Analysing Pokemon Go

Pokemon Go, though not officially even out in the UK, has become something of a phenomenon. Spawning numerous national newspaper stories and igniting social media conversations, the game's success can partially be ascribed to its link to a long running franchise, and to its relative novelty. Essentially a mobile map app with a bit of a game attached, players take on a generic character, walking through familiar streets and 'capturing' monsters through augmented reality battles.

So how to textually analyse such a videogame? We can apply a number of media frameworks to Pokemon Go, that could go some way as to suggest how it has managed to resonate with so large an audience so quickly.

Pokemon Go allows audiences to actively pursue a number of gratifications. (Image via Game Rant)

Audience

Pokemon Go fulfills many uses and gratifications of its rapidly expanding audience. Arguably the primary gratification is social interaction. Playing videogames is potentially a solitary pursuit, and is has been ever since the home console explosion of the late 1980's. Prior to this, particularly in America and Japan, players would have to visit videogame arcades to play the latest games. This invariably involves meeting people face to face, and in the case of genres such as fighting games, directly competing with other players. While multiplayer gaming is now common, it tends to be carried out over network connections, the interaction between players being somewhat disconnected. Arguably, Pokemon Go, by forcing players out in to the public sphere is a return to the face-to-face, social aspect of the arcade era. Other gratifications from playing the game include increased social status (through catching more monsters!), and gathering information, through being forced in to visiting new places where the player would not normally venture. Finally, here is a definite aspect of FOMO; who wants to be the only person who's not involved in a craze?

Of course, as with potentially any text, Pokemon Go is an example of escapism. But what are audiences attempting to escape from? Richard Dyer's notion of the utopian solution can help us explore this. Dyer suggests that where texts offer escapism, they do so to offer solutions to our own, deeply flawed lives. Pokemon Go presents a world of perfect green fields and fluttering leaves. It's mise-en-scene is constantly positive and uncluttered, and it's setting is tranquil and safe. Even if the street layout roughly collaborates with what you see on screen, it's likely a lot quieter and cleaner than where the player is playing it. Our environment is extremely important for a variety of reasons, from helping to prevent mental health issues, and dictating crime rates. As our society becomes more fragmented, with a greater divide between rich and poor, there is increasing dissatisfaction and hostility. Pokemon Go presents a solution to any problems we have with our surrounding environment by depicting all locations as an idyllic and perfect field of green. In effect this 'fixes' our living conditions. Additionally, by including exciting monster encounters through augmented reality, Pokemon Go recognises the relative dullness of our own lives, and provides a thrilling substitute.

The game expertly offers a double mode of address. On the one hand, the target audience seems obvious; children aged 6 - 12 or thereabouts. The lexisis informal, there is no difficult use of language. The use of primary colours and appealing cartoon characters suggests a traditionally younger target audience, and there is no violent content. However, the game also has a startlingly high uptake with an older audience. The original Gameboy game was released in the UK in 1999, which means, to use a completely unrelated example, if somebody bought the game on it's original release aged 13, they would now be 29. Additionally, the very structure of the game requires a fair degree of maturity. How many 8 year old's would you trust to wander for miles in urban environments, all the while clutching their phone? And this does not take into consideration the necessity of having a fairly modern and expensive smartphone with a dedicated data plan. In fact, it is very hard to work out who is the target audience, and who is the secondary audience!

Representation

Pokemon Go challenges the stereotypical representation of videogame players through the structure of the game itself. In order to progress, you have to walk, preferably as far as possible, as there are several incentives given for distance covered. The stereotypical representation of a videogame fan is that they are inactive, perhaps obese, and antisocial. This stereotype was popularised in the 1980's, when videogames were still a niche activity. Films such as Revenge of the Nerds and The Breakfast Club presented archetypal 'nerd' characters, and were invariably presented as being both sexually unattractive and mainly included in the narrative for comedic value. Videogames have much more mainstream appeal now, but this 'nerd' stereotype still remains popular, especially among those unfamiliar with videogames. Pokemon Go challenges this stereotype by making the fundamental mechanics of the game involve leaving the house, going to new and interesting places, and even meeting real life people (more on that below). It is therefore possible that Pokemon Go will challenge the wider public's perception of videogames as an acceptable and wholesome pursuit.

