're really lucky to have a number of
different support options in Wales that are either specifically for games development or for creative and digital companies," says Phil Page, co-director of Dojo Arcade in Bridgend,
south Wales. We give work experience opportunities to students who are on relevant courses and get valuable feedback from local games development students, Phil Page, Dojo
Arcade "Some of the first funding that we received, Bridgend's Green Shoots Grant, allowed us to buy extra work stations for extra staff. "We later received a Microsoft Greenshoots
grant, a joint initiative between it and the Welsh Government, which funded the development of [game] Creature Battle Lab and gave us access to key industry professionals”. Given
that many of the funding opportunities are earmarked for gaming businesses in specific regions, it's no wonder that pockets of gaming growth have emerged. South Wales, Dundee,
the North and South-East England all have a high concentration of fast-growth gaming companies, encouraged by the availability of local funding and regional success stories.
Attracting top players - The UK is the third best country at attracting, retaining and training skilled workers in the digital industry, with London, Cardiff and Birmingham acting as
major magnets. As more people become equipped to work in the industry (UK universities offer a range of well-respected gaming-related degree courses) there are more skilled
candidates for gaming companies to add to their team. Firms that take on highly skilled workers are more likely to succeed and grow. All three directors of Dojo Arcade met at what
is now known as the University of South Wales in Glamorgan, and they still have strong ties with the institution. "We give work experience opportunities to students who are on
relevant courses, such as BA Game Art, and get valuable feedback from local games development students," explains Mr Page. "We've been able to employ some local grads through
the Jobs Growth Wales fund, which enabled us to bring young, keen and talented individuals from the area into the industry."
Game over? - The UK gaming industry is thriving where there are high-skilled, adequately funded workers making games to meet market demand. For this to continue, Dr Richard
Wilson, chief executive of the Independent Game Developers' Association, insists that support must, at the least, stay at the same level. Dr Wilson believes that much of the future
success of the UK’s gaming industry will depend upon government policy decisions. He recommends the creation of formal gaming investment funds, an increased rate of tax relief
for developers, and continued access to the EU's skilled workers in the gaming industry.

11. PSVITA – GAMING ON THE GO

12. https://www.youtube.com/watch?v=RIaJHh60hQY

13. Games in the UK were regulated by the Pan-European Game Information age rating
system (PEGI) and the BBFC until 2012. This is now the responsibility of the Video
Standards Council (VSC).
The regulation of games is a delicate issue and the main worries centre around the
suitability of the content (sex and violence) and accessibility for younger gamers
(think of recent complaints about ‘Grand Theft Auto’, ‘Call of Duty’ etc.).
Research has shown that younger children routinely have access to games well
beyond their chronological age, raising concerns with parents and the government.
REGULATIONhttps://legalgamer.weebly.com/blog/the-legal-status-of-age-ratings-uk

14. The Pan-European Game Information age rating system
was established to help European parents make
informed decisions on buying computer games. It was
launched in spring 2003 and replaced a number of
national age rating system with one single system.
KEY TERM
PEGI

15. Video games are culturally and financially significant across three major
territories (Japan, Europe and the USA). The release of new gaming technology
(PS Vita is considered part of the 8th generation of game technology) or games
from popular franchises can be major economic events.
Extension TASK: Explore the way that games and technology
(and specifically those from within the Assassin’s Creed game
franchise) have been marketed and received across the three
major territories.
ECONOMIC & POLITICAL CONTEXTS

16. Originally, the game was exclusive to PlayStation Vita, but given the
competitive nature of the video games industry, a larger HD version of the
game was inevitable.
Consequently, it was released in 2014 across a larger range of consoles and
devices, including PS3 and Xbox 360.
ECONOMIC CONTEXT

18. Define the following terms, citing examples for each:
• MMORPG
• Persistent worlds
• CRPG
• Augmented reality
• Avatar
KEY TERMS
COSTRUCT MEANING

19. MMORPG
Massively Multiplayer Online Role-Playing Game
noun:
MMORPG; plural noun: MMORPGs
an online role-playing video game in which a very large
number of people participate simultaneously

20. PERSISTENT WORLDS
A persistent world or persistent state world (PSW) is a
virtual world which, by the definition by Richard Bartle,
"continues to exist and develop internally even when there
are no people interacting with it". ... The persistence criteria
is the trait that separates virtual worlds from other types of
video game.

