Explain the impact of digitally convergent media platforms on video game production, distribution and consumption. Refer to Minecraft to support your answer

Explain the impact of digitally convergent media platforms on video game production, distribution and consumption. Refer to Minecraft to support your answer
The nature of the game and development in Java has meant that there are several rival and clones to the game Minecraft. 'Castle Miner' is just one example of a game with remarkable similarities and there is much scope for debate about how you go about copyrighting ideas if everyone is using open source software. Indeed, when Microsoft purchased Mojang there was a surge in clone titles for rival consoles, such as Nintendo (who did not officially receive versions of Minecraft at the time) including Battleminer for the Nintendo 3DS. Notice the slight variations in story narrative and the glaringly obvious similarities. One could argue that Minecraft was simply the right version of a block building game at the right time; it also highlights the importance of the emerging portable device market and capitalising on audience desires.

The development of Minecraft in 2011 came at a time when video gaming was increasingly focusing on online and multi-platform gaming, a response to the rise of gaming on a range of devices, other than consoles. Digitally convergent media platforms opened up opportunities for games distributors to reach a wider audience of non-traditional gamers who game on media devices such as phones and tablets. This is evidenced by the media convergence that enables digital distribution and global access which hitherto had not been available. This was exploited by Persson in the distribution and circulation of Minecraft, meaning fewer master copies of the game were needed. Minecraft became a multi-platform game aimed not just at PC gamers but those who own smartphones, Microsoft X Box consoles and handheld devices, for example.

Not only did Minecraft and its production company develop online distribution which saved costs, it also struck deals with Nintendo, the largest game software seller, and Sony, a hardware manufacturer and global conglomerate. By 2014 the intellectual property rights were acquired by Microsoft, an American multinational technology company. These gaming giants and technology companies had a vision for a product, Minecraft, which could be globally distributed and marketed through its community. In addition to the sales of hardware or software, Minecraft ‘gamers’, like any other media audience, could be sold games, add-ons and a whole range of merchandise including Minecraft magazine, t-shirts, mugs, calendars, backpacks, hoodies, ties-ins with Lego, Minecraft mini-games, and a proposed Minecraft movie in 2019 (with Warner Brothers film studio). This is an example of how Minecraft had multiple conduits of revenue for its product, not only in the gameplay but, also through merchandising, and in a very short space of time it was able to develop itself as a leading brand of computer game.

The Microsoft Minecraft market place allows users to buy other features of Minecraft online, such as a new realm, story mode or modification. This online marketplace is a virtual store making it easier for Minecraft’s community to shop for its products. Digitally convergent media platforms had a significant impact on the distribution of Minecraft and its promotion to an audience, allowing it to maximise profits. Recent additions include The Minecraft: Story Mode available via Steam. Steam is developed by Valve Corporation, which offers digital rights management, multiplayer gaming, video streaming and a social networking service. Steam can be considered the equivalent to an online video games store, comparable to the internet platforms iTunes or Amazon.

Online fan communities have enabled Minecraft’s audience to have an active voice in its on-going production through detailed feedback and commentary on modifications and also beta testing through social media such as Facebook and YouTube. In addition, Minecraft has a Twitter account which documents game developments for its users. Minecraft has tapped into the potential of the audience to ensure that the audience were engaged in its development. Minecraft allowed users to create new in-game content via beta testing processes, producing shareable, downloadable game modifications, called mods and producing texture and resource packs – such game development at the level of exchange is made possible by a cloud based platform where the transfer of data is now two-way and quick.

With digitally convergent platforms the biggest threat to the video games industry is piracy via leaked content that is playable across a number of platforms. However, video gamers are comparable to film fans in that they are willing to pay for game content, but will also share elements for free. As the cost of Minecraft is kept low and accessible to many audiences due to convergent media practices, and combined with the attitude of Minecraft that gamers will share and develop content – a philosophy that comes from the founder Marcus Persson - piracy of Minecraft is not as much of an issue as with other video games. Minecraft’s embracing of online distribution and exchange offers value for content for its users – not only in the gameplay and shareable features but in the presence of its community. It does not just sell digital copies of a game but also packages an online experience for them. Of course, with the backing of Microsoft and the development of Occulus as a virtual reality headset game, Minecraft is now being packaged as a premium games experience and one that cannot be copied digitally.