Genre

Pokemon (1995) displays many generic conventions of the role playing game. (image via Giant Bomb)

Pokemon Go has elements of the RPG genre, mainly through referential codes that hint at the original franchise. This include the title, iconography, graphics, colour scheme and so on. However, the game itself is far from a classic RPG. An RPG, an acronym for 'Role Playing Game', is a widely diverse genre. Pokemon itself fits in to the JRPG, or 'Japanese Role Playing Game' sub genre, characterised by an emphasis on statistics, a more linear narrative, and stylised graphics. A typical JRPG is split in to at least two settings, the village, where the player may talk to characters, gather information and purchase items, and the dungeon, a much larger, maze like location, with mostly unfriendly characters that must be beaten to progress. Pokemon itself was heavily influenced by three games: Dragon Quest for the general battle mechanics. Earthbound for the often quirky, isometric visual style, and the Megami Tensei series for the actual monster collecting element. Pokemon Go strips out much of these essential JRPG mechanics, and replaces monster capture with a simple mini-game, similar to Paper Toss or any number of simple time killing apps. There are RPG conventions in Pokemon Go, but they are made part of the player's actual environment. So the streets where they walk become the village and dungeon simultaneously, and the friendly villagers are now the people you bump in to who are also playing the game. Pokemon Go fundamentally contains many generic paradigms of the RPG genre, but due to the fluidity of the genre, a lot has changed since Pocket Monsters was first released in Japan 21 years ago.

Narrative

Where Pokemon Go starts to get very interesting is through the way in which it tells it's story. In terms of exposition, it wastes no time in giving a brief description of what you have to do. Beyond this, there is very little explicit narrative. Like many video games, for example vs fighters and the 'endless' mode on puzzle games like Tetris, Pokemon Go has a perpetually open narrative. There is currently no way to 'win' Pokemon Go. This has repercussions if we try to apply Todorov's theory of narrative equilibrium to it. Since there is no resolution, there can be no restoration of the equilibrium.  Additionally, there are issues as to where the disequilibrium occurs. Does it happen to your player character the second you touch the screen to start? Or is the equilibrium the player's life before starting the game, the disruption the process of playing the game, and the partial restoration when you inevitably get bored and give up, maybe to play something else? In any case, it's clear the Todorov's narrative triad isn't very useful when applied to such a novel example of new media!

Pokemon Go confuses analyses of narrative by deliberately confusing real world and diegetic elements. (image via The Verge)

We can better understand Pokemon Go through Barthes's semiotic codes. While it is poorly explained, the rustle of grass and the presence of mysterious 'Poke-stops' are examples of action codes. They represent the establishment of an action that must be completed. Videogames often make players jump through hoops (sometimes literally!), and as gamers, we build up an exhaustive list of examples of shared action codes. If a character has an icon over her head, we walk up to her. If an item flashes, we know it is important. If we are suddenly given in-game health and ammunition, then we know something particularly difficult and dangerous is ahead. Pokemon Go is no different in this regard. There are also numerous examples of semantic and symbolic codes. The game's structure, forcing players in to one single area has connotations of friendship, inclusivity, positivity and wholesome exercise, which further symbolically differentiates Pokemon Go from traditional stereotypical representations of gamers. The game makes use of several key binary oppositions, including that of wilderness and civilisation, of cuteness and aggression.

Postmodernist readings

We can apply many other theories to Pokemon Go, Propp's character archetypes, Gerbner's cultivation theory and Hall's reception theory.  In order to fully examine it though, we must also explore the metagame. This refers to the world beyond the game. There has always been a 'meta' aspect to all media forms. Who goes to watch a film without telling everyone how good it is? Who finishes a game without boasting how hard it is (or looking up a solution on the internet when it gets too tough?). Pokemon Go however invites players to blur the diegesis of the game. We have to question, which bit is the game? If we agree with The Guardian's 2/5 review of the game, then we must concede that even if the game itself is limited, buggy and unfinished, the experience really isn't much to do with the game. It's effectively a bit of make-believe that makes going for a walk by yourself or with friends a bit more interesting. By not only casting the player as the protagonist (very common in videogames) but also making your real world location the setting (if augmented), then Pokemon Go at least in part achieves it's immersion through breaking the fourth wall, a postmodern technique where the text draws attention to its own status as a text.

