Wallace & Gromit's Going Crackers Game
Dublin Core
Title
Wallace & Gromit's Going Crackers Game
Subject
Wallace & Gromit
Description
‘Wallace & Gromit's Going Crackers Game’ (BDCM 13133) is a family board game for two to six players, aimed for ages eight and up. This game fits as part of the popular British transmedia franchise Wallace and Gromit, who are owned by Aardman studios. Darlington writes that “It has often been remarked that Aardman’s Wallace and Gromit stand for something quintessentially British, with an emphasis on ‘quintessential’.” (39), showing how it has become a big franchise within the British media industry. This artefact shows the expansion of this transmedia franchise and its growth within Britian. Ryan writes that “Transmedia can avoid this pitfall by telling a variety of autonomous stories or episodes, held together by the fact that they take place in the same storyworld.” (529) which is something that Wallace & Gromit is able to achieve by the franchises utilisation of multiple mediums. Arguably, this artefact opens up even more levels of storytelling and creation through being able to interact with different aspects, such as characters, of the franchise.
Wallace & Gromit LTD are a member of the Aardman Animations group of companies. The logotype is a trademark of Wallace & Gromit Limited. The Board game was licensed by BBC worldwide limited. The board game is also copyrighted by Pressman Toy Corporation.
The physical box for the game contains a brief description on how to play the game and invites you to “join the world of Wallace and Gromit”. Inside the box, there are different cards, game pieces, a sand timer, a die, character cards and an ‘inventor’s pad’. All of these different elements allow for immersion within the franchise.
The game makes players perform certain actions based on what character card that you pick up, which instantly engages players with the franchise itself. This may be for example you may have to sing something on your go. However, the game adds to a realistic aspect to it as if you are the character of Gromit, you are not able to speak. Therefore, through using the different characters, you are able to learn more about the franchise as well as extend out the world building.
The Wallace & Gromit franchise were created by Aardman studios, who are based in Bristol which is a “UNESCO City of Film” (About). They are a studio primarily concerned with animation, which is why Wallace and Gromit is a perfect example of the type of work that is produced by that studio. Interestingly, the board game was made by Pressman Toy Corporation, who are an American toy company. They are a company that primarily focus on family “games and licensed puzzles” (Pressman Toy). With this information, it is clear why they were able to produce this board game.
The game was released in 1998, which came three years after the release of the franchise third installment A Close Shave (Nick Park, 1995). The front of the box contains important iconography such as the rocket ship which was used to go to the moon in the first installment of the franchise A Grand Day Out (Nick Park, 1989). Therefore, I would argue that board game acts as a way of bringing together the franchise so far through the iconography. Within the board game, there are pieces which include pictures of the characters (aside from Wallace and Gromit) that have featured within the three films so far in the franchise. This furthers my point that a board game acts as a moment to pull together many aspects of the franchise. This brings in the ideas of denotation and connotation, which Kuhn and Westwell define as “denotation is the first order of a sign’s meaning, its outward, informational, literal meaning…. connotation is the second order of meaning—the implicit, symbolic, associative, or evaluative meanings that may attach to a sign.” (denotation/connotation). Whilst it may just be an image of a rocket ship, the artefact places this iconography within a different context, which brings out different connotations from within the franchise.
Booth writes that “I don’t think scholars believe no board game fans exist; but I do think that because board games are not generally considered in media scholarship, and the types of fan activities undertaken by board game fans are different than those discussed in traditional fan studies literature, those board game fans are elided and the field is undertheorized. Opening up fan studies to encompass board game players helps to underscore a diversity of fan experiences.” (101-102). Booth argues here that studies around gaming have often ignored board games and have instead focused on video games. Furthermore, if we look at board games, it can help us to understand in greater aspects how fans engage with different products more. I think this is particularly important to apply to this case study for many different reasons. Therefore, this artefact can be viewed as a fan product.
