Call Sheet for Production Management

Production Title: *Working Title*
Shooting Date: Running over multiple days in December/January
Location: Areas in and around Dorchester
Location Address: Dorchester, Dorset
Initial Meeting Place: (If applicable) In Dorchester, or at pick-up points near specific filming locations as pre-planned


PRODUCTION TEAM
Producer/Director/Production Assistant: Charlotte Hodson - 07949992451


PRODUCTION CREW
Camera Operator: Charlotte Hodson
Sound Recordist: Charlotte Hodson
Lighting: Charlotte Hodson
Assistant 1: Caleb O’Neill - 07912366915


TALENT/GUESTS
Name: Laura Baney - 07792592293
Name: Will Boyes - 07795275590
Name: Tiffany Eccles - 07528737299
Name: Caleb O’Neill - 07912366915
Due on Set: 5.30pm until finished, approx filming time of 2-4 hours.

DAYS AVAILABLE FOR FILMING:
December: 7th, 9th, 11th, 12th, 13th, 15th (break up from College on the 17th, equipment not available to borrow)
January: TBC

Ideas for filming location

I predominately want to denote the idea that the zombie infection within the game is not just affecting the protagonists, but in fact their entire surroundings. The involvement of derelict environments and silent high streets is as unfamiliar to anyone as it is harrowing.

The use of buildings with a dilapidated appearance will physically enhance the terror and abandonment the human race had to face during the destruction of their lives. Though the trailer will not portray interiors of these chilling locations, the outside enough will demonstrate a particular use for them within the game play structure.

In particular, I want to show the desolate environment of ideologically 'busy' high streets, they reinforce a traditional urban environment, but their lack of movement and commotion once again will portray the devastation left behind from the outbreak. The protagonists will play a huge amount of time in these locations within the game as this is where they meet pawn brokers in which players can purchase amenities and upgrade for their characters.

The empty and abandoned car parking garage is a particular favourite of mine. It will be featured in both the opening and the closing of the trailer as the characters go through a flash back. It symbolises their desperate struggle to escape the world they are now trapped it, and when they reach an area where they plot all their hopes within, to find it empty and still, it destroys their final morality. It opens up the main unit of the game, the fighting and murder of zombies, so it's very important. It also embodies the idea of claustrophobia as the heavy concrete walls seem to block out the sun and outside life.

Click here to see my brain storm for potential filming locations, and my interpretation of them according to the narrative of the video game.

All images taken from Google Images and are not my own photographs.

Audience Analysis

Understanding
When video games are regarded as a purposeful consumer product, it is considered that video games are purely a feeling of escapism and a definite form of ‘hyper reality’. Following this idea, the audience needs to understand and respect that video game content is not exact representation of real life events/relationships and that logical legal and ethical values need to be considered at all times. For example, when Rockstar developed and released the game ‘Grand Theft Auto’ in 1997, nothing but controversy and public hatred ensued because of its in-game disregard for all moral and lawful behaviour. The player could pick up a prostitute, take her out into an abandoned area, have sex with her and then brutally murder her to get your money back. And when the idea that you could run over hundreds of civilians with your car and the police wouldn’t care is implimented, anger sparked in parents as they watched their children play.

'Grand Theft Auto' allows you to shoot at civilians and evade the law, as you become part of a notorious crime ring in USAs major cities.

But it is this kind of understanding that gamers need to be aware of before they begin playing a game; what happens in a fiction setting with fiction characters and an imagined plot are only for video games. Especially with games that come with a mature rating, audiences need to take into account what they may be witnessed to over the course of the game, and that when they turn off their consoles, that some of the behaviour you just had the ability to it is not accepted in real life. This in particular is why my video game will be branded an 18. My ‘survival horror’ genre allows audiences to predict its terrifying gameplay nature as well as its strong use of blood and gore, so this means that those who cannot interpret its difference from reality can avoid the title.

The worlds most controversal video game scene; 'Call of Duty: Modern Warfare 2' sees the player being forced to become a terrorist in an airport by shooting at innocent civilians. The press links the horror and terrorism in the scene to the terror attacks in Mumbai just a year before.

Interest
I believe that my demographic audience would play my game as the ‘zombie’ genre is increasingly popular recently thanks to the release of ‘Resident Evil 5’ and ‘Dead Rising 2’. As well as this, the ability to play a game in your own pace and get to the end when you’re ready and when you’ve discovered every single thing the game has to offer means that many people will find the game more immersive and emotional than other titles that feel too linear and scripted. As the game will be set in modern times in a relatable environment, the player can involve themselves completely into the situation without having to consider archaic traditions, for example, war games may need a level of understanding of the time period in which they are playing in.

'Left 4 Dead' shows the popularity of zombie-based video games as the original and its sequel have sold up to 6 million copies over the last 3 years.

