The magazines title-XBOX: THE OFFICIAL MAGAZINE-is the largest text on the page.

This tells the viewer what it is called, whilst re-enforcing the subject matter. As it specifically focuses on the XBOX medium,
the large, bright lettering immediately stands out to the players of this format, whilst making it identifiable as a niche area of interest; whilst many people use this console, a smaller number are so avidly
empassioned about its releases and the technical and gameplay information that it will cover. By placing the wording next to the symbol, we can see, even without reading the title, that there is a level of
exclusivity present in this magazine; there will be no coverage the PlayStation or Nintendo platforms, just the XBOX which we can infer will be the platform of choice for the reader. The green colour of the
font corresponds with the traditional schematics of the console; on both the original platform and the 360, the power light on the XBOX and the controller illuminates to this shade. The word essential
demonstrates how the dedicated player of this console cannot be without this magazine and how it will provide them with the ultimate in games knowledge, all of which is directly related to their platform
of choice. By noting how this cover both last and next generation consoles, it does not alienate any players; just because so meone does not have the newest console, does not mean that they have to
struggle with finding a publication that suitably addresses their needs

In keeping with the green theme

of the brand, the additional
information is contained within a
circle. This does not overshadow
the main feature which, in this
case, is Metal Gear Solid V.
It does, however, serve as a means
of conveying how there is not only
a single feature throughout the
entirety of the magazine, but a
number. This is done by
accentuating the number 20. This
shows the vast variety of the
content, whilst insinuating that
there will be something for
everyone, be they a fan of FPSs or
expansive open worlds.
As well as this, it says to the
rreader that just because there is a
highly anticipated new release on
the horizon, everything else does
not halt to make way for it; so, if
they do not enjoy MGS, they can
still find something to their taste.

The focal point is Big Boss, in black and white. By overlaying images over him and colouring him in greyscale, it conveys
the fact that whilst he is the protagonist, the game does not revolve around him. It could be reflective of his mentality;
he is aware that the world does not revolve around him, and that there are other events which could overshadow his
importance. Additionally, it may be exploring his role as a catalyst; he is the cause of the disasters surrounding him,
and he is left to contemplate and reflect what is occurring before taking action. Alternatively, by having him looking
over his shoulder, it presents the scene as being a memory; the fiery colours are indicative of the circumstances
continuing to live on in the present, and his grey tones are suggestive of his inability to move past these recollections.
Additionally, by looking at the thoughtful expression on his face, we are forced to consider Big Boss/Snake as being
more vulnerable than how we would typically perceive him. Whilst we are familiar with him being a strong, military
man, we see him as being more of human and with the softer emotions we would not associate with him.
By having an explosion of features being at the fore, we are shown the diversity and depth of the game; we begin
to ponder how these elements are being implemented and how we, as the players, can strategically
navigate/destroy/utilise them. Furthermore, it conveys the severity of the scenario-this is not a minor indiscretion
that is being dealt with but is instead a large scale operation with military characters and equipment.
By featuring people amongst the havoc, we see that the game is not just about death and destruction, like in Call of
Duty or Just Cause, say. We know that we are going to have allies to protect, and potentially avenge, whilst
undertaking the missions presented to us. Similarly, we using red and orange tones, the items contained within this
colour scheme are shown as being riddled with danger and mayhem, with the bursts reflecting those that we would
expect to see on a battlefield. Likewise, it could be used as a means of reflecting the personalities of those we see;
they could be fierce, powerful and intimidating individuals who are able to get the job done.

By having the issue

number and date featured
on the cover, the reader
can be informed as to
whether this is the most
recent copy, or a back
issue. In the games
industry, this is an
important feature as it is
evolving constantly, with
new
releases
being
announced regularly; fans
need to know exactly what
is happening when.
Furthermore, the Games
Radar Website is shown.
This is necessary as it
shows us where we can
find additional information
and news, be it on the
topic or on purchasing
subscriptions. It also lets us
know where we can view
more content and contact
the
publisher/any
affiliated partner.

This section notifies us of the primary focus of the issue. Although

the font is smaller than the title, it is bolder, suggesting that the
editor wants to convey it as being the most important element of
the magazine; it tells us that whilst OXM is the carrier for the
product, the real admiration and focus should be on the game, and
article itself.
The neutral font, and its white colouring, suggests that the game is
fresh and innovative without giving away too much information as
to its genre or gameplay. This is in contrast to games such as
Wolfenstein where the harsh lettering and dark red colouring is
indicative of the dark and bloody themes present in the product.
It also helps the magazine seem more attractive in how they clearly
have privileged access to the game; they have obtained it before
anyone else and are able to state their first impressions, based on
the gameplay itself and not speculation alone. Inevitably, this will
be exclusive to OXM and not available elsewhere,
By introducing the game with the subheading 48 hours with the
pressurised nature of the game is reflected in the article; we are
made aware that the reviewing team have had a limited period
with the product, and must adhere to these restrictions-quite
possibly like a mission in the game.