Firstly, it is important to think that this is a game that has be aimed at ages 8 and up, yet it still advertises itself as a family board game. This is important because I would argue that the franchises primary target audience, based off of its content, is younger children. Therefore, by adding this family aspect to the board game shows how fans can have a level of cross generational interactivity. This is a board game that can be enjoyed by children as they are likely to appreciate the characters and themes that are present, as this is a franchise they may already be engaged with. However, this is also something that parents are able to enjoy playing with their children and could even grow to like the franchise. There is even a possibility in the future that this idea will be reversed, and that the board came will become nostalgic for parents. They can then use this board game to engage their children within the franchise and open up a new generation of fandom.
Another reason it is important to look at this board game in particular is because it is part of a transmedia franchise. Jenkins writes that “Extensions often authenticate themselves as belonging in the same fictional world through adapting aspects of their originating texts…” (4). With this idea in mind, I want to argue that this board game acts as an extension. Through playing the board game, you are creating narratives which extends off from the world that you would see in the films. You are placing the characters within new contexts whilst still engaging with the already established storyworld. Therefore, this board game is just one element of the Wallace and Gromit transmedia world.
It is important that this board game is present within the archive because it acts as a piece of fan history. It is able to show how fans are able to interact with the franchise, across all generations, and engage within the world building. Furthermore, it also represents the types of ancillary products that studios were able to produce at the time, allowing for us to compare to modern day.
Overall, this item aligns well with the typical merchandising that can be seen for this franchise. Often, many of the ancillary products that are made are aimed for children to engage futher with the franchise. This includes items such as soft toys, pens and even cleaning products like shampoo. However, this isn’t always the case and there are items available which aren’t aimed at children. For example, there is a shaving kit available (BDCM 91834) which is themed around the film A Close Shave (Gromit A close shave kit). Although this product isn’t designed for children, it may be designed as a product for children to buy for their families. Similar to this board game, this allows for cross generational engagement with the franchise.
Works Cited:
Aardman. "About." Aardman studios. https://www.aardman.com/about/ . Accessed 24 November 2024
Booth, Paul. "The Player as Fan: Ludic Fandom in Board Game Cultures." Board Games as Media. London: Bloomsbury Academic, 2021. 101–115. Bloomsbury Collections. Web. 24 Nov. 2024. <http://dx.doi.org/10.5040/9781501357206.0012>.
Darlington, Joseph. "Music, Sound and Northernness in the Wallace and Gromit Films." Aardman Animations: Beyond Stop-motion. By Annabelle Honess Roe. London,: Bloomsbury Academic, 2019. 39–53. Bloomsbury Collections. Web. 20 Nov. 2024. <http://dx.doi.org/10.5040/9781350130319.ch-003>. (CHECK CITATION)
Jenkins, Henry. “Adaptation, Extension, Transmedia.” Literature/Film Quarterly, vol. 45, no. 2, 2017. JSTOR, https://www.jstor.org/stable/48678410. Accessed 24 Nov. 2024.
Kuhn, Annette, and Guy Westwell. "denotation/connotation." A Dictionary of Film Studies. : Oxford University Press, , 2020. Oxford Reference. Date Accessed 4 Dec. 2024 <https://www.oxfordreference.com/view/10.1093/acref/9780198832096.001.0001/acref-9780198832096-e-0186>.
Marie-Laure Ryan. "Transmedia Storytelling as Narrative Practice." The Oxford Handbook of Adaptation Studies, Thomas Leitch Ed, edited by Thomas Leitch, Oxford University Press, 2017, pp. 527-541.
Tom's Toys. "Pressman Toy" Tom's Toys, https://www.tomstoys.com/by/97/pressman-toy. Date Accessed 4th December 2024.
The Bill Douglas Cinema Museum. "Gromit's Going Crackers Game." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/13133/. Date Accessed 4th December 2024.
The Bill Douglas Cinema Museum. "Wallace & Gromit A Close Shave kit." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/91834/. Date Accessed 4th December 2024.
A Close Shave. Directed by Nick Park, BBC, 1995.
A Grand Day Out. Directed by Nick Park, BBC, 1989.
