Q2. How does your product engage with audiences and how would it be distributed as a real media text?

When developing my product, I wanted to create a magazine that connects with readers emotionally as well as intellectually. My main aim was to make global media and diplomacy more relatable and engaging, especially for younger audiences who often see these topics as distant or overly complex. From the very beginning, my focus was on interaction, not just information — on building a product that encourages curiosity, interpretation, and participation.

One of the most important ways my magazine engages with its audience is through visual communication. Instead of relying on dense articles or overly formal layouts, Global Lens uses strong imagery, minimalist design, and calm spacing to invite readers in. Every design choice was intentional — the use of negative space, clean typography, and symbolic photography — all meant to make readers slow down and think. In many ways, the design itself becomes a language, communicating mood and meaning even before the words do.

The tone of the writing in Global Lens also plays a major role in audience engagement. I chose to keep it thoughtful but conversational, mixing analysis with a creative, human perspective. I wanted readers to feel spoken to, not spoken at — to make them part of a conversation rather than distant observers of one. This decision was inspired by my belief that audiences today, especially younger ones, value honesty and authenticity in media. They are not passive consumers; they want to interpret, comment, and share their own views.

The target audience for Global Lens consists mainly of globally aware young adults — university students, emerging journalists, diplomats, and creative professionals interested in international relations and culture. These are readers who spend time online but appreciate meaningful content. They are used to fast information flows but crave depth. Global Lens is designed to meet them where they are, offering clarity and creativity together.

In terms of representation, my magazine aims to include a diverse range of voices from different regions and cultural backgrounds. I wanted to

show perspectives from all around the world. By highlighting young creatives, women in diplomacy, and journalists from underrepresented regions, Global Lens challenges existing hierarchies in international storytelling. This connects to Stuart Hall’s representation theory, which argues that meaning is shaped by how people and cultures are framed. Through careful design and editorial choices, I wanted to frame global issues through diversity, empathy, and equality.

If Global Lens were to exist as a real media product, its distribution strategy would be hybrid — combining print and digital formats. The print version would be exclusively distributed to universities and student-focused institutions, with the aim of introducing young adults to global media, international relations, and diplomatic issues. By placing it directly in the hands of students, the magazine becomes both an educational and inspirational tool — encouraging critical thinking and curiosity. Its design and content would make it easy for students to engage with complex topics without feeling overwhelmed, providing a first-hand experience of professional journalism in an approachable format. The digital version would extend this experience online through an interactive website and mobile app available for anyone and everyone. This version would include multimedia features such as video interviews, infographics, and podcasts that expand on the print stories.

Social media would be central to Global Lens’s digital engagement strategy. Platforms like Instagram, LinkedIn, and TikTok would each serve unique purposes: Instagram for photography and design-led posts, LinkedIn for global commentary and professional discussions, and TikTok for quick, informative storytelling aimed at a younger audience.

Beyond online platforms, Global Lens could also build a community through collaborations and events. Workshops, talks, and student-led editorial projects could turn the magazine into an educational platform — a space where readers become creators. This kind of engagement creates long-term loyalty and encourages audiences to see the magazine not just as a publication but as part of a shared global dialogue.

In conclusion, Global Lens engages with its audience by combining design, inclusivity, and interactivity. It uses visual storytelling to attract attention, diversity to reflect real-world complexity, and digital participation to sustain connection. As a real media text, its strength would lie in its ability to bridge traditional journalism with creative communication — transforming complex global issues into something meaningful and accessible. Through this balance of aesthetic and intellect, Global Lens becomes more than a magazine; it becomes a platform for young global thinkers to see, question, and shape the world through a sharper lens.

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For the creative task of my answer I put together a mind-map to simply the long essay and make it more easier to understand: