This is my final magazine.
Wednesday, 29 April 2026
How did your research inform your products and the way they use or challenge conventions?
I made two infographics for research and conventions to answer this question.
How do the elements of your production work together to create a sense of branding?
I decided to answer the question by using a branding moodboard but adding explanations. I felt like this fit the most for the question, visually and for information too.
How do your products represent social groups or issues?
I decided to answer this question simply by using a prezi presentation.
Magazine Final Draft
I have finished my final magazine draft before the final thing. It includes a cover page, a table of contents, and one double‑page spread. Exactly what was required. The magazine focuses on subculture, alternative fashion, accessories/jewelry, and skating (rollerblades and skateboards). I used a dark colour palette (carbon black, onyx, ivory, deep crimson) and a set of rough, alternative fonts (Rusted Plastic, Gravel Gang, Stamp RSPK, VT323). The double‑page spread features a collage of my own photos. Goth/alternative makeup, layered accessories, and skating gear, with original body text on the opposite page.
In this post I will honestly evaluate what worked well, what didn’t work, and how I would approach a similar project in the future to make it even stronger.
What Worked Well
1. A Cohesive Colour Palette
The combination of carbon black, onyx, ivory, and deep crimson gave the magazine a consistent, subcultural mood. Carbon black and onyx provided depth without being flat, ivory kept text readable, and deep crimson added striking accents without looking out of place. The palette supported the content.
Why did it work? I limited myself to four colours and used them deliberately like accents = crimson. This is a core principle of house style.
2. Font Choices That Matched the Genre
Rusted Plastic for the masthead and Gravel Gang for headers felt exactly right for an alternative / skating zine. They have a rough, handmade quality that commercial fonts would lack. VT323 worked well for small subheadings (page numbers, subheading) because it is monospaced and slightly technical, a nice contrast to the messy headlines.
Why did it work? The fonts were not generic. They communicated “independent”, “DIY”, “subculture” immediately. Even someone who did not read a single word would recognise the magazine as alternative.
3. The Collage Approach on the Double‑Page Spread
Putting my own photos into a collage. Showing makeup, rings, necklaces, cuffs, rollerblades, and a skateboard, was the most effective part of the whole magazine. It felt personal, authentic, and visually dense. The overlapping images created a zine aesthetic that commercial magazines rarely use, which made my publication stand out.
Why did it work? I did not try to fake a polished fashion magazine. I leaned into the scrapbook / zine style, which matches my available resources and the subculture theme perfectly. Authenticity beats polish when the topic is alternative style.
4. The Body Text, Personal and Thematic
I wrote the article “The Armour We Choose” in a first person voice. It connected accessories to skating to self expression without being pretentious. The pull quote (“We don’t wear accessories. We wear declarations.”) gave the page a focal point. The text directly referenced items in the collage, so the two pages felt like one unified spread.
Why did it work? The writing had a clear point of view. It was not a generic product review or a list of trends. It engaged with media studies ideas (representation, subculture, identity) without being academic.
5. Meeting the Requirements Exactly
I have a cover, a contents page, and one double‑page spread, all correctly formatted. I did not overcomplicate or try to add extra pages that might break the brief. Staying within the required structure meant I could focus on quality over quantity.
What Didn’t Work (or Could Have Been Better)
1. The Contents Page Was Slightly Empty
My contents page had only a few lines (cover, double‑page spread, maybe a regular feature). Because the magazine is very short, the page looked a bit sparse even with careful typography.
What I learned For a short magazine, I can combine the contents with the editor’s letter or a small introductory collage. Alternatively, I could add one or two “regular” features that are very short (e.g., a playlist box or a quote of the month) to fill the page without adding a full extra spread.
2. Small Illustrations (Time Constraints)
I originally considered adding small hand‑drawn illustrations (e.g., a skateboard deck outline or a ring sketch). I dropped them because of time. The final spread still looked good, and I did have one drawing, but a couple of tiny ink drawings would have added another layer of “independent zine” texture.
What I learned For a future project, I should set aside 1‑2 hours specifically for quick illustrations. Even simple line drawings scanned and placed at low opacity can elevate a page.
How I Could Improve in the Future
Based on what didn’t work, here is a clear list of improvements for my next magazine or media project.
1. Font Pairing Strategy
Headlines / masthead: keep using expressive, rough fonts (like Rusted Plastic, Gravel Gang).
Body text: choose a highly readable font that still has a slight edge (e.g., VT323, or a clean sans‑serif like Montserrat). Test body text at actual size before committing.
Limit decorative fonts to 10% of the page.
2. Image Planning Sheet
Before designing any layout, I will create a simple checklis.
Theme (like makeup or skating)
Minimum number of final images
Shot?
Edited?
This will prevent last‑minute scrambling.
3. Use a Physical Mock‑Up
I designed everything on screen. Next time I will print a single black and white draft to check
Readability of small text.
Whether the gutter actually hides anything.
If the collage colours look right on paper (not just backlit screen).
4. Add a Simple Feedback Loop
I will ask one person (not a close friend) to look at the draft for 30 seconds and then answer “What is this magazine about?” If they cannot say “subculture, fashion, and skating” easily, my visuals are not clear enough. I did not do this properly for my skating photos.
Final Overall Evaluation
What worked:
Colour palette, font personality, collage aesthetic, personal voice in the body text, meeting the brief.
What didn’t:
Contents page emptiness, time constraints.
Improvements for next time:
Better body font choice, image theme balancing, physical test print, stricter schedule.
Even with its flaws, I am proud of this magazine. It looks and feels like a genuine alternative zine and not like a fake corporate product. It represents my interests (subculture, jewellery, skating, goth/alternative makeup) honestly. That authenticity is worth more than perfect technical polish.
I will keep the files and the collage layout. Next year I might make a second issue with more skating action shots and even messier typography. But for now, this is a solid final outcome for my media studies project.
Monday, 27 April 2026
Magazine Draft
I’ve completed the first draft of my magazine. It includes the three required elements. A cover page, a table of contents, and a double‑page spread. I also set up placeholder picture frames for the pages that I will fill in later. For now, the draft gives me a clear structure to evaluate.
In this post I will reflect on my design choices (colours, fonts, imagery), identify what works and what needs improvement, and then list concrete next steps to refine the magazine into a polished final outcome.
My Colour Palette
As mentioned before, I chose four colours.
Carbon black, a deep, slightly soft black (not pure #000). I used it for most text.
Onyx, a darker, cooler black. I intend to use it for shadows and to create depth behind some images.
Ivory, a warm, off‑white. I used it for mostly body text and for negative space/page colour.
Deep crimson, a dark, rich red. I used it for accents and for graphic elements.
The palette is cohesive and fits the alternative/visual kei/dark aesthetic I wanted like I said before. The contrast between the two blacks and the ivory makes reading comfortable, and the deep crimson stands out without being neon or cheap. I need to check that the carbon black and onyx are different enough when printed in greyscale (for any black and white submission). I may adjust onyx to have a slightly warmer undertone so it doesn’t disappear next to carbon black.
Typography/Font Choices
I used four fonts.
Rusted Plastic, for the masthead. It has a distressed, almost stencil‑like look that feels industrial and alternative.
Gravel Gang, for headers and titles. It’s bold, slightly irregular, and gives a punk/zine energy.
Stamp RSPK, for body text. It mimics a rough typewriter or rubber stamp, which adds texture.
VT323, for small subheadings (e.g., page numbers). It’s a monospaced, retro screen pixel type font.
The combination is distinctive and memorable. Rusted Plastic and Gravel Gang feel like they belong together because both have a rough, handmade quality. Stamp RSPK as body text is risky because it has lower readability than a standard serif or sans‑serif.
I will test Stamp RSPK at 9pt, 10pt, and 11pt to see which size is still readable but retains texture. I also need to ensure that VT323 is not overused because it works well for technical details but can feel cold if used for everything since it's monospaced.
Cover Page
My cover features an edited placeholder image of myself. The background is ivory, the masthead (Rusted Plastic) is in carbon black, and the small texts like above the masthead are in Stamp RSPK and VT323. There's a deep crimson star behind the masthead as an accent colour, which I like because it makes the cover pop, as well as the shape above the masthead and the small text "magazine" below "kaos."
I think the contrast between the light background and dark text is strong. The edited placeholder image (I applied a hard mix adjustment to a red to black gradient) matches the rough typography. The composition is simple and gives you an idea of the magazine without cover lines which is what I wanted and liked from the alternative niche magazines. Masthead at top, central image, topics at the top, which follows the alternative magazine convention of not being too crowded. The placeholder image is still a placeholder. I need to replace it with a final, higher resolution photo of myself, edited to fit the same distressed/gradient style.
Table of Contents
My contents page uses a one column layout. The column lists sections with page numbers. I added a small deep crimson star graphic beside the sections. In between the sections are placeholder images that may have more than one image when the magazine is done.
