Replaying Japan 2016
国際日本ゲーム研究 カンファレンス
Conference Abstracts
August 15-17 Leipzig University
PAC-MAN™&©BNEI. This project is not administered or sponsored by BANDAI NAMCO Entertainment Inc. Replaying Japan 2016 From Pac-Man to the present: Japanese Games between the local and the global
August 15-17, Leipzig University
Organizing Committee
Main Organizer: Institute of East Asian Studies / Japanese Studies, Leipzig University
Co-Organizers: Ritsumeikan Center for Game Studies, Ritsumeikan University Philosophy and Humanities Computing, University of Alberta
Conference Co-Chairs: Martin ROTH Institute of East Asian Studies / Japanese Studies, Leipzig University Martin PICARD Institute of East Asian Studies / Japanese Studies, Leipzig University Mitsuyuki INABA College of Policy Science, Ritsumeikan University Geoffrey ROCKWELL Philosophy and Humanities Computing, University of Alberta
Programme Committee: Koichi HOSOI College of Image Arts and Sciences, Ritsumeikan University Akinori NAKAMURA College of Image Arts and Sciences, Ritsumeikan University Jérémie PELLETIER-GAGNON Comparative Literature and Humanities Computing, University of Alberta Kazufumi FUKUDA Ritsumeikan Global Innovation Research Organization, Ritsumeikan University Akito INOUE Graduate School of Core Ethics and Frontier Sciences, Ritsumeikan University Shuji WATANABE College of Image Arts and Sciences, Ritsumeikan University
With support from: DFG, Japan Foundation, Leipzig City, poly.play
And not possible without: Uta Friedrich (coordination), Francesca Schrader (finances), Svenja Schmitt (design), Florian Werner (media) Anne-Katrin Frenzel, Paul Kniep, Anton Jankowski, Cleo Pelte, Stephanie Tretow
Content
Conference Program 4
Keynotes 12
Session 1A – Pac-Man Theory 14
Session 1B – Industry History/VR 18
Session 2A – Content Analysis 27
Session 2B – JRPG in Context 32
Poster and Game Demo Session (PGS) 36
Session 3A – Para-gaming 43
Session 3B – Educational perspectives 48
Session 4A – Opinions and Discourses 53
Session 4B – History/Preservation 57
Short Paper Session SPA 62
Short Paper Session SPB 65
Session 5A – Japan-West/Intercultural 72
Session 5B – Cultural/Global Context 83
Session 6A – Industry criticism 87
Session 6B – Game Design/Difficulties 93 Conference Program
August 15 (Monday)
8:30 – 9:00 Registration @ Leipzig New City Hall (Neues Rathaus)
9:00 – 9:30 Welcome Address
• Prof. Dr. med. Beate A. Schücking, Rector of Leipzig University • Prof. Dr. Ulrich Brieler, City of Leipzig • Martin Roth, Leipzig University – Martin Picard, Leipzig University – Geoffrey Rockwell, University of Alberta – Mitsuyuki Inaba, Ritsumeikan University, Conference Co-Chairs • Masakazu Tachikawa, Director of the Japan Cultural Institute in Cologne (The Japan Foun- dation)
@ Leipzig New City Hall (Neues Rathaus)
9:30 – 11:00 Keynote ONE: TORU IWATANI, Tokyo Polytechnic University: The Secrets of the Interest for Playing PAC-MAN (Moderator: Koichi Hosoi, Ritsumeikan University)
@ Leipzig New City Hall (Neues Rathaus)
11:00 – 11:30 Coffee Break
Room S102 Room M104
11:30 – 13:00 Session 1A – Pac-Man Theory Session 1B – Industry History/VR
Chair: Akinori Nakamura, Ritsumeikan Chair: Akito Inoue, Ritsumeikan University University
Kill Screens, Reverse Flicks and Safe Reconsidering Interface and Playability of Japanese Spaces: Mastering and Breaking Pac-Man Portable Games from 1980s to 2000s: Focusing on James Newman, Bath Spa University Nintendo and Gunpei Yokoi Shunsuke Mukae, Ritsumeikan University Early reception of Pac-Man in Finland Jaakko Suominen, University of Turku An evolutionary process of the Home video game in Japan – The consequence of the development Consumption in the afterlife of Pac-Man productivity dilemma Paul Martin, University of Nottingham Fumihiko Ikuine, University of Tsukuba Ningbo China SAN-SHIKI Electric Bow System: Applying Projection VR to “Game Sport” Masasuke Yasumoto, Kanagawa Institute of Technology, Takehiro Teraoka, Tokyo University of Technology
13:00 – 14:00 Lunch Time
4 14:00 – 15:30 Keynote TWO: JUNKO OZAWA , Composer and Sound Designer: Game Sound of the 80s – The Marvelous Business of 8bit (Moderator: Koichi Hosoi, Ritsumeikan University)
@ Room S102
15:30 – 16:00 Coffee Break
Room S102 Room M104
16:00 – 17:30 Session 2A – Content Analysis Session 2B – JRPG in Context
Chair: Geoffrey Rockwell, University of Chair: Stefan Schubert, Leipzig University Alberta JRPG in the context of education Distancing War: Japanese videogames and Steffi Rehfeld, Otto-von-Guericke University WWII Magdeburg Rachael Hutchinson, University of Delaware “Very much like any other Japanese RPG you’ve ever played”: Text Analyzing 22 Years of JRPG Disaster Games from Anthropological Discourse Aspects- A Study of User Experience of Jérémie Pelletier-Gagnon, University of Alberta Zettai Zetsumei Toshi Series Saori Amano, Kahono Sakakibara, On Being a Trainer: Pokémon as a Role-Playing Kiyotaka Matsunaga, Nanzan University, Game Keiji Amano, Seijoh University Johannes Koski, University of Turku
Effects of Video Games Requiring Immediate Response on Emotional Experience Tomohiro Kimura, University of Tokyo
17:30 – 18:00 Coffee Break
18:00 – 19:00 Poster and Game Demo Session @ Moritzbastei
• How to Retain Players of Strategy Mobile Games? , Wei Wei, University of Alberta • Our Activities to Increase the Public Acceptance of Games for Society in Japan, Megumi Aibara, Masakazu Furuichi, Nihon University • Analog Gaming Culture in Japan (TRPG and Miniature Wargames Otaku), Philip Linde- mer, University of Bonn • The Design and Development of Turntable-type User Interface for Data-Browsing: A Case of Video Game Archives, Shinya Saito, Kazufumi Fukuda, Kazutoshi Iida, Ritsumeikan University • SAN-SHIKI Electric Bow System: Applying Projection VR to “Game Sport”, Masasuke Yasu- moto, Kanagawa Institute of Technology, Takehiro Teraoka, Tokyo University of Technology • Game Applications of Dynamic and Spatial Connections between Multiple Mobile Devices Masasuke Yasumoto, Kanagawa Institute of Technology, Takehiro Teraoka , Tokyo Univer- sity of Technology • AlexG – Bug Xterminator 1st public demo and feedback gathering, Nathanial Tan, University of Calgary
19:00 – 21:00 Conference Reception @ Moritzbastei
5 August 16 (Tuesday)
8:30 – 9:00 Registration @ Room M103
9:00 – 10:30 Keynote THREE: MASANOBU ENDOH, Tokyo Polytechnic University: The Making of 80’s Japanese Games～ Create World ～- in case of “XEVIOUS” & “the Tower of DRUAGA” – (Moderator: Koichi Hosoi, Ritsumeikan University)
@ Room S102
10:30 – 10:45 Coffee Break
Room S102 Room M104
10:45 – 12:15 Session 3A – Para-gaming Session 3B – Educational perspectives
Chair: Hiroshi Yoshida, Ritsumeikan Chair: Sonja Ganguin, Leipzig University University Game Design Combined with Science Workshop Representation of Play: Pachinko in Japan for Increasing Motivation in Studying Science in Keiji Amano, Seijoh University, Geoffrey Children Rockwell, University of Alberta Sara Hojjat, Chiaki Ikemoto, Tomoyuki Sowa, Kobe Design University Playing opera: The influence of European music traditions on the Japanese Expanded Motivational Study with Language and videogame “Final Fantasy VI” Culture Education Game Cäcilia Sauer, Leipzig University Akiko Sharp, Nathanial Tan, University of Calgary, Martin Roth, Svenja Schmitt, Leipzig Pac Man Fever. The Musical Legacy of University 1980s Japanese Video Games Melanie Fritsch, University of Bayreuth Game Applications of Dynamic and Spatial Connections between Multiple Mobile Devices Masasuke Yasumoto, Kanagawa Institute of Technology, Takehiro Teraoka , Tokyo University of Technology
12:15 – 13:15 Lunch Time
13:15 – 14:15 Keynote FOUR: MINAKO O’HAGAN, Dublin City University: Beyond All Your Base Are Belong To Us: The art of turning花鳥風月 into Painkiller or Osaka dialect into Welsh accent
14:15 – 15:15 Focus Session: “Working in the Game Industry”, Daniel Finck, Christoph Neubauer
Moderator : Martin Roth, Leipzig University
@ Room S102
15:15 – 15:45 Coffee Break
6 Room S102 Room M104
15:45 – 17:15 Session 4A – Opinions and Discourses Session 4B – History/Preservation
Chair: Fabian Schäfer, Friedrich- Chair: Martin Picard, Leipzig University Alexander-University Erlangen-Nürnberg A study of the “oral history” collection and Opinions and Opinion Leaders in the publication of an old arcade game Japanese Discourse on the Effects of Video Yoshihiro Kishimoto, Tokyo University of Games Technology Florian M. Kaiser, Goethe-University Frankfurt Proposal and Validation of the Data Model of Video Game Database Regional Game Studies—with a Chinese Kazufumi Fukuda, Akito Inoue, Koichi Hosoi, Example Ritsumeikan University Bjarke Liboriussen, University of Nottingham Ningbo China The Japanese origins of indie games: Cave Story and La-Mulana Exploratory Studies on the Sentiment Maria B. Garda, Paweł Grabarczyk, University of of the Globalization in Game Studios: Łódź Comparative Studies on Indies Studios from Singapore, Japan, North America and Europe Akinori Nakamura, Ritsumeikan University
17:15 – 17:30 Coffee Break
Room M102 (new room!) Room M104
17:30 – 18:30 Short Paper Session A Short Paper Session B
Chair: Mitsuyuki Inaba, Ritsumeikan Chair: Jérémie Pelletier-Gagnon, University of University Alberta
The Pit of Panga: Super Mario Maker and Free Love: Japanese Women’s Games, Fan Kaizo game design Translations, Gendered Otaku and Game Cultures James Newman, Bath Spa University and the Politics of Game Localization Sarah Christina Ganzon, Concordia University Mainstreaming Kaizo Nathan Altice, Independent scholar “Character AI” program practice example in the beginner-friendly game production education Seiki Okude, Ritsumeikan University
女性向けゲーム市場における消費者行動 Jin Nakamura, Japan University of Economics
Awakening of the game elements that lurk in the story Shosaku Takeda, Ritsumeikan University
18:30 – 19:30 Live Pac-Man Experience Jaakko Suominen, Usva Friman, Johannes Koski @ Room S102 7 August 17 (Wednesday)
8:30 – 9:00 Registration @Room M103
Room S102 Room M104
9:00 – 10:30 Session 5A – Japan-West/Intercultural Session 5B – Cultural/Global Context
Chair: Benjamin Bigl, Leipzig University Chair: Shuji Watanabe, Ritsumeikan University
The Aesthetics of Bad Translation: The Changing Imagery of Gaming and the Emergence Codification of a “Japanese Gamic of Re-playable Lives: Reflections of Gaming Experience” by way of the language barrier Practices across Japanese Pop-Cultural Media Tomás Grau de Pablos, Autonomous Selen Çalik, Kyoto Seika University University of Barcelona Umineko no naku koro ni: Reading Japanese novel Distinctive difference game titles between games in their cultural context, from information Japanese context and English context society to urban consumption Kazufumi Fukuda, Akito Inoue, Ernest dit Alban Edmond, Concordia University, Ritsumeikan University Paris Saint-Denis
Research on Serious-Game Design for Construction of Female Corporeality in Rune Inter Cultural Understanding mediated by Factory Frontier – Patterns of a Local and Global 3D Metaverse Discourse about the Female Body Juhyung Shin, Yan Jiao, Yehang Jiang, Sebastian Sabas, Heinrich Heine University Mitsuyuki Inaba, Ritsumeikan University Düsseldorf
10:30 – 11:00 Coffee Break
11:00 – 12:30 Session 6A – Industry criticism Session 6B – Game Design/Difficulties
Chair: Kazufumi Fukuda, Ritsumeikan Chair: Jan-Noël Thon, University of Tübingen University ‘Metroidvania’ As Japanese Take On (Semi‑)Open Developing new business models for World Game Design – From early platform games content creation in the Chinese game like Metroid and Castelvania to RPGs like Dark industry Souls and Bloodborne Paul Martin, Bjarke Liboriussen, Andrew Marc Bonner, University of Cologne White, University of Nottingham Ningbo China Moral Ambiguity and Player Complicity in the “Souls” Series Harnessing the Power of Persuasion: Thorsten Busch, Jason Begy, University of Strategies towards Increasing Women’s Konstanz & Concordia University Participation in Japan’s Game Industry Mimi Okabe, Geoffrey Rockwell, A theory that studies diversity for profit called University of Alberta Difficulty Engineering and Intrinsic Difficulty Shuji Watanabe, Ritsumeikan University Dark Side of the Sun: A controversial examination of the underworld of the Japanese video game industry John Szczepaniak, Freelance Journalist
8 12:30 – 13:30 Lunch Time
13:30 – 14:30 Roundtable: The Future of Japan Game Studies (Moderators: Martin Roth and Martin Picard)
14:30 – 14:45 Closing Remarks
@ Room S102
Retro Game Exhibition @ M 103 (at the coffee room)
Courtesy of poly.play poly.play möchte überraschen. Das ist sicher kein einfaches Unterfangen, schließlich ist poly.play ein Retrogame-Publisher und der Reiz von Retrogames ist ja, dass sie all das Altbekannte, das Altvertraute und Liebgewonnene einer Videospielkultur in sich tragen, die ansonsten steter Veränderung unterworfen ist. Bei poly.play ist der Blick zurück fest verbunden mit dem Blick nach vorn. poly.play veröffentlicht deshalb neue Spiele für klassische Systeme. Die aufwändigen Verpackungen mit diversen Extras, die sich am Golden Age der Heimcomputerära orientieren, werden dabei zum essentiellen Bestandteil des Gesamterlebnisses und schlagen eine Brücke von Altvertraut zu überraschend Neu.
