The Sims Freeplay is a freemium (Free to play but can purchase in game items, this is how the developers make money from the game) mobile game that released for IOS on Dec 15 2011, and later released for android, Windows Phone and BlackBerry 10. The game is a mobile spinoff of The Sims series which first released in 2000 and was published by Electronic Arts. The Sims Freeplay was recieved generally well, scoring an 80/100 on Metacritic.

The global mobile games market size is expected to reach $172.10 Billion in 2023. The year after Sims Freeplay was released, 2012, Angry Birds made developer Rovio $200 Million.

What is Sims Freeplay?

• Computer game in which you control “Sims” creating a life/building around the in game characters.
• Hyperreality (literally is real life)
• Game is based around the “freemium” price model in which the actual game is free, but users are constantly urged to buy expansion packs and other extras

Media Language

• Codes and conventions are used in this video game to influence meaning. 
• Due to developing technologies Sims Freeplay is able to give consumers constant updates and now used on the mobile and other devices instead of just computer consoles.
• As a life simulation game Sims Freeplay includes many normative codes and values. They include features such as being married to have a child and also being able to own a house as a teen.
• The application of a semiotic approach will aid the analysis of the way in which the website creates a narrative about the world its constructing.
• The genre convention of life simulation can be identified and discussed in relation to other CSP.
• The narrative is driven through various quests in which the gamer would have to complete throughout the life. There are also a completion of having a successful life which could motivate the gamer to carry on playing.
• Narrative in context of online material can refer to the way that the images and the selection of stories construct a narrative about the world.
• Sims Freeplay provides a useful case study for the discussion of Baudrillard’s concept of simulacra and hyperreality.

Media Representations

This product provides a wide range of opportunities to study representation. These include self-representation and representations of reality. The representation of gender, ethnicity, religious affiliation and age in the Sims franchise have been an on-going subject of debate and there have been notable changes as the series has evolved.

• Representation of particular social groups.
• Producers are constructing these representations so that the audience can decode the values.
• Sims Freeplay seems to represent individualist cultural traditions and values.
• Sims construct and function stereotypes to generalise their audience.
• It has optimistic views of the world and claims realism.
• Audience response to representation and issues around identity.

Media Industries

Sims Freeplay is a spin-off from the highly popular and successful Sims franchise. It is an example of the freemium commercial model – increasingly popular for app developers – in which the basic content is free but premium content is a paid supplement. This game is a case study example of diversification and technological change as the video game industry has started to shift away from a reliance on hard copy console and PC products to streaming and to apps for tablets and mobile phones.

• The use of diverse digital platforms
• Video games are rated in the UK (Pegi Rating System)
• A study of the Sims franchise will also engage with the effect cultural producers have on media industries.

Media Audiences

This can be discussed in relation to some general trends in the industry such as the gradual shift away from a heavily male-dominated target audience. Also, the reaction of some reviewers and regulators to Sims Freeplay is indicative of wider concerns about potentially negative influences that video games are claimed to exert on players, particularly young players. These debates an be seen in the context of competing theoretical approaches to the audience

• Sims Freeplay is marketed to predominantly youth audience.
• The interaction between audience, product and digital platform and the opportunities for audience involvement.
• Differing interpretations by different groups.

Social and Cultural Contexts

A discussion of the social and cultural context of Sims Freeplay will focus o the rapid growth and development of the video game industry and the debates about representation and effects,

https://quizlet.com/gb/525164078/sims-flash-cards/

https://cdn2.assets-servd.host/curriculum-press/production/downloads/Media%20Studies/204-The-Sims-Freeplay-Part-1-v2.pdf

Gaming Regulation

Media industries are subject to regulation to help protect
audiences (Livingstone and Lunt) – especially younger audiences.
Games are regulated (in Europe) by PEGI (Pan European Game
Information). PEGI offer ratings for games to help audience make
informed decisions when buying games. The ratings are based
on the content of the games, specifically the use of violence,
bad language, sex, drugs, discrimination and how scary the
game is. PEGI do not regulate the games industry by enforcing
age limits on purchases or access to a game, they simply offer
information to help consumers make an informed choice.

What is Teen Vogue?-  Teen Vogue is an American online publication, formerly in print, first launched in January 2003, as a sister publication to Vogue, targeted at teenagers. Like Vogue, it included stories about fashion and celebrities.