Environment
Based on knowledge that most of the audience I’m aiming at is now online and deeply immersed into Web 2.0 technology, small viral videos will be widely released, and will be previewing on YouTube, my own personal website as well as on TV after the 9pm water shed. This will then cause mystery and spark excitement from people who are interested in the game and therefore a need for discovery will be around the games release. About 2 weeks before the official world wide release, the full length trailer will be released on the same TV channels as before, and the advertising posters will appear in bus shelters, magazines and radio slots over the main release countries, the UK and the USA. I plan to have advertisements in these specific and varied environments because gamers are a part of everyday life. Some hardcore gaming fans will buy gaming-specific magazines and will see advertisements there, but for others who are not so deep into gaming can see the advertisements elsewhere, and I can attract their attention this way. By having the adverts only premiere on TV after the water shed it will reinforce the idea that the game will be a mature contented one, and that only older viewers will be able to play it.

'Fallout New Vegas' was advertised on the side of buses specifically in Las Vegas.

Audience Profile

As far as video game developers and their receiving audience go, games can be split into further categories outside of their PEGI classification and content warnings. One of the most important things to consider is the mentality of the audience you’re aiming it at, for example a mindlessly gory and violent game could be mentally disturbing for a young child, and oppositely a trigger-happy adult may not enjoy playing a game involving the grooming of farm animals. Along with this is the consideration of other receivers around the player. For most children, the enticement of an 18 certification game means that they hold rebellion over their parent and the publishers of the game by defying the age restrictions and playing the game, and some parents are more than happy to buy it for their children. Whereas others may not be so happy to comply and feel that attempting to attract and entice this audience is completely incorrect.

Based on the content warning and age restrictions present on my video game box cover, my audience demographic factors will be:

· AGE: Judging from the extreme violence and mature content, the game will no doubt serve an 18 rating, meaning that only peoples over the age of 18 may buy it. But statistics show that more often than not, those age-legal people are just buying the restricted title for their child who could not purchase it themselves. This does make a mockery of the entire certification process, but no doubt enhances sales. Preferably the age range for my game would be from 18-40, but as I cannot stop sales to parents for their children, the demographic average may be lower than expected. According to a survey conducted by the ESA (Entertainment Software Association) in 2008, the average age of gamers is calculated to be 35.

· GENDER: As my protagonists are both male and female, the game will not deter either one of the genders. However the content may discourage some females meaning that a higher proportion of males will buy it, but it is known now that the ratio of gaming genders is 60/40 to males/females.

· SEXUALITY: There is no nudity or sexual content within the game, however the female character will be dressed in complimentary clothing with the male imagine in mind. Strong masculine personalities will be swayed more onto hardcore game genres, such as shooters and fighting titles, and ideological feminine sexualities will prefer genres such as family/children’s entertainment or adventure

· LOCATION: The game will be set in a tradition urban city, and therefore will be recognisable to all major audiences. In terms of the buying audience, a game aimed at ideological for American and English games is the most preferable as these are where the highest majority of video game sales happen, whereas in Australia a lot of games with strong content are banned.

· OCCUPATION: Both protagonists will be of a young adult age, ranging between 25-30, which will no doubt be reflected in the audience demographic. This places the player within a age where a job would normally be expected, as well as a home and a mortgage. This means a lowered chance of frequent playing hours and hardly any time spent online. The other half of my audience will be students or unemployed, so long hours of game time as well as online interaction will take place.

Character Development

Male protagonist: The focus character with whom the audience will relate to the most. Middle class social representation according to his house in the beginning and his accent. Well build masculine lead with courage and bravery, though suffers from moments of weakness upon remembrance of his family. Loosely based on previous video game characters such as Marcus Fenix (Gears of War) and John Marston (Red Dead Redemption) for their need of revenge and order, but their strong social and ethical morals.

Female Protagonist: Optional playable character, but present from the middle until the end of the game. Comes across as an independent and strong woman, with a high social class but a rebellious nature, the audience soon finds out her upsetting past of domestic abuse and homelessness. This draws the audience’s emotions into hers and the two protagonists begin to get closer, and then we find out her secrets. Very dramatic and sarcastic humour, lights the mood throughout the game. Loosely based on Rubi Malone (WET) and Lilith (Borderlands) for their liberated attitudes and resilient physical fitness.

The two characters will play a dynamic role in comparison against each other, making for a unique character development unveiling in front of the player's eyes. The male lead though is more imagined to be more masculine and gentlemanly hence his appearance is actually the weaker of the sexes. The devastation of witnessing his families’ murder has destroyed any confidence he otherwise may have, causing him to go into pathetic and dismal states when recognition ensues. Oppositely, the troublesome past of the female lead defines her personality as roughed up and head strong, as she has been through life-changing momentum, leaving her life shattered and alone. Her protection and strength over the male lead is evident in the alleyway scene where she saves him from the zombie attack, and from then on they stick together, as they are well aware that without her protection, he may face nothing but failure and death.