Conclusions

Pokemon Go's success can be put down to a number of factors. It's a pre-existing property that targets two discrete primary audiences. It plays off both nostalgia and the thrill new media. It relies of the ubiquitousness of mobile phones. It provides audiences with many pleasures, including escapism, social interaction and knowledge. It allows gamers to challenge their own negative stereotypes, and provides a unique postmodern narrative experience. This isn't to say that everything is perfect. A number of negative news stories have arisen, including stories of people being mugged, harassed or getting in to inappropriate situations. It will be fascinating to see how the success of Pokemon Go will impact on videogames of all genres, and potentially even the way we communicate with each other.

Wider reading - Media specialist blogs

Have a look at the 'links' box to the right of this blog (scroll up if you can't see it), and you will find links to a number of valuable resources. Wider reading is an essential skill if you want to hit the highest grades. The more you read around the subject, the better you do. Don't feel you have to rely solely on your teacher's knowledge: if you find a compelling thought or theory, make sure to include it in your essays and exams. It demonstrates sophisticated independence, knowledge and understanding, all of which are criteria for an A grade response! 

How many plots are there?

Narratologists have argued for many years over exactly how different plot structures there are. While there are undoubtedly many narrative, ie ways of telling a story, the underlying structure is often very similar. The late, great Kurt Vonnegut suggested that there were a certain number of plot 'shapes'. Through computer based research in to these plot structures, a total of six distinct plot types have been outlined by Vermont researchers. What do you think? Can you recall any narrative texts that do not fit in to one of these structures, or have they pretty much got it covered?

Rejected 'Remain' campaign posters

Following the recent referendum regarding the UK's membership of the European Union, there was criticism that the 'Remain' contingent's campaign was not strong enough to beat the more emotive, blunt messages of the 'Leave' campaign.

This provocative poster, unveiled by UKIP leader Nigel Farage, was criticised for being both potentially offensive and misleading. 

Following the result, these campaign posters, rejected by 'Remain' campaign chiefs, possibly for being too aggressive.

An example of the more 'aggressive' and ultimately rejected 'Remain' campaign posters, developed by Saatchi & Saatchi.

Have a look at the article and see what you think. How do these posters address the audience? What connotations do they encode about the 'Leave' campaign?

How to read an academic essay

As you make your way in to the final part of the year, you will notice a step up in terms of what we ask you as teachers. This is technically because you have started next year. And the essay you are working on now is the first part of your MS3 coursework. Don't worry, the transition between AS and A2 is pretty smooth in Media Studies (it's definitely a lot less rough than the jump between GCSE and AS!). It is now assumed that you have a grounding in Media theory, and though we will be revising this as we go along, it means we can waste less time with the basics and jump straight into more challenging aspects.

 One thing you need to get familiar with is reading an academic article. If you are planning on going to university, and especially if you are studying an arts subject (such as Film, Media or Sociology), you will be doing a lot of reading. It can be daunting at first, but follow these words of advice and I guarantee you'll be not only reading academic articles, but enjoying reading them too.


 1 -  Take it slow: it's meant to be difficult

 One thing that can put off someone unused to academic articles is that they can be hard to read. This is deliberate. An academic essay is often trying to convey a complicated philosophical concept. It is not necessarily something to be read for immediate enjoyment. It is a challenge. Make sure you read slowly, taking your time to think over every sentence.  


 2 - Read it fast the first time through, and then read it again.

 This completely contradicts the last point, and you're going to have to make a decision on which strategy works best for you. The idea here is that you blast through the essay at top speed, reading ahead trying to get a gist for what it's about. After you've done that, you start again from the beginning, this time at a leisurely speed, and give it another go. 

 My advice is to read the first paragraph, and then the last paragraph. This tends to be where to author sets out the abstract (a declaration of what is going to be included in the article) and the conclusion (a summary of everything that the author has gone through, to make sure as many as possible agree with the conclusory statement). Remember an academic article isn't a work of fiction. It isn't something that can be 'spoilt'. It's a tool to understand a concept, and you need to use it as effectively as possible to reach this understanding. 


 3 -  Look up EVERY word you are unsure of.

