player vs. gamer

Дата публикации: Jun 14, 2016 6:44:30 PM

Why not 'This Is For The Gamers'? a gamer asked me

1. лексический аспект

according to Game vs. play: play - движуха/процесс/динамизм/фактуальность высокая, game - игра по правилам против противника/статизм/фактульность низкая.

a player is someone who is playing a game (тяготеет к действию, более фактуально)
a gamer is a computer games addict (тяготеет к состоянию, менее фактуально)

2. грамматический аспект: определенный артикль The Players

see Артикуляция 2016

группирование по известному признаку:
- все играющие в игры вообще
- все жанры
- все возрасты
  - новички и ветераны (игроки с любым опытом)
  - все игроки (с любым психотипом) (интро/экстра - верты)
- все члены семьи
single-out, индивидуализация (игроков относительно всех остальных)
уникализация группы = настоящие игроки

3. Экстралингвистический аспект. Посыл рекламной компании Sony.

группирование:

все жанры
все возрасты
все члены семьи
- новички и ветераны

+ single-out, индивидуализация, уникализация - настоящие игроки = игроки именно PS4

This Is For The Players. PS4

This is for the players. For those who leap into the battle in the blink for an eye. For the drivers that compete for that club doesn't matter where they are. For everyone who has .. tips and tricks to share. For those who love to play .. .. freedome .. This is for the game ... For the innovators. This is for the players. This is PS4.

PS4 объявляет «Посвящение в Игру»

29 ноября в свободную продажу в России поступит консоль нового поколения, PS4.

А сегодня объявлено «Посвящение в Игру» для настоящих Игроков!

Для тех, кто меняет игры. Новичков и ветеранов.

Для солдат, для экспертов по выживанию.

Для заботливых отцов и разговорчивых любителей мультиплеера.

Для коллекционеров призов.

Для повелителей кнопок.

Для ассасинов-любителей и воинов тени.

Для тех, кто хочет без задержек переноситься в мир игры.

Для тех, кто не терпит ограничений.

Для тех, кто умеет постоять за себя, но ставит команду превыше всего.

Для любителей искать секреты на каждом уровне и ценителей превосходной графики.

Для тех, кому нужна мощь и свобода играть, где и когда хочется.

Для новаторов.

Для творцов.

На сайте playstation.com/4theplayers Игроки с большой буквы смогут найти себя, пройти «Посвящение в Игру» и рассказать свою Историю!

Чтобы стать частью глобального сообщества, нужно просто оставить заявку на сайте playstation.com/4theplayers с помощью Facebook Connect или Twitter, объявить себя Игроком и следить за хэштегом #4ThePlayers.

Присоединяйтесь к ценителям Игры, которая дарит незабываемые впечатления!

#4ThePlayers

This is for the Players

This is PS4.

см. также видео ниже

Call of Parental Duty: Advertising’s New Constructions of Video-Gaming Fathers

"...Advertisers’ use of family life as a means to market video games and hardware is by no means a new phenomenon. Hugely successful home consoles such as the Atari 2600 (launched in 1977) and the Nintendo Wii (launched in 2006), for example, were each promoted in part on the basis of the familial unity each system encourages. Television commercial spots for these platforms promised fun gaming experiences that children, their parents and their grandparents could enjoy together in living rooms

... how advertisers have begun to construct via their campaigns an alternate, more ambiguous relationship between video gaming and family life. Whereas advertisers have previously depicted gaming as a unifying force for the family (or, as I detail below, an activity entirely unrelated to family), recent UK ad campaigns for the Sony PS4 video game console and for Virgin Media’s broadband service suggest that video gaming might in fact be an imperfect fit for the family. In particular, each campaign establishes the father figure who is required to balance familial responsibilities with a video-gaming pastime that excludes other family members.

In the case of the PS4’s marketing, the discursive construction of this figure–who we might term “gamer dad”–emerged as part of Sony PlayStation Europe’s promotional campaign for the device’s launch in 2013, central to which was the assurance that this system “is for the players.” This marketing tactic helped Sony appeal to dedicated video-game players–a group that largely comprises the “early-adopter” market for home consoles, simultaneously positioning the PS4 against the rival Microsoft console (Xbox One, also launched 2013), which in contrast was initially promoted on the basis of its Skype and voice-activated TV-viewing capabilities. Sony’s poster and TV ad campaign further articulated who it envisaged these “players” to be: the PS4 serves, among others, the “rookies and the veterans. The soldiers. The survivors. The 3 am fathers and the multiplayer motor mouths. The trophy collectors. […] The once-in-a-while assassins” and “Fans of jaw-dropping graphics.”

“The players” that Sony’s marketing discursively constructs via these labels largely conform to an enduring stereotype of the “hardcore” gamer; that is, a player who is abrasively competitive (trophy-collecting, motormouth, multiplaying), prioritizes hardware that delivers strong technical performances (“jaw-dropping graphics”), and who favors games that feature fictional killing as a game-world objective (“once-in-a-while assassins”) and–more specifically–games concerning military warfare fictions (“The rookies and the veterans. The soldiers”), such as those of the Call of Duty and Battlefield first-person-shooter (FPS) series.

... Sony’s “3 am fathers” label, however, presents an unusual version of this type. The “3 am father,” the label implies, is required to pursue his gaming hobby in the morning’s early hours due to the prioritization within the day and evening of his familial and parental role, outside of which his hobby must exist. The label’s further implication is that the “3 am father” plays games that are incompatible with family life, such as violence-depicting FPS games, hence the need for their confinement to the twilight hours.

In line with the “3 am fathers” label, the Virgin Media ad suggests that a chief characteristic of “gamer dad” is the manner in which he must awkwardly situate his “hardcore” gaming hobby around his family’s requirements.