The gender, representation and team work dynamics can be compared to that of Chris Redfield and Sheva Alomar in Resident Evil 5, as Chris is suffering from the loss of his beloved partner Jill, and Sheva is a versatile fighting agent from the B.S.A.A.

Plot Development

Based on usual video game format, my plot can be drawn out in 3 ways:

LINEAR PLAY-THROUGH: The player is given objective after objective and its ‘pulled’ through a very strict course of dialogue and events, which are all designed for the player to see at that specific moment. Area for discovery is limited and when the player goes off course, they will be reminded or eventually punished for doing so. This means any plot development is entirely honed towards the player as it is from their actions that the narrative unfolds, so the player feels connected and emotionally attached to surrounding characters and their environments. (See Battlefield Bad Company 2 below, Call of Duty: Modern Warfare 2, Alan Wake)

FREE ROAM ADVENTURE: The player is given a basic premise and the uncovering of answers is entirely up to how they spend their time. This often leaves room for the possibility of ‘main quests’ where a player can actively choose to stick to main objectives and finish the game, as well as ‘side quests’ where players are deemed the possibility to deter from the main storyline to gain extra detail or more amenities (a.k.a Money, Ammunition, Weaponry). This results in a personalised campaign where the gamer can do as they please in order to complete it, often this gives a player a higher sense of achievement and feeling of worth from the game. (See Red Dead Redemption below, Grand Theft Auto)

STRUCTURED LEVELS W/ BOSS FIGHTS: This structure of game format is primarily for combat and fighting skills, as the linear story will give you reason to continue a narrative that you don’t particularly have very much involvement in. However, this does add a progressive difficulty scale as the closer you get to the end of the game, the harder the enemies will be. So for example, at the beginning of the level you will be introduced to a new enemy, and by the time you get to the end of it, a ‘boss’ version of said enemy will be facing you, whom is an ultimately stronger, smarter hybrid of its original. (See Gears of War below, Resident Evil 5, Batman: Arkham Asylum)

Visual + Structural Elements

As the integration of game play and cinematic cut scenes play a huge role within my plot synopsis, I have detailed a reference here of how each are different to each other, and why they are useful devices within the structure of the game.

GAMEPLAY.


The game play is the majority of the game where the avatar is fully controllable. A HUD (Heads-Up Display) or UI (User Interface) is present at all times and gives vital information to the player about what to do. For example, most games with display the health of their player, ammunition and often the current objective.

CUT SCENE.


Cut scenes are visually recognisable as being far more graphically enhanced and from a camera angle outside of the characters perspective. The audience is now watching their player instead of controlling them meaning that they can now concentrate on the story progression and character development in the situation, instead of fending for themselves and concentrating on the game. It highlights specific elements that you otherwise might miss if you had control of the players’ actions.

Synopisis of my Video Game

The basic premise of the game is surrounded by the drive to survive the zombie apocalypse as you follow 2 protagonists who need to work together to eliminate the horde and find shelter and protection, as well as an answer to how the infection became a nationwide catastrophe. Narrative will see the protagonist’s character development towards each other progress so they are more perceptive to their emotions and find themselves connecting with the plot. Over the course of the game, more background information of the characters link to each other and the narrative will become clear, resulting in an eventful and surprising finale.

Reason for infection outbreak:

Zombies are most commonly known and represented in the media as re-animated corpses that feed on their desire for human flesh. With this, the concept of ‘apocalypse’ can take place as they are revered to feed off one human to the next in order to spread their infection, causing their victim to turn into a zombie themselves. The original infection normally spreads from a scientific experiment gone wrong and then the virus to accidently leave the laboratory or its containment, most normally a ‘cure’ for an incurable human disease such as Cancer or HIV/AIDs. I aim to follow this concept of plot development as the development of a lethal virus doesn’t just come from nowhere, but instead from scientific testing.

Plot:

Set in an entirely fictional urban city, a deadly virus will infect the population causing the majority to mutate into blood-craving monsters. The narrative finds our 2 protagonists stuck in the middle of the outbreak needing to fend for themselves. The introduction finds our 2 characters at a celebration parade on a populated street on a bright sunny day. They aren’t with each other, in fact at this point they are completely oblivious to each other’s existence, but are seen with family or friends enjoying their day. The female lead attempts conversation with the male as they stand in line to buy some food, but he turns her away and gets angry, so she storms off and is not seen again. At this point, the control of the protagonists can be taken over by the player and they can explore the surrounding area/buy food and drinks/play a couple of fair games, but when they reach a certain part of the map, a cut scene will appear to show the main character awareness of a woman being kidnapped by a shaded figure. A chase scene ensues during which the player regains control as you hunt down the kidnapper, eventually leading you to find her destroyed corpse at the end of an alleyway. Hooded over her body appears to be a human, but with a rotting smell and disfigured limbs and facial structure. As you approach they let out a terrifying scream and leap out of sight, so completely confused you get back to the parade and join your family. The next morning, you wake up in your home early in the morning and make your way to the kitchen for a drink, but the house is deadly silent so the player is given the freedom to search the home. As you approach your daughters room, you again hear mumbling and the sound of banging and dragging. You enter your daughter’s room and spread on the floor is your wife and child, in the same state as the woman in the alleyway – dead and mutilated. Over them is another deformed figure, but instead of retreating it attacks you. Now the player can use objects around the room to defeat the zombie ultimately by bashing its head in as the known way of killing the ‘dead’ is to destroy any brain functioning. A cut scene shows you rushing to your families side, but you hear more screaming from outside the window, resulting in your looking out onto the street and seeing fire and casualty everywhere and people lay dead in the streets and zombie roam everywhere. Suddenly you hear more fumbling from inside the house so you seize the opportunity to get out of the house instantly. Now the protagonist is making his way through the town with the objective to reach City Hall to find out information on what has happened to the town. The only choice of path is down the same street where the parade happened the day before and as you near the end you notice the alleyway where you chased down the kidnapped woman. You venture down to see if she’s still there, but as you reach the end the body is gone and signs of her body being dragged through its own blood is evidence. Out of the shadows you hear heavy and disgruntled breathing and as you approach it the woman who you saw dead yesterday is alive with a murderous look in her eye. She launches an attack at you and as she pins you to the floor, a loud gun shot is heard and the body falls limply on top of you. Standing in the entrance to the hallway is the woman you denied money to yesterday, and she helps you. She explains her recognition of you and how you seem completely lost and hopeless as you wondered down the street, so she followed you to see if you were okay. You thank her and see that you share the same problem, your families have been killed and you want to go to City Hall to get answers. From here until the end of the game, the 2 protagonists unite together to protect themselves against the zombie attack and find out what has happened to the town, it can be played through 3rd person singularly so the female character is computer controlled but still vital to your survival, or played in split-screen so a local player can join in the game and play together.

Split-screen gameplay in Tom Clancy's Splinter Cell: Conviction

The finale of the game shows their approach to City Hall and the discovery of the Mayor’s office, discriminating documents approving scientific research in the city are laid out on the desk and as you go to pick them up, the door bursts open and in comes the head of the Scientific Discovery Plant ‘CureTec’ with the Mayor on a dog lead in his hand. The Mayor is now clearly an infected member of the zombie horde and as you stare in horror the Scientist tells you all about his plans to save the human race of deadly disease but after he realised that human were greedy and selfish that he could get them to take whatever ‘cure’ he made, resulting in him creating a virus that reanimates the dead to come alive and attack the living. Eventually you have to fight the Mayor who appears to be a ‘special infected’ in the sense that he has smarter functioning, is much quicker and has more health that the average zombie you fought before. After severely wounding him and tossing his lifeless body to the side, you have to now fight the scientist who has injected the formula into himself and is now a hybrid mutated special infected. You fight with him until he dies. After the fight you go to help the Mayor but as you reach him he goes to bite the female lead on the wrist and jumps for the window. She shoots after him, killing him so he falls out of the high window and you take her up into your arms and go for the door, you discuss how you need to go to the Scientific Discovery Plant to find a cure for her before he mutates and as you kick open the City Hall doors, you see that that town you thought was completely dead or killing by your own hands, has in fact come back alive and are doubled in numbers. It then fades out and finishes.

This ending therefore levels the game open to a sequel in which you must make your way to the Discovery Plant.

Video Game Classifications

88.9% compliance rate of offical PEGI certification in Europe.

Pan European Game Information (PEGI)
PEGI 3 – comical violence, characters not associated with real life, no sounds/pictures that could frighten, no bad language, no nudity, or refernce to sexual activity
PEGI 7 – Normally rated 3 but contains some mild terror, partical nudity but not in a sexual context
PEGI 12 – Slightly more graphic violence towards fantasy/human-looking/recognisable animal characters, more graphic nudity, bad language is mild and falls short of sexual expletives
PEGI 16 – applied once the depiction of violence/sexual activity looks the same as expected in real life, more extreme bad language, concept use of tobacco/drugs, depiction of criminal activites
PEGI 18 – gross violence and/or specific types of violence that could make the viewer feel revulsion


Based on my research into the certification classifications for PEGI, my game is strongly placed under the PEGI 18 certificate as it contains extreme graphic violence, sexual insinuation and taboo language. However, if I was to class it under their context warnings, I could apply the follow:
* Violence
* Bad Language
* Fear
* Drugs
* Online

Student Feedback

Below are links to feedback I obtained during my Research Presentation last week.

I asked class mates to give me advice and feedback on areas where my research and findings excelled, as well as where I needed improvements so I could have an outside point of view on where my project was heading. In particular, I felt that gaining this feedback was critical for my chosen project genre (video games), as the people reviewing my ideas had barely any knowledge on the gaming industry, and would therefore see my presentation exactly how it was. This meant that comprehension would either be fully absorbed if I explained my research correctly or poor if I was presumptious about their contradictions. Click on the link to enlarge each image.

Feedback-1
Feedback-2
Feedback-3
Feedback-4

The general consensus surrounding my feedback as I presented my research, findings and complications to the class were that I had put a great deal of time into my research and I had a clear idea of what I wanted to do and how to get there. This encouraged me further to really underline my exact ideas for the production so far, as people who may or may not know anything about video games themselves collectively all think that I’m right on target, judging by the research trailers and my interpretations of them.

A lot of comments were also passed on my clear understanding of the subject matter; the genre of the video games, the development of the game itself as well as the growing gaming industry. However, as discussed in the presentation as well as knowing it myself, the most common limitation seen by the feedback was the lack of any knowledge of creating animation myself. This is indeed the biggest and most bewildering limitation of them all, as I have thought of and planned a game perfect for creation, but I can’t put it into graphics myself, so I must instead use real people. However, when I mentioned by plans to avoid the use of animation, a lot of feedback came back positive about how I had thought of every possible outcome for pretty much all of the situations and problems I could face.

Lastly, another limitation I received was the fact I will be undergoing the project entirely by myself. As this is not a problem I can solve myself as I chose to be alone, I do fully understanding the task I am taking on by isolating myself out of a group, but I feel that I will put more effort and time into perfecting a video game trailer other than any of the other options. The only way to stop the individualism becoming a problem would be to organise myself for each step of the way, both in class and out, and so far I would say I’m doing very well.

Storyboards

These are my pre-production storyboards based on the key shots I aim to capture for my final trailer:
Storyboard: Scenes 1-4
Storyboard: Scenes 5-8
Storyboard: Scenes 9-12
Storyboard: Scenes 13-16
Storyboard: Scenes 17-21

Research Presentation

This is a Research Presentation that I produced for my class to demonstrate what I had discovered from my research so far. The score heard in the background is the music I aim to use in the trailer. To view the presentation larger, click the option along the panel.

My SWOT Analysis

Here I discuss the Strengths, Weaknesses, Opportunities and Threats facing me as I go into the planning and production of my trailer. Click to enlarge the image.

Research: Batman Arkham City 2 trailer

STRENGTHS:
* Very dark lighting style, so if I was to create this I could allow keep my focus in the shadows so I reduce the obvious use of people in a video game trailer
* Extremely recognisable character and logo (Batman), so fans are instantly aware of what the game is and what it could be about
* No plot is given away but little clues are hidden in the details (e.g. Joker is hooked up to a 'Gothom General Hospital' blood bag, etc)

LIMITATIONS:
* A lot of extras to recreate as well as the fluid filming around a large city
* Not a particular theme (crime and investigation) that would be easy to create without very in-depth planning and consideration
* Trailer gives NO DIRECT insight into the game, because it is a sequel. My game will be new and a first edition, so this type of 'insinuation' can't be possible for me to achieve.

GENRE:
The genre of this video game is strongly based within Crime and Investigation, with an element of stealth, action and adventure. Though it's not clear from the advertisement, the game is a third-person combat/Hack 'n' Slash, and is primarily revolved around Batman trying to save Gothom City from destruction under the new control of The Joker. Much like the lighting and animation/costume design, the entirity of the game is set in darkness and shadows, a familiar concept to any Batman fan.

AUDIENCE:
Though some people may argue that a Batman game is for children and comic book lovers, this game is full of sophisticatation, and with it's '18+' certificate it's anything but a child's game. I'd want my game to reach to the same audience as this as the following of the 'Batman' franchise will bring in mass profit, as well as the mature content that some audience seek to find for a sense of authority. Developing a Batman themed game is a sure-fire way to attract a specific audience and thus a robust fighting game involving the Caped Crusader will be a huge hit. It's predessessor 'Arkham Asylum' sold 2 million copies in the first 3 weeks of it's release, and it then went on to become 'Game of the Year', a highly prestigious award, as well as obtaining a spot in the Guinness Book Of World Record for being 'The World's Most Critically Acclaimed Superhero Game'.

NARRATIVE:
The plot to this game takes place a year after where the 2009 'Arkham Asylum' left off, but now neither Gotham City nor Blackgate Prison are in any sort of shape to hold any inmates, causing them to run wild in their own corner of area in the town – Arkham City. Batman however remains in action throughout the streets when Two-Face devises a plan to publicly execute Catwoman. The game holds a strong sense of morals within the narrative, though some may see it as needlessly violent and agressive, something I'd love to include in my own narrative.