Minecraft now has a global mass market audience and the game is highly successful. The takeover by Microsoft enabled Minecraft to be delivered by the world’s leading technology company, reliant on providing instant and online access to the game, without the need for console-based technology. The success of Minecraft has been due to its ability to distribute and circulate engagement amongst its users – not just gaming fans but also non-traditional gamer audiences using digitally convergent media.

Explain why popular music radio programmes struggle to gain recognition as Public Service Broadcasting

Explain why popular music radio programmes struggle to gain recognition as Public Service

Broadcasting. Refer to The BBC Radio 1 Breakfast Show to support your answer.

In your answer you must also: explain how political, cultural and economic contexts influence the status of popular music radio programming [15]

BACKGROUND KNOWLEDGE ON BBC1 BS:
The BBC Radio One Breakfast Show provides their 15-29 young adult to adult audience a diverse and varied selection of content, although its main focus is popular music. BBC Radio One has been branded the nation’s favourite station, and has historically has had popular music at the heart of its public service remit, which is to inform,educate and entertain. As of now, different BBC radio programmes have been operating under different remits , with BBC Radio One operating the remit to”entertain and engage a broad range of young listeners through a distinctive mix of contemporary music and speech”.

Popular music radio programmes such as the Radio 1 Breakfast Show struggle to gain recognition as a PSB as they normally only cater to what is popular at the time. This causes them to stick to the same music genres, which are typically only favoured by the same types of people for an extensive period of time. This then excludes the less popular and influential genres of that time period. This system is good for appealing to the masses however a PSB’s primary task is to appeal to almost all of the public as the  public are what pays for the whole of the BBC. As these breakfast shows do appeal to the masses, it could be argued that they should be recognised as a PSB because it is appealing to the majority of people as the music they play is the most popular. However, these pop music programmes do struggle to be recognised as PSB because they usually consist of a young host, in the BBC 1 breakfast shows case, Nick Grimshaw. These young hosts are usually only relatable to the younger audience while the older generations may struggle to understand why this host is appealing. This shifts the breakfast show slightly making it seem more niche towards the younger audience and ultimately drawing attention away from the fact that it is still part of a PSB. Another reason why the BBC 1 breakfast show could struggle to gain recognition as part of a PSB could be their strategic decision to exclude less favoured genres specific to the time period. For example, Rock/ Heavy Metal are almost completely excluded despite having a very large following in the UK. This suggests that BBC are not trying to appeal to everyone and just the stereotypical followers demographic.

...may struggle to gain recognition as Public Service Broadcasters. One reason why this may be so is due to license fee funding. All TV consumers are forced to pay for the licence fee through taxation, and some of those consumers may feel like they are paying for music that they don’t enjoy or may prefer only one genre of music. This can cause those audiences to switch to a competitor like Capital FM or Magic for a consistent niche genre of content which can reduce audience figures for BBC Radio One. Although license fee funding cause some audiences to switch to other radio stations, it allows BBC more modes of distribution, like livestreaming and podcasting on BBC iPlayer. For example, on BBC iPlayer every week on a Friday a new “Best Bits” of Nick Grimshaw’s BBC Breakfast Show is shown as episodes and is available to download.
Using digital convergence allows Radio One to successfully target their intended audience (15-29 year olds), as audiences within this age range are most likely to use online media to consume radio. This is proven by the official body in charge of measuring radio audiences in the UK, RAJAR who have said that over 60% of adults aged 15+ are listening to the radio via a digital platform in terms of weekly reach.

This leads on to my third reason for why popular music programmes struggle to gain recognition like BBC Radio One may struggle to gain recognition as Public Service Broadcasters; technological advancements. As times change, tuning into popular BBC radio stations traditionally has become less popular, with audience numbers reducing year on year for the BBC Breakfast Show since Nick Grimshaw took over as the host. This is proven by RAJAR's figures, which state that audience numbers have dropped to 5 million listeners in terms of traditional radio listening. This may be an example of how the addition of how the addition of a young host like Nick Grimshaw has caused the BBC Breakfast Show to lose its popular appeal. However, it can be argued digital convergence has helped increase the popularity and raise the online profile of popular BBC radio stations like BBC Radio One. This can be proven by audience numbers on social media platforms like YouTube and Facebook, with Radio One’s total YouTube views reach over 1.6 billion, and their monthly Facebook views reaching over 80 million monthly views. With the use of social media platforms and their BBC iPlayer website BBC Radio One has become the most popular radio station in the UK, proving BBC’s Radio Controller Ben Cooper statement that the station should not just be judged solely on RAJAR figures.

My fourth reason for why popular music video programmes may struggle to gain recognition as PSB’s may be due to regulations put in place by Ofcom. Since Ofcom is a government regulation service, BBC Radio will not be allowed to present or advertise their own views unless it’s in the government’s best interest. This makes popular BBC Radio programmes biased, and breaks one of the core PSB requirements , which is to benefit the public , as they are not exposed to a variety of unbiased beliefs on certain topics. However , by regulating the BBC , Ofcom can make sure that their content is safe enough for audiences to listen to. For example, if popular BBC Radio programmes like BBC Radio One to projecting musical content that contains inappropriate or offensive lyrics , Ofcom will regulate this by telling BBC to censor these lyrics , so that older audiences can make sure that their children younger are not exposed to inappropriate lyrics.

Overall . I don’t think the BBC Radio One Breakfast Show are not struggling to gain recognition as PSB’s , as they are still adhering to PSB requirements through digital convergence(e.g. BBC iPlayer , social media platforms etc). Although they have deviated away from standard radio listening , BBC Radio One have been able to attract high numbers in their core target audience(16-25 year olds) through digital convergence. Through this BBC Radio has become the most popular radio station in the UK.

https://www.ocr.org.uk/Images/472318-evolving-media-candidate-style-answers.pdf

https://www.theguardian.com/media/2014/aug/07/bbc-radio-1-2-public-service-value-radiocentre

Radio 1 has been criticised that its audience is too old given its target listenership of 15 to 29-year-olds

Crafting Participatory Culture - Minecraft

1. What is Jenkins's theory that the author is referring to here? How might it apply to how audiences interact with the Minecraft game?
2. How is Minecraft different to conventional computer games in terms of narrative and what kind of experience this offers gamers?
3. How did YouTube respond to this trend? Have a look at what YouTube offers to gamers by going to the site. Watch a PewDiePie and Ali A video as part of your research.
4. Who is Herobrine and Steve?
5. Why did Mojang shut down Brandon Liatch's attempt to create a Minecraft 'film'?

Jenkins fandom theory refers to fans who act as textual poachers - taking elements from the media to create their own culture. this development of new media has accelerated participatory culture in which audiences are active and creative rather than passive. They shape the flow of the media. from this perspective, convergence is a cultural process rather than a technological one.

In terms of Minecraft, this theory is applicable to the lack of direction or instructions in the game -  the freedom allows them to be creative in the way they use the game world. 

Naturally, being fans of the game, consumers then wanted to become prosumers, and share the creative ways they’ve played the game with other fans. These videos soon became known as Let’s Plays and although they are not new in themselves, their popularity, along with the gaming industry in general has been growing in popularity, for some time coinciding with Minecrafts. 

'Lets play' allows gamers to use more blocks to create different and new environments. Every Let’s Play Minecraft on YouTube is a paratext to the game, this is how the game became so popular without any professional marketing and it is also for this reason; content owners are more lenient with fan made paratexts, because it’s free exposure.

The very first story to emerge from minecraft was about a mysterious character named, “Herobrine”, who would appear in people’s games without any reason, often scaring the players. he is a kind of anti-hero whereas steve is a hero. Steve is the character you use to go around the game, he can build just about anything

In 2014 Brandon Liatch, an invested petty producer of Minecraft wanted to create a part live action-part animation film based on the Minecraft world, “Minecraft is the perfect video game to adapt to a film … The reason is that it doesn’t have a character, it doesn’t have a story, which to me is a big benefit because we can come up with our own original story”. Using KickStarter he managed to get $60,000 before Mojang shut it down, saying “We don’t allow half a million kickstarters based on our ip without any deals in place. Despite Minecraft and Mojang being very open to the way you use it’s content they still have reasonable limits, and the agency of a prosumer is not breaking copyrights.