21. CRPG
Definition of: CRPG. CRPG. (Computer Role Playing Game)
Role playing on the computer, typically in a fantasy
environment, although some take place in a medieval
setting. A major characteristic of CRPGs is the user's ability
to move freely throughout the venue.

22. AUGMENTED REALITY
Augmented reality is the integration of digital information
with the user's environment in real time. Unlike virtual
reality, which creates a totally artificial environment,
augmented reality uses the existing environment and
overlays new information on top of it.
Noun
augmented reality
a technology that superimposes a computer-generated
image on a user's view of the real world, thus providing a
composite view.

23. AVATAR
noun
an icon or figure representing a particular person in a video
game, Internet forum, etc.

24. What is the appeal of video games?
• In groups, or pairs, discuss the appeal of video games and
try to suggest reasons why this media form is so popular.
• Try to incorporate some of the ideas below into your
discussion:
The uniqueness of MMORPG
Persistent worlds
CRPGs
Augmented reality
Teamwork
Competition Challenging tasks
Intertextuality
Single player –vs- Multi-player
First person – vs – Third person
Avatars
The range of platforms

25. • Assassin’s Creed III: Liberation, part of the very successful games franchise, was developed by Ubisoft and released on
October 30 2012, along with Assassin’s Creed III.
• The game was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a large
range of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows).
• Assassin’s Creed III: Liberation offers familiar pleasures to existing fans (narrative situation of the Assassins v the
Templars, open world gameplay etc.) along with new elements to target a wider audience (e.g. the use of a strong female
protagonist).
Challenge: Watch the trailer for the game and consider its importance
in the marketing.
ASSASSINS CREED III : LIBERATION

26. My thoughts and first reactions of the trailer for watching it for the first
time was, there is a a hierarchy in the game, there is injustice at first with
the wealthy whites and poor blacks. The rebellious female who fights for
justice and against racism. Although there is violence, and images which I
think children under the age of 18 shouldn’t be seeing or playing.
Watch the trailer for the game. What are your first impressions?
https://www.youtube.com/watch?v=q5RxYUw4DFY

27. Research this game online and compile a detailed case study. Focus on Production, Distribution and
Circulation. Ask yourself:
Who developed it?
Developed by Ubisoft Sofia and Ubisoft Milan,
On which platform was the game first released?
Published by Ubisoft in 2012 for platforms: PlayStation Vita, PlayStation 3, Microsoft Windows, and Xbox
360.
Alongside which other game?
How many official trailers were made?
What YouTube videos supported the release?
What additional content was downloadable?
What extracts from the game can you play online?
ASSASSINS CREED III : LIBERATION

28. Watch the trailer again. Consider its importance in the marketing.
https://www.youtube.com/watch?v=q5RxYUw4DFY

29. https://www.gamesindustry.biz/articles/2012-11-12-marketing-murder-the-secrets-of-
selling-assassins-creed-iii