 While reading an essay, I just had to look up the words exegesis and provenance. Exegesis has a pretty simple definition. It basically refers to the meaning of something. It's very similar to the term hermeneutics, which I also had to look up a few years ago. You will know hermeneutics from Barthe's hermeneutic or enigma code. Provenance had a slightly trickier definition. It is related to ownership, and how ideas can be owned by different people over a passage of time. It seems complicated here, but in the context of the essay, everything suddenly made sense. 

 The point here is that although these words look scary, they have a fairly simple definition. The English language is vast and nuanced, and for every word you look at, you have just added another powerful tool to your vocabulary. It takes time to look up every word you are unsure of, but it's worth it in so many ways.


 4 -  Don't just read it once 

 You will probably not understand an academic article first time. The second time you read through it, you'll start to make some headway. Third time, you may feel like you're getting somewhere. But even then, you probably missed something. The key to reading academic articles is perseverance. 


 5- Don't worry if you don't get it 

 So you read it three times, looked up every word, and paid special attention to the introduction and conclusion. But you still don't get it. Don't worry, it's not such a big deal. Firstly, you probably understood more than you thought. Secondly, academic articles are not meant to be read in isolation: they often require reading something else in preparation. Think about a videogame that asks you to accomplish one goal before moving on to another. You want to open a door, but you don't have the key. If you did skip ahead, you'd just be killed by the high level enemies in an area you shouldn't be in yet. So in this case, it's best to stick with what you know, and wait until you feel a bit more confident.


 6- Feel free to disagree with the author 

 My favorite Media theorist is Theador Adorno. I hate him. I completely disagree with (almost) everything he says. His arguments against popular music are particularly vicious, and he goes to great lengths to explain why pop music is completely devoid of any value, and, in fact, is forcing the working class in to a perpetual state of self-imposed stupidity. Why is he my favorite? Because I have to think very hard about counter arguments. I start to think of ways to challenge what he says. I want to tell Adorno about the many different uses there are for pop music, how audiences are aware of how it is manufactured, and how they can negotiate it's usage, ignoring the message of the author and encoding new ideologies. Unfortunately Adorno died almost 50 years ago, but he still forces me to think on my feet. And as I result, I am forced to justify my own point of view in a far more persuasive way. 

 So feel free to disagree with the author. As long as you can come up with a valid counterpoint, you can even quote him or her, before explaining exactly how they are wrong. 


7-  Failing is fun 

 Make no mistake: you are going to hit some brick walls. You're going to pick up an article that's 'too hard' and really will require many more years of academic study to fully understand. But isn't that the fun of it? To challenge yourself to understand a concept that goes over the head of most people? To hit a brick wall, but to learn a new word, to increase your ability to comprehend a complicated concept?

Once you realise not only that failing is fun, but also essential to getting better, you'll doubtless get a lot more out of academic articles.

Featured student music video - Slaves - Cheer Up London

Who made it?

Sophie and Lucy in R Block

Why is it excellent?

This is an excellent example of the level of freedom that you have in the music video project. By selecting a punk track, the directors have chosen to adhere to the ideologies of the punk genre. In order to encode a trashy punk sensibility, the directors have paid special attention to performance, having the actors laughing, and glaring at the camera. This style of performance would definitely not go down well in a pop video, but it works really well in a punk context. The punk credibility of the performers is further emphasised with costume, make-up and other aspects of mise-en-scene such as piercings, a signifier of punk authenticity.

The opening establishing shot of a scuzzy playground instantly suggests that the video is going to be rough and ready: just like its source material. The directors have clearly paid a lot of attention to setting, making sure to find the perfect location through location scouting. The other settings, a videogame arcade and a pub, also contribute to the edgy atmosphere of the video. Both of these locations have lots of artificial lighting, which the directors used to great effect in one of the arcade cabinets.

The cinematography is generally handheld, almost documentary style, which contributes to punk's 'don't care' ideology. The use of mid shots of the two actors in front of a brick wall connotes not only their importance as performers and potential celebrities, but also conflates the setting with the performers in a subtle and excellent way.

Finally, the video is great fun, and captures the ramshackle nature of the song. Again, if this was pretty much any other genre, it wouldn't be nearly as successful, but in the context of the punk genre, it works very well indeed.

Watch the video on Youtube!