I like that the layout is clean and easy to scan. The page numbers are visible without shouting. I left white space (ivory negative space) around the elements, which feels more professional.
The section headings are not yet finalised. I need to decide on real headings (e.g., “FEATURE”, “REGULARS”, “ART & DESIGN”) and write descriptive sub‑lines.
Double‑Page Spread
This is the core of the magazine. I designed it as a feature article spread. The background is carbon black with a subtle onyx gradient. The left page has a large placeholder frame for an image, and the right page has two columns of text (Stamp RSPK body). A deep crimson pull quote sits in the middle.
I like the asymmetrical layout. I like the beginning large letter before the body text. The Gravel Gang header is large and bold, anchoring the spread and really showing that alternative magazine vibe.
The placeholder frame on the left needs to be replaced with an actual image or actual images. I will use a styled photograph that matches the article topic. The body text is currently lorem ipsum. I need to write real content, probably a mix of opinion and topics related to the images. I also need to add a headline that works with the image, currently it’s just “title”. The gutter (the middle crease) is not yet accounted for. I will adjust the margins so that no important text or image detail falls into the gutter.
Next Steps for Refinement
- Replace placeholder images
- Take or edit final photo for cover
- Choose or create images for contents page.
- Produce final images for double‑page spread
- Write real copy
- Write contents page section titles and descriptions.
- Write 300–500 words for the DPS feature (e.g., a mini‑article on subculture or alternative style).
- Check colour contrast
- Account for the gutter
- Adjust inner margins so that no text or important image detail falls into the centre crease.
- For the DPS, keep faces and key text at least 10mm away from the centre.
- Add small details
- Do a readability test
- Zoom to actual size of draft on screen and ask a friend to read a paragraph aloud. Time it. If they struggle, adjust font or line spacing.
- Final quality check
- Check for typos, missing page numbers, and alignment errors.
- Export high‑resolution PDF
My magazine draft successfully captures the alternative, dark aesthetic I wanted. The colour palette and font choices are distinctive and consistent. The layout of the cover, contents, and double‑page spread follows the required structure and feels like a real independent magazine.
The main work now is replacing placeholder frames with original images, writing real copy, and fine tuning typography for readability. With these refinements, I will have a strong final outcome that demonstrates my understanding of media studies concepts (house style, genre, audience, representation) and my practical design skills.
I will update my blog with the final version once all refinements are complete.
Sunday, 26 April 2026
Magazine Colour Palette
Since I'm going for a more grunge alternative aesthetic look for my magazine, I decided more bold and dark colours would be better. I went through a lot of colours while visualising in my mind how they would look in a simple magazine layout. In the end, this is the main colour palette I want to stick with.
I like how it's simple but the deep crimson red as an accent colour can make my magazine's colourful elements pop out more but still keeping an alternative aesthetic by using darker colours overrall.
Saturday, 25 April 2026
Video Game Case Study: Mortal Kombat
Mortal Kombat: Can video games cause violence?
This case study examines if video games contribute to violent behavior. With games like the Mortal Kombat series and Street Fighter series if they can lead to violent or aggressive behavior, Mortal Kombat is known for its graphic combat and "fatality" finishing moves, the game has been at the center of debates about media consumption The study reviews psychological research and concludes that while such games may increase short term aggression, there is no strong evidence that they directly cause real world violence. Other social and environmental factors play a more significant role in shaping the consumer's behavior.
Released in August of 1992, Mortal Kombat has been controversial since the beginning of its life due to its graphic depictions of violence. Its popularity has raised concerns among parents, educators and policy makers about its potential influence on its users, especially younger users.
This case study aims to investigate whether playing video games like Mortal Kombat and Tekken contributes to aggressive behavior or if these concerns are overstated and oversaturated, The news and media have been constantly blaming video games for violence, like a game from 1976 "death race" was criticized by the media for having the user run over stick figures.
The central issue is whether repeated exposure to violent gameplay in Mortal Kombat can lead to increased aggression or real life violent actions among its users.
