A Level Media Studies - Set Product Fact Sheet
Assassin’s Creed
Franchise
AS Component 1: Investigating the Media
A Level Component 1: Media Products,
Industries and Audiences
Subject Content:
Media Industries
Audiences
Media Contexts
PRODUCT CONTEXT
• From 2022 the requirement is to demonstrate
knowledge and understanding of the Assassin’s
Creed franchise in terms of the relevant video
games industry and audience issues it illustrates.
• At least one extract from a chosen game from the
franchise must be studied in relation to industry
and audience.
• The Assassin’s Creed franchise is published by
Ubisoft and encompasses 12 incarnations of the
game, plus spin-offs. It is an action adventure,
open world game, played from a third person
perspective; each game is set in a historical
setting with a new story and time period.
• In 2021 the franchise recorded sales of 155 million
units since its introduction in 2007. This was
helped by the launch of Assassin’s Creed Valhalla
in 2020 which sold more units in its first week
than any other game in the series. However,
games in the back catalogue of the franchise
continue to be popular.
(www.videogameschronicle.com)
PART 1: STARTING POINTS - MEDIA INDUSTRIES
Historical Contexts:
Video games are a relatively new media form.
Consider the exponential growth of this form since
the 1970s, the rapid technological development, the
construction of “the gamer” and the difficulty of
regulating or monitoring the impact of such a fast
paced industry.
Economic Contexts:
• Video games are culturally and financially
significant across three major territories (Japan,
Europe and the USA). The release of new gaming
technology or games from popular franchises can
be major economic events. It would be useful to
explore the way that games and technology (and
specifically those from within the Assassin’s Creed
game franchise) have been marketed and
received across the three major territories.
• In 2021 the value of the global video games
market was estimated to be $138.4 billion
increasing from $52.8 billion in 2012. Mobile
gaming is the fastest growing area.
(www.statista.com).
• Other strategies, in addition to games sales are
employed to increase revenue including
production and distribution models.
• Ownership is another significant element related
to the financial success of a games franchise.
Consider processes of production, distribution and
circulation and how they shape media products:
• Video games’ production techniques have evolved
and become increasingly innovative as the
industry has become more competitive and the
demand for games has increased.
• Being part of a franchise is a production model
that both increases economic viability and
establishes a brand identity for the audience.
• Advances in technology have shaped video games
by the inclusion of more complex gameplay,
highly developed graphics and advanced CGI.
• In terms of production the games in the franchise
are part of a multinational development which is
typical of game production in larger studios such
as Ubisoft.
Consider the relationship of recent technological
change and media production, distribution and
circulation:
• Video games develop and expand to reflect
advances in technology. The decision to release
Assassin’s Creed III: Liberation on PS Vita was to
A Level Media Studies - Set Product Fact Sheet
tap into the increasing popularity of mobile
gaming (smart phones, tablets etc.). The PS Vita
was designed with many features usually
associated with smart phones (touchscreen as
well as Wi-Fi, 3G and Bluetooth capability).
• This release of this game, as part of a well-known
and popular franchise, may be seen as an attempt
to bring high game production values to the
burgeoning new mobile gaming arena. The game
was originally exclusive to the PS Vita but was
later (2014) released in a modified HD version
across a large range of consoles and platforms
(including PS3, Xbox 360 and Microsoft Windows).
• Other games in the franchise have also adapted to
technological developments. For example,
Assassin’s Creed Valhalla was released in 2020 to
coincide with the launch of new consoles
including PlayStation 5and Xbox Series X.
• Newer games in the franchise have introduced
cross- generational gaming enabling data to be
transferred from earlier generation consoles and
cross-play and progression carrying progress
between different platforms.
• The opportunities to distribute and circulate
games and to distribute additional content have
expanded, leading to increased revenue for the
franchise.
• The games themselves have also developed in line
with changes in technology. For example,
Assassin’s Creed Odyssey offered a more
immersive experience for players than previous
games.
• In 2021 it was announced that the new game to
be released in the franchise, Assassin’s Creed
Infinity, inspired by the success of games like
Fortnite, would be a fully live service game. This
would expand the franchise and enable the games
to time jump and include multiple historical
settings rather than the single setting of the
existing games. This would also ensure the
longevity of the franchise and the ability to add
new content rather than launching a completely
new game.
Consider the regulatory framework and the role of
regulation in global production, distribution and
circulation:
• Video game regulation differs around the world
but is becoming standardised across many
European countries.
• In the UK until July 2012 video games had been
regulated by the BBFC. They are now largely
regulated by the Video Standards Council (VSC)
applying the PEGI system (Pan European Game
Information). The PEGI system can be discussed in
terms of its process (age ratings as well as visual
descriptors of content) and also its attempt to
harmonise
• the protection of children across Europe.
• Consider the effectiveness of PEGI (possibly in
comparison with the BBFC or the American ESRB
system in terms of authority and compliance).
Consider the impact of digitally convergent media
platforms on media production, distribution and
circulation, including individual producers:
• Assassin’s Creed III: Liberation, a handheld game
could be linked to the full PS3 console version of
the game (owning both versions would unlock
additional game content).
• The use of convergence has developed further
across the most recent games in the franchise.
This is significant in terms of
promotion/marketing and circulation and
facilitates the development and re-release of
games incorporating more complex elements.
• The convergence between social media platforms
promotes gamer engagement and identification
with the game across the fan community.
• Digital convergence is important to Ubisoft as an
individual producer in a competitive market, it
also benefits fans as individual producers of game
content, for example through gameplay videos.
• However, there are some possible risks including
piracy and leaked content.