The target audience is mainly teens, hence the name ‘teen vogue’ and both male and female. The way they target people is through their website and newsletter and also on certain social media pages.

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For this CSP, all four aspects of the Theoretical Framework must be explored. These are language, representation, industries and audience.

Media Language

The language of Teen Vogue can be easily analysed through it’s print covers and website. It adopts the layout and fonts from its sister website and magazine, Vogue.

Media Audience

“Teen Vogue is the young person’s guide to saving the world. We aim to educate, enlighten, and empower our audience to create a more inclusive environment (both on- and offline) by amplifying the voices of the unheard, telling stories that normally go untold, and providing resources for teens looking to make a tangible impact in their communities.”

“Target audience is young ages 16-24 and are well educated. They are intelligent and like to keep aware of what is going around in the world.”

Although the brand name suggests a teenage audience, the typical Teen Vogue reader has evolved in recent years. The move to more political content has broadened the appeal and changed the genre – young women now expect more from their media.

The ‘Campus Life’ section in Lifestyle also suggests an older readership. However, the audience is still interested in celebrity content and beauty – which Teen Vogue addresses by featuring the ‘opinion leaders’ (two-step flow) of social media.

Media Industries

Teen Vogue is owned and published by Condé Nast, an American media organisation that publishes around 20 magazines including Vogue, GQ and Wired. The company targets a wide range of different audiences – 164 million consumers across its brands.

In March 2018, Condé Nast announced the launch of Influencer Platform Next Gen, a digital campaign that links advertisers and content creation. The goal is to “connect to a new generation of audience”.

Although Teen Vogue has been creating headlines for its political content in recent years, it is also an important part of the fashion industry. Both editorial content and advertising is designed to create a strong desire in their audience for products featured. This links to Condé Nast’s role as a major media company interested in maximising profit.

Some argue that Teen Vogue’s more diverse coverage offers a form of public service through its political coverage. But are features criticising capitalism hypocritical when the brand is owned by a media giant like Condé Nast?

This is an in-depth CSP and needs to be studied with reference to all four elements of the Theoretical Framework (Language, Representation, Industries, Audience) and all relevant contexts.

You will need to study:
• the game
• its Facebook page https://www.facebook.com/thesimsfreeplay/
• its Twitter feed
https://twitter.com/TheSimsFreePlay?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor

What needs to be studied? Key Questions and Issues

Media Industries

The Sims FreePlay is a strategiclife simulation game developed by EA Mobile and later with Firemonkeys Studios. It is a freemium version of The Sims for mobile devices; it was released for iOS on December 15, 2011, released for Android on February 15, 2012, released for BlackBerry 10 on July 31, 2013, and released for Windows Phone 8 on September 12, 2013.  Its is free to download but includes the possibility of in – app purchases. It is regualary updated offering players new content and the opportunity to interact with events and enter competitions.

The sims Freeplay is a game where any individuals can download for free if they have a compatible device(iOS or android). The game allows individuals to create characters that they call sims. These sims can be fully customised to however the individual is content with, a house can also be customised too. These sims can go through realistic life events and the player is able to live through it however they like to. This suggests some sort of simulation where a whole life can be lived through a game. According to Baudrillard, when it comes to postmodern simulation and simulacra, “It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the real” This can be applied to our CSP The Sims Freeplay as the game is still being updated to present since being released on iOS to begin with in 2011.

Media Language

Both The Sims Freeplay Twitter and Facebook pages give consistent and frequent updates regarding the game. They also post if there are any issues with their game. They use informal language in a way in which they believe will connect with their gamers. “Hey Simmers” is what they used to begin one of their posts in order to address those individuals who play The Sims Freeplay game. The comments are always on for the posts allowing the players of the game to enquire and to give their opinion. This allows communication which is essential in new media and post modernism. This is because they wa

Media Audiences

Appeals to maternal instincts. taking care of, nurturing characters. Tedious tasks. Gives them full control over the world – women may play it in an attempt to get back control – which they lack in their own lives. Wide range of skin tones. outfits. hair types. potentially more left-wing – modern than previous games due to how much control is given to the game player in creating their world. Straight, bi, gay, trans are all possible. Main target age 10 – 40. However the recommended age for the game is for players aged 12 and over.  The app gets its rating due to fantasy violence, partial nudity, sexual/suggestive content, and crude humour.