9 Maps
Leipzig city map
1 Leipzig Central Station
4 Mensa (recommended 5 lunch venue) Reception Monday 19:00 ~
3 Main Conference venue 2 M102, M103, M104, S102 City Hall see additional map Opening Keynote
10 East Asian Institute at Schillerstraße 6
Entrance „Magazingasse“
M 103
M 102 Registration M 104 Staircase Coffee Lounge Gamespace
Staircase
Lavatory S 102
Elevator
Entrance „Schillerstraße 6“
11 Keynotes
12 The Secrets of the Interest for Playing PAC-MAN 「ＰＡＣ-ＭＡＮの面白さの秘密」
Toru IWATANI 岩谷徹, Tokyo Polytechnic University
Monday, 9:30-11:00 @ Neues Rathaus
Game Sound of the 80s – The Marvelous Business of 8Bit ８０年代のゲームサウンド ～８ｂｉｔの不思議な業界～
Junko OZAWA 小沢純子, Composer and Sound Designer
Monday, 14:00-15:30 @ S102
The Making of 80‘s Japanese Games～Create World～- in case of „XEVIOUS“ & „the Tower of DRUAGA“ -
Masanobu ENDOH 遠藤雅伸, Tokyo Polytechnic University
Tuesday, 9:00 - 10:30 @ S102
Beyond All Your Base Are Belong To Us: The art of turning 花鳥風月 into Painkiller or Osaka dialect into Welsh accent
Minako O´Hagan, Dublin City University
Tuesday, 13:15-14:15 @ S102
This presentation discusses game localisation from the as well as their solutions, together with the increasingly academic perspective of translation studies. Despite powerful presence of game fans beginning to influence its critical supporting role in the globalisation of the localisation decisions. Game localisation presents game industry, game localisation has been overlooked issues which are increasingly confronting translation in academia as a research domain until relatively in the 21st century as the world becomes wholly digital recently. However, as translation studies has begun to and wired. In this presentation I argue how game engage itself with the digital world game localisation localisation espouses the seeds of future of translation research has gained momentum. Drawing on the and is therefore a significant area of practice to expand research literature this presentation attempts to provide the theory of translation. an insight into the challenges that game translators face 13 Session 1A – Pac-Man Theory
Chair: Akinori Nakamura, Ritsumeikan University
Mo
1A
14 Kill Screens, Reverse Flicks and Safe Spaces: Mastering and Breaking Pac-Man
James Newman, Bath Spa University
This paper explores the creation and codification of improvisation’. In this way, the text oscillates between an strategies and techniques for playing, beating and inviting and ’regulatory’ mode of address (Burn 2006). breaking Namco’s Pac-Man (1980). The findings are The analysis of these various investigations of Pac- based on original archival research that draws on a range Man reveal an approach to play that I characterise as of early videogame strategy publications in addition to a form of reverse engineering that seeks to apprehend more recent technical investigations of the game’s code. the game at the systemic, algorithmic level rather than Riding the popularity of the then-new medium of at the representational level (Newman 2008). However, videogames, the 1980s saw the emergence of a new exploring more recent investigations of Pac-Man, we genre of book. With titles such as The Winners’ Book of note an altogether more technical mode of analysis. Video Games (Kubey 1982) and How to Beat the Video Taking advantage of the distribution of the game’s Games (Blanchet 1982), these mass-produced pulpy, ROM along with emulation and software analysis tools, paperbacks were concerned with revealing successful contemporary players have focused their investigations gameplay strategies for popular arcade games of the on the operation of Pac-Man’s underlying code. By period. Importantly, these volumes were written for investigating the flow of data through the program, the players by players rather than being tie-in products composition of the memory map, and the AI routines, associated with the development or retail of the games these investigations seek to explain the presence of the they addressed. As such, their analyses are arrived at ‘Safe-Spot’ and the infamous ‘Killscreen’ that brings the through repeated, systematic, investigative play. game to an unceremonious and unintentionally decisive Uston’s 156-page Mastering Pac-Man is a case in end on Map 256 (Hodges 2015). point as it seeks to zero-in on the system that underpins The Killscreen provides a fitting conclusion to the the game. The analysis is concerned with the four paper as we consider its status as game-breaking glitch, monsters’ artificial intelligence, the way in which Pac- delimiting enabler of the ‘Perfect Game’, and popular Man moves more quickly along empty channels when meme, (re)activated and celebrated in gaming culture eating through dots, and the way the tunnels function. with Hipster Whale/Bandai Namco Entertainment’s Mo Most importantly, the book’s purpose is to translate this Pac-Man 256 (2015). knowledge into exploitable strategy. Understanding the 1A differences in their pattern-finding behaviour allows References measured responses to the four monsters; knowing Blanchet, Michael (1982) How to Beat the Video that Pac-Man can outrun and outmanoeuvre certain Games, New York: Fireside. monsters by moving in open space or repeatedly Burn, Andrew (2006) ‘Reworking the Text: Online cornering them is key to evading their attacks, thus Fandom.’ In Computer Games: Text, Narrative and unveiling the counterintuitive and harnessable fact that Play, ed. Diane Carr, David Buckingham, Andrew Pac-Man can influence the movement of the monsters Burn, and Gareth Schott, 88–102. Cam- bridge, UK: by hesitating or even momentarily reversing and Polity Press. moving toward them while in the tunnels. Hodges, D. (2015) ‘Splitting Apart the Split Screen’, Ultimately, Uston et al’s analyses set out a number of donhodges.com
15 Early reception of Pac-Man in Finland
Jaakko Suominen, University of Turku
The paper deals with the question how the Pac-Man Aliisa - Sinkkonen, Tuomas – Stenfors, Leila game was received in Finland. The paper traces the (2011): „The Auditorium Pac-Man. Uses of a Game diffusion of official versions of the game in different Cultural History.“ A reflection paper. IADIS/ platforms as well as Pac-Man’s (1980) reception in GET2011 conference, Rome July 2011. popular media and public discourses. One main interest, Suominen, Jaakko & Ala-Luopa, Saara (2012): “Playing however, lies in the practices how computer hobbyist with Pac-Man: A Life and Metamorphosis of a appropriated the game when making new “homebrew” Game Cultural Icon, 1980-2011.” Wimmer, Jeffrey, versions and adaptations of the popular and iconic Mitgutsch, Konstantin & Rosenstingl, Herbert game. In addition, the paper introduces a case example (Eds.) (2012): Applied Playfullness. Proceedings of of double translation process related to Pac-Man: the Vienna Games Conference 2011: Future and The Finnish cover version of “Pac-Man Fever” song Reality of Gaming. Braumüller Verlag: Vienna, (originally made in the USA by Buckner and Garcia, in 165–176. 1982), “Pac-Man kuume” in 1983, which differed from Suominen, Jaakko (2013): “Videogames in the the original American version in its sounds and lyrics. Globalization. The Case of Finland.” Ritsumeikan The paper is based on contemporary sources such Studies in Language and Culture 24(2013): 2, as computing and game magazine articles and “Pac- 99–108. Man kuume” record in the early 1980s as well as on Suominen, Jaakko – Reunanen, Markku – Remes, oral historical sources such as interviews and online Sami (2015): ”Return in Play: The Emergence of inquiries. Retrogaming in Finnish Computer Hobbyist and Game Magazines from the 1980s to the 2000s” Literature Kinephanos – Canadian Journal of Media Studies Suominen, Jaakko – Saarikoski, Petri – Sinkkonen, (http://www.kinephanos.ca/2015/emergence-of- retrogaming/)
Mo
1A
16 Consumption in the afterlife of Pac-Man
Paul Martin, University of Nottingham Ningbo China
Pac-Man (Iwatani, 1980) is about eating. The game’s from the mouth, and placing him within richer social main character is nothing but mouth, incessantly settings, the meaning of consumption shifts. The Pac- chomping pellets, fruit and ghosts. The game’s designer Man of the original cartoon series is a Fred Flinstone- Toru Iwatani has said that he created Pac-Man to attract esque father of a young family. He is still greedy, but girls and women into the male space of the games his consumption is located within a benign domestic arcade, and thought that a game about eating would setting that contrasts sharply with Poole’s capitalist appeal to a female market (Donovan, 2010, p.87). He maze. Consumption also intersects differently with has also provided two different eating-related creation gender in this show, with the male characters much stories for the central character—that he is based on the more interested in eating than the female characters, shape of the Japanese word for “mouth” (kuchi, 口) and who often play the traditional female role of food- that he is based on the image of a pizza with one slice preparer. missing (Pittman, 2009, p.2; Kent, 2001, p.141). In the more recent cartoon, Pac-Man (or “Packster”) But if Pac-Man is about eating, then what is eating is a high-school student. Like Poole’s (2004) original about in Pac-Man? For Steven Poole (2004) Pac-Man’s Pac-Man, this version also “wants only one thing: insatiable appetite can be read in two ways. First, to feel whole” (p.307) but, while the original Pac- the game can be seen as a celebration of eating as Man is “doomed forever to metaphysical emptiness” empowering. This appealed, Poole argues, to women in (p.307) because his only means of achieving self- the early 1980s (p.312), presumably as a change from identity is through rootless consumption, for Packster dieting discourse that encouraged anxiety around food consumption is figured as a genuine means of self- consumption. Second, the game can be read as a satire discovery. on consumption in late-capitalism. This reading focuses on the reduction of Pac-Man to a pure consumer—a Reference list monadic mouth divorced from society, whose sole and 41 Entertainment, Arad Productions Inc., & Bandai terminal function is to consume (pp.307-8; see also Namco Entertainment. (2013-). Pac-Man and the Wade, 2014). Ghostly Adventures. USA, Canada and Japan. Mo These readings correspond to two paradoxes Donovan, T. (2010). Replay. The History of Video 1A Mark Paterson (2006) identifies in theories of Games. Lewes: Yellow Ant. consumption. First, consumption is both creative, in Hanna-Barbera Productions. (1982-1983). Pac-Man. that it consummates, and destructive, in that it uses USA: Warner Bros. . up the object consumed. Second, consumption is both Iwatani, T. (1980). Pac-Man: Namco. personally fulfilling and ideologically manipulative. Kent, S. L. (2001). The Ultimate History of Videogames. These paradoxes are present in Poole’s double-reading of New York: Three Rivers Press. Pac-Man, where Pac-Man’s appetite is both empowering Paterson, M. (2006). Consumption and Everyday Life. and so constitutive of a positive female identity but also London: Routledge. a representation of the destructive and ideologically Pittman, J. (2009). The Pac-Man Dossier. Retrieved malign role of consumption in late capitalism. 20/01/2016, 2016, from http://www.gamasutra. This paper traces these paradoxes of consumption com/view/feature/132330/the_pacman_dossier. further, through the re-imagining of Pac-Man in two php?page=2 cartoons: Pac-Man: The Animated Series (Hanna- Poole, S. (2004). Trigger happy : videogames and the Barbera, 1982-1983) and Pac-Man and the Ghostly entertainment revolution. New York: Arcade Pub. Adventures (41 Entertainment et al., 2013-). Wade, A. (2014). Dots, fruits, speed and pills: the Happy Eating and consumption remain key themes in these Consciousness of Pac-Man. Paper presented at re-imaginings, but by re-locating the main character DiGRA 2014, Utah. outside his maze, adding physical characteristics apart
17 Session 1B – Industry History/VR
Chair: Akito Inoue, Ritsumeikan University
Mo
1B
18 Reconsidering Interface and Playability of Japanese Portable Games from 1980s to 2000s: Focusing on Nintendo and Gunpei Yokoi 1980～2000年代の日本における携帯型ゲーム機のインタフェースとプレイアビリティの再検討──横 井軍平と任天堂を中心に
Shunsuke Mukae 向江駿佑, Ritsumeikan University
Game studies, which have been developed mainly in 北米・北欧を中心に発展してきたゲーム研究におい North America and North Europe, often deal with local て論じられるゲームは、現地で製作されたものや、 products or English versions. As they don’t belong to 英語圏向けにローカライズされたものが主体となっ western culture or were not often translated into English, てきた。非英語圏かつ非西洋文化圏に属する日本の Japanese games were sometimes hard to obtain and play ゲームは、市場規模や影響力の面で無視できない for western researchers due to linguistic, cultural and ものである一方、欧米の研究者たちにとってはオリ legal barriers. As a result, it is even harder to understand ジナルバージョンのプレイが物理的・言語的に難し the context in which a specific game, especially minor く、またそれらが日本のゲーム史、そして日本文化 one, belongs. のどこに位置づけられるのかというコンテクストの This presentation aims to help share the context 理解においても困難をともなうものであった。 which has prevented the connection of game studies 本発表は、これまで欧米と日本のゲーム研究の between Japan and western countries. It sheds the light あいだに破線がいれられる一因となってきたコンテ on the Japanese portable games from 1980s to 2000s クストの共有という問題に対し、1980年代から2000 especially on their technologies and acceptance for this 年代の日本の携帯ゲーム機の技術的な特徴とそれら purpose. The main subjects of this presentation are のゲームが日本国内でどのように受容されてきたか Nintendo, the most important company which has been という点の分析を通じて、より基礎的なレベルでの leading the development and distribution of Japanese 日米欧のゲーム研究の架橋を試みる。とりわけこの portable games, and its engineer Gunpei Yokoi, who 時期の日本国内の携帯ゲーム機の開発と普及に多大 invented Game Boy and other unique portable games. な影響を与えた任天堂と、その携帯機部門の中心人 As a result of the present study, we claim that both 物であった横井軍平がかかわったゲーム機およびそ Nintendo and Yokoi tried to improve the interfaces れらの対応ソフトを、インタフェースとプレイアビ Mo and playabilities, but in contrasting ways. On the リティの観点から比較検討する。 1B one hand, Nintendo has attached importance to 研究の結果、任天堂と横井がそれぞれ対照的な connection between portable games and non-portable 思想のもとでインタフェースとプレイアビリティの games, in which they have advantages like Super NES 改良を繰り返してきたことが見出された。スーパー (Nintendo Entertainment System) and Game Cube, ファミコンやゲームキューブなどの据え置き機も with attachments like Super Game Boy and Game 開発する任天堂が、スーパーゲームボーイやゲーム Boy Player. On the other hand, Yokoi emphasized the ボーイプレイヤーによる携帯機と据え置き機の接続 advantage of portable games, which do not require を重視したのに対し、横井はバーチャルボーイ(VB) additional monitors and external power supplies, やワンダースワン(WS)など、外部モニタやAC電源を through his Virtual Boy and WonderSwan. Besides, 必要としない携帯機の利点をより強調しようとし interfaces of portable games were standardized after た。またゲームボーイ(GB)以降、インタフェースの Game Boy had established its popularity. Some games 固定化が起こった。GBシリーズのほかネオジオポケ like SNK’s NeoGeo Pocket and NEC’s PC-Engine GT ットやPCエンジンGTなどでも、「左に方向キー（ス followed the style of Game Boy, which has an arrow key ティック）」「右にアクションボタン」という配置 or joystick on their left and action buttons on their right. が採用された。だが横井がかかわったゲーム&ウォ Yokoi, however, introduced unique arrangements into ッチ、VB、WSはいずれも独自の操作体系を持ってお interface design to take advantage of the empty spaces り、それらはゲーム内外の空間をより効果的に使う of both inside and outside of games. In this study, those べく工夫されていた。発表ではこうした両者の思想 differences of strategies and attitudes between Nintendo の違いについて、プレイ画面の静止画像や動画によ and Yokoi are highlighted with screen captures and って視覚的に説明する。 short playing movies. 本研究によってこれまで学術的観点から十分に This presentation provides a systematic紹介されてこなかったものも含めた日本のゲーム機 understanding of how Japanese portable games have の変遷とコンテクストを欧米の研究者たちが体系的 been changing and the context in which they belong に把握し、自国や英語圏のそれと比較する際の新た 19 including some important games still not widely known な指標を得ると同時に、日本の研究者にとっても、 as academic subjects for western researchers, and by 積極的な技術的冒険と今日のAR/VRの嚆矢とも言え doing so enables them to compare those and western る外部への拡張志向という点で、GBの陰に隠れがち games or their contexts. For Japanese researchers, ないわゆるマイナー機種のほうが、むしろ今後重点 this provides an opportunity to reconfirm that minor 的に研究対象とされるべきであることを再確認する portable games not as well-known as Game Boy now 機会になるだろう。 have great significance and priority to study as pioneers of VR movement and expandability, and engineers’ passions for innovation.