A Level Only
Consider theoretical perspectives:
Regulation – Sonia Livingstone and Peter Lunt
• Consider the impact of convergence and
diversification in media on regulatory practices.
New technology opens up new opportunities
and arguably new risks that complicate
regulation.
• Questions that might be discussed in relation to
Livingstone and Lunt include:
o Should regulation be more flexible?
o Should industries self-regulate?
o Should individuals be empowered to
make their own decisions about the
products?
o How might regulation become
problematic where individuals lack the
required media literacy to make
informed decisions?
o How can the consumer-based and
citizen-based regulatory model be
applied to the video games industry?
A Level Media Studies - Set Product Fact Sheet
Cultural Industries – David Hesmondhalgh
Use Hesmondhalgh to explore the way in which
cultural industry companies might attempt to
minimise risk and maximise audiences:
• The video games industry is designed to make
a profit, they operate in a competitive market.
One of the ways they minimise risk is through
genre-formatting, this is evident in the
Assassin’s Creed franchise. The marketing of a
new game uses audience recognition of the
game and the brand as part of the franchise.
Audiences therefore know what to expect.
• The sequel formula of the franchise model
gives audiences clues of what to expect, but
enough differences through themes and
setting to ensure anticipation and buzz around
the launch of a new game.
Hesmondhalgh also put forward the idea that the
largest companies operate across a number of
different cultural industries:
• The video games industry is dominated by large
multi-national conglomerates. Ubisoft is the fifth
largest video game company but is now also in
competition with tech companies including
Facebook, Google and Amazon who have recently
become major players in the games industry
backed by huge financial reserves.
PART 2: STARTING POINTS - AUDIENCES
Social and Cultural Context:
• Considering video games in relation to how they
reflect society is a useful way of exploring them in
terms of social and cultural significance. The
representation of female characters, under-
representation of women in video game development
and an assumed minority of female video games
players are areas that could be explored.
• The Assassin’s Creed franchise has made
adaptations over the different versions of the
game to address changes in society and culture
and audience expectations. There are examples of
female protagonists in the later games (Aveline
and Kassandra). Consider whether they subvert or
reinforce expectations of female characters in
games and how audiences may respond to this.
Consider how the producers of your chosen game
from the franchise target, attract, reach, address and
potentially construct audiences:
• The brand identity of the Assassin’s Creed
franchise is a key strategy for targeting audiences.
A fan community already exists and gaming
audiences have a preconceived idea of what to
expect from a game in this franchise. This will be
used in the marketing of a new game.
• As a result of developments in technology, the
games are distributed across a range of different
media platforms which facilitate the targeting of
diverse audiences.
• Games in the franchise may attract audiences
through creating a sense of identity, for example
through identification with characters in the game
or interacting with online fan communities.
• Games producers construct audiences through
the decisions they make about characters,
narratives and gameplay. For example, Assassin’s
Creed Odyssey offers players a choice between
playing as a male or female character, Alexios or
Kassandra, allowing for different interpretations
of the narrative.
• Games in this franchise have broadened their
appeal, by, for example the inclusion of female
protagonists and different historical settings.
Consider the interrelationship between media
technologies and patterns of consumption and
response:
• The distribution of games in the franchise across
different platforms is a strategy to increase
audience consumption. This might be also
considered as an attempt to draw gamers from
different platforms to purchase additional
hardware and adopt new gaming habits.
• Gamers might be being encouraged to have a
more complete or satisfying experience by using a
range of interlinked products that offer exclusive
downloadable content. This is only made possible
through convergent technology and gamer “buy-
in” to the value of the exclusive content.
• The franchise has a well-established fan
community enhanced by digital convergent
platforms facilitating interaction and responses to
the game to be shared. Fans can play a role in the
future development of the franchise.
A Level Only Consider the way in which different
audience interpretations may reflect social and
cultural circumstances:
• The unique interactive and escapist experience
provided by video games influences
interpretations as gamers are part of a fan
community made up of participants from
diverse social and cultural backgrounds.
• Players may also make choices about video
games selecting those that reflect aspects of
their identity, for example in relation to the
Assassins Creed franchise, those that feature a
female avatar, or that take place in a particular
historical setting that is of interest to the
gamer.
A Level Media Studies - Set Product Fact Sheet
Consider theoretical perspectives: Media effects –
Albert Bandura
• Several games in the franchise have
received an 18 rating from PEGI due
largely to violent content.
• Consider audience response to
violent video games in terms of
Bandura’s arguments about
observation and imitation and
vicarious consequences. Explore the
“Bobo Doll Experiment” and discuss
how relevant this is to the audiences
targeted by the game. Are audiences
likely to imitate the behaviours
portrayed in the games? What might
be imitated?
• A useful discussion might be had in
relation to the active role adopted by
a player of video games. Question
whether Bandura’s conclusions are
invalidated or made more relevant if
audiences are choosing to commit
acts of violence in a video game
rather than watching/imitating
violent acts.
A Level Only
Fandom - Henry Jenkins:
• Discuss the significance of fan culture (and in
particular online fan communities) when
exploring the success of video games. This
discussion may focus on the way video games
have evolved closely alongside the internet.
Video games offer social experiences (online
multiplayer options) as well as communities
outside of the core game experience. Fans may
be passionate exponents of a game or
• the harshest critics and can often impact the
development of games directly.
• The developments in video games technology
have expanded the ways in which fans can
interact with games producers and the fan
community, creating a participatory culture.
• Video games are interactive, enabling fans to
construct their identities through the
participatory online experience and the role-
playing environment.