Wallace & Gromit LTD are a member of the Aardman Animations group of companies. The logotype is a trademark of Wallace & Gromit Limited. The Board game was licensed by BBC worldwide limited. The board game is also copyrighted by Pressman Toy Corporation.
The physical box for the game contains a brief description on how to play the game and invites you to “join the world of Wallace and Gromit”. Inside the box, there are different cards, game pieces, a sand timer, a die, character cards and an ‘inventor’s pad’. All of these different elements allow for immersion within the franchise.
The game makes players perform certain actions based on what character card that you pick up, which instantly engages players with the franchise itself. This may be for example you may have to sing something on your go. However, the game adds to a realistic aspect to it as if you are the character of Gromit, you are not able to speak. Therefore, through using the different characters, you are able to learn more about the franchise as well as extend out the world building.
The Wallace & Gromit franchise were created by Aardman studios, who are based in Bristol which is a “UNESCO City of Film” (About). They are a studio primarily concerned with animation, which is why Wallace and Gromit is a perfect example of the type of work that is produced by that studio. Interestingly, the board game was made by Pressman Toy Corporation, who are an American toy company. They are a company that primarily focus on family “games and licensed puzzles” (Pressman Toy). With this information, it is clear why they were able to produce this board game.
The game was released in 1998, which came three years after the release of the franchise third installment A Close Shave (Nick Park, 1995). The front of the box contains important iconography such as the rocket ship which was used to go to the moon in the first installment of the franchise A Grand Day Out (Nick Park, 1989). Therefore, I would argue that board game acts as a way of bringing together the franchise so far through the iconography. Within the board game, there are pieces which include pictures of the characters (aside from Wallace and Gromit) that have featured within the three films so far in the franchise. This furthers my point that a board game acts as a moment to pull together many aspects of the franchise. This brings in the ideas of denotation and connotation, which Kuhn and Westwell define as “denotation is the first order of a sign’s meaning, its outward, informational, literal meaning…. connotation is the second order of meaning—the implicit, symbolic, associative, or evaluative meanings that may attach to a sign.” (denotation/connotation). Whilst it may just be an image of a rocket ship, the artefact places this iconography within a different context, which brings out different connotations from within the franchise.
Booth writes that “I don’t think scholars believe no board game fans exist; but I do think that because board games are not generally considered in media scholarship, and the types of fan activities undertaken by board game fans are different than those discussed in traditional fan studies literature, those board game fans are elided and the field is undertheorized. Opening up fan studies to encompass board game players helps to underscore a diversity of fan experiences.” (101-102). Booth argues here that studies around gaming have often ignored board games and have instead focused on video games. Furthermore, if we look at board games, it can help us to understand in greater aspects how fans engage with different products more. I think this is particularly important to apply to this case study for many different reasons. Therefore, this artefact can be viewed as a fan product.
Firstly, it is important to think that this is a game that has be aimed at ages 8 and up, yet it still advertises itself as a family board game. This is important because I would argue that the franchises primary target audience, based off of its content, is younger children. Therefore, by adding this family aspect to the board game shows how fans can have a level of cross generational interactivity. This is a board game that can be enjoyed by children as they are likely to appreciate the characters and themes that are present, as this is a franchise they may already be engaged with. However, this is also something that parents are able to enjoy playing with their children and could even grow to like the franchise. There is even a possibility in the future that this idea will be reversed, and that the board came will become nostalgic for parents. They can then use this board game to engage their children within the franchise and open up a new generation of fandom.
Another reason it is important to look at this board game in particular is because it is part of a transmedia franchise. Jenkins writes that “Extensions often authenticate themselves as belonging in the same fictional world through adapting aspects of their originating texts…” (4). With this idea in mind, I want to argue that this board game acts as an extension. Through playing the board game, you are creating narratives which extends off from the world that you would see in the films. You are placing the characters within new contexts whilst still engaging with the already established storyworld. Therefore, this board game is just one element of the Wallace and Gromit transmedia world.