The advertising construct of “gamer dad” has the potential to be considered in relation to wider debates regarding media representations of video-game players, and more specifically players of “hardcore” games. In particular, “gamer dad” can be connected to the more general process within media culture of gendering “hardcore” gaming as a primarily male pursuit. A further component of Sony’s “This is for the players” promotional campaign, a video in which various men and women self-identify the types of players they are (see below), emphasizes this point.

The video at least to some extent avoids gendering tendencies, as it features, for example, a young woman self-identifying as an enthusiast of the FPS series Killzone. However, the apparent characteristics of the video’s one self-identifying mother are largely in opposition to those of the “3 am father,” suggesting that, for parents at least, conventional gender stereotyping continues with regard to representations of “hardcore” video-game players. “I’m a mum who plays with her son,” the woman says to the camera while holding up a placard stating her preference for Skylanders, a child-targeted game series. By suggesting that carrying out parental activities (such as playing Skylanders alongside a son) is the primary and legitimate means by which mothers achieve pleasure, Sony’s promotional campaign aligns mums with the “good mother” stereotype, of which feminists have been highly critical. Thus, while, advertisers make clear that the likes of Nick the Navy Seal and “the 3 am fathers” enjoy and are suited to game-world soldiering and assassinating (as long as such escapades are appropriately cordoned off from family life), they neglect to suggest also that mothers might desire–or can legitimately undertake–such recreational activities.

PlayStation 4 Ads Focus on Hardcore Gamers While Xbox Stresses the Living Room

...While Microsoft is touting the Xbox One as a mass-market device essential for any living room, Sony is more narrowly focused on gamers with the PS4. Gamers -- a typically irascible group -- have lovingly embraced the PS4 in response.

Sony Has Spent $59 Million On PS4 Ads In Five Months

PS4 Advertising Campaign Is The Biggest In Sony's History

W. Shakespeare As You Like it

Act 2 Scene 7

Orig

JAQUES

Modern

JAQUES

Перевод Т. Щепкиной-Куперник

All the world’s a stage,

And all the men and women merely players.

They have their exits and their entrances,

And one man in his time plays many parts,

His acts being seven ages. At first the infant,

Mewling and puking in the nurse’s arms.

Then the whining schoolboy with his satchel

And shining morning face, creeping like snail

Unwillingly to school. And then the lover,

Sighing like furnace, with a woeful ballad

Made to his mistress' eyebrow. Then a soldier,

Full of strange oaths and bearded like the pard,

Jealous in honor, sudden and quick in quarrel,

Seeking the bubble reputation

Even in the cannon’s mouth. And then the justice,

In fair round belly with good capon lined,

With eyes severe and beard of formal cut,

Full of wise saws and modern instances;

And so he plays his part. The sixth age shifts

Into the lean and slippered pantaloon

With spectacles on nose and pouch on side,

His youthful hose, well saved, a world too wide

For his shrunk shank, and his big manly voice,

Turning again toward childish treble, pipes

And whistles in his sound. Last scene of all,

That ends this strange eventful history,

Is second childishness and mere oblivion,

Sans teeth, sans eyes, sans taste, sans everything.

The whole world is a stage, and all the men and women merely actors. They have their exits and their entrances, and in his lifetime a man will play many parts, his life separated into seven acts.

In the first act he is an infant, whimpering and puking in his nurse’s arms.

Then he’s the whining schoolboy, with a book bag and a bright, young face, creeping like a snail unwillingly to school.

Then he becomes a lover, huffing and puffing like a furnace as he writes sad poems about his mistress’s eyebrows.

In the fourth act, he’s a soldier, full of foreign curses, with a beard like a panther, eager to defend his honor and quick to fight. On the battlefield, he puts himself in front of the cannon’s mouth, risking his life to seek fame that is as fleeting as a soap bubble.

In the fifth act, he is a judge, with a nice fat belly from all the bribes he’s taken. His eyes are stern, and he’s given his beard a respectable cut. He’s full of wise sayings and up-to-the-minute anecdotes: that’s the way he plays his part.

In the sixth act, the curtain rises on a skinny old man in slippers, glasses on his nose and a money bag at his side. The stockings he wore in his youth hang loosely on his shriveled legs now, and his bellowing voice has shrunk back down to a childish squeak.

In the last scene of our play—the end of this strange, eventful history—our hero, full of forgetfulness, enters his second childhood: without teeth, without eyes, without taste, without everything.

Жак

Весь мир — театр.

В нем женщины, мужчины — все актеры.

У них свои есть выходы, уходы,

И каждый не одну играет роль.

Семь действий в пьесе той. Сперва младенец,

Ревущий горько на руках у мамки…

Потом плаксивый школьник с книжной сумкой,

С лицом румяным, нехотя, улиткой

Ползущий в школу. А затем любовник,

Вздыхающий, как печь, с балладой грустной

В честь брови милой. А затем солдат,

Чья речь всегда проклятьями полна,

Обросший бородой, как леопард,

Ревнивый к чести, забияка в ссоре,

Готовый славу бренную искать

Хоть в пушечном жерле. Затем судья

С брюшком округлым, где каплун запрятан,

Со строгим взором, стриженой бородкой,

Шаблонных правил и сентенций кладезь, —

Так он играет роль. Шестой же возраст —

Уж это будет тощий Панталоне,

В очках, в туфлях, у пояса — кошель,

В штанах, что с юности берег, широких

Для ног иссохших; мужественный голос

Сменяется опять дискантом детским:

Пищит, как флейта… А последний акт,

Конец всей этой странной, сложной пьесы —

Второе детство, полузабытье:

Без глаз, без чувств, без вкуса, без всего.