Mo
1B
20 An evolutionary process of the Home video game in Japan – The consequence of the development productivity dilemma 日本における家庭用ゲームソフトの発展過程―開発生産性のディレンマの帰結―
Fumihiko Ikuine 生稲史彦, University of Tsukuba
The home video game business originated in the United 家庭用ゲームのビジネスはアメリカで生まれ、日 States and was developed in Japan. Japanese companies 本で育ち、世界的なビッグビジネスになった。世 developed unique software and exceptional hardware, 界的なビッグビジネスである家庭用ゲームに関し and exported them to United States and Europe. A huge ては、既に研究が蓄積されている(野島, 2002; international market has shaped as a result. Numerous 新宅・柳川・田中, 2003; Aoyama & Ishizu, studies have already explored the home video game 2003; Clements& Ohashi, 2005; Johns, 2006; industry, since it is worldwide big one (Nojima, 2002; Storz, 2008; Subramanian et al, 2011; 生稲, Shintaku et al, 2003; Aoyama & Ishizu, 2003; Clements 2012; Balland et al, 2012; 上村・細井・中村, & Ohashi, 2005; Johns, 2006; Storz, 2008; Subramanian 2013; Cox, 2014)。しかしながら、中心的な部分 et al, 2011; Ikuine, 2012; Balland et al, 2012; Uemura に研究課題が残っている。それは、日本でゲーム et al, 2013; Cox, 2014). However, a key research issue ソフトがどのような発展を遂げたのかという問い remains unanswered—How has the Japanese game である。本研究ではこの研究課題に取り組む。 software evolved over the years? 研究対象とするのは1980 年代と1990 年代の日 This study responds to this research question. Firstly, 本のゲームソフト・ビジネスである。任天堂の it maps out the evolutionary process of the Japanese ファミリーコンピュータが発売された1983 年以 game software over time. Secondly, it demonstrates 降、1999 年までに発売されたゲームソフト7,162 innovation patterns in game software. Thirdly, it タイトルを分析対象とする。これらのゲームソフ explains the mech nisms behind these patterns. トをジャンル、シリーズ、ハードウェア(プラッ The subject of this study is the Japanese game トフォーム)との関係性、売り上げといった指標 software of the 1980s and 1990s. This study focuses on に基づいて分類し、変化を定性的に記述する。こ the 7,162 game titles released by Japanese companies の発展プロセスを踏まえてイノベーション・パタ from 1983 through 1999. We categorize them by genre, ーンを示し、その背後のメカニズムを解き明か series, relation to hardware (platforms) and sales す。 Mo metrics. Furthermore, we acknowledge events that are 「マリオブラザーズ」や「パックマン」、「ド 1B considered to be innovations given their qualitative ラゴンクエスト」などのゲームソフトによってゲー descriptions. Then we consider whether certain ムとはなにかが共有され、他製品が影響を受け、人 innovation patterns can be identified. 々の時間の使い方も大きく変わった。それゆえ、 As Japanese companies produced excellent game これらの事象はイノベーションであった。とくにゲ software titles such as Mario Bros., Pac-Man and ームソフトとはなにかを新しく打ち立てた点におい Dragon Quest (Warrior), they led the shared concept て創造的イノベーションだと認定できる。しかし of what the games are. They impacted subsequent titles ながら、創造的イノベーションの発生は1986 年前 and vastly changed how people spend their time. These 後に停滞し始める。その後は、既に確立した範疇に phenomena are therefore innovations. Particularly, おいて完成度を上げる製品差別化競争、継承的イノ some game software titles can be recognized as creative ベーションの時代に移行した(＜表1＞)。イノベー innovations due to the fact that the dominant categories ションの既存研究 (Abernathy, 1978; Utterback, were established by them. However, creative innovation 1994; Christensen, 1997)と符合するイノベーショ stagnated around 1986, after which the industry entered ンの変化が、技術も市場環境も異なるゲームソフト an era of inherent innovation. In the era of inherent 分野でも生じていたのである。では、いかなるメカ innovation, competition was seen in terms of product ニズムが働いてイノベーション・パターンは現出し differentiation that increased the sophistication of titles たのか。本研究では企業の開発活動の中にイノベー within the established categories. Table 1 summarizes ション・パターンを生じさせる原因があったと考え the shift from the creative innovation era to the inherent る。そのメカニズムは開発生産性のディレンマと呼 innovation era. This pattern of product innovation is ぶことができる。世界市場を牽引していた1990 年 corresponding to the patterns of other industries, which 代までの日本のゲームソフト・ビジネスは、その外 was indicated by the existing research on innovation 観とは裏腹に、開発活動およびイノベーションの変 (Abernathy, 1978; Utterback, 1994; Christensen, 1997), 化という内なる課題を持っていたのである。 although their technologies and market environments 21 are different. ＜データおよび資料＞ What mechanisms were at work in the emergence 『ゲーム白書2000』 (2000) コンピュ－タエン of innovation patterns? This study provides an タ－テインメント協会. interpretation with a focus on corporate behavior. 『月刊トイジャーナル』東京玩具人形問屋協同組 The fundamental factor posited by this study is the 合. (1991 年5 月号、1992 年10 月号、1993 年3 increased difficulty of striking a balance between 月号、1994 年6 月号、1995 年6 月号、1996 年7 development management geared towards realizing 月号、1997 年7月号、1998 年7 月号、1999 年7 novel ideas and development management geared 月号、2000 年7 月号) towards improving development productivity. In other 『レジャー白書』 (各年版) 財団法人 余暇開発 words, many Japanese companies found it difficult to センター. balance development productivity with the pursuit of 『情報メディア白書 ‚94』電通総研. originality, i.e., they faced development productivity 『情報メディア白書 ‚95』電通総研. dilemma which became gradually serious. This resulted 『情報メディア白書 ‚98』電通総研. in innovation patterns. The Japanese game software industry may have led the global market throughout メディアクリエイト社提供データ the 1990s, but it had internal problems with innovation アンビット社提供データ changes that were not apparent externally.
Data The Toy Journal (1991, 1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000). Tokyo Toy and Doll Wholesalers Cooperative Association, Tokyo. White Paper on Leisure (1982, 1983, 1984, 1985, 1986, 1987, 1988, 1989, 1990, 1991,1992, 1993, 1994, 1995, 1996, 1997, 1998, 1999, 2000). Leisure Development Center, Tokyo. Research for Information and Media Society (1995). Dentsu Innovation Institute, Tokyo. CESA Games Mo White Paper (2002). Computer Entertainment Suppliers Association, Tokyo. 1B Data provided by Media Create Co., Ltd. Data provided by Ambit Co., Ltd.
22 Mo
1B
23 References value capture, power relations and embeddedness. Abernathy, W. J. (1978). The Productivity Dilemma: Journal of Economic Geography, 6(2), 151-180. Roadblock to Innovation in the Automobile Nojima, M. (2002). Community and business strategy: Industry. Johns Hopkins University Press, case studies in the online game industry. Akamon Baltimore, MD. Management Review, 1(7), 527-560. Retrieved from Aoyama, Y., & Izushi, H. (2003). Hardware gimmick http://www.gbrc.jp/journal/amr/=AMR1-7.html 野 or cultural innovation? Technological, cultural, 島美保 (2002)「コミュニティと企業戦略の適合モ and social foundations of the Japanese video game デル―オンライン・ゲーム産業の事例」『赤門マ industry. Research policy, 32(3), 423-444. ネジメント・レビュー』1(7), 527-560. Balland, P. A., De Vaan, M., & Boschma, R. (2013). Shintaku, J., Yanagawa, N., Tanaka, T. (eds.) (2003). The dynamics of interfirm networks along the Economic Analysis on Game Industry. Toyo Keizai industry life cycle: The case of the global video Shimpo-sha, Tokyo. 新宅純二郎, 柳川範之, 田中 game industry, 1987–2007. Journal of Economic 辰雄 (2003)『ゲーム産業の経済分析』東洋経済 Geography, 13(5), 741-765. 新報社. Christensen, C. M. (1997). The Innovator’s Dilemma: Storz, C. (2008). Dynamics in innovation systems: When the Technologies Cause Great Firms to Fail Evidence from Japan‘s game software industry. (Rev. ed.). Harvard Business School Press, Boston, Research Policy, 37(9), 1480-1491. MA. Subramanian, A. M., Chai, K. H., & Mu, S. (2011). Clements, M. T., & Ohashi, H. (2005). Indirect Capability reconfiguration of incumbent network effects and the product cycle: Video games firms: Nintendo in the video game industry. in the US, 1994–2002. The Journal of Industrial Technovation, 31(5), 228-239. Economics, 53(4), 515-542. Uemura, M., Hosoi, K., & Nakamura, A. (2013). The Cox, J. (2014). What makes a blockbuster video game? life and times of the Nintendo Famicom: the birth An empirical analysis of US sales data. Managerial of TV games. NTT Shuppan, Tokyo. 上村雅之, 細 and Decision Economics, 35(3), 189-198. 井浩一, 中村彰憲 (2013)『ファミコンとその時代」 Ikuine, F. (2012). Development productivity dilemma: 』NTT 出版 The innovation patterns in the digital age. Utterback, J. M. (1994). Mastering the Dynamics of Yuhikaku, Tokyo. 生稲史彦 (2012)『開発生産性の Innovation. Harvard Business School Press, Boston, Mo ディレンマ』有斐閣. MA. Johns, J. (2006). Video games production networks: 1B
24 SAN-SHIKI Electric Bow System: Applying Projection VR to “Game Sport” 参式電子弓–プロジェクション方式ＶＲによるゲームスポーツへの応用
Masasuke Yasumoto 安本匡佑, Kanagawa Institute of Technology, Takehiro Teraoka 寺岡丈博, Tokyo University of Technology
In this study, we applied our SAN-SHIKI Electric Bow 近年VR に関する様々な研究やゲームへの応用が System (hereinafter referred to SAN-SHIKI) to a “Game なされているが、その多くはＨＭＤを用いるもの Sport” which helps a player experiment the drawing が多い。ＨＭＤはヘッドトラッキングを有してい and shooting of a bow more realistically. るものが多く、また近年では視野角も広いため、 SAN-SHIKI is a game device which consists of a あたかも自分の周囲に世界が広がっているかのよ real archery bow’s components and some pieces of うに人の感覚をある程度騙すことができる。しか equipment. It includes a Windows PC, a microcomputer しながら両眼視差を用いた立体感覚の演出は依然 (Arduino Nano and control boad), 9-axis sensor (VN- として不完全であり、目の前のディスプレイ付近 100 Rugged), a mobile laser projector, and a battery, のわずかな距離での視差は感じさせることができ Mo so it is just a stand-alone running game device. When ても、現実の我々の手を前に伸ばした時に感じら 1B the player holds this device, an image determined れる手の位置は映像よりも奥に感じられてしま from the parameters of the 9-axis sensor and the う。また３Ｄ酔いも依然として存在し、ＨＭＤを player’s shoulder height and arm length is projected つけた状態で、全力で身体を動かし走ったりする in the player’s shooting direction. If the player aims at ことは困難である。 targets in any directions, this system can display images 我々は身体的没入感をテーマにとし、全力で身 corresponding to each direction; therefore, the player 体を動かすことが可能なスポーツへの応用を見据え can play the projected contents on room’s walls, floor, たシステムを開発した。身体的没入感とはつまり、 and ceiling as if the room were changed into an all 自分の周囲に別の世界が広がっているかのように、 virtual space. 視覚的、聴覚的、身体的に感じさせることができる SAN-SHIKI does not require a real arrow to shoot a ことである。そして人の手とは道具を使うために発 virtual content. When the player draws this device as if 達した器官であり、それゆえに手から感じられる情 the player bent a real arrow and released it, the system 報は多い。それゆえに道具を操作することを前提と obtains the parameters of fine strain on the bow’s limb し、それを持った時に感じられる重さ、温度、硬 from the strain gauge and sends them to the Windows さ、感触、そしてそれを使ったときに感じられる振 PC via the microcomputer. Then, a flying virtual arrow 動や変化などのフォースフィードバック以上の感覚 is projected as if the arrow were shot in real time. を使用するため、現実に存在する道具をもとにする Additionally, this device has solenoid mechanism which ことを考えた。近接攻撃武器では相手にあてた時と acts as a clicker. This solenoid mechanism operates 当たらなかった時で感触を変えなければならず、そ when the player draws this bow to the limit of bending のリアリティの追及と表現はグロテスクになり、面 deflection; the player can know a release point of the 白さとは別のものである。遠距離武器では当たった virtual arrow. Thus, by using this device, the player can かそうでないかは関係なく、撃った時の感触が存在 feel shooting a real arrow. すればよい。そこでアナログ的に威力を調整可能で Therefore, SAN-SHIKI is an immersive system that 安全性の高い弓を素材として選定した。 25 changes a room into a virtual space, surrounding the 参式電子弓は洋弓をベースとして、内部にコン players in 360°, in which techniques of drawing a bow ピュータ、センサ、バッテリ、プロジェクタなどを and shooting real arrows can be practiced. 全て内包したスタンドアローンで動作可能なゲーム デバイスである。弓を向けた方向を認識し、その方 向にゲーム空間中のその方向の映像をリアルタイム に投影する。つまり自分の周囲に世界が広がってお り、自分が狙っている方向だけその映像が見えるの である。また、弓としてのリアリティを追求し、弦 の引き量を常に計測し、限界近くまで弦を引くと現 実のリカーブボウに存在するクリッカーを模したソ レノイドによる機構が作動する。参式電子弓では矢 は使用しないが、あたかも矢が存在するかのように 弦を引き空射ちすると、その引き量に応じて弦を話 した瞬間に、センサが反応し、その情報はマイコン を経由しコンピュータに送られ、仮想の矢をプロジ ェクタよりリアルタイムに投影される。これにより 本当に矢を撃ったように感じさせられるのである。
Mo
1B
26 Session 2A – Content Analysis
Chair: Geoffrey Rockwell, University of Alberta
Mo
2A
27 Distancing War: Japanese videogames and WWII
Rachael Hutchinson, University of Delaware
This paper examines the representation of war in arena and features actual battleships from history, the Japanese videogames. War-themed strategy games and game simultaneously eroticizes and trivializes war first-person shooters are extremely popular genres in through the use of hyper-sexualized female figures. It the North American and European markets, with titles is telling that the more recent, gender-swapped version such as Call of Duty (Infinity Ward, 2003) allowing of the game, Touken Ranbu (DMM, 2015) is not set players to experience historical battlefields in WWII. in the modern era but follows a sword-based, fantasy However, the Japanese market, while dominant in the theme. While Touken Ranbu showcases masculinity, it world videogame industry, is noticeable for a lack of is a sexualized and objectified machismo that has once such titles. Until recently, the most popular ‘war games’ again reverted to the distance of the feudal aesthetic. have tended to indicate strategy games set in the feudal This paper argues that a prevailing attitude of era, with titles such as Nobunaga’s Ambition (Koei, 1983) ambivalence towards the Japanese role in WWII and Onimusha (Capcom, 2001) enjoying a large fan plays a large part in the unwillingness of developers base. However, the emphasis on the historical setting to tackle such contentious issues in a game narrative. in these titles distances players from modern warfare. In this context, the Metal Gear Solid series of Kojima Games which feature planes and warships from Hideo stands out for its serious treatment of nuclear WWII have included 1942 (Capcom, 1984) and its weapons and human responsibility. I will end with sequel 1943: Battle of Midway (Capcom, 1987), or the a short treatment of Metal Gear Solid (1998) as a Steel Knight (Koutetsu no Kishi) series from General significant text in the Japanese discourse on war. While Support in 1991. However, these games take the point the series is problematic, positioning Japan as a victim, of view of the Allies in the Pacific Theater or the I hope to demonstrate that it gives value to the ‘non- Germans in Europe, avoiding the Japanese side of the heroic’ narrative of the Japanese wartime experience. Pacific War. More recently, DMM Games introduced Interestingly, Kojima’s series pioneered the stealth the Kantai Collection online game (2013), with cards action third-person shooter genre, coming full circle as featuring WWII battleships anthropomorphized as a major influence on Western shooters and war games. Mo young women. Although this title is based in the Pacific
2A
28 Disaster Games from Anthropological Aspects- A Study of User Experience of Zettai Zetsumei Toshi Series
Saori Amano, Kahono Sakakibara, Kiyotaka Matsunaga, Nanzan University, Keiji Amano, Seijoh University
1: Disaster game from anthropological view Questions will be divided into two sections. The first This research has an aim to study the peculiarity section is about informant’s game experience in order of Japanese culture through the game series Zettai to know how they are familiar to be in a fictional Zetsumei Toshi originally released in Japan and localized environment as a game player. The second section is in the US as Disaster Report and in Europe as SOS: The about how informants feel for actions of characters, Final Escape In particular, by playing this game, we see appearance ofstages, and items on the game, while they points in which non Japanese players feel awkwardness are playing this game in order to know the different or uncomfortableness and also try to see why they feel way of feeling depending on informant’s cultural that way from an anthropological view. background. The game seriesZettai Zetsumei Toshi is an action McLuhan (1999) said “The games of a people reveal a game based on a made up disaster city in Japan. The great deal about them” [McLuhan 1999: 238]. From an main character needs to escape from a dangerous place anthropological aspect, we can also say it is helpful for to one that is safe. This game has a foreign version but understanding yourself and others to focus on these the only difference is the appearance of characters. The uncomfortable feelings people feel through the game story line in those versions is the same. and to find the cause of that feeling. It is because those uncomfortable feelings come from encounters with 2: Anthropology in Games others. Concretely, this research is to examine how the “user experiences” are reflected by each person’s cultural 3: Different Discourses background. Japan has a lot of earthquakes compared to the other Mizutani (2002) pointed out that occurrence of countries. Disaster is one of the biggest aspects when disaster is caused by the power of nature, natural you think about Japanese society or Japanese culture. elements (such as topography and soil condition) This time, we expect that we are going to see something Mo and social elements (such as population, facilities and new by watching other people’s perspective through 2A industrial distribution). In this research, we focus Zettai Zetsumei Toshi. on foreign people who live in Japan as one of the In this presentation, we report the information social elements. We think Zettai Zetsumei Toshi that which we collect from informants and the different is originally based on Japanese society unwittingly discourses of this game in the review sites in Japan and explain Japanese “culture of disaster (Sasamoto 2003)”, other countries. that is, an accumulated collective consciousness and behavioral pattern against disaster [Yamaguchi and Bibliography Tanaka 2003:23]. The choices the player makes or the Hiroshi Yamaguchi and Kyoko Tanaka, 2010, acts which the characters make throughout the game Introducing Multicultural Perspectives into Natural are very natural for those who are raised in Japan. Disaster Management , Journal of the Education However, it can be unnatural for those who are raised in Center for International Students(8):2231, Nagoya other cultures. We try to figure out the reason why they University. feel peculiarities. Marshall McLuhan, 1999, Understanding Media – The The method of this research is mainly based on Extensions of Man , the MIT Press. an inquiring survey. We will listen to some “user Regina Bernhaupt, 2015, Game User Experience experiences” from those who are from other countries Evaluation , Springer. and those that are here living in Japan. The interview Shoji Sasamoto 2003, Saigai Bunkashi no Kenkyu, will be conducted in English and Japanese. Koshi Shoin. For the interview we will make a list of questions. Takeshi Mizutani 2002, Shizensaigai to Bousai no Kagaku, University of Tokyo Press.
