Assassins Creed

Product context 

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).

Economic and Political Contexts:

Games from popular franchises can be major economic events. It would be useful to 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.

Production, distribution and circulation:

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.

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. 

 

Framework of production, distribution and circulation 

Video Game regulation differs around the world but is becoming standardised across many European countries.

In the UK until July 2012 video games had been regulated by the BBFC. They are now

largely regulated by the Video Standards Council (VSC) applying the PEGI system (Pan European Game Information). The PEGI system can be discussed in terms of its process (age ratings as well as visual descriptors of content) and also its attempt to harmonise the protection of children across Europe.

Consider the effectiveness of PEGI

(possibly in comparison with the BBFC or the American ESRB system in terms of authority and compliance).

The game was classified 18 by PEGI and this in itself may be a good area for discussion.

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.

Audiences 

Social and Cultural Contexts:

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.

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.

Interrelationship between media technologies and patterns of consumption and response:

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.

THEORY 

Regulation – Sonia Livingstone and Peter Lunt

Consider the impact of convergence and diversification in media on regulatory practices. New technology (in this case the convergent PS Vita with access to internet etc.) opens up new opportunities and arguably new risks that complicate regulation.

Cultural Industries – David Hesmondhalgh:

Use Hesmondhalgh to explore the way in which cultural industry companies might attempt to minimise risk and maximise audiences.

The game is part of an established franchise with a large fan-base. Producers are clearly attempting to harness the popularity of this franchise to encourage sales both of the game itself and the hand-held device the PS Vita.

The video game industry offers many comparable examples of attempts to use software (games) to sell hardware (games systems and platforms).

Media effects – Albert Bandura

• The game received an 18 rating from PEGI due largely to violent content.

• Consider audience response to violent video games in terms of Bandura’s arguments about observation and imitation and vicarious consequences. Explore the “Bobo Doll Experiment” and discuss how relevant this is to the audiences targeted by the game. Are audiences likely to imitate the behaviours portrayed in the game? What might be imitated? • A useful discussion might be had in relation to the active role adopted by a player of video games. Question whether Bandura’s conclusions are invalidated or made more relevant if audiences are choosing to commit acts of violence in a video game rather than watching/imitating violent acts.

Fandom – Henry Jenkins

Discuss the significance of fan culture (and in particular online fan communities) when exploring the success of video games. This discussion may focus on the way video games have evolved closely alongside the internet. Video games offer social experiences (online multiplayer options) as well as communities outside of the core game experience. Fans may be passionate exponents of a game or

the harshest critics and can often impact the development of games directly.

The Assassin’s Creed franchise has a strong, well developed fan-base that could be researched and discussed in relation to Jenkins’ ideas.