Media Regulation

Computer games in the UK are rated and regulated by the British Board of Film Classification (BBFC). They classify games according to age groups, taking account of a number of factors, including the game’s themes, language, violence, and content. The Sims FreePlay is rated 12 because it “may contain themes that are not suitable for younger children, such as the potential for violent fist fights and “woohoo”. The video game was banned in China, Saudi Arabia, United Arab Emirates, Oman, Kuwait, Qatar and Egypt due to the possibility of establishing a homosexual relationship.

What is Teen Vogue? – Teen Vogue is an American online publication, formerly in print, launched in January 2003, as a sister publication to Vogue, targeted at teenagers. Like Vogue, it included stories about fashion and celebrities

Teen Vogue is owned by Condé Nast who are a global media company that produces some of the world’s leading print, digital, video and social brands. These include GQ, The New Yorker, Vanity Fair, Wired and Architectural Digest (AD), Condé Nast Traveler and La Cucina Italiana, among others. Conde Nast was first created by Conde Montrose Nast who was an American publisher, entrepreneur and business magnate. He founded Condé Nast, a mass media company. Conte Nast is a good example of horizontal integration.

The Conde Nast headquarters are located in New York and London where they operate in 32 different markets including: China, France, Germany, India, Italy, Japan, Mexico and Latin America, Spain, Taiwan, the U.K. and the U.S., with additional license partners throughout the world.

Statistics:

• In January 2017, the magazine’s website had 7.9 million US visitors compared to 2.9 million the previous January.
• There are 12 million unique users
• On social media, Teen Vogue have around 14 million followers
• 3.4x more likely to be woman aged 18-24
• Teen Vogue was launched in January of 2003
• Teen Vogue had 8,341,000 unique visitors in May 2017 and 4,476,000 in 2018
• Teen Vogue has an average of 5 million readers a month

Teen Vogue turned to online due to a decline in sales, which meant that it had to diversify into its online and social media content. Rather than creating print sales.

Teen vogue is great for helping their readers understand the world in terms of fashion celebrity and beauty. it also empowers its readers to be more active and educated in important issues

Media Industries:

• Teen Vogue is a commercial media product, but it may also be seen as fulfilling a public service through its political reporting and social campaigns.
• The Website demonstrates the way that publishing institutions have developed their reach through new technology and convergence
• Teen Vogues web and social media sites show how institutions respond to changes in consumption.
• The use of digital platforms to expand the output and reach of the products demonstrates how institutions have responded to the impact of new technology.

Media Representations:

• Stereotypical interests for teens
• Represents women as independent and tackles issues that are relevant to women
• Aimed at young people
• TV, films, music, celebs
• Women are represented in an unconventional way

Media Audiences:

• Info is smaller chunks, large pics, engages younger audiences
• Aimed at younger audiences
• Teenage slang such as ‘legit’ ‘omg’ – engage younger audiences
• LGBTQ+ audiences are included
• Cis men are the only ones who are not represented as much

Encoded Ideology:

• “A young person’s guide to saving the world” – no reference to gender 
• Amplifying unheard voices, telling stories that would normally go untold providing resources for teens who want to make an impact – provide education
• Aim to educate, enlighten and empower their audience to create an inclusive environment online and offline – there is a world out there/ see the world both online and offline

first issued in January of 2003 teen vogue is owned by Conde Nast. Final issue of print teen vogue was in December 2017. The editor for teen vogue is Anna Wintour who publishes monthly. Targeted for teenagers teen vogue was created for the high society and etiquette.

“Teen Vogue is the young person’s guide to saving the world. We aim to educate, enlighten, and empower our audience to create a more inclusive environment (both on- and offline) by amplifying the voices of the unheard, telling stories that normally go untold, and providing resources for teens looking to make a tangible impact in their communities.”

Representation

They challenge traditional stereotypes, Teen Vogue highlights the difference in beauty rather the idea of fitting in and making yourself looking perfect. However, it can be seen as reinforcing traditional stereotypes as the models wear makeup and are photo shopped. Left wing view. Feministic views.

https://www.teenvogue.com/story/why-im-letting-go-of-roe-v-wade

Identity

Gauntlett had already developed his fluidity of identity concept by the time Teen Vogue was first published, but the magazine was still positioning the audience to accept a conventional view of femininity and beauty by focusing on physical appearance rather than emphasising a message of empowerment.

It is a worry that this is harming teens mental health.

Semiotics