29 Effects of Video Games Requiring Immediate Response on Emotional Experience
Tomohiro Kimura, University of Tokyo
This study examines the effects of video games on no significant differences in salivary α-amylase among emotional experience and stress response. Two the three groups in Experiment 1 and between the two experiments were conducted using the Emotion and groups in Experiment 2. However, there were significant Arousal Checklist and salivary α-amylase. Subjective differences in the subjective indexes: tense and energetic data from the questionnaire and saliva samples were arousals were significantly evoked in both the skill- collected twice, before and after participants played learning group and the fighting group. Additionally, video games. In Experiment 1, 30 university students the results show that expert players, defined as those were randomly assigned to the following three groups: who have long-term experience with a particular video skill learning, fighting, and control, comprising 10 game, sustained energetic arousal for longer than those participants each. The skill- learning group and the without such experience. fighting group both played a fighting game. The skill- learning group played in training mode, which requires Games players to learn skills for the fighting game, while the Project Soul. Soulcalibur: Broken Destiny. [PSP]. Namco fighting group played in match mode, in which players Bandai Games, 2009. fight computer-controlled characters. The control FromSoftware. Monster Hunter Diary: Poka Poka Airou group played a game in which players leisurely enjoy Village. [PSP]. Capcom, 2010. village life. In Experiment 2, 10 expert players and 10 Project Soul. Soulcalibur V. [PS3]. Namco Bandai novice players participated, with each group playing Games, 2012. another fighting game. The results show that there were
Mo
2A
30 Figure 1. Mean salivary α-amylase activity results from Experiment 1.
Mo
2A
Figure 2. Mean Energetic arousal + results from Experiment 1.
Figure 3. Mean Energetic arousal + results from Experiment 2. 31 Session 2B – JRPG in Context
Chair: Stefan Schubert, Leipzig University
Mo
2B
32 JRPG in the context of education
Steffi Rehfeld, Otto-von-Guericke University Magdeburg
The discipline of Game Studies has shown that games game. It is based on the “persona”-theory of the Swiss are much more than mere entertainment (e.g. Fromme/ psychologist Carl Gustav Jung which describes basically Biermann/Unger 2010). While they foster diverse processes of socialization that create a metaphorical competences regarding reaction time, tactics or mask of a certain self-image. It is like a social role social skills, games can also provide different types of played by a person to be accepted by society. Although knowledge (see, e.g., Könitz/Fromme 2014). Although his theories are not directly communicated to the player they are being seen as a progressive medium for within the game, they can be understood due to the education, at least within the field, their acceptance structures of the game. The player fights evil versions in society for educational purposes is worthy of of his team members and learns by means of sound, improvement. The intent of my research is to show the visualization, gameplay and the narrative that people in educational potential of Japanese games by analyzing society generally wear masks to hide their flaws. The two examples of the genre JRPG. second game is the well-known Final Fantasy X (Square Among all the different genres, I will focus on the 2001). In the center of this game is not only a love story, quite widespread genre of Japanese role-playing games but more importantly, especially for my research, it (JRPGs). It is one of the most popular genres from Japan teaches the player media literacy, e.g. a critical view on (Nakayama 2015) and has certain characteristics which what is presented as facts. This is achieved by building are interesting for educational purposes. Roggers (2014, up a story full of wrong expectations which will then p. 497) describes a key aspect of this genre by stating be slowly investigated and questioned throughout the that that “[a] greater emphasis is placed on interpersonal journey within the game. relationships and story than found in traditional RPGs.” In conclusion, I’m going to show that the In their 2009 book Jörissen and Marotzki have shown characteristic features of the JRPG genre create an that the possibility of changing the appearances of an educational space which could possibly be adapted to avatar can result in a personal expression of the player the area of Serious Gaming. and identification with the avatar. The JRPG genre Mo uses mostly premade characters whose appearances or References: characteristics can’t be changed. The player is thus more Fromme, Johannes/Könitz, Christopher (2014): 2B of an observer who can reflect from a distance upon the Bildungspotenziale von Computerspielen avatar’s actions and behavior. – Überlegungen zur Analyse und Because of the few studies in the field of JRPG, I bildungstheoretischen Einschätzung eines hybriden follow a quality research-orientated approach. Medienphänomens. In: Marotzki, Winfried/Meder, As method for my research I have chosen the Norbert (Hrsg.): Perspektiven der Medienbildung. Computer Game Analysis Model by Fromme and Wiesbaden: Springer VS, S. 235-286. Könitz (2014). This model focuses on the narrative and Fromme, Johannes/Biermann, Ralf/Unger, Alexander structural level of games as well as their educational (2010): »Serious Games« oder »taking games potential. Therefore, it follows the argument of Marshall seriously«? In: Hugger, Kai-Uwe/Walber, Markus McLuhan’s (1994) famous quote “the medium is the (Hrsg.): Digitale Lernwelten. Konzepte, Beispiele message”. I work under the assumption that the narrative und Perspektiven. Wiesbaden: VS Verlag, S. 39-57. level is not the only component which is important for Jörissen, Benjamin/Marotzki, Winfried (2009): “sending the message”. As I have mentioned before, the Medienbildung – Eine Einführung. Stuttgart: UTB genre of JRPG already has certain structures which it is Verlag well-known for. Jung, Carl Gustav (2015): Zwei Schriften über With the help of this model I will analyze two games Analytische Psychologie. Ostfildern: Patmos Verlag in an exemplary manner. The first one is Persona 4 Nakayama, Atsuo (2015): The Third Wave of Japanese (ATLUS 2012). The series had (and still has) a huge Games. Kyoto: PHP Institute, Inc. commercial impact on Japan. This impact resulted in Roggers, Scott (2014): Level Up! The Guide to Great the subsequent production of two anime and different Video Game Design. 2nd Edition. Chichester: John spin-off games. The interesting aspect is the plot of the Wiley & Sons Ltd.
33 Very much like any other Japanese RPG you’ve ever played”: Text Analyzing 22 Years of JRPG Discourse
Jérémie Pelletier-Gagnon, University of Alberta
What are we truly saying when we talk of JRPG? role-playing games in Anglophone online gaming press. Over the years, the field of games studies has This approach relies on the distant reading (Moretti) of adopted the term JRPG as a viable genre category to a large corpus of 2054 JRPG reviews published by ten identify a certain corpus of video games originating different websites spanning 22 years between 1992 and in Japan and that has penetrated the Western video 2014. This corpus was analyzed using the Voyant tool set game cultural landscape since the 1990s. However, developed by Stéfan Sinclair and Geoffrey Rockwell, and a closer examination indicates that the spread of MALLET (MAchine Learning for LanguagE Toolkit), this term is deeply dependent on the global network an open-source topic modeling software developed by proving the distribution and reception of these games, Andrew McCallum. The former is a comprehensive tool sometimes relying on journalistic and fan discourses to that allows for a variety of approaches ranging from the do so. Indeed, while the term is broadly used in North generation of text clouds to searching for the frequency American and Europe, talks of a specific JRPG genre in of specific words while the later is a software dedicated Japan are virtually nonexistent. to the generation of topics from a corpus to highlight The notion of JRPG is a difficult object to handle in relationships between its individual texts. The results of the context of academic enquiry, often leading writers this text analysis will provide a comprehensive picture to address them only in term of broad generalization of the dominant discourses provided by the gaming cultural determinism. So far, little academic work had press since the 1990s, explaining the circumstances of focused on uncovering the circumstances of the rise the introduction of the term JRPG in Anglophone video of JRPG as a genre denomination in gamer parlance. game culture vocabulary. The presentation of these Douglas Schules has explored modern JRPGs in the results will focus on three specific years that are key in light of the kawaii culture (2015) and has also raised understanding the evolution of this discourse: 1997, academic interest in the definition of JRPG within fan 2004 and 2007. communities as a negotiation between the elements of Mo gameplay mechanics, fictional settings and Japanese Works Cited exoticism, striving to pin-point where exactly JRPGs Kasavin, Greg. “Final Fantasy VII Review” 2B begin to diverge from traditional RPGs understood Videogamespot. September 29, 1997. to belong to the Western game design tradition McCallum, Andrew Kachites. “MALLET: A Machine (2012). More research is certainly warranted, but a Learning for Language Toolkit”
34 On Being a Trainer: Pokémon as a Role-Playing Game
Johannes Koski, University of Turku
The 20th anniversary of Pokémon videogames offers a 2008, Mackay 2001, Kamm 2011, Huber 2009). This is chance to look back on this seminal Japanese transmedia connected to studies of the various Japanese transmedia franchise and turn a critical eye at the two decades of practices known as media mix (e.g. Steinberg 2012 & history and development it has gone through. 2015; Ōtsuka 2010). By doing so, openings are created Throughout its existence, Pokémon has been for examining role-playing – both as an activity and as examined from many angles. Its origin as a videogame a collection of transcultural entertainment objects – in and the effects this heritage has had on the whole Pokémon. entertainment supersystem (Kinder 1991, 122) of Stemming from a heritage of role-playing games and Pokémon, however, have often been neglected. The first deploying an almost extreme usage of the media mix, videogames in the series came about at a time when Pokémon has over the years become an ontologically Japanese console role-playing games had already become complex participatory form of storytelling. By an established genre, and the logic of this growing genre proliferating the “Pokémon Trainer” as an identity and along with Pokémon’s unique contributions to it ended primary position for consumers, Pokémon transforms up becoming central to the whole emerging franchise. interaction – be it playing the videogames or visiting a Though comprised of many different media,Pokémon – real-life Pokécenter – into a form of role-playing where at its heart – is constructed around role-playing games. the storyworld and the players’ quotidian reality bleed But in all this, a question looms unanswered: what into each other, forming a ludic frame of interaction does it mean for Pokémon to be a roleplaying game? It and interpretation – an enchanted everyday. is easy to call Pokémon a role-playing game or a “JRPG”, This analysis of Pokémon’s design offers a closer look but the history and implications behind this statement at the modalities of Japanese console role-playing games are all too rarely examined. and helps in positioning them among the wider global To formulate an answer, I position Pokémon in field of role-playing games. Added to the work done on relation to the transnational history of role-playing and Pokémon in the last 20 years, it also helps us to further role-playing games; I analyze them as phenomena tied understand the draw of Pokémon’s media mix and the to local traditions but being affected by global flows of role-playing aspects inherent in it – with implications to Mo popular culture. In this, I draw on research of roleplaying the development and reception of Japanese pop culture 2B (e.g. Heliö 2004, Montola 2008, Waskul 2006) and role- far and wide. playing games, from tabletop games to live-action role-play and from computer role-playing games to KEYWORDS: Pokémon, role-playing games, game console role-playing games (e.g. Hitchens & Drachen design, transmedia, media mix
35 Poster and Game Demo Session (PGS)
Mo
PGS
36 How to Retain Players of Strategy Mobile Games?
Wei Wei, University of Alberta
With the development of software and hardware of From the research by Apsalar.com (Figure 2-2), the mobile devices, more and more users turn to play value of propensity for in-app purchases shows the mobile games rather than desktop games. Among potential business value of different types of games. diverse categories of games, strategy games show an Generally, the strategy games gain the most profits outstanding performance on the gross of downloading among others. and business value. A strategy game or strategic San Francisco-based Flurry took a look at different game is a game in which the players‘ un-coerced, genres of games to see how they retain and engage and often autonomous decision-making skills have a users over 90 days (Figure 2-3). In the research, a high significance in determining the outcome. Team phenomenon caught my attention that strategy games strategy, Simulation, and war-game are three of most present the most frequency of use per week, however popular subclasses of strategy game. Therefore, in this only less than 20% of users retained them. paper, I will focus on three successful games covering Normally, the factor of a great number of players these three subclasses, Clash of Clans, Plague Inc. and and high incomes should be proportional to the degree SimCity BuildIt. of popularity and retention. However, why there is a Through analyzing top 25 mobile games contradiction of strategy games? downloading times for both free and paid of iPhone With these concerns, two main questions of this and iPad games in http://www.topappcharts.com/, paper are: nearly a quarter of which are strategy games (Figure • What features make strategy games more playable? 2-1). From the Figure, we could see the potential value • What can designers do to improve customer reten- of strategy game for its great volume players, intriguing tion on strategy games? me to study on this topic.
Mo
PGS
37 Our Activities to Increase the Public Acceptance of Games for Society in Japan 我が国におけるゲームの社会的受容性向上に向けての我々の取組み
Megumi Aibara 粟飯原萌, Masakazu Furuichi 古市昌一, Nihon University
Just like anime, computer games are a form of Japanese ゲームはアニメと同様海外で人気のある日本文 culture that is popular overseas, and they are one 化であり，我が国の代表的な産業の一つであ of Japan’s representative industries. The scale of the る．2014年の国内ゲーム市場規模は1兆1,925億 domestic Japanese game market reached 1.1925 trillion 円[1] ，このうちスマートフォン向けのゲーム yen (100B Euro) in 2014 [1], and of this the games が7,154億円と突出してゲーム市場を牽引してい aimed at smartphones led the market by posting an る．また，関連企業の1社当たり平均従業員数は outstanding figure of 715.4B Yen (6B Euro). In addition, 371人[2]で，中～大規模の企業が多いことがわ the average number of employees per company of related かる．一方，2016年3月の人口が我が国の7分の1 corporations was 371 persons [2], and it can be seen that (1,700万人)のオランダにおける2014年度のゲー the majority were medium or large sized corporations. ム市場規模は680億円[3]，従業員の総数は3,030 On the other hand, it has been reported that the scale 人，平均従業員数は6.7人[4]と報告されている． of the video game market in the Netherlands, whose オランダでは近年ゲームソフト産業が急成長して population as of March 2016 was 1/7 that of Japan おり，2011年に320社だったゲーム会社が2015年 (17M persons) was 568M Euro (68B Yen) in FY2014[3], には455社と42%増大した． the total number of employees is 3,030 persons and オランダにおけるゲーム市場拡大の牽引力とな the average number of employees is 6.7 per company. っているのは，社会における“ゲーム”の受容性の In the Netherlands, the game software industry has 高さであると考えられる．例えば，国内の全市長が grown rapidly in recent years, and the number of game 危機管理対処能力を高めるためのゲームを毎年実施 companies has increased by 42% from 320 companies し，鉄道会社の社員は乗客とのトラブル対処等を in 2011 to 455 companies in 2015. ゲームにより訓練し，医療機関の一部はゲームの企 The thing that is propelling forward the expansion 画・開発を行うセクションを持っている．このよう of the computer game market in the Netherlands may に，会社や組織等で訓練，研修，医療支援等のため Mo be the high degree of acceptance of “games” among the に利用されるゲームのことをオランダではアプライ public. For example, all of the mayors in the Netherlands ドゲームと呼び（我が国ではシリアスゲームと呼 PGS carry out annually games in order to raise the ability ぶ），上述した455社中119社がアプライド専業，35 of their decision making to cope with crises, and some 社がエンタテイメントとアプライドの兼業である． healthcare institutions have sections that carry out 一方，我が国では会社や組織等で積極的に“ゲー planning and development of games. In this way, the ム”を導入する試みが少なく，ゲーム技術を積極 games that are utilized for training, research, healthcare 的に取り入れたアプリケーションにおいても，“ support and so on in companies and organizations ゲーム”という用語を使わないことがほとんど are called “applied games” in the Netherlands (these である．両国におけるこの違いは，“ゲーム”に are called “serious games” in Japan, the USA or other 対する社会的受容性の違いではあろうと考えられ countries). Of the above-mentioned 455 companies, る． 119 companies have specialized in applied games, while 今後，我が国における“ゲーム”の社会的受容 35 companies are engaged in both entertainment and 性向上により，我が国が持つゲーム開発力を幅広い applied games. 社会活動に活かす事が可能となり，社会全体に貢献 On the other hand, there have been few attempts to できると考えられる．そのためには，シリアスゲー actively introduce “games” in companies for training ム(以後SGと呼ぶ)についての国民による理解の向上 in Japan. Moreover, even in applications that actively に加え，ゲームクリエイタでなくてもSGを構築可能 incorporate game technology, it is almost always the になることが必要条件である．そこで，以下に示す case that the term “game” is not used. This difference 活動が必要であると我々は考え，その内容について between the two countries may lie in differing social 本稿では報告する． acceptance when it comes to “games”. 第一の活動は，ゲーム開発の経験がないソフト In the future, we are expecting the power of “games” ウェア開発技術者がSGを構築可能とすることで， to contribute wide range of social activities in Japan. そのために我々は構築プロセスSGDP(Serious Game In order to make it possible, raising the understanding Development Process)を提案した．SGDPにより多 of the citizenry about “serious games” (hereinafter, くのSGが試作され，今後更なる普及が期待される． 38 “SG”) is the key, and the development of many SGs 第二の活動は，教育現場で教員が学習用教材を are very important. To make it happen, introducing a 作成する際に，ゲームの持つ意欲向上と持続の要 good method to develop SG even if someone is not a 素を教材中に盛り込むための方法を一般化するこ game creator. Accordingly, we believe that the activities とで，そのために我々はSGLM(Serious Game-based shown below are necessary, and we will report in this Learning Material)を提案した(図１)． paper. 第三の活動は，教育現場及び企業・組織等の研 For the first activity, we have proposed a SGDP 修現場を対象としたもので，シリアスゲームジャム (serious game development process) by enabling (以下SGJと呼ぶ)と呼ばれる2日間でSGを構築するイ wherein software developer with no experience in ベントの実施方法をマニュアル化することである． game development can develop SG. Many SG have これにより，様々な分野でSGJが効率的に実施され been developed by SGDP, and their further spread is ることが期待される． anticipated from here on. 上述した３つの活動を通し，我が国において様 For the second activity, we have proposed SGLM 々な分野の問題解決を目的としたSGが今後開発され (serious game-based learning materials development て現場で適用され，その効果が示されることが期待 method) for that purpose by generalizing the method される．その結果として，“ゲーム”の社会的受容 for incorporating in the educational materials the 性向上が段階的に達成されると考える． factors of increased motivation and continued learning provided by games (Figure 1). For the third activity, we have proposed the method [1] Famitsu Game White Paper 2015 (In Japanese), for managing events to build SGs in 2 days. The event is KADOKAWA/DWANGO KK, pp. 42 (2015), called “serious game jam” (hereinafter, “SGJ”), and our [2] 2015 CESA Game White Paper (In Japanese), proposal is to develop a manual which will be useful for Computer Entertainment Association KK, pp. 53 SGJ organizers or instructors at school who would like (2015). to introduce SGJ type events in their classes. [3] PcW Entertainment & Media Outlook for the Through the above-described three activities, it is Netherlands 2015-2019, “https://outlook.pwc.nl/” expected that SG whose purpose is problem solving in (accessed on June 28, 2016) various field will be developed and applied in Japan in [4] Game Monitor The Netherlands 2015, Dutch Game the future, and their effects will be demonstrated. As a Garden, “http://www.dutchgamegarden.nl/ news/ result, we believe that increased public acceptance of nieuwsdetail/the-games-monitor-2015-the-full- Mo games will be achieved, and the power of games will report-284/” (accessed on June 28, 2016). PGS more contribute to the society.