Mortal Kombat was developed by Midway Games and later continued by NetherRealm Studios. The game gained significant attention for its realistic digitized graphics and finishing moves known as "fatalities" where characters defeat opponents in a gory dramatic manner. Due to its violent content, Mortal Kombat played a major role in the creation of Entertainment Software Rating Board (ESRB), which now assigns age ratings to video games. Over time, the franchise garnered a wide audience and has become popular among the youth and older, with millions of players worldwide playing, despite ongoing debates about its effects on behavior
Stated in the American Psychological Association (APA) that video games do not cause violence but only short term aggressive thoughts and emotions, but not criminal behavior, while Mortal Kombat can temporarily increase aggressive reactions (frustration/competitiveness) there is no consistent evidence that it causes serious violence, on Oxford Internet Institute the findings suggest that there is no correlation with playing video games like Mortal Kombat and aggressive behavior in its users, it is emphasized that this does not mean that some mechanics and situations in gaming do not provoke frustration or competitiveness 'Anecdotally, you do see things such as trash-talking, competitiveness and trolling in gaming communities that could qualify as antisocial behaviour,' - Przybylski.
This case study concludes that while Mortal Kombat contains violent content that may influence short-term emotions, most players understand the clear divide between games and real life, it is not a direct cause of real-world violence, behavior is shaped by a complex combination of personal, social and environmental factors. Understanding this helps shift the focus toward more meaningful solutions rather than placing blames on Mortal Kombat or other violent video games.
References/Sources
Violent video games found not to be associated with adolescent aggression | Oxford University
Video Game Case Study: Cyberpunk 2077
CD Project S.A: How cyberpunk 2077 saved the company by fixing their game after launch.
CD Project Red have suffered a major decline in popularity after releasing the infamous game cyberpunk 2077, this case study analyzes the factors contributing to the decline in their reputation by unrealistic expectations, misleading marketing, rushed deadlines and their rise in re-gaining the company's reputation, including Proper Apologies, sending out multiple hotfixes and patches within a year fixing the game significantly and their show of commitment to regain the customer's trust. The findings reveal that the company's understanding of criticism and approach to the buggy unplayable game before can be fixed and redeemed by commitment and loyalty to the customers.
CD Project Red, Founded in March 6, 2002 Centering at Łódź, Poland, The team behind The Witcher series, cyberpunk 2077 is widely seen as a "consumer friendly" studio giving free DLCs, expansions and delivering rich immersive RPG experiences, making a name for itself in the gaming industry often contrasting with heavy monetization publishers like EA and Ubisoft, this friendly brand gave the company a large and dedicated audience.
Within the start, the game has already received increasing development stress because of the immense expectations, from the press release Adam Badowski the game director stressed "although this is probably not the same game you'll see on your screen when we launched"
The main problem is that the developers were extremely dishonest before release, causing a lawsuit for a misleading game. The main problem is that the dishonesty of the developers caused high expectations and the company's inability to release a proper game that could be run on a console or computer, effectively making the reviews before launch fraudulent.
CD Projekt Red was founded in May 1994 led by Marcin Iwiński and the parent company CDP Investment, cyberpunk 2077 is an open world action role playing game released in december 10 2020, CD projekt red announced at the summer conference 2012 that they were working on a cyberpunk game set in the future and tech advanced world was revealed to be a development and associated with the cyberpunk author Mike Pondsmith, this was the first time he trusted a game developer with his IP, Releasing the title of the game as "Cyberpunk 2077", the good track record from past games gave the audience and viewers interested in the game high expectations for Cyberpunk 2077 after 3 months they released the first cinematic trailer in 2013 although note: the preview was not gameplay footage, it gave players an idea of what the game would look like and what to expect from the game, setting a mature theme and deeply customizable experience all set in the near future of a corrupt dystopian world.
The strong brand reputation didn't save the company from extreme criticism, the poor optimization for all hardware, overpromising features that weren't delivered, and poor quality testing before release have given the brand a very bad reputation causing them to lose a very good amount of revenue, the fans of the previous titles expressed frustration and disappointment during release because of the game's over saturated expectations, the loss of consumer trust , negative media coverage and increased competition made it extremely challenging for CD projekt red to redeem their brand, the unrealistic deadlines, technical limitations and management decisions gave the developers a high stress environment causing poor performance in development,
This could all have been prevented if the company released a long delay, long enough for the developers to finish and polish the game, releasing updates about the progress and limiting platform availability, along with transparent communication with customers, this strategy would ensure a more stable launch while maintaining customer trust.
The case of Cyberpunk 2077 highlights the importance of transparency and aligning product development with realistic deadlines, and customer expectations while the initial launch damaged the company's reputation, continuous updates and improvements has shown that the recovery is possible through commitment and planning,
This case serves as a lesson for developers and businesses on the importance of transparency, adaptability and quality assurance in a competitive market
References/Sources
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