Research: Battlefield Bad Company 2 trailer

STRENGTHS:
* Use of 'people' and 'real action' could be created, if not as well as in the trailer but similarly
* Gorgeous location and fluent cuts, constant continuity
* F-P view, could be made possible
* Amazing and majestic background score, ambient sounds allow for deep atmosphere

LIMITATIONS:
* Impossible style and genre for me to produce (helicopter, explosions, warfare)
* Hardly explanation to the game, just the title and the graphics/concept

GENRE:
The genre of this game is a FPS (First Person Shooter) based solely around warfare, with an intricate campaign as well as a squad-based and tactical online multiplayer mode. The graphics are impeccable and have been described as the 'best video game graphics to date', along with its impressive map scale and serene environments. The campaign takes place behind enemy lines in Russia where your squad is infiltrating and securing Scalar weapon devices, and without a doubt the game is an explosive and action thrilling adventure from start to finish.

AUDIENCE:
Since its release in March 2010, the game has shipped over 5 million copies worldwide and has quickly challenged previous fans of ANY online shooter ever made. With it's 'near-photo realistic' graphics and an atmosphere of rewarding for pure skill instead of luck, the game has sparked a lot of attention in the eyes of former warfare shooter fans of Call of Duty: Modern Warfare 2. This kind of publicity has in fact potentially gained more popularity for the title as gamers are willing to experiment and find out their own opinion on the true champion of online warfare. This type of marketing campaign is second to none as it's comparison to another game, especially the most popular game EVER made as it sold over 4.7 millions copies in it's first 24 hours of release, has definitely helped the title to achieve maximum publicity. So for me to aim my game of the 'back side' of another would theoretically could an advertising campaign that would draw the focus of players of an old, popular and familiar game onto my own.

NARRATIVE:
The plot is based around a combination of intense and gripping 'stealth' as you sneak behind enemy lines to infiltrate their information, along with an incredible infusion of strategic and erratic warfare. Using a combination of weapons, gadgets and vehicles, the gamer is thrown all over Russia in an attempt to stop Scalar weapons from recreating a Tsunami able to kill millions and millions of civilians. The game is fast paced and action filled, a concept I want to have in my advertisement as this type of game is most popular to hardcore gamers, so I can attract more of my preferred demographic. The use of 'fast paced' styles will also aid me in the trailer I make, as I won't be able to create animations for a game so I will need to use real people. By using fast cuts and unsteady handy-cams I can make a human look less real by eliminating the steady focus and recognition.

Research: Dead Space 2 trailer

STRENGTHS:
* Quick flashes and cuts to retain ominous + harrowing, eyes can't focus on a particular subject to make sense of it
* Incredible use of sound effects and over dubs
* Gives clues away to plot and narrative for a game to appeal to old fans
* PEGI logo, Dead Space logo, though no release data or website for further info

LIMITATIONS:
* VERY fancy editing style and animation, something which would be impossible for to learn and reproduce without years of practising and learning
* Setting + conflict is something I could never replicate (space + mutants)
* A story line I could not reproduce or gain inspiration from because of my distinct lack in game mechanics and development

GENRE:
The genre of this game is strongly a survival horror, with elements of third-person shooting and adventure. Its primary audience is that of people who tend to play fantasy/horror games as the setting is placed on a space ship and you are surrounded my mutants. The game is a certificate '18+' because of its strong gory content and horrific use of violence and terror. Though my trailer could never achieve the full effect of 'terrifying', perhaps a horror game would be best to attempt as this means I can make the trailer dark and mystic, by using strange lighting and harrowing background scores.

AUDIENCE:
For big fans of 'Shoot 'Em Ups' and in particular intensely horror games, Dead Space 2 has an audience very tailored to its brand. It isn't suitable for children or those with a tendency to get very frightened over visuals of a petrifying nature, but this is intended by its '18+' certificate. Described as a 'nail-biting experience' and 'disturbingly gruesome', the game was well received by all major critics and commercials, selling 1 million copies since its release in 2008. As much as making a huge blockbuster title is a great idea in my head, the challenging idea would actually to be to create a game for a very niche audience such as this.

NARRATIVE:
The narrative is deeply set in a completely fictional environment in outer space, where the protagonist is an engineer set to fix communications on another ship. However when he gets there he finds that an infection has spread causing the dead to rise in the most grotesque and aggressive form. Isaac Clarke must go through the ship fixing the problems as well as discovering what happened, whilst fending off the mutants whose only way of life is the attack in order to spread the disease. The plot is completely morbid and explains why eventually the protagonist suffers from PTSD, but does have an audience. Horror fans have dubbed this game as one of the most terrifying but incredible games of its time, and though the graphics and lighting is dark and ominous, it reflects the narrative perfectly and from every angle the game is a success.

Research: Dead Rising 2 trailer

STRENGTHS:
* The 'Zombie' idea is simple to recreate
* Photographs, camera angles and character types are also easy to process
* Comedy, if done right, could really add to the audiences appeal of the trailer
* The stories principle is basically portrayed in the trailer, suggesting it's not a hugley plot driven game

LIMITATIONS:
* The 'Zombie' idea is done a lot by students because of how easy it is
* The death scenes + involvement of weapons would be incredibly difficult
* Lots of 'AI' + extras to plan, organise and make-up, which I won't have the time for

GENRE:
Another game that can be placed into the category of survival horror, but this time with the added feature of zombies and fully customizable combat systems. Gamers can use typical everyday objects to fend off the horde as they go about their business, or they can craft two things together to make the ultimate weapon, these can range from combinations of motorbikes and chainsaws and even shotguns and rakes. Also in the third-person perspective, the camera is set behind Chuck Greene, a charming and hilarious protagonist to reflect comedy into a game that could otherwise be seen as a horrific tragedy. With the success of other 'Zombie' based games such as 'Left 4 Dead' and 'Resident Evil', the genre surrounding this game is at its most popular, making the release of this game perfect for the current buying market.

AUDIENCE:
Another '18+' down to its graphic violence and language, the game appeals to horror, comedy and previous fans of the prequel. Also with a concept that has been seen in many previous titles, the audience demographic for survival/zombie games has not seen a decrease in gross sales. With an ingenious marketing scheme including a pre-released demo that can be playable for up to 3 hours, as well as featuring replica gameplay elements and fully moddable weapons, fans of the game were able to really get to grips with the game before it was even released. This also works perfectly for the developers and publishers as it can see how popular a game could potentially be and tune the advertising campaign so not to over spend their budget.

NARRATIVE:
Though the basic premise of the game is survive throughout the zombie apocalypse, a new sense of urgency is now present in the game as you must also look after your little girl, who has been bitten by a zombie and the only way to stop her mutating is to find and give her Zombrex every couple of hours, on PRECISE timings. It's set 5 years after it's predecessor, so old fans won't see much in the change of appearance or character development, but now the protagonist is found in the fictional setting of Fortune City, a replica of Las Vegas. This continuation of theme and character archetypes gives the audience a sense of recollection, which under any normal circumstance would drive them back into stores to pick up the sequel. As prementioned, the use of comedy eases the horror of the game, so much so that in fact hilarity and sheer entertainment can be derived from situations of mass murder or brutal torture.

Give 3 clear discussion of how theoretical perspectives studied will DIRECTLY influence your Advanced Production

1) GENRE - As I have decided to undergo the project in which you create a series of media for a Video Game release, I need to research deep into specific codes and conventions for certain game genres. This means that in the long run, I will stop myself from creating something completely out of context and therefore decreasing my chance of getting a higher grade. Research is key in particular on a subject such a gaming genre as there is such a wide scope. Genre can be in the form of the context (e.g. Horror, Action, Adventure, Platform) but I can also be seen in how the game play is presented (e.g. FPS, 3-person shooter, side scroller, RPG). All of these ideas and possible concepts need to be taken into consideration as some elements will be completely out of my league to recreate. For instance, an FPS set in the Second World War will be impossible for me as I can create that technology to present it, as well as the time, money and acting skill available to me as a college student.

2) AUDIENCE - As a huge gamer myself, I know a lot about the audience surrounding a game, and what kind of advertising can really get people 'pumped'. So after I find my genre, I need to focus on my audience. They are completely separate in the sense that you can make a war game for adults that is violent and vulgar, whereas you can make one for kids that is simple and educational. An audience is only responsive to the evidence you feed them as well, so there is no point coming up with an amazing concept for a video game, and then advertising it wrongly to my audience. I need to draw in potential buyers, but I also need to keep them on the edge. Giving away too much of the narrative or making the game look awful will weaken my audiences’ response.

3) NARRATIVE - A huge debate in the Gaming Industry is the argument between graphics and storyline. Some people would say that as long as a game looks incredible, the story is allowed to lack, but some think oppositely. So I need to make sure that my narrative is creative and unique, or else that is half of the audience I have lost. After placing my project within a specific genre and audience demographic, the narrative is the next thing to take into consideration, in the example of the pre-mentioned war game; I could make a chilling and emotionally-responsive game but is this what the audience want? If I'm planning on releasing a horror game around the same time as another huge sequel to a multi-million franchise is also being released, I will miss out on a huge market (a.k.a. February 2011 will be the release of Dead Space 2, so no other horror developers will even consider releasing a horror game then). So the narrative needs to reflect the need of the audience and my consumer, or else it is a pointless and needless media.

Give 5 detailed examples of a paper-based/research skill aquired/developed for your AS Coursework that will DIRECTLY be used in your A2 Coursework.

1) CREATING PLANS - This in particular was a skill I needed to enhance greatly as from a personal opinion I can be very unorganised. When I was given the role of 'Director', I also had to pick up the responsibilities of organising an entire group of people, as well as what had to be happening on a certain date. I had to help and guide friends of mine from an authoritive position into creating the best work they could and by the deadline I had set. I felt that this matured me a lot, as well as helping to clear my mind of what wasn't needed on the project, leaving me and my group with only the crucial work left.