39 Analog Gaming Culture in Japan (TRPG and Miniature Wargames Otaku)
Philip Lindemer, University of Bonn
Since Otaku were first introduced to the Japanese public in the activities role-play and miniature game Otaku when the Tokyo/Saitama Serial Kidnapping Murders of engage in, I want to provide an inside look into this Little Girls occurred in 1989 which triggered an “otaku kind of Japanese analog gaming culture and its rituals. panic” (KINSELLA 1998: 312), the image of Otaku I paint a picture of gaming events, the way players has come a long way. The rising popularity of Japanese engage with each other and how social and cultural anime, manga and video game culture worldwide led to a capital (BOURDIEU 1983) is handled in the gaming change in the perception of Otaku in Japan. Their image communities and how and why they play. Further I changed from potential child murderers to pioneers of want to provide a case study of how fluid the boundaries Japanese Geek - or Otaku – culture (KIKUCHI 2008). between audiences of different Otaku genres are. For In the wake of this, they became a symbol of the “Cool example how anime, manga and video games meet war Japan” campaign launched by the Japanese government and role-playing games and vice versa. At the current to promote anime, manga and video games made in stage of my PhD related research I am also Japan as a product to export to overseas. considering to take a look at the process of becoming Lately a large part of the Japanese population seems to an Otaku through the lens of rational-choice theory have a little bit of an Otaku inside themselves, shown (ESSER 1999-2002; KUNZ 2004). by a statistic released by the YANO (2012: 33) Research Institute which estimates, that around 16% of Japanese References are some kind of Otaku. It appears that Otaku culture, Bourdieu Pierre (1983) Ökonomisches Kapital, which was once seen as a subculture, is in the process of kulturelles Kapital, soziales Kapital In: Reinhard becoming a mainstream phenomenon. This is especially Kreckel (Hg.), Soziale Ungleichheiten” (Soziale true for the main content of Otaku culture: Anime, Welt Sonderband 2)”, Göttingen Otto Schwarz: S. manga and video games. Nowadays almost everyone 183-198 in Japan reads manga, watches anime and plays video Esser, Hartmut (1999 – 2002): Soziologie (6 Bände). games, be it on PCs, gaming consoles or smartphones. Frankfurt a.M.: Campus. Mo This shift from content that was primarily enjoyed and Honer, Anne (2004): Kleine Leiblichkeiten. consumed by a tangibly sized subculture to content Erkundungen in Lebenswelten. Wiesbaden: PGS which is enjoyed and consumed by the masses, makes it Springer Fachmedien. very difficult to define what an Otaku actually is. KIKUCHI, Satoru (2008): „otaku“ sutereotaipu no The research I conducted for my PhD thesis on Otaku hensen to akihabara burando [Change of otaku revealed, that some Otaku related hobbies are more stereotypes and the akihabara brand]. In: chiiki accepted by society than others, mostly those which burando kenkyu 4, S. 47-78. did not become part of mainstream culture. These less KINSELLA, Sharon (1998): Japanese Subculture in the accepted hobbies and the people who engage in them 1990s: Otaku and the Amateur Manga Movement. and consider themselves to be Otaku are my field of In: Journal of Japanese Studies, 24, 2, S. 289-316. research. Kunz, Volker (2004): Rational Choice. Frankfurt a.M.: Over the course of 2015 to 2016 I have been studying Campus. the audience of table-talk role-playing-games and YANO RESEARCH INSTITUTE (2012): Kuru japan miniature wargames in Japan (Tokyo/Yokohama area) maketto / otaku shijo no tettei kenkyu 2012 [Cool and have been interacting with them frequently. By Japan / A studie of the otaku market 2012]. Tôkyô: analyzing data I have collected during this time by using Yano Research Institute. in depth interviews, field-interviews and taking part
40 The Design and Development of Turntable-type User Interface for Data- Browsing: A Case of Video Game Archives ターンテーブル型UIによるデータベース閲覧手法の提案 —ゲームアーカイブを題材として—
Shinya Saito 斎藤進也, Kazufumi Fukuda 福田一史, Kazutoshi Iida 飯田和敏, Ritsumeikan University
There are various databases that are publicly available in 現在、さまざまな領域において、オープンデータ many fields. In that context, the number of databases are として広く活用可能なアーカイブスが構築・運用 related to popular entertainment are increasing. Such されている。その中には、ゲームに代表されるエ databases are supposed to be able to be often utilized, ンターテイメントコンテンツに関するものも増加 because they have the entertaining tendencies basically. している。こうしたコンテンツは、元来大衆性を However, the cases of utilization are very few. もつものであり広く一般に受容される可能性を With this situation in mind, we are designing 秘めているが、現段階では、限定的な活用しかな and developing original user-interface that intend to されていないものが目立つ。こうした状況を踏ま databases in the entertainment fields, especially video え、本研究では、エンターテイメント系オープン games. データを対象としたアーカイブ閲覧ツールを開発 In our research, the 3 development-policies of the する。開発方針として、（１）最新のデータビジ following list have been set. ュアライゼーションの技法動向を参照し、（２） (1) To utilize the leading-edge data-visualization 閲覧行為に「遊び」の要素を効果的に組み込む。 methods. そして、（３）データの整理・分析に関して実用 (2) To adopt the elements of play to the data-browsing. 的な機能を持たせるという3点を重視することと (3)To implement the practical functions for data- した。 analysis. （１）については、JavaScriptの視覚化ライブラ Related to (1), D3.js that is JavaScript library for data- リであるD3.jsを採用し、柔軟かつ動的な図形描 visualization was adopted. That has made it possible to 画を実現する。 draw the graphic for visualization flexibly. （２）および（３）については、Hip-hopカルチ Related to (2) and (3), the composition process in ャーにおける音楽的工程を下敷きとし、「サンプ the hip-hop music has been referred. Then, we put リング」や「ミックス」といった技法を一種のギ Mo “sampling” and “mix” into the process of data browsing ミックとしてシステムに落とし込むことで、閲覧 PGS and analysis as a sort of gimmick. That aims to add に楽しみを与えると同時に、それを一種のクリエ entertaining tendency to the operation of databases. イティブな行為へと発展させるとことを目指し Moreover, the dataset of video game was imported た。また、コンテンツとしてデジタルゲームに関 to the DB/DJ that is original visualization tool in our するデータセットを用いることとした。結果とし research. As a result, the possibilities of our visualization て、ゲームの歴史を能動的に掘り下げることので method were suggested though a testing operation. きるゲームスタディーズ支援ツールとしての側面 We would like to demonstrate DB/DJ in this も示唆された。 conference, moreover discuss the usefulness with other こうして構築されたターンテーブル型データ閲 participants. 覧ツール「DB/DJ」の最新版のデモンストレーショ ンをReplaying Japan 2016にておこない、本システ ムの有用性を他の参加者らと議論する予定である。
41 SAN-SHIKI Electric Bow System: Applying Projection VR to “Game Sport” 参式電子弓–プロジェクション方式ＶＲによるゲームスポーツへの応用
Masasuke Yasumoto 安本匡佑, Kanagawa Institute of Technology, Takehiro Teraoka 寺岡丈博, Tokyo University of Technology
See page 25 for abstract.
Game Applications of Dynamic and Spatial Connections between Multiple Mobile Devices マルチモバイルデバイスによる動的かつ立体的な連携のゲームへの応用
Masasuke Yasumoto 安本匡佑, Kanagawa Institute of Technology Takehiro Teraoka 寺岡丈博, Tokyo University of Technology
See page 51 for abstract.
AlexG – Bug Xterminator 1st public demo and feedback gathering, Mo Nathanial Tan, University of Calgary PGS
42 Session 3A – Para-gaming
Chair: Hiroshi Yoshida, Ritsumeikan University
Tue
3A
43 Representation of Play: Pachinko in Japan
Keiji Amano, Seijoh University, Geoffrey Rockwell, University of Alberta
1. Introduction has changed as parlours transformed gradually into an industry from a family business. These silver balls are you. They’re your life itself.Ikiru ( , Giichi Fujimoto’s short novel Kugi-shi (1978) also 1952) uses pachinko as a metaphor for life as Kurosawa does. How is play represented in Japan? For more than 60 It is a story of a duel between skills, pachi-pro and kugi- years, the most popular leisure activity among Japanese shi. He describes pachinko as follows; “[the] weight of has been pachinko, so it is no surprise that pachinko one pachinko ball is just less than 7 grams. Because it has been shown in other arts from cinema to novels. is launched from the flipper and fingertip, it is natural Notable cinematic works include Ozu’s The Flavor of that it goes in the wrong direction. It‘s much like life. Green Tea over Rice (1952) and Kurosawa’s Ikiru (1952). You sometimes face a little nail and it will bring you to But what do these representations show us about play wander somewhere you don‘t want to go.” (Fujimoto in pachinko and do the representations differ over 1978, p.214, our translation) time and culture? This paper will look at a selection of Miri Yu’s dark novel Gold Rush (2002) is a more Japanese representations of pachinko in cinema and recent and darker example. The main character Kazuki novels as a way to understand how pachinko becomes a is the 14-year old son of the owner of a pachinko metaphor for Japan. To do this: parlour empire. Searching for meaning Kazuki kills his • We will look at how pachinko was depicted in the father and tries, like Oedipus, to take over his empire. 1950s when the first parlour boom took place. The empire of pachinko with its ill-begotten wealth is a • We will then also look at two later novels where backdrop of emptiness standing in for a Japan with no pachinko serves as a backdrop. soul. This is the Japan of the economic bubble of the late • We will end by discussing how representations have 1980s and early 1990s; a bubble punctured by a selfish changed over the decades. son.
2. Representations in films and novels 3. Changes in representation Pachinko is so mundane in Japan that it no longer needs Through those representations, we can see some to be explained, but that was not true in the 1950s. It is changes in how pachinko has been represented in in this context that we can look at how Yasujiro Ozu’s Japan. In the 1950s, pachinko was depicted as a new The Flavor of Green Tea over Rice repeatedly shows form of amusement activity so that directors tried to pachinko being discussed and played. We will deal understand and picture it in a social or playful context. at length with this film as it shows how different the In the 1960s-80s, pachinko was not a collective or Tue experience was of a small pachinko parlour. In the 1950s a purely solitary game but a duel between player and pachinko was a family business. We will contrast Green parlour or between pachi-pro and kugi-shi. A parlour 3A Tea Over Rice with Kurosawa’s Ikiru (“Life”) where or a kugi-shi are neither non-player characters nor pachinko is a metaphor for a frivolous approach to life. player characters in this game, but a pachi-pro usually The “Mephistopheles” of the novel compares pachinko understands how these „defenders“ try to control this to life as we watch a ball dribble down bouncing off the game. In this situation a professional player concentrates nails. on a dialogue between the movement of balls and Ozu is useful to our study because he goes beyond himself. In Ozu’s film and Fujimoto’s novel, there are the using pachinko as a metaphor, he shows us a game scenes that show how pachinko at that time was a game in the 1950s that involved more skill than today. At between „humans“. that time the machines were entirely mechanical and It was the late 1980s when pachinko became a therefore the odds varied as the angle of nails changed considerably larger industry. Increasingly electronic with repeated play. One character in the movie seems machines pushed the nails and kugi-shi to the side. to be a professional (pachi-pro) who plays hoping to Pachinko became more and more like video-slots beat the parlour that continually fixes the nails at night where skill is irrelevant. It therefore isn’t surprising that sending in the kugi-shi (nail-man) to correct the nails directors and novelists would look at pachinko as an of machines. Over time, and with the introduction of opaque industry or an activity that has deep darkness. video-slot elements, the balance between skill and luck
44 4. Bibliography Kaufman, A. (2009). „A Study of Kurosawa‘s Ikiru, Part Barthes, R. (1982). The Empire of Signs. Trans. R. 1.“ Off Screen. 13:4. Howard. New York: Hill and Wang. King, H. (2005). „Lost In Translation.“ Film Quarterly Brooks, G., et al. (2007). „Pachinko: Declining 59:1. Popularity or a Continuing Japanese Social McLuhan. M (1964), Understanding Media: the Problem?“ The Asia-Pacific Journal: Japan Focus. extensions of Man, The MIT Press. Fujimoto G. (1978), “Kugi-shi”, Ishibashi T. and Yuki Yu M.. (2002). Gold Rush: Trans. S. Snyder. New York: N. eds. (1993) Golden Arms, Kobunsha. Welcome Rain.
