INDUSTRY theories

Question 1

what is CURRAN AND SEATONS’s industry theory?

Answer 1

media is controlled by small no. of companies, primarily driven by profit and power- MEDIA CONCENTRATION in VG industry (few publishers+ developers)- generally limits variety, creativity+ quality

Question 2

how can CURRAN AND SEATON’s theory be applied to AC?

Answer 2

• profiting from same idea since 2007 (not much variety) - reinforces theory
• Ubisoft generated TEMPLATE FOR SUCCESS with their AC franchise.

Question 3

how can we tell profit is higher priority than creativity in AC

Answer 3

• released almost every year- very fast to keep franchise on map
• very similar concepts + characters featured in each variation of game

Question 4

why might Ubisoft not want to drastically change the game?

Answer 4

• already established audience/ fanbase- have expectations- less financial risk for company if don’t change (brand loyalty)
• authenticity- remain similar to original so remain same game.

Question 5

how could you disagree with CURRAN AND SEATON’s theory?

Answer 5

small number of companies could lead to more competitive + high quality products released; need to be best to make profit/ need to stay relevant. e.g. catering to new tech.

Question 6

what is DAVID HESMONDHALGH’S cultural industries theory?

Answer 6

states that large organisations e.g. Ubisoft prioritise 2 key criteria:
* minimising financial risk
* maximising audience appeal
can happen simultaneously.
the bigger the company, the more concerned they are with these two criteria.

Question 7

how can DAVID HESMONDHALGH’s theory be applied to AC?

Answer 7

• GLOBAL APPEAL by setting in many different countries
• RPG- anyone can play- you can play how you want, many diff options- play as who you want; less set narrative, more open so WIDER APPEAL

Question 8

how has AC minimised RISK?

Answer 8

reused elements e.g. parkour through all games + had 3 games set in Italy (already developed software so would cost less to update/ tweak than creating completely new features- cheaper to recycle mechanics)
also audience already accustomed to these features.
GENRE FORMATTING (stealth, parkour, action, adventure etc)

Question 9

how has AC minimised RISK for staff producing games?

Answer 9

by reusing already existing features, less work for staff so not overworked when releasing every year- also decreases financial risk as created illusion of new game.

Question 10

how do AC MAXIMISE AUDIENCES?

Answer 10

digital marketing- primary target audience of avid gamers who consume media online.

Question 11

what are the 4 ways that large organisations MINIMISE FINACIAL RISK and MAXIMISE AUDIENCE APPEAL?

Answer 11

• GLOBALISATION- cross border production+ distribution of media texts to expand audience
• CONGLOMERATES- concentration of companies in one corporate group- parent company has SUBSIDARIES
• VERTICAL INTREGATION- single company owns+ controls most of chain of production for media text e.g. development and marketing
• FORMATTING- companies will format cultural products to improve chances of success; SERIALISING A PRODUCT

Question 12

how has Ubisoft GLOBALISED their production?

Answer 12

over 45+ studios in 19 countries; HQ in France (French company); THIRD LARGEST INDEPENDENT GAME PUBLISHER; 26+ countries has subsidiaries

Question 13

what subsidiaries/ assets does Ubisoft have?

Answer 13

Tencent; subs. in America, Europe, Asia (global spread)
not a conglomerate- independent (harder global brand visibility)

Question 14

how has Ubisoft prioritised VERTICAL INTEGRATION with their DISTRIBUTION of AC?

Answer 14

controls several stages through production process- big marketing department who work from beginning stages of development so can produce innovative campaigns.

Question 15

GENRE FORMATTING and SERIALISATION in AC to MINIMISE RISK and MAXIMISE AUDIENCE

Answer 15

• meets audience expectations- brand loyalty (already est. audience)
• created FRANCHISE by using TEMPLATE FOR SUCCESS- existing mechanics+ development used.

Question 16

What is LIVINGSTONE and LUNT’S REGULATION THEORY?

Answer 16

Regulators consider:
* needs of public citizen
* needs of consumer
But these needs can conflict one another
Regulating media creates tension - deciding what rules/ regulations can conflict with our own desires for FREEDOM.
Regularions can protect from harm, stop us being offended, prevent us from being traumatised (what if this is what the audience wants?)
Regulators have to balance protecting us with allowing us choice in terms of the content we want to consume
Technology- source of difficulty for regulation e.g. Ofcom and BBFC have no control over content of digital services like Netflix so potentially more extreme/ harmful content can be viewed without strict regulations