SIMS
LANG
Habermas (communicative action = offering control and power they may not
have in real life, real world experiences are devalued) and Turkle (false identity
- technology help us build an idealised version of ourselves) - Video game
player users are losing touch with reality (can be linked with Bandura effects
theory - we are seeing a world being enacted and participating in it).
The play may be confused as where they stand in terms of proppian
archetypes (Hero, Villain, Dispatcher) therefore losing touch with
themselves within the game
needs bar mimics maslows’ hierarchy of needs
touchscreen is entirely portable is convenient
in game transactions (freemium model) to help develop their character -
ensuring success (capitalist ideology)
The sims has normative values anchored in the conservative american mis-
west
Normalise the idea that women are allowed to wear whatever
Emphasises patriarchy as the white man on centre of corner is biggest
Simlish is a Proto-Language (in its most basic and primitive form) =
Hesmondhalgh minimises risk as it through the change in intonation of
speech and paralinguistics makes it universally understandable.
Sandbox game - there is no real ultimate goal.
The conscious vaudevillian vamp underscore builds a sense of urgency. The
vamp is unresolved thus maintaining the recognition of disruption.
Parallel with the culture of franchise movies whose narratives are never
entirely resolved (Noh Theatre) - entices audiences to purchase sequels.
Cinematic aerial shots of the town underscored with the cinematic idealistic
establishing music adds a visual and auditory appeal to the game.
Jobs performed off screen have no real value in the game
Sims is in a constant state of implosion whereby the real and fake are crushed
together.
REPS
Gantlet pick and mix theory (audience members take the bits they need and
disregard the rest) - can create your own characters
Can reference hall ‘negotiated reading’ and Habbermas and Turkle
Gilroy argues that people should celebrate the similarities rather than
differences. - audiences get to build characters from a blank state. Gives
LANG
Habermas (communicative action = offering control and power they may not
have in real life, real world experiences are devalued) and Turkle (false identity
- technology help us build an idealised version of ourselves) - Video game
player users are losing touch with reality (can be linked with Bandura effects
theory - we are seeing a world being enacted and participating in it).
The play may be confused as where they stand in terms of proppian
archetypes (Hero, Villain, Dispatcher) therefore losing touch with
themselves within the game
needs bar mimics maslows’ hierarchy of needs
touchscreen is entirely portable is convenient
in game transactions (freemium model) to help develop their character -
ensuring success (capitalist ideology)
The sims has normative values anchored in the conservative american mis-
west
Normalise the idea that women are allowed to wear whatever
Emphasises patriarchy as the white man on centre of corner is biggest
Simlish is a Proto-Language (in its most basic and primitive form) =
Hesmondhalgh minimises risk as it through the change in intonation of
speech and paralinguistics makes it universally understandable.
Sandbox game - there is no real ultimate goal.
The conscious vaudevillian vamp underscore builds a sense of urgency. The
vamp is unresolved thus maintaining the recognition of disruption.
Parallel with the culture of franchise movies whose narratives are never
entirely resolved (Noh Theatre) - entices audiences to purchase sequels.
Cinematic aerial shots of the town underscored with the cinematic idealistic
establishing music adds a visual and auditory appeal to the game.
Jobs performed off screen have no real value in the game
Sims is in a constant state of implosion whereby the real and fake are crushed
together.
REPS
Gantlet pick and mix theory (audience members take the bits they need and
disregard the rest) - can create your own characters
Can reference hall ‘negotiated reading’ and Habbermas and Turkle
Gilroy argues that people should celebrate the similarities rather than
differences. - audiences get to build characters from a blank state. Gives