Tue
3A
45 Playing opera: The influence of European music traditions on the Japanese videogame “Final Fantasy VI”
Cäcilia Sauer, Leipzig University
Japan – land of the rising sun and home of videogame European opera business – especially the Italian opera – culture. In the 1980ies Japanese companies like by including an extrovert impresario, an idolized opera Nintendo and Sega saved the videogame industry from diva and so on. Nobuo Uematsu even composed a short its early decay, today the country still holds a special aria called “Aria di mezzo carattere”, where the player is place harboring classics like “Pac Man”, “Super Mario” put through Celes (one of the playable protagonists) in and the “Final Fantasy”-series. However if one looks the role of an opera singer and must choose the right closely, most of these games do not deal with traditional phrases to complete the aria. Japanese themes: a hero, who is shaped like a Hockey This paper intends to take a closer look at the opera puck, an Italian plumber, dragons and damsels in scene in “Final Fantasy VI”. With the help of this distress. The western culture surely has a great impact distinctive example it tries to examine the influence on Japanese videogames. of European music traditions on Japanese videogame Therefore since the early days of digital games, music and – most importantly – in what way these Japanese videogame music has always been influenced traditions may also have been altered. This does not only by European music traditions in a most significant way. include the usage of European composition techniques For example the trained composer Koichi Sugiyama (which will be followed by a historical introduction into – and “Father of Video Game Music” – intended to the early Japanese videogame music). Instead the paper compose the soundtrack for the 1986’s video game will especially examine a more dramaturgic theme classic “Dragon Quest” in the classical style of European of the comic opera: the usage of entanglements and music and did thus draw on the basso continuo of mistaking. Both of them play an important role in the baroque music. On the other hand Nobuo Uematsu, opera sequence, for the opera diva Maria appears to be being famous for his compositions for the “Final Celes doppelganger. Hence this paper will compare how Fantasy”-series, clearly refers to western pop musicians both the Italian opera and the Japanese theatre handle like Elton John. But have Japanese music traditions this specific topic, and how it is incorporated in “Final really just simply been replaced like that? Fantasy VI” – be it in the inclusion of music, narration One of the most well-known examples in the usage or role of the gamer itself. of European music tradition can also be traced back to Nobuo Uematsu and the music of “Final Fantasy”: The Mini-Opera in “Final Fantasy VI” (1994). In this short sequence of the Super Famicom’s videogame classic, the Tue game refers to typical conventions as well as clichés of the
3A
46 Pac Man Fever. The Musical Legacy of 1980s Japanese Video Games
Melanie Fritsch, University of Bayreuth
Today, video games and their music are ingrained in 3. Games and popular music. our culture. Game tunes such as Hirokazu Tanakas 4. Game music and participatory practices. version of the Russian folk song “Korobeiniki” as heard Strikingly, in many of these practices the notion of “game in Tetris, Pac-Mans “Wacca-wacca”-sounds or Kondos music” seems to be closely linked to the 8-bit aesthetics Super Mario-theme are reused within diverse cultural of early game music rather than to the compositions frames and practices. Hereby, even people who do not themselves. As Chris Tonelli has proposed in his paper play video games themselves come in contact with The Chiptuning of the World: “When the sound worlds games and their tunes, be it in movies, advertisements, afforded by early programmable sound generators TV shows or art projects. Classic concert performances became widespread globally through the consumption of video game music as common in Japan since 1987 are of arcade games and, later, home computer and gaming now drawing new audiences into Western concert halls, systems those sounds arrived in the ears of many too. Furthermore, Japanese video games, their music listeners, relatively undercoded. The bleepy sounds and 8- bit aesthetics as created during the 1980s have produced by the early forms of game sound synthesis influenced the development of musical genres like Hip- likely would not, in the early days of video gaming, Hop, Synthpop or Electro. Even full-fledged musical have evoked belongingness to any „real“ cultural group genres such as Chiptunes, Nintendocore, Bliphop or or any bygone cultural era.“ (Tonelli 2014, p. 411) Bitpop have sprung up. Therefore, it will be discussed in a second step, whether In this paper, the musical legacy of 1980s Japanese this “uncodedness” of the sound has contributed video games and their music will be traced within the to spreading Japanese game music at first, whereas frame of several cultural practices in a first step: nowadays it is this “bleepy sound”-aesthetics that is 1. Original game music and its further use in art and associated with “game music” and game culture as its culture. cultural context – even in cases of a distinct musical 2. Game music and classic concert performances. culture such as chip music.
Tue
3A
47 Session 3B – Educational perspectives
Chair: Sonja Ganguin, Leipzig University
Tue
3B
48 Game Design Combined with Science Workshop for Increasing Motivation in Studying Science in Children
Sara Hojjat, Chiaki Ikemoto, Tomoyuki Sowa, Kobe Design University
Keywords the game very much and 81% favored having these Game Design; Maze and Mirror Game; Science kinds of games in their science classes. In one of three Workshop; Playful Learning; Real Time Video scientific questionnaires, there was a 46% improvement in the subjects’ knowledge about light. They learned The research project discussed here, examines attempts more than what was expected from this game in terms to increase the motivation of elementary school students of both theoretical physics and its practical application. in basic science by the means of designing a science For example, students learned that a laser beam enters game. To realize this goal, the maze and mirror game and exits a mirror at the same angle. They also learned was designed and a workshop was held based on the that when a laser beam is reflected by several mirrors, game which teaches the concepts of light and reflection the beam becomes thinner. This is something that during joyful group play. It is basically a conventional can only be learned through practical or hands-on maze which is solved with light instead of a pen on paper. experience. They enjoyed working with their hands A laser beam emits from the starting point and players with new things in a new learning atmosphere as much direct it toward the correct path by using a mirror or as they enjoyed working together, doing something by prism, putting the reflective devices at the correct point themselves and watching themselves through the RTV. with the proper orientation to divert the Laser beam to They had useful suggestions to create a better game and the right path and continue this manipulation until they believed that advantages of the game-based workshop reach the final goal (Figure.1). It is designed to teach over their normal science classes are the possibilities students about light and reflection while playing an of learning while having fun, learning in person rather enjoyable game. This game was redesigned on a bigger than studying books or taking notes, studying and scale to be held as a workshop for students to study its interacting in a bigger space than their classroom, effect on student motivation for science leaning. The cooperating with classmates, discussing their opinions workshop steps were designed as seen in Figure 2 and and, being involved in the learning process, which one 3(Table.1). An indirect educational atmosphere based of them expressed by saying “I felt the game with my on a designed game can allow children to think, play body”. They also had the chance to evaluate themselves and discover actively. Children will be motivated if they in the RTV. Their answers to the RTV questionnaire have the chance to do something by themselves and showed their attention in all aspects, their feelings, their feel that they did it! In this research, two methods were facial expressions and the extent to which they were considered for sharing. One involved sharing through successful encountering with the game and how they consultation time in group work, and the other sharing believed they could improve. The main achievement of Tue through reflection by Real Time Video (RTV) which is a this game for students can be categorized into four main 3B video shown to students in the last step of the workshop areas: Creating thinking and independent learning, to reflect their reactions to the game (Figure.4). The playful learning atmosphere, a chance to learn in group results of the game were evaluated by RTV and two activities, and a feeling of accomplishment. Considering other types of questionnaires and showed improvement game components, a stand for laser pointer that has the in all aspects. The game in the Shimada elementary possibility to move in any direction smoothly will help school in Japan was studied and the results revealed students to transfer light with more accuracy. It will be that students were impressed by the game as a new great if there is a chance to study same group over one- atmosphere in which to learn while they are playing. year period of time to have a better evaluation of this The questionnaires revealed that 91% of students liked system on students’ interactions.
49 Expanded Motivational Study with Language and Culture Education Game
Akiko Sharp, Nathanial Tan, University of Calgary, Martin Roth, Svenja Schmitt, Leipzig University
This study focuses on exploring and understanding to the motivational effectiveness of the software. how Japanese language teaching can be integrated with The results also provided some additional research informal learning through the use of role--‐playing directions which can be explored such as game quality simulations. With the goal of ultimately proving the impact on learning and quality expectations of a game effectiveness of gamified educational software, this versus a regular standard software application. study utilizes a prototype Japanese Language and The data gathered from this expanded research Culture video game to study the learning motivational round will then be combined with previously gathered effectiveness of such a medium. Presented at both data. The team believes that this data is useful in Replaying Japan 2014 and 2015, this prototype game understanding the mindset of educational game players software is partially based on the teaching curriculum and that the combined results offer some interesting currently in use by the Japanese language program at and un-intended insights that would be useful in the University of Calgary. the professional game design and development In collaboration with both Martin Roth and Svenja environment. The feedback from participants also offer Schmitt from the University of Leipzig, the study was an analytical opportunity in exploring what aspects of a expanded and the team conducted 2 additional separate game, be it education or entertainment, are important rounds of testing with students from both Calgary and in securing the attention and motivation of players of Leipzig. This yielded an additional 48 participants various backgrounds. whom all provided very valuable feedback pertaining
Tue
3B
50 Game Applications of Dynamic and Spatial Connections between Multiple Mobile Devices マルチモバイルデバイスによる動的かつ立体的な連携のゲームへの応用
Masasuke Yasumoto 安本匡佑, Kanagawa Institute of Technology Takehiro Teraoka 寺岡丈博, Tokyo University of Technology
In this study, we enhanced a novel system “VISTouch” 3DCG を初めとして様々な立体情報がゲーム等の that achieves new operational capability, and applied it 分野で使用されているが、映像提示手段はコンピ to game applications. It enables multiple mobile devices ュータの黎明期と変わらず平面的なディスプレイ to be used in combination dynamically and spatially で、操作にはマウスやキーボードが用いられてい and helps users handle intuitively in 3D virtual space. る。そのため直感的にその操作を理解し、情報を Our VISTouch requires a multi-touch function 認識するのは困難である。提示される映像がどの that recognizes more than three points, an internal ようなものであれ、ディスプレイと人の位置関係 acceleration sensor, and the wireless LAN function. は固定化されてしまう。近年の携帯端末のように The only tool required to use the system is a VISTouch 手軽に持ち運べるデバイスが登場しても、人、情 Tue case that has three or four conductive protuberances on 報とディスプレイの関係性は変わることがない。 3B each side. Every distance between the protuberances are 我々は直感的な操作と情報の理解のために携帯 different, so the system can identify which side of the 端末を組み合わせ、その相対的な位置関係を元に提 case is touching on the display. By moving or inclining 示する情報を変化させるVISTouch システムを開発 a smart phone in the case on a tablet display, VISTouch した。現実空間における複数の携帯端末のもつディ offers a novel way to interact with multiple devices. For スプレイの位置を自動で認識し、それに応じた情報 example, when a smart phone is spatially connected を動的に生成。つまり本来平面のディスプレイを３ to a horizontally positioned tablet that is displaying a 次元的に組み合わせ、３次元情報をそれに応じて表 map as viewed from above, these devices dynamically 示する。例えばタブレット端末を水平に置き３次元 obtain the correct relative position by using VISTouch. 情報を上から見た地図のような映像を提示する。そ The smart phone displays images viewed from its こにスマートフォンを置くと、接触したその位置、 position, direction, and angle in real time as a window その方向、その角度の映像を表示し、あたかもそこ that shows virtual 3D space. In addition to the old way に立体が存在し、それをスマートフォンという窓か of recognizing directions, which depends on virtual 3D ら見たかのように表現するのである。これを用いる images, we employ real space information to improve ことで、CT やMRI などによる立体の直感的な視覚 a user’s spatial perception by combining real space and 化、地図情報の立体的な視覚化などが可能となる。 virtual space. In fact, we applied it to visualization of 3D 本システムは複数の導電体突起物を有したケー models, map information, and medical data (e.g., CT スを携帯端末に装着するだけで実現可能であり、特 51 and MRI). 殊なセンサを必要としない。導電体突起物が人の指 VISTouh also changes the way of playing games with の代わりに端末をタッチし、そのパターンから接触 mobile devices to a novel style. The system can recognize したデバイス、辺、位置、角度、方向を認識し、無 the relative position between multiple devices, so it can 線にてその情報を共有している。それゆえにOS や be applied to high quality action games as if each smart- 機器を選ばず、様々な既存デバイスで応用可能であ phone was one of characters. Moreover, by combining る。これは情報の視覚化だけでなく、携帯端末を用 VISTouch with the positional tracking for VR, we can いたゲームなどの遊び方を変える。携帯端末の微細 use mobile devices as new VR game devices and virtual な位置や角度の変化を認識可能であるため、スマー cameras. Therefore, our VISTouch can enable mobile トフォンをキャラクタに見立てたアクション性の高 devices to be used as displays of virtual 3D and novel いゲームが実現できる。また複数のOS を混在させ devices for VR game. ることも可能であり、パブリックスペースに大きな 機器を使用し、個人のスマートフォンには個別の個 人情報を提示することで、複数のプレイヤーで遊べ るボードゲームなども実現可能となるだろう。さら に本システムとVR 用のポジショナルトラッキング を組み合わせることで、VR ゲームデバイスやヴァ ーチャルカメラとして使用することも可能になっ た。
Tue
3B
52 Session 4A – Opinions and Discourses
Chair: Fabian Schäfer, Friedrich-Alexander-University Erlangen-Nürnberg
Tue
4A
53 Opinions and Opinion Leaders in the Japanese Discourse on the Effects of Video Games
Florian M. Kaiser, Goethe-University Frankfurt
Since the emergence of Video Games in Japanese homes, research on the Effects of Media, Psychiatrist Okada marked by the publication of Nintendos Famicom in Takashi (岡田尊司) points out dependencies between 1983, there have been different phases of public debate in the advancement of Media, especially Video Games and Japan on the Effects of Video Games: From delight over pathological and criminal tendencies in the past (脳内 more and more children visiting each other´s homes to 汚染, 2004). Initially treading the same trail as Mori, play Games and talk about elaborate Games tactics, over well-known Neurologist Kawashima Ryûta (川島隆 curiosity about phenomena like children leaving school 太) backed up his apprehension on social decay with immediately after class to continue playing as soon as his own research, before Nintendo published his brain possible (express returns from school, 特急下校), up to training series, known as Kawashima´s 脳トレ (Brain the fear of increasing cases of epilepsy, eye and posture Training) in 2005. Social Psychologist Sakamoto Akira problems, or juvenile delinquencies ranging from theft (坂元章) follows approaches most similar to western of Game Software to murder. Research on Effects of Media Consumption, studying The most multifaceted and influential phase of this influence variables of Play for violent behavior and debate occurred between 1996 and 2007, when scientists aggression with younger players, resulting in cautious from different academic fields joined the public discourse ideas of cause and effect(テレビゲームと子どもの by publishing guidebooks and academic papers on the こころ, 2004). Finally, a focus on Utilization of Video Effects of Video Games. In 1996 Kayama Rika(加山 Games in Learning Concepts comes from Instructional リカ), now a well-known psychiatrist, consultant and Designer Fujimoto Tôru (藤本徹), who introduced person of media, shares her personal bond to Video Serious Games to the public debate in Japan ( シ リ ア ス・ Games and her experience in the application of Video ゲーム.教育・社会に役立つデジタルゲーム, 2007). Games in her therapeutic practice, claiming a possible In my analysis, I compare and discuss the different healing Effect of Video Games (ゲームと癒し, 1996). approaches on the topic and assign specific roles and In contrast, in the early 2000s physiologist Mori Akio fractions in the discourse. In my contribution to (森昭雄) argued with screenings of certain patterns in Replaying Japan 2016 I would like to give an overview brain waves during play that regular Players suffer from on the Japanese Discourse on the Effects of Video a dementia-like state of brain activity, which leads to loss Games, starting with a historical breakdown of the of human character traits, coining the term Game Brain, early eighties, a detailed view on the decade plus one ゲーム脳 (ゲーム脳の恐怖, 2002). Academically between 1996 and 2007 and a possible trend for the more elaborate by taking in account international future development of the public discourse. Tue
4A
54 Regional Game Studies—with a Chinese Example
Bjarke Liboriussen, University of Nottingham Ningbo China
