The representation of Africa in western popular media and how these representations work to reinforce and support the pre-established power dynamic between the two groups is a topic which has interested me for quite some time. I analysed the signs, codes and connotations embedded in the content from one of the popular western media news organizations using semiotic analysis and categorized them into themes. By connecting these themes and viewing them from the context of the topic at hand we could see how these themes contributed to a broader message which is that popular western media reinforces stereotypes in order to maintain the pre-established power relations between both groups. It was evident that Africa is ‘othered’ by being the negative side of difference when compared to the west. The importance of this research is evident because the stereotypical representations negatively impact the regions ability to progress therefore reaffirming these stereotypes and bringing them to fruition.

   By performing a semiotic analysis of African news articles posted on the Wall Street Journal, I was able to find that the white saviour complex is rooted in American Journalism to maintain the power dynamics established during colonial rule. Representation of Africa in the media, while true, is skewed to present the region in a negative one-sided manner. These representations reinforce stereotypes such as most of the inhabitants living in abject poverty, suffering from a poor diet and nutrition which is why phrases such as ‘there are people starving in Africa’ are uttered whenever people in the west are being wasteful of food resources. Phrases such as prior mentioned one might look humane on the surface but associate the region with suffering and turmoil. Lack of communication with the writers of these news articles limited my ability to fully understand the system and framework within which these signs and codes exist. A much deeper semiotic analysis could have been achieved by identifying the syntagmatic structure of the texts, performing a thorough paradigmatic analysis, determining the intertextuality, rhetorical tropes and social semiotics of the text. Further research is still needed to fully understand the impact these representations have and these could be achieved by further analyzing other popular media forms such as movies, music and tv shows which are consumed more than news articles and disseminate these discourses and representation at a broader and faster rate. Also, we could analyze these mediums in other regions which are also considered the Other to see if these prejudices and stereotypes are also upheld or if there is unity within the collective Other of the west.

  Skill-based matchmaking (SBMM) is a design choice which pits players of an equal skill set against each other. When utilized properly it makes for interesting competitive gameplay which many strive for. According to Graepel and Herbrich (2006), “The key idea behind skill-based ranking and matchmaking is that a game is fun for the participating players if the outcome is uncertain in the sense that each of the participating teams of players has a fair chance of winning” (p.1). The MDA framework allows us to identify underlying issues which could be associated with SBMM. The mechanics of a game help define its rules, controls and the system that manipulates what the player can and cannot do. The rules of SBMM are that players are pit against people with a skill range very close to theirs. The system does not pit veterans against beginners. The first issue with this system is how can it genuinely tell the skill level of a new player? Graepel and Herbrich (2006) found that “rating players is viewed as an estimation problem with the ultimate goal of estimating players’ skills so as to be able to predict the probability of game outcomes between players purely based on their skill ratings.” (p.2) So, the system does not begin to work until a certain number of placement matches have been played. The dynamics of a game are the resulting behaviours of players when exposed to the mechanics of a game. Because everyone is on the same skill level and therefore a worthy opponent, players tend to play more tactically by planning their course of action ahead and this becomes the dominant strategy in most games. This is not a problem in games in which the implicit premises are for the players to work strategically such as League of Legends and Overwatch and this is emphasized by Graepel and Herbrich (2006), “it is crucial that the purpose of the game and the behavior of the rating system be aligned: people striving for high ratings should be forced to play in accordance with the spirit of the game” (p.3). The aesthetic of a game is centered on how the mechanics and dynamics emotionally impact the player. Players are always on edge, alert, and aware of their surroundings in the gaming environment when playing competitively. But not implementing SBMM properly can result in poor gameplay and dynamics.

  The intellectual property that would be featured in the game is James Bond. The IP could be implemented into the game by adding a character modelled after the latest James Bond actor and having the character named ‘007’ for instant recognition and familiarity. Vehicles unique to the James Bond franchise such as the ‘Wet Nellie’ that was used in the movie ‘The Spy Who Loved Me’ with the modifications also implemented into the gameplay would be added. Gadgets and weapons that are also unique to the IP such as the Cigarette Dart used in ‘You Only Live Twice’ as well as the Mobile phone from ‘Tomorrow Never Dies’ that was equipped with a stun gun and lock opener which could be used in the break-in mission would also be implemented. A mechanic that whenever he makes a kill the playable character uses phrases unique to the franchise such as “I thought Christmas only comes once a year” would be added. Furthermore, the menu screen would play the James Bond theme music to set the tone and give the game a sense of familiarity to the franchise. Lastly, the setting of the game would be in Britain with most of the characters having a British accent. By implementing all of these changes the game benefits by garnering recognition and credibility and much more.