The subheading loses the stylistic intricacies of the heading, replaced by a standard font which helps summarise the article and increase the readability; ultimately, it is far easier on the eye than its more artistic
counterpart. It serves as a means of altering the tone from awe at the vast environment pictured, to interest whilst introducing a more specified description of what is being detailed in the article. The black colouring
ensures that it is easy to read and that our sole focus is on the text, and not how it is in appearance.
The use of the word hyperspace helps relate the article to the science fiction genre that it adheres to. Additionally, it helps the reader envision the developmental studio as being a far-off mythical realm which could
not be further from the reality that we are accustomed to. Likewise, when we couple this word with the fact that this is a reboot, we can gather that the graphics, playability and other relevant elements have improved
by such a large degree it can only be likened to this measure of distance, much like when someone notes that a product is lightyears ahead. Noting that it has been masterminded by the creators of Battlefield. This
instils a degree of confidence in the reader-the aforementioned series is well known and respected, and this gives us reason to believe that Star Wars: Battlefront will have some of the features that make the former so
popular. Furthermore, the use of the word masterminded tells us that this game is going to be something rather special and outside of the ordinary. It suggests that this will be a clever, and well-thought-out product
that is not similar to anything else on the market.

The colours of the heading match those of the sky in the background. By coupling this with the white
box that it is contained in, it gives the impression that it is camouflaged with the surroundings. This
corresponds with the fact that this is a combat based game and the player will most likely want to do all
they can to avoid detection. Quite simply, it helps make the writing visible against the background.
The strong font reflects the bold nature of the game and how one must be strong to prevail in the face
of adversity. Likewise, the absence of curvature and the strong lines that form the letters match the
form of the Walker. This helps ensure that the theme of the game (team combat etc.) resonates through
the appearance of the wording.
By noting that the game is fully armed and operational, anticipation is built as we are made aware that
it is almost within our grasp, and close to being released. Additionally, it suggests that we will be able to
make good use of weapons and the like outside of the conventional range, i.e. mechs, or weaponry
taken directly from the Star Wars series of films.
By having the walker separate the two words, it is as if they are parting to let it pass through. This
conveys its intimidating nature and the fact that if one was to stand in its path they would likely realise
their own mortality. It also acts as a means of reinforcing how the game is armed and the landscape
alive; it is clearly strong and is formidable in appearance, reiterating how well protected it is.
The scene behind the heading conforms to our ideas of a dystopian, science-fiction land. Whilst it
contains some elements that readers will recognise from the Star Wars series, it also helps forge a new
scenery that is unique to the game. It helps provoke our imaginations and create our own interpretations
as to what has caused the situation here. There is enough familiarity so as not to alienate the audience
(i.e. through the walkers, what appears to be laser guns and so on) but also introduce newer features
to intrigue the reader; in this case, the ground appears to be made of lava or volcanic produce.

The language used in the article, while not

overly complex, is related to the product and
the games industry. Inevitably, it is assumed
that the reader has a basic understanding of
terminology relating to Star Wars and video
games. Additionally, they should have a
knowledge of previous games in the franchise,
and other products made by the developer, i.e.
Battlefield and so on. This helps them form
their own interpretations on the game, and
forge their own opinions on what it will be like.
This does not come as a sacrifice for detail.
They describe the game and its features,
something the gamer will understand, in a way
that minimises unnecessary words as well as
overly complex ones.

The contents page groups similar articles together as a means of helping the reader locate one they wish to read. Utilising subheadings as
a means of identifying the stories helps the audience to find pieces relevant to their interests. For example, a person most intrigued by the
games currently available would turn to XBOX Now. Additionally, it helps give a professional appearance. By grouping together articles of a
similar nature, the pieces are ordered, easily accessible and expose their similarities to the reader. Alphabetising the lists means that the
audience can easily find the title that they are looking for, as well as alleviating a higgledy-piggledy nature; you do not have Soulcalibur IV
followed by The Bourne Conspiracy, followed by Just Cause 2. The colour coding helps easily identify a subject area, and make the index
seem less foreboding to someone who does not typically use them very often. By having the article on controllers enlarged at the bottom,
we see that the magazine does not just limit itself to reviewing and exploring games, but the materials that are required to play them. It
also conveys the quirky nature that some of these products have and prove that gaming need not conform to its stereotypes, but can be
unique and a reflection of the player.

The images in this section correspond with the titles; they are the stills that we would
most associate with the game, i.e. for Fallout, we see a ghoul. This helps us not only recall
what a game consists of, but make an initial judgement as to whether or not we will read
the article, and enjoy the game. By using three sections, the page is balanced and does
not overwhelm the reader with a heavy emphasis on one game, and less on another. This,
in turn, helps eradicate bias and an apparent favouritism of one product over another.
Additionally, they are intriguing screenshots which make us want to explore the game
further, and discover just what we are missing by not playing the product.