It is important that this board game is present within the archive because it acts as a piece of fan history. It is able to show how fans are able to interact with the franchise, across all generations, and engage within the world building. Furthermore, it also represents the types of ancillary products that studios were able to produce at the time, allowing for us to compare to modern day.
Overall, this item aligns well with the typical merchandising that can be seen for this franchise. Often, many of the ancillary products that are made are aimed for children to engage futher with the franchise. This includes items such as soft toys, pens and even cleaning products like shampoo. However, this isn’t always the case and there are items available which aren’t aimed at children. For example, there is a shaving kit available (BDCM 91834) which is themed around the film A Close Shave (Gromit A close shave kit). Although this product isn’t designed for children, it may be designed as a product for children to buy for their families. Similar to this board game, this allows for cross generational engagement with the franchise.
Works Cited:
Aardman. "About." Aardman studios. https://www.aardman.com/about/ . Accessed 24 November 2024
Booth, Paul. "The Player as Fan: Ludic Fandom in Board Game Cultures." Board Games as Media. London: Bloomsbury Academic, 2021. 101–115. Bloomsbury Collections. Web. 24 Nov. 2024. <http://dx.doi.org/10.5040/9781501357206.0012>.
Darlington, Joseph. "Music, Sound and Northernness in the Wallace and Gromit Films." Aardman Animations: Beyond Stop-motion. By Annabelle Honess Roe. London,: Bloomsbury Academic, 2019. 39–53. Bloomsbury Collections. Web. 20 Nov. 2024. <http://dx.doi.org/10.5040/9781350130319.ch-003>. (CHECK CITATION)
Jenkins, Henry. “Adaptation, Extension, Transmedia.” Literature/Film Quarterly, vol. 45, no. 2, 2017. JSTOR, https://www.jstor.org/stable/48678410. Accessed 24 Nov. 2024.
Kuhn, Annette, and Guy Westwell. "denotation/connotation." A Dictionary of Film Studies. : Oxford University Press, , 2020. Oxford Reference. Date Accessed 4 Dec. 2024 <https://www.oxfordreference.com/view/10.1093/acref/9780198832096.001.0001/acref-9780198832096-e-0186>.
Marie-Laure Ryan. "Transmedia Storytelling as Narrative Practice." The Oxford Handbook of Adaptation Studies, Thomas Leitch Ed, edited by Thomas Leitch, Oxford University Press, 2017, pp. 527-541.
Tom's Toys. "Pressman Toy" Tom's Toys, https://www.tomstoys.com/by/97/pressman-toy. Date Accessed 4th December 2024.
The Bill Douglas Cinema Museum. "Gromit's Going Crackers Game." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/13133/. Date Accessed 4th December 2024.
The Bill Douglas Cinema Museum. "Wallace & Gromit A Close Shave kit." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/91834/. Date Accessed 4th December 2024.
A Close Shave. Directed by Nick Park, BBC, 1995.
A Grand Day Out. Directed by Nick Park, BBC, 1989.
Creator
Pressman Toy Corporation
Source
Wallace & Gromit animated film franchise
Publisher
Pressman Toy Corporation and Wallace & Gromit Limited
Date
1998
Contributor
Aardman Studios, BBC
Rights
Wallace & Gromit LTD 1989, a member of the Aardman Animation group of companies. The Wallace & Gromit logotype is a trade mark of Wallace and Gromit Limited. Licensed by BBC worldwide. Copyright 1998 Pressman Toy Corporation
Format
Board Game in a Cardboard Box - Dimensions 39.8 x 27.4 x 6.2 cm
Language
English
Type
Board Game, Toy
Identifier
BDCM 13133
Coverage
Wallace & Gromit, British Film and Television, Stop Motion Animation
Files
Collection
Citation
Pressman Toy Corporation
, “Wallace & Gromit's Going Crackers Game,” Archival Encounters: Digital Exhibitions form the Bill Douglas Cinema Museum, accessed December 27, 2024, https://humanities-research.exeter.ac.uk/archivalencounters/items/show/45.