The interdisciplinary academic field of game studies has fact regional rather than local as it captures something entered a new phase of growth and change. New kinds between the local and the global, namely, China’s of institutions, events and publications are proliferating. complex and sometimes tense relationship with the rest In 2015, a chapter for Europe’s Germanspeaking of the globalising world. Countries was added to the list of Digital Games Research Association (DiGRA) subdivisions— a list that References includes Japanese DiGRA. Donovan’s (2010) popular Chakraborti, S., Opoku-Agyemang, K., & Roy, D. and comprehensive monograph on video game history (2015). Gaming, Culture, Hegemony: Introductory was written with the explicit intention of balancing a Remarks. Journal of Gaming & Virtual Worlds, 7(2), tendency to write “US rather than global histories” (p. 137-140. xiii). The same attention to alternative histories (plural) Donovan, T. (2010). Replay: The History of Video permeates both the annual Conference on the History of Games. Lewes: Yellow Ant. Games, first held in 2013, and edited collections such Heeks, R. (2008). Current Analysis and Future as Gaming Cultures and Place in Asia-Pacific (Hjorth & Research Agenda on ‘Gold Farming’: Real-World Chan, 2009) Gaming Globally (Huntemann & Aslinger, Productionin Developing Countries for the Virtual 2013) and Videogames Around the World (Wolf, 2015). Economies of Online Games. Retrieved from Special issues of Games and Culture (Hjorth, 2008, http://www.sed.manchester.ac.uk/idpm/research/ Liboriussen & Martin, 2016), the Journal of Virtual publications/wp/di/documents/di_wp32.pdf Worlds Research (Lim, 2012) and the Journal of Gaming Hjorth, L. (2008). Games@Neo-Regionalism: Locating & Virtual Worlds (Chakraborti, Opoku-Agyemang, & Gaming in the Asia-Pacific. Games and Culture, Roy, 2015) explore game-making, games and gaming in 3(1), 3-12. non-western settings. Hjorth, L., & Chan, D. (Eds.). (2009). Gaming Cultures This ongoing phase of growth and change not and Place in Asia-Pacific. Oxon: Routledge. only introduces new perspectives and voices into Huntemann, N. B., & Aslinger, B. (Eds.). (2013). game studies, it also holds the potential to increase Gaming Globally: Production, Play, and Place. New the field’s political relevance by advancing a form of York: Palgrave Macmillan. game scholarship more attuned to the challenges of Liboriussen, B. (2016). Amateur Gold Farming in globalization, internationalisation and postcolonialism, China: “Chinese Ingenuity,” Independence, and a trend Paul Martin and I have labelled “regional game Critique. Games and Culture, 11(3), 316-331. studies” (Liboriussen & Martin, Forthcoming). This Liboriussen, B., & Martin, P. (2016). Games and presentation outlines the notion of regional game Gaming in China. Games and Culture, 11(3), 227- studies with special attention to its relevance for the 232. doi:10.1177/1555412015615296 Tue Japanese case. Liboriussen, B., & Martin, P. (Forthcoming). Regional 4A The presentation’s core example is, however, taken Game Studies. Game Studies. from the Chinese context. The professional practice of Lim, K. Y. T. (2012). Virtual Worlds Asian Perspectives: “gold farming” has long been linked to China, both on A Landscape with Peaks and Valleys. Journal of grounds of the sheer size of the industry in that country Virtual Worlds Research, 5(2), 1-2. (Heeks, 2008, p. 12), western news media’s particular Nardi, B., & Kow, Y. M. (2010). Digital Imaginaries: way of covering stories about Chinese gold farming How We Know What We (Think We) Know About (Nardi & Kow, 2010, Wirman, 2016) and the disturbing Chinese Gold Farming. First Monday, 15(6), n. pag. links between western discourses around Chinese gold Retrieved from http://firstmonday.org/ojs/index. farmers and anti-immigration discourses (Yee, 2006). I php/fm/article/view/3035/2566 have recently added to this scholarship by interviewing Wirman, H. (2016). Sinological-Orientalism in Chinese online gamers who engage in amateur gold Western News Media: Caricatures of Games farming. I subsequently employed the Chinese notion Culture and Business. Games and Culture, 11(3), of shanzhai in my interrogation of the interview 298-315. material (Liboriussen, 2016). This is a strong example Wolf, M. J. P. (Ed.). (2015). Video Games Around the of regional game studies as it not only pays attention to World. Cambridge (MA): The MIT Press. a particular, “local” gaming practice but also seeks out Yee, N. (2006). Yi-Shan-Guan. Retrieved from http:// an “indigenous” concept, shanzhai, a concept that is in www.nickyee.com/daedalus/archives/001493.php 55 Exploratory Studies on the Sentiment of the Globalization in Game Studios: Comparative Studies on Indies Studios from Singapore, Japan, North America and Europe
Akinori Nakamura, Ritsumeikan University
With globalization, the contents developers has been environment of developers as well as experience from exposed to more chances than ever before, in terms of the past products. taking their software to international market. With the Various limitations applies, however, to the presented arrvail of iTune Store and Google Play, any individuals findings. First, since this studies are exploratory basis, or teams developing entertainment software can easily any findings presented are in no way to generalized. For access to various countries after getting approval from anything which are indicated in this research, further platform providers. Previous studies had already examinations are required to claim any generalization introduced the situations that various indies are of the findings. Second since samples are limited from accessing global market. Even Doujin-previously any regions, the findings cannot be used to specific known to circulates their products only among friends traits of any of countries or regions. In order to clearly or someone in Japan, the team were now incline to claims countries or regional differences among indies access global market (Hichibe and Tanaka 2015) studios, further investigations are also required. The present studies attempt to investigate current The findings, however seem to indicate that there situations of Indie studios, in terms of their sentiment seem to be games which require less localization toward global market as well as globalization. In order which give indie studios significant advantage over to carry out this research, semi-structured interviews competitors with the game titles which need complete were conducted to teams in Japan, the U.S.A, Canada localization. In and what conditions, the games can be and Europe. Secondary source such as Indie developers penetrable to other market need further investigations. interviews from videogame media are used to Despite this, it seems that game apps seem to be more supplement the ideas presented by the interview results. penetrable to multiple markets compared to other type The results seemed to indicate while a majority of of apps. This potential needs to be further investigated. Indies expressed their interests in taking their products Finally, for governmental organizations or venture overseas, only those who had previous experience in capitalists, the further investigations may give more videogame industries, particularly those who were clue to the most optimal ways to assist indie studios in involved in titles which sold globally, had taking specific order to effectively make the game attractive to multiple measure to ensure such visions to be accomplished. regions, expanding the customer base. Their interests for actual steps to take the game to Tue global market varied depending on how much they Keywords: Indie Studios, Globalization, Videogame are willing to put their time on game development as Industry, Start-Ups 4A some of them are developing game in spare time while working full time in other industries. Simultaneously, a Hichibe N and Tanaka E “Transforming Fields of genre the teams are involved also influenced how they Game Development in Japan: a Comparative can take these products in various countries. Those Study between Doujin Game and Indie Game working on intuitive games shared their interests in Development” Replaying Japan 2015 Proceedings, taking them globally most as they considered that Ritsumeikan University, Kyoto Japan (https://sites. such a title can be easily understood regardless of google.com/a/ualberta.ca/replaying-japan-2015/) differences in nationality. Other factors which seem to Retrieved Jan 20 2016 raise the interests of international market is the living
56 Session 4B – History/Preservation
Chair: Martin Picard, Leipzig University
Tue
4B
57 A study of the “oral history” collection and publication of an old arcade game
Yoshihiro Kishimoto, Tokyo University of Technology
The development of computer games in Japan began new games and games with few sales as well. Therefore with the making of arcade games in the 1970s, it is the purpose of this study is to give people concerned and improved with innovative progress, spread of with development a chance to give their testimony. technology, and it became a big industry in Japan. They As a first study, we did an oral history collection and were considered youth culture in the beginning, but publication for the procedures of the development of they were later accepted by a wide age group of people. „Baraduke „ (NAMCO, 1985) in which I was engaged Computer games became known to be a big part of the as a programmer. Japanese culture along with „comics“ and „anime „. The • The developers can remember and share their me- Japanese people wanted to keep computer games as a mories of the course of development using a closed „cultural heritage“ in the history. Social Network Service (SNS). The computer game preservation activity that • An outside person such as a game writer, that universities and public institutions went for is the same knows a lot about a specific game, ask developers as the preservation of books and magazines until today. questions and then record these questions and However, we think that „the development course“ answers on SNS. should be preserved in the same way as the published • Developers are filmed as they carry out a testimony work. of events and is recorded. In the Digital Game Research Association Japan, • We publish the movie to the public on the Internet we have begun to work on „oral history“ collection and reply to the questions from audience using and the publication of old arcade games from 2009. We SNS. interviewed people concerned with the development and • We publish the „testimony“ of event contents and recorded the course of development as a „testimony“, closed SNS in article form in an official journal of a for the purpose of contributing to the game study for scientific society. the future. We are currently on step (5), but we present the Until now we have intended the study for global hit procedure that we practiced and the result and problems games such as „Space Invader“ and „Pac Man“. However, of the study so that other developers can use it in the we recognize the value of the course of development of same way in the future.
Tue
4B
58 Proposal and Validation of the Data Model of Video Game Database ゲームのデータベース構築に資するデータモデルの提案とその検証
Kazufumi Fukuda, Akito Inoue, Koichi Hosoi, Ritsumeikan University
In recent years, research interest on the game as 近年、知的リソースとしてのゲームに関する研 intellectual resources show an increasing trend. 究的興味は増大化傾向にあり、ゲーム保存に関 Accordingly, Discussion of the game preservation has する議論も活発化しつつある（Winget & Murray been activated (Winget & Murray 2008, Lowood et al. 2008, Lowood et al. 2009, Newman 2012）。これ 2009, Newman 2012). On the other hand, it can be said らに関するアーカイブ化は分野特有の問題に起因 that the construction of game archives is lagging behind. する形で立ち遅れていると言える。その原因は、 A major reason for this is that we lack feasible database ひとつにはデータベースの整備が遅れていること models capable of catering to the needs of local game に起因するところが大きいと考えられる。ゲーム cultures and contents, and their global distribution. のリストやカタログ自体は多様に存在しているも In order to create the basis of content analysis and のの、ゲームのパッケージに割り振られる統一的 comparative game studies, we need to develop a なIDが存在していないことから、それらのリスト standard data model for videogame databases. やカタログを紐付ける方法がなく、所蔵機関の連 Given such a situation, we are constructing “media- 携もままならない。すなわち所蔵・保存状況を把 arts database” from 2012 (https://mediaarts-db.jp/). 握することが極めて困難な状況にあり、アーカイ This contain almost of console and arcade games titles. ブの全体的状況の把握がより難しくなっている。 We input this database with carefully confirmation. そのような状況を踏まえ、筆者らは2012年より This database has been published in March 2015 as メディア芸術データベース構築のための事業を通 a development version. However, this is a one table じてゲームのデータベース構築を推進してきた。 structure at present. This is not enough to represent the これは国内の家庭用・アーケードゲームタイトル environment and changes of the games. Construction を対象に、複数の資料の重複的なチェックに基づ of a practical database that has a standard data model く、一定以上の精度と網羅性を有する、タイト is required. ル毎に一意のIDが割り振られたデータベースであ In this study, we will sum up the current approaches る。本データベースは開発版として2015年3月よ and issues related to such database model, and propose り公開を開始している。ただし、これは現状では a way forward in this endeavor. Previous researches has 簡易なメタデータ構造で、カード型データベース discussed the applicability of videogames to FRBR or とも呼ぶべき一つのテーブルに収まる形での設計 OAIS model (McDonough 2010, 2011, 2012). FRBR is となっている。そのため、情報環境の進展や変化 a standard “entity-relationship model as a generalized に基づき、市場や技術環境の変化が著しいゲーム view of the bibliographic universe” (Tillett 2004, p. を一様に捉えられるものとは言いがたい。より実 Tue 2). But some researchers said that existing conceptual 践的かつ網羅的なデータベースとして機能し、と 4B models are not adequate to represent the unique りわけ標準化に資するデータモデルの構築が求め descriptive attributes, variance, and relationships of られている。 video games. Other research proposes a meta data set 本研究ではこのような背景・問題意識に基づ consisting of 16 items on the evaluation of the Stakes き、データベース構築のためのデータモデルに関す holder (Lee et al. 2013) or conceptual model for video る論点整理を実施した上でデータモデルを構築・提 game and interactive media (Jett et al. 2016). In order 案する。本テーマに関連する先行研究として、例え to come up with a feasible model, we will review the ばFRBRやOAISへのゲームの適応可能性について議論 existing approaches according to the following criteria: や（McDonough et al. 2010, 2011, 2012）、博物 Applicability to games and challenges of the 館所蔵のゲームを事例にステークスホルダーによる proposed data model 評価を踏まえた16項目からなるメタデータセットの Definition of metadata and standardization from the 提案（Lee et al. 2013）、ビデオゲームやインタ perspective of “Linked Data” ラクティブメディアのための概念モデルの提案など Relationalization of the database by means of an がある（Jett et al. 2016）。まず、これら先行研 authority file 究のレビューを実施して論点の整理を実施する。そ Based on this analysis, we will propose a data model の上でとりわけ、1) ゲームのデータモデルを検討 (Figure 1), building on the meta-data set of the media- する上で候補となる各概念モデルの適用可能性と課 arts database. Furthermore, we will review the problems 題、2) メタデータセットの定義とリンクト・デー 59 involved in the international use of this model based on タによる標準化、3) 典拠化を通じたデータベース our own experimental input. のリレーショナル化、といった3つの論点から検討 を行う。 ここで提案するデータモデルについては、メデ ィア芸術データベースのメタデータセットを基礎 として構築を進めた。本データモデルの試験的入 力を通じて、その課題についても検証を行う。
References Jett, J., Sacchi, S., Lee, J. H., & Clarke, R. I. (2016). A Society for Information Science & Technology, Tue conceptual model for video games and interactive 62(1), 171–184. media. Journal of the Association for Information McDonough, J. (2012). Knee-Deep in the Data: 4B Science and Technology, 67(3), 505–517. Practical Problems in Applying the OAIS Reference Lowood, H., Monnens, D., Vowell, Z., Ruggill, J., Model to the Preservation of Computer Games. McAllister, K., & Armstrong, A. (2009). Before In Proceedings of the 45th Hawaii International It’s Too Late: A Digital Game Preservation White Conference On System Sciences (HICSS). Paper. American Journal of Play, 2(2), 139–166. Newman, J. (2012). Best Before: Videogames, Lee, J. H., Tennis, J. T., Clarke, R. I., & Carpenter, M. Supersession and Obsolescence. Routledge. (2013). Developing a video game metadata scheme Tillett, B. (2004). What is FRBR? A Conceptual Model for the Seattle Interactive Media Museum. Journal for the Bibliographic Universe. Library of Congress of Digital Library, 13(2), 105–117. Cataloging Distribution Service. Retrieved from McDonough, J., Kirschenbaum, M., Reside, D., https://www.loc.gov/cds/downloads/FRBR.PDF Fraistat, N., & Jerz, D. (2010). Twisty Little Passages Winget, A. M., & Murray, C. (2008). Collecting Almost All Alike: Applying the FRBR Model to and Preserving Videogames and Their Related a Classic Computer Game. Digital Humanities Materials: A Review of Current Practice, Game- Quarterly, 4(2). Related Archives and Research Projects. In McDonough, J. (2011). Packaging Videogames for Proceedings of the 71st ASIS&T annual meeting Long-Term Preservation: Integrating FRBR and the (pp. 1–9). OAIS Reference Model. Journal of the American 60 The Japanese origins of indie games: Cave Story and La-Mulana
Maria B. Garda, Paweł Grabarczyk, University of Łódź
Indie games are a global phenomenon that is Mulana was intended to revive the spirit of classic MSX predominantly identified with the contemporary US games and has directly inspired Derek Yu’s Spelunky independent scene. However, the origins of indie games (Mossmouth, 2008) that laid the foundations for the can be traced in numerous local game histories. The roguelike genre renaissance (XXXX) and popularized often overlooked, yet crucial to its core characteristics - the neoretro aesthetics (XXXX). Another aspect of as we will later try to prove, are the Japanese origins of the the game that makes it a pioneer within the global indie game movement. We will present two case studies indie movement is its relentless difficulty that precedes - Cave Story (Studio Pixel, 2004) and La-Mulana (GR3 Western games like Super Meat Boy (Team Meat, 2010). Project, 2005). Building on the disjunctive definition of independent games (XXXX), we will investigate the References complicated local and temporal determinants of the Camper, B. (2008), Retro Reflexivity: La-Mulana, an Japanese indie game scene and its Western reception as 8-Bit Period Piece. In: Bernard Perron & Mark J. P. it coexists with another independent games tradition: Wolf, The Video Game Theory Reader 2, Routledge. dōjin games (Hichibe & Tanaka, 2015). Garda, M.B., Grabarczyk, P. (forthcoming). Is Every As we argue elsewhere, the term “independent Indie Game Independent? Towards the Meaning game” can be explained as a disjunction of three of Independence in Video Games. [Submitted to types of independence which although related are review: 30.09.2015]. autonomous. These are: a) financial (constituted by Garda, M.B. (2013a). Neorogue and the essence of developer – investor relation), b) creative (constituted roguelikeness. In: Homo Ludens 1 (5), p. 59-72. by developer – intended audience relation) and c) Retrieved from: http://ptbg.org.pl/HomoLudens/ publishing (constituted by developer – publisher bib/134/. relation) independence. The disjunction of a), b) and c) Garda, M.B. (2013b). Nostalgia in retro game design. constitutes the atemporal meaning of independence in In: DeFragging Game Studies - Digital Games video games. However, in a given time-period each type Research Association Conference 2013, Georgia of independence becomes highly correlated with a set of Institute of Technology, Atlanta 26-29 August 2013. contingent properties, such as: digital distribution, retro Retrieved from: http://www.digra.org/digital- style or the use of specific middleware. This combination library/publications/nostalgia-in-retro-game- constitutes the temporal meaning of independence in design/. video games that is often used to identify them. The Hichibe, N., Tanaka, E. (2015). Transforming Fields term “indie games” is a good example of this process of Game Development in Japan: a Comparative as it refers to a set of contingent properties that became Study between Doujin Game and Indie Game Tue apparent in the mid-2000’s. The aesthetic aspect of that Development. Paper presented at the Replaying 4B transition was investigated by Jesper Juul (2014). Japan 2015 conference. Retrieved from: http://www. Cave Story and La-Mulana are not only the slideshare.net/nobushigehichibe/151031-replaying- early examples of indie games but also the source japan2015. of significant influence for the whole international Juul, J. (2014). High-tech Low-tech Authenticity: movement. Interestingly, the origin of their innovation The Creation of Independent Style at the lays in their retro reflectivity (Camper, 2008) or Independent Games Festival. Proceedings of the retrovation (Suominen & Sivula, 2012). Cave Story was 9th International Conference on the Foundations intentionally created to remind the player of the classic of Digital Games, 2014. (Expanded paper.) platform-adventure games (similar to the Metroid Retrieved from: http://www.jesperjuul.net/text/ series). But the choice of the genre isn’t the only aspect independentstyle/. of the game that displays retro sensitivity of the author. Suominen, J., Sivula, A. (2012): “Retrovaatiot – It is also true about the aesthetics of the game - pixel ajatuksia teknologian historian hyödyllisyydestä.” art graphics and chiptune music. What’s interesting the Tekniikan Waiheita 30 (2012): 4, 5–18 game does not stop at copying it’s inspirations - it refines [Retrovations – Perspectives to usefulness of history them with modern sensitivity which makes it similar to of technology] Verkkoversio: http://www.ths.fi/ the later neo-retro style in games design (XXXX). La- Suominen-ja-Sivula_TW-4-2012.pdf.