2) ORGANISATION - As pre-mentioned, by organisational skills took a huge leap from the beginning of the year until the end, and I'm hoping to take this further as the final year is most important in reflecting my understanding and development of all the skills I have been taught over the past 2 years. I blogged a lot last year about things that had happened in a particular lesson, even if they weren't relevant to the final evaluation, but the memories I typed would help me to remember certain other things that I could write about. As well as this, simple things such as a Homework Diary, neat folders on my Computer System and a more organised note system will all be in place to help me maintain as organised as I was last year.

3) WORKING TO DEADLINES - Once again, this is a skill I did impressively last year, but will need to be heightened this year as the work load is increasing rapidly. As well as this year being tougher all round, I am now completing the A2 project entire on my own, so I will only have myself to answer to if I don't complete a piece of work on time. I won't have the help of others to guide me or give me some assistance, which is something that I will indeed miss from last year, but I now have an opportunity to prove to myself that I can reach critical deadlines if I just remain focused and organised.

4) IN-TEAM ROLES AND JOBS - From last year’s group, I developed an understanding in what it is like to be a director and how to lead a group. This unfortunately meant I missed out on some other skills that my partners may have enhanced over me, such as recording and editing skills. Though with my very technology-filled mind I should be able to catch up. This however is something I wish I could of changed; the limitations of our roles last year. I was strictly a director, whereas another person would be strictly an editor. I feel that if we had shared some roles or been taught by the other member, certain skills could of been passed over, as well as furthering our communication and feedback capabilities.

5) GROUP 'MEETINGS' FOR DISCUSSIONS - This was something I was keen on doing as much as possible, as it was a perfect window of opportunity to talk with my group mates about their worries and excitement about the coming course, as well as how they were developing in their specific areas. I tended to take notes and keep them in a folder for later use, as this meant I could record all of our thoughts in case we needed them at a later date, as well as passing on inspiration from one person to another. We critiqued each other work and progression and then we would go off and continue how we were, perhaps with new ideas to introduce. Overall, I think this helped bonding and the flow of communication greatly, I felt I could say what I felt with the group and not just bite my tongue.

Give 5 detailed examples of a practical skill aquired/developed for your AS Coursework that will DIRECTLY be used in your A2 coursework.

1) TECHNOLOGY - I've learnt a great deal about programmes such as Premiere Pro and Photoshop last year, which will aid me this year by reducing the learning curve around them. Therefore I can get straight into the coursework without learning much new in the way of technology that might initially hold me back.

2) TEAM SKILLS - From being in a group last year of diverse minds and experiences, I have developed better communication skills as well as being able to accept feedback and critics in a positive way, and therefore reflecting new possible ideas that will work better than my own.

3) ANALYSIS OF MY OWN IDEAS - Instead of personally feeling my first idea and intention was the best, I went on to realise that in fact by taking apart and deconstructing original concepts and expanding on them, I could potentially further my work scope and enhance an original approach into something far more complex.

4) INTENSE PLANNING - By looking at every flaw, strength and limitation, I learnt to look around faults that would otherwise harness my project so I could avoid potential mistakes. This allowed me to be far more confident as I went through the project, instead of hesitating at every hurdle.

5) IMPROVED RESEARCH SKILLS - I began looking at good influences and poor examples of research in the field I was working in to determine the strengths and limitations of myself. This also meant I saw a wider perspective of things I could personally achieve.

How has my creativity developed through using digital technology to complete your coursework productions?

From learning the strengths and limitations I have in terms of using Digital Technology in AS last year, I was able to pass over my creativity in the best way that I could. I also discovered what things are and aren't possible to convert, and this is a skill I can use in particular as I can automatically cross off creative ideas in my head that I know will not work.
My skills with Premiere Pro have greatly broadened as the only video editing software I had used before was Windows Movie Maker. I can now cut, change tempo and edit videos and projects together fluently and with ease, though hopefully this year I can try and take things a step further to make my understanding of this technology a great asset to my highest potential achievable grade.
A new skill I have learnt is that of filming and the control needed behind a camera, along with the knowledge of critical lighting and sound recording. This in particular was not only a huge step for me to learn, but one of the most enjoyable as I was most interested in this section. This year I plan to again take things a bit further in perhaps using different techniques with camera angles, lighting and sound to create a project that shows clear development in knowledge from last year, as well as portraying new creativity skills.
Any lastly, the use of Blogger as a tool to present my work, research and course development was a technology that I found a huge amount of confidence in and had no difficulty in processing. I have blogged for a long and concentrated time in my life so my presenting all my coursework on here was a great aid to me. This year I hope to try and improve my knowledge on Blogger, by inserting many different formats in the posts I create as well as keeping it very up-to-date, so as to help my final evaluation and keep a check on past creative ideas that I may have forgotten.