30. Assassin's Creed III sold 3.5 million in its first week, double what its predecessor Assassin's Creed: Revelations managed this time last year. Here, Ubisoft's chief sales and marketing officer
Geoffroy Sardin explains to GamesIndustry International how Ubisoft made that happen.
“It's not about doubling the investment, it's a question of communicating in advance with a lot of assets,” explains Sardin, who has been with the company since 1998.
“We wanted to address and involve the consumer in advance, especially digitally. And through the marketing website to have direct contact in advance with the dev team, through our
forums and community tools. To ask the community what they want and what they don't want. What they understood and what they didn't.”
Of course the people spending time on the Ubisoft forums are probably already a pretty sure bet when it comes to Assassin's sales, but the aim for this year really was introducing new
people.
“Our goal was to involve new consumers and I think the proof is here now with the first figures we communicate, we doubled the numbers on the week one compared to last year."
He says the new setting and hero helped towards that goal, giving people who perhaps weren't familiar with Ezio an entry point into the franchise. Also key was finding ways to reach
people using new media, both social and mainstream.
“Especially in the UK," says Sardin. "We decided with the team to use new media with the cinema. We supported in the summertime a huge campaign of advertising in the cinema, using
a new type of communication based on the Rise campaign, a short movie using new emotions in our communication for the brand. It was brand new and well executed."
"It's not about doubling the investment, it's a question of communicating in advance with a lot of assets"
“After that we used all our social websites and Facebook front page, and we recruited more than 2 million more on our Facebook fan page this year and those 2 million people more are
new fans. So in a nutshell new media, quality, and social websites.”
He adds that if you turn on the TV in the UK this week you can expect to see a lot of Assassin's Creed III advertising there too.
“It's not a question of changing and shifting our way to communicate, it's to combine all the media to reach our target.”
And in this time of massive triple-A titles all competing for the Christmas sales, getting your game in people's minds early can make a huge difference.
“The marketing strategy was focused on consumer point of view in advance. It's not about spending money after launch, it's before launch,” says Sardin, pointing out that they first
revealed the game in March, a full nine months before release.
Of course Ubisoft isn't just selling one Assassin's Creed game on release day, it is selling two, with Assassin's Creed: Liberation on PlayStation Vita released simultaneously.
“It's the first time we've proposed another experience on another format, but there are some links between both of the games. The consumers are aware that Aveline, the main character
on the Vita format, could have a future in our history for the Assassin's Creed brand, and the second thing is we wanted to bring a new experience using the features of the Vita.”
“For now we are super happy with the first results we have got on the Vita, it is the biggest launch for week one for 2012, and it's the first Vita product for this end of the year.”
"It's not only about games, we are talking about a global brand"
He adds that the tactic “could give some ideas for another franchise, for sure.“
As for the future beyond release, Sardin hopes that the size and prestige of the franchise, complete with books, merchandise, an upcoming film starring Michael Fassbender and DLC will
keep Assassin's Creed 3 selling long past day-one.
“We announced a season pass [for DLC] and it was the first time we've done that for the Assassin's Creed brand. It could grant a better life cycle for sure."
“Another thing that is very important for the lifecycle is the transmedia offer. All the figurines, the books, the publishing, and we have a movie in the next coming year. So it's not only
about games, we are talking about a global brand, and this is the life cycle management we want to set up now.”

31. https://assassinscreed.ubisoft.
com/game/en-gb/home/
CHECK OUT THE WEBSITE

32. HOME PAGE NEWS
MARKETINGGAMES INFO

33. • The game was released on the Sony hand held device PlayStation
Vita. It was developed by Ubisoft and released alongside Assassin’s
Creed III on the PlayStation 3.
• This simultaneous release might be discussed in terms of an attempt
to have maximum impact on the three major markets for console and
video game release (Japan, North America and Europe).
• In terms of production the game was a multinational development
which is typical of game production in larger studios such as Ubisoft.
CONSIDER PROCESSESS OF PRODUCTION, DISTRIBUTION AND
CIRCULATION:

34. • The ways in which the PS Vita was attempting to tap into the increasing success of mobile gaming
(smart phones, tablets etc.). The PS Vita was designed with many features usually associated with
smart phones (touchscreen as well as Wi-Fi, 3G and Bluetooth capability).
• The game itself as part of a well-known and popular franchise may be seen as an attempt to bring high
game production values to the burgeoning new mobile gaming arena. It is significant that the game
was originally exclusive to the PS Vita but was later (2014) released in a modified HD version across a
large range of consoles and platforms (including PS3, Xbox 360 and Microsoft Windows).
• In terms of distribution these versions of the game could be purchased over the internet using such
outlets as Steam, the Playstation Network or Xbox Live Arcade.
CONSIDER THE RELATIONSHIP OF RECENT TECHNOLOGICAL CHANGE AND MEDIA
PRODUCTION, DISTRIBUTION AND CIRCULATION:

35. • It is significant that the Assassin’s Creed III: Liberation hand held game could be linked to the full PS3
console version of the game (owning both versions would unlock additional game content). This use
of convergence is relevant in terms of promotion/marketing and circulation.
• The internet/Wi-Fi functionality of the PS Vita allows users opportunities to download additional
content (DLC) such as weapons, characters and “skins” or outfits. It also affords users the chance to
engage in multiplayer versions of the game. These features promote gamer engagement and
identification with the game.
CONSIDER THE IMPACT OF DIGITALLY CONVERGENT MEDIA PLATFORMS ON
GLOBAL PRODUCTION, DISTRIBUTION AND CIRCULATION:

36. Theorist #1 – Albert Bandura
(Media Effects Theory)
Bandura suggested that:
• The media can implant ideas into the mind of the audience directly (link to Hypodermic Needle Model)
• The audience acquire attitudes and emotional responses and new styles of conduct through modelling.
• That media representations of transgressive behaviour, such as violence or physical aggression, can lead audience members to imitate
those forms of behaviour.
Challenge 1: Look up the Bobo Doll experiment.
The Bobo doll experiment was the collective name of experiments conducted by Albert Bandura in 1961 and 1963 when he studied children's behavior after
watching an adult model act aggressively towards a Bobo doll, a toy that gets up by itself to a standing position when it is knocked down.
Bandura had a number of predictions about the outcomes of the Bobo Doll Experiment, fitting with his views on the theories of social learning.
Children witnessing an adult role model behaving in an overly aggressive manner would be likely to replicate similar behavior themselves, even if the adult was
not present.
Subjects who had observed a non-aggressive adult would be the least likely to show violent tendencies, even if the adult was not present. They would be even
less likely to exhibit this type of aggression than the control group of children, who had seen no role model at all.
Bandura believed that children would be much more likely to copy the behavior of a role model of the same sex. He wanted to show that it was much easier for a
child to identify and interact with an adult of the same gender.
The final prediction was that male children would tend to be more aggressive than female children, because society has always tolerated and advocated violent
behavior in men more than women.
Challenge 2: Considering what you now know, consider how this theory can be applied to ‘Assassin’s Creed III: Liberation’.
Children under the age of 18 would or may think that this is normal behaviour as it is shown from an adult perspective.

37. THE GAMING
AUDIENCE

38. Why did the company decide to include a mixed-race female protagonist in Aveline de Grandpré?
Assassin's Creed III: Liberation. It stars a woman—specifically the half-black, half-French heroine Aveline du Grandpre was
an exclusive on the PlayStation Vita, a system that many people see as a sadly under-supported platform.
Liberation shipped a very strong 600,000 units. Liberation's biggest success isn't sales. Right now, it's the best example of
how to craft a character descended from African heritage in a video game. The game takes the historical moment where the
action happens and finds ways to integrate the experience of being a mixed-race woman in 18th Century New Orleans into a
playable adventure.
Challenge: research other responses to the game on gaming websites. Are these responses positive or negative?
Essential Frustration #2: The concept that we don't need to try to create diverse characters—that if it's right for the story, it will just happen. Of course
it's not going to just happen. If it did, we wouldn't be having this discussion. The reason it doesn't just happen is contained in my first frustration. It's
necessary to fight these assumptions, and stand up for our characters. If we believe in them, we have to rise to the occasion and show ourselves and
the people we work with how to bring them to life successfully. But this does not require magic, scary effort—it's effort anyone can put in. It's fun, it
adds variety, and it makes a lot of players feel good. It's more than worthwhile and we should definitely try to do more of it.
A NEW AUDIENCE? DISCUSS

