Metroid: Prime 2 Echoes CSP Research

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Media Language

The semiotic analysis of the visual style is indivisible from the study of genre and narrative with the mise-en-scene of the game - apparent in the gameplay and the cover art work - referencing sci-fi, action adventure as well as the conventions of different types of game play.

Mise-en-scene analysis:
  • Costume: big fully covered metal armour/suit making it gender neutral. 
  • Colour: silver title represents sci-fi
Semiotics: how images signify cultural meanings
  • metallic font signifies advanced technology
  • aliens signify adventure

Narrative

  • The trailer constructs narratives of transformation and change in the central character of Samus Aran.
  • Metroid conforms to particular styles of fantasy and hyper realism which can be linked to narrative and audience.
  • Binary oppositions is used in Metroid such as light vs dark and black vs colour. This shows that there may be some conflict with the main protagonist.
  • Todorov could be applied to Metroid.

Genre

  • First person, shooter and role playing games.
  • Metroid has overlapping genre conventions by using a female protagonist in a stereotypical boys video game.
  • According to Neale the differences in the genre excite the audience and make it more broad.

Media Representations

The focus of representational issues in Metroid is clearly gender - the central character is unusual in the world of gaming where gender characteristics are usually clearly delineated. Representation of Samus Aran as implicitly male, transgender and female has been the subject of heated debate.
  • Samus Aran can be analysed within the context of debates around gender representations in the gaming industry. She was originally sexualised as the quicker you would play the game the more naked she would be at the end. Yet now she is not sexualised.
  • The game has 2 differnet dimensions; one seen as good and one as bad.
  • The gaming industry has often been accused of misogyny. Metroid goes against this.
  • Metroid goes against Van Zoonen as she is fully dressed and armoured.
  • Gender is not performative as she acts just like a soldier and does not appear to be feminine.

Media Industries

As a Nintendo game Metroid is the product of one of a handful of conglomerates which dominate the video games industry, a context which means that the study of the industry raises issues which are central to contemporary media studies.
  • The structure of Nintendo and its control of production, distribution and exhibition.
  • Metroid uses digital platforms to expand the output and reach of the games and it demonstrates how institutions have responded to the impact of new technology.
  • Games are regulated through PEGI

Media Audiences

Discussions of audience in the game industry interconnects with issues of representations in assumptions about the nature of the typical gamer.
  • Psychographics and demographics of the target audience for Metroid.
  • Categorisation of types of games around the concept of a gendered audience.
  • Controversies around the playing of video games.
  • Opportunities for audience interactivity. First person game.
  • Gamers constantly play the game so they end up eventually living the game.

Social and Cultural Contexts

Metroid is a Japanese, sci-fi, action adventure video game developed by Nintendo. It is one of Nintendo's most successful franchises with 11 games available across all of the company's platforms. Metroid is a culturally significant game in the gaming universe due to its mix of style and tone which combines Super Mario Bros style platforming with darker content, but also due to the representation of the central character, Samus Aran. Aran is a bounty hunter whose gender identity has been the subject of controversy and debate, leading some commentators to identify the character as transgender reflecting contemporary social and cultural contexts.

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