39. Female representation in gaming
Conforms or
subverts?
FEMALE REPRESENTATION IN GAMING

40. https://kotaku.com/5987083/this-assassins-creed-heroine-is-a-great-black-game-character-heres-how-it-happened
The odds should've been against Assassin's Creed III: Liberation. It starred a woman—specifically the half-black, half-French heroine Aveline du Grandpre. And it was an exclusive
on the PlayStation Vita, a system that many people see as a sadly under-supported platform.
But Liberation shipped a very strong 600,000 units, according to Ubisoft CEO Yves Guillemot. Sure, that number doesn't amount to much when compared to the Call of Dutys or
Halos of the world. But it puts the lie to the corporate reasoning given for the inexhaustible supply of square-jawed Central Casting white guys who wind up starring in most video
games.
Liberation's biggest success isn't sales. Right now, it's the best example of how to craft a character descended from African heritage in a video game. The game takes the historical
moment where the action happens and finds ways to integrate the experience of being a mixed-race woman in 18th Century New Orleans into a playable adventure. Tricky but very
well-done.
It would have been a mistake to attempt to reflect the entire eighteenth century black experience in Aveline all by herself; she's an individual, not a people or an issue. So, we looked
for other opportunities to represent different points of view through the characters she meets. The result is an array of men and women trying to survive and carve out their own
destinies in diverse ways. The story of Jeanne's kidnapping and life as a placée is recounted in diary entries. Aveline helps abused slaves, meets a man who has no territory he feels
he can call home, locks horns with a soldier who has opted to fight for the English in exchange for his freedom. Each of these characters speaks for him or herself.
The formal research Richard and I did was primarily into the official documents of the era that directly impacted life for our characters— particularly the Code Noir, the French
legal document that lays out the rules of slavery in French territories at that time. I also read a lot of slave narratives from different eras to get a sense of the variety of experiences
and reactions people had, as well as their use of written language.
Often, people will ask me "did you interview any actual black people?" This is a more complicated question than it seems on the surface. I think that people really want to know if
we actually care what black people would think, or what their real experiences are, or what their ancestors went through, compared to how history is recorded. The simple answer
is yes. We are aware that colonial history was recorded by colonizers, and that it is inadequate to the task of representing the genuine experience of slaves, native people, and a host
of others denied a voice in recorded history. The more complicated reality is that there is no one living today who knows what it felt like, in their own body, to live in the eighteenth
century. If you want to really delve into authenticity, we also don't have ready access to young women political Assassins. At some point, a character must be invented—a
responsibility we approached with enthusiasm, curiosity and, I hope, compassion.
That said, of course we talk to people informally all the time! At work, at school, over drinks, as one does as an alert and social writer, friend and colleague, personally interested
and professionally nosy about the lives of others. I also have people in my family of Haitian and French Canadian descent, and I cannot look into the eyes of these toddlers I love and
do anything but try create something that in some small way might help build a world in which they can grow up not feeling like they need to stab something. All I can do is try to
be an ally. I hope it's working.

41. Social and Cultural Contexts:
Considering video games in relation to gender issues may be a useful way to explore them in terms
of social and cultural significance. The representation of female characters, under-representation of
women in video game development and an assumed minority of female video games players are
areas that could be explored. This game has a female protagonist and it may be useful to consider
whether she subverts or reinforces expectations of female characters in games and how audiences
may respond to this.
SOCIAL & CULTURAL CONTEXT

42. There are many aspects of the game that are significant in relation to audience
targeting and construction:
• The game is for a hand held device. This may imply it is aimed at a more casual
or mobile gamer (a discussion here about “on the go” gamers playing mobile
games versus traditional console and PC gamers may be useful).
• The game features a female protagonist. This is unusual in the franchise and
may be considered in terms of appealing to a different demographic (possibly
linked to the “on the go” gamers discussion above). The existence of a female
protagonist may also be discussed in terms of constructing audiences by asking
whether this game might offer a platform for female gamer identification.
CONSIDER HOW PRODUCERS TARGET, ATTRACT, REACH, ADDRESS AND POTENTIALLY
CONSTRUCT AUDIENCES

43. • The game is linked to a more traditional console version and which was
simultaneously released with this game. This might be considered as an
attempt to draw gamers from different platforms to purchase additional
hardware and adopt new gaming habits.
• The two versions of the game are also linked in terms of downloadable
content and special features. This relates to changing patterns of
consumption. Gamers might be being encouraged to have a more
complete or satisfying experience by using a range of interlinked
products that offer exclusive downloadable content. This is only made
possible through convergent technology and gamer “buy-in” to the value
of the exclusive content.
Social and Cultural Contexts:
CONSIDER THE INTERRELATIONSHIP BETWEEN MEDIA TECHNOLOGIES AND PATTERNS
OF CONSUMPTION AND RESPONSE:

44. Review
The video games industry is regularly criticised by the media for the assumed effect that over-
exposure may have upon young gamers’ behaviour.
• How might problems in regulating the industry and ensuring that gamers are only playing age-
appropriate games contribute to this criticism?
This being monitored by parents as its allowing underage kids to be playing games they shouldn’t.
When its an over 18 game, parents are buying them because the children cant which is for a specific
reason.
• Is there any truth to the suggestion that the immersive nature of the game-playing experience
might make it harder for gamers to distance themselves from violent action?
A child that is easily influenced or vulnerable (ie special needs, learning difficulties), some young
adults are unable to differentiate between reality and fantasy.

45. http://resource.download.wjec.co.uk.s3.amazonaws.com/vtc/2016-17/16-17_1-28/assassins-creed-liberation.pdf