61 Short Paper Session SPA
Chair: Mitsuyuki Inaba, Ritsumeikan University
Tue
SPA
62 The Pit of Panga: Super Mario Maker and Kaizo game design
James Newman, Bath Spa University
Released in September 2015, Super Mario Maker demand that players use counterintuitive techniques (SMM) is an extension of Nintendo’s 2D ‘Super Mario’ such as losing powerups and even unthinkably selfish series offering the ability to create, share and play new tactics such as deliberately sacrificing Yoshi in order stages using a gamified suite of level design tools. The to traverse their spaces and puzzles. As such, these game’s tagline: ‘Anyone Can Make It. Everyone Can levels appear to stand in stark opposition to the design Play It.’ couldn’t be more inclusive and pushes the principles espoused by Nintendo (and typically coded company‘s audience-broadening initiatives (Jones as illegal acts of software piracy). and Thiruvathukal 2012; Juul 2009) beyond gameplay That players define extreme forms of superplay and into gamemaking. The careful metering of design counterplay should not surprise us (Newman 2008). tools which are revealed in drip-feed fashion so as That Nintendo explicitly references Kaizo designs in not to overwhelm the would-be designer speaks of SMM’s promotional and prefigurative materials is not SMM’s sensitivity to player experience. Similarly, the only surprising but seemingly self-destructive. Using requirement that levels be completed by their creators case studies including the ‘Kaizo Mario Maker’ sessions before they can be uploaded seeks to keep the catalogue at the 2016 ‘Awesome Games Done Quick’ event, this free from impossible designs. As such, ‘player-advocacy’ paper draws on Wilson and Sicart’s (2010) work on (Fullerton 2008) is as infused in the design of SMM as ‘abusive game design’ to explore the operation of SMM it is in the meticulously-crafted designs of Super Mario as a ‘dialogical’ platform that supports and encourages Bros. (Emmons 2014; McMillen and Refines 2012) that ‘unfair’ Kaizo designs without compromising Nintendo‘s SMM references, celebrates and reveres. authorial principles or the sanctity of the Mario canon.. Yet, within a week of the game’s release, creators such as ‘Panga’ began uploading levels of such complexity References that they are almost unrecognisable as Super Mario Emmons, D. (2014) ‘Design Club - Super Mario Bros: stages. The ‘Pit of Panga’ levels require an utterly Level 1-1 - How Super Mario Mastered Level comprehensive mastery of skills and performance Design’, Extra Credits YouTube channel, https:// techniques as well as an intimate knowledge of the www.youtube.com/watch?v=ZH2wGpEZVgE distinctive behaviours evident in SMM’s game engine Fullerton, T. (2008) Game Design Workshop: A – including its many quirks and glitches. Such is their Playcentric Approach to Creating Innovative Games difficulty, most of the levels have been cleared only a (second edition), Elsevier. handful of times. As of January 2016, Panga’s infamous Jones, S. and Thiruvathukal, G. (2012) Codename ‘P-Break’ has been attempted 3,698,714 times with just Revolution: The Nintendo Wii Platform, Cambridge, 444 completions. Streaming the experience on Twitch, MA: The MIT Press. Tue Panga himself took nine hours to complete the level Juul, J. (2009) A Casual Revolution, Cambridge, MA: SPA before it could be uploaded. The MIT Press. Crucially, there is more to these levels than extreme McMillen, E. and Refenes, T. (2011) ‘Postmortem: difficulty alone. Taking their inspiration from the Team Meat‘s Super Meat Boy’, Gamasutra. http:// amateur practice of ROM Hacking and bearing the www.gamasutra.com/view/feature/134717/ generic name of ‘Kaizo’ designs in reference to ‘Kaizo postmortem_team_meats_super_meat_.php Mario World’, one of the most famous ROM Hacks, Newman, J. (2008) Playing with Videogames, London: these levels are self-consciously and artfully unfair. Routledge. Their designers place hidden blocks at the apex of Wilson, D & Sicart, M. (2010) ‘Now It‘s Personal: On jumps with no purpose other than to knock players into Abusive Game Design’, in Future Play Conference the bottomless abyss. They fashion elaborate setpiece Proceedings, Association for Computing Machinery: traps from which there is no escape if triggered. They 40-47.
63 Mainstreaming Kaizo
Nathan Altice, Independent scholar
Nintendo’s September 2015 release of Super Mario hacks, seeping first into other Super Mario Bros. titles Maker marked a convergence point for multiple strands and then into other platformers and eventually into of Eastern, Western, mainstream, niche, commercial, new games. As kaizo made its way to English players, and clandestine gaming culture. Designed for playing, it began to mean more than a rearrangment—it meant creating, and sharing custom Mario levels, Super extreme, even assholish, difficulty. But even as they Mario Maker exposed thousands of new players to the gained popularity, these levels remained the purview of concept of kaizo, or rearranged, levels, a design and play niche audiences who craved sadistic tests of skill and practice originally developed among the ROM-hacking patience. community. Super Mario Maker mainstreamed kaizo, but did Kaizo levels are notorious for their extreme and often so with the help of an unexpected partner: online comical difficulty, designed to frustrate, confound, and streaming. Though Nintendo has had an uneasy (and surprise their players. The original Kaizo Mario World often antagonistic) relationship with services like Twitch hack, released in 2007, used the established visual and YouTube, Super Mario Maker’s players have taken and mechanical grammar of the Super Mario Bros. to the game’s ‘open’ design structure, conscripting it into franchise to subvert player expectations at every turn. service as an endless kaizo machine. And once again, Hidden blocks stymied straightforward jumps. Objects kaizo’s meaning undergoes new translations, giving rise were used in unconventional ways. Progress required to new forms of player expression. deft fingers and careful memorization. A community developed around rearranged ROM
Tue
SPA
64 Short Paper Session SPB
Chair: Jérémie Pelletier-Gagnon, University of Alberta
Tue
SPB
65 Free Love: Japanese Women’s Games, Fan Translations, Gendered Otaku and Game Cultures and the Politics of Game Localization
Sarah Christina Ganzon, Concordia University
Otomes or women’s games is a category of games originated in Japan that are marketed specifically to women. While it has niche status in its country of origin, only a few titles have been adapted for Western audiences. This paper will define the largely unexplored category, tracing its emergence within Japanese consumer cultures, and its migration to North America. In doing so, I place this in the context of the gender politics between both Japanese otaku cultures and the Western game industry, and examine how these affect how these games are localized. I will also describe the practices of fan translators, and look at the ways in which piracy has been complicit in developing the otome market in North America. By attempting to explore the flow of these games between consumer cultures, I aim to look at the ways in which piracy can be complicit in forming cosmopolitan identities, in shaping the discourse of gender in games, and in potentially new forms of immaterial labor that captures fan labor.
Tue
SPB
66 “Character AI” program practice example in the beginner-friendly game production education 初学者向けゲーム制作教育におけるキャラクタAIプログラム実習例
Seiki Okude 奥出成希, Ritsumeikan University
Outline 概要 In the programming practice course for the students ゲームプログラマを目指している学生を対象とし who want to be a game programmer, they are made to たプログラミング実習において、ゲームをテーマ create a program of AI enemy character as part of an にした課題として、敵キャラクタAIのプログラム assignment with the subject of gaming. 作成をおこなった。 I am reporting on the learning material created プログラミング言語の制御構文の練習用に、テ for the practice of controller syntax in programming ーマ付けした教材の作成とその効果を報告する。 language and the result of it. 背景 Background 現代の社会は高度にデジタル情報化され、コンピ In modern society, information is highly digitized and ュータ技術やプログラミング能力の重要性はます computer skills such as programming are becoming ます大きくなり、教養としてプログラミングを学 more important than ever. As a result we have set our ぶような時代になろうとしている。 foot in the era where programming is learned as a 我々が扱うデジタルゲームも、コンピュータア subject of education. プリケーションの一種であり、プログラムによって Digital games we are dealing with are a type of 動作している。 computer applications which is operated by programs. 問題 Challenges コンピュータの制御にプログラミングは欠かせな While programming is vital to control computers, いが、プログラミング技術習得には高度な専門教 a highly technical education is required to acquire 育が必要になる。 programming skills. そこには、論理的な思考でのアルゴリズム構築 It involves some works that seem to be difficult to やデータの設計など、「とっつきの悪さ」が存在し get started with or “inaccessible” such as algorithm ている。 building, data design, etc. 著者の経験では、初学者のうちに挫折してしま I could say from my experiences that in many cases うと、苦手意識を持ち習得をあきらめてしまうケー setback as a beginner creates negative feelings resulting スも少なくはないと感じた。 in giving up the learning all over. Tue 解決アプローチ SPB Solution Approach 学びの品質を保ちながらハードルを下げるための “Examples” are frequently used as a method to lower 一つの方法として「例え」を用いる事が多い。そ the hurdle while maintaining the quality of learning. こで、ゲームにまつわる例えを設定して実習を行 Therefore examples are set in relation to the game in the った。 practice course. 実践 Practice 実習では、ゲームのプレイヤーに対峙する立場と In the practice course the situation is set up, where the して敵の行動をプログラムする、といった状況設 students are programming an enemy’s behavior from 定を用意する。 the standpoint of battling with the game player. 敵の行動をプログラムしてプレイヤーをいかに When programming the enemy’s behavior, plans are 追い詰めることが出来るかを意識しながら計画を立 made being conscious of how to corner the player. The て、それを実現するために変数や演算子、制御文な basic syntaxes such as variables, operators, and control どの基本的な構文を学ぶ。 statements are learned to enable the plan. 結果 Results 受講後のアンケートを実施した。プログラミング The respondents of the survey carried out after the 学習期間の長さにかかわらず「理解が深まった」 67 course said they could get “better understanding” との返答を得た。楽しく学習できたとの返答も多 regardless of the learning period of programming. Also 数を占めた。回答数が少ないので引き続き調査を many of them said they have enjoyed the learning. 必要とするが、一定の効果があると考えている。 Although the continuous survey is required due to the insufficient number of the responses, I believe there is a 課題と展望 certain effect in this method. このような例えによってわかり易くなる反面、こ の例えから離れて抽象化できなくなることも考え Issues and Perspectives られる。 Although “examples” help us better understand また本職のゲームプログラマであれば絶対に行 programming, they may impede the process of わないような作り方になるため、改めて実際の開発 abstraction for those who cannot separate from these 手法を学習する必要が出てくる。 examples. しかし、プログラミング技術習得のハードルを Also as this method is the one a professional game 下げ、開発者の裾野を広げることはコンピュータを programmer would never use, the participants are 制御できる者を増やすことにつながる。技術の発展 required to learn the practical development method on に寄与することは間違いないと確信している。この another occasion. 取り組みの有用性を検証するためにも研究を進めて However lowering the hurdle of acquisition of いきたい。 programming skills and expand the developer base would result in the increasing number of the person who can control computer. I am sure that it will contribute to the development of technology. I wish to pursue this study to verify the effect of this effort.
Tue
SPB
68 女性向けゲーム市場における消費者行動 Jin Nakamura, Japan University of Economics
本研究は、研究の対象となることの多い男性を主 いてはこれまでほとんど研究されてこなかったと なユーザとして想定したゲーム(以下:男性向け いって良い。一方で、男性向けゲームや性別を問 ゲーム)市場ではなく、近年注目を集めることの わないゲームについてはこれらに多くの研究の蓄 多い女性を主なユーザとして想定したゲーム(以 積がある。そのため、女性向けゲームについても 下:女性向けゲーム)市場を対象とし、その実態を 社会科学の視点からの研究のニーズはあるが、未 明らかにするとともにコンテンツを供給する企業 だフロンティアの段階である。また、女性向けゲ と消費者の間にどのような相互作用があり、共進 ームの多くが日本で開発されており、日本を研究 化が発生しているのかを解明することを目的とす の拠点として研究すべき分野であるにもかかわら る。アーケードゲーム、家庭用ゲーム機やパーソ ず、これらがなされていない。海外の研究者は積 ナルコンピュータによるゲームなど、歴史的に多 極的に研究しているといえるが、一方で市場全体 くのゲームの主なユーザは男性が想定されてき に目を向けた研究ではなここで、市場全体、ない た。それは場において顕著に現れ、例えばゲーム し企業と消費者の相互作用に着目した研究を推進 センターは気軽に入ることのできる遊戯施設では することで、それらの研究に横串を刺し、「ゲー なかった。また、パソコンがビジネスで普及し、 ムの面白さ、楽しさ」を明らかにすることが求め その多くも男性であったことなどが挙げられる。 られる。本研究の独創性は、これまで研究される しかし現在多くの女性がゲームプレイヤーとして ことの少なかった、女性向けゲームおよび関連市 ゲームを楽しむとともに、開発者や経営者などコ 場を研究対象としたことである。性別を問わない ンテンツを供給する側に立つなど普及が進んでい ゲームならびに男性向けゲームと違い、一般的に る。本研究ではこれらを踏まえ、特に女性向けゲ 小規模な開発環境と販売が多く、メディア展開も ームに焦点を当てる。本研究の対象となる女性向 専門誌に限られ、消費者の動向も明らかとなって けゲームは、個々の作品に関する評論等は米国ポ いない。これらを明らかにすることで、女性向け ップカルチャー学会等でも多く研究されているも ゲームを研究対象とするための基礎的な情報を整 のの、消費者行動や企業と消費者の相互作用につ 備する。
Tue
SPB
69 Awakening of the game elements that lurk in the story 物語に潜むゲーム的要素の覚醒
Shosaku Takeda, Ritsumeikan University
Recently, in game study, the results of research from 昨今、ゲームスタディーズでは、人文学や工学を various academic domains are reported by a variety はじめとして多様な学術領域からの研究成果が活 of academic areas including the humanities and 発に報告されている。しかし、ゲーム制作のノウ engineering . However, discussion of learning method in ハウにおける学習方法に関する論考は少なく、特 the know-how of the game production is less, especially にストーリーやシナリオ制作についての学習モデ learning model for the story and scenario work is in the ルは殆ど議論されていない状況にある。こうした situation that has not been discussed almost. In view 状況に鑑み、本研究では、現実世界の“物語”に of this situation, through the process of finding a game ゲーム的要素を見出すプロセスを通じ、難易度設 element to the „story“ of the real world, the present 定に対する視点や意識醸成を支援する“ゲームデ study is aimed for an object of the proposal for „learning ザインの学習モデル”の提案を目的とする。 model of game design“ to support the point of view and 本研究では、第一に、いわゆる“紙芝居”を制 awareness-building for the difficulty settings. 作し、物語の直線的な構成を確認する。紙芝居の特 In this study, first, to produce a so-called „picture- 徴はお話を絵と語りで構成する所にある。絵本のよ story show“, to confirm the linear structure of the story. うに絵とテキストが同時に見えるのではなく、絵を Features of the picture-story show is the place to be 見ながら語りを聞くことで、より具体的な物語のイ configured by words and pictures the story. Rather than メージが自然に聞き手の中に入ってくる。これは映 painting and the text is visible at the same time like a 画を鑑賞するのに似ているが、大きな違いは動画と picture book, by listening to talking while looking at the 静止画、つまり絵が動きながら物語が展開するか、 picture, the more specific story image is coming into the いくつかの静止画を組み合わせることで物語を構成 listener naturally. This is similar to watching a movie, するかの違いである。 the big difference is the video and still images, in other そして第二に、紙芝居にギミックや分岐構造を words the story is or expand while motion picture, 埋め込むことで、アドベンチャーゲームへと改造す which is one of the differences make up the story by る。アドベンチャーゲームでは１つの画面の中でイ combining some of the still image . ンタラクターの介入を利用してストーリーを展開さ And secondly, by embedding a gimmick or a せていくが、この介入の仕方がゲーム性の構築であ branched structure in picture-story shows, it is り、難易度の設定につながると考えられる。そこで remodeled to adventure games. Although adventure 紙芝居と言うアナログでリニアな物語をデジタル化 game will then expand the story using intervention することで、アドベンチャーゲームというインタラ Tue interactors in one screen, the way of this intervention is クティブな世界に展開することを考えると、比較的 the construction of a game property and it is believed to 容易に物語のゲーム化と言う問題をとらえることが SPB lead to setting of the difficulty level. できる。つまり物語をシーンと言う概念を基に分解 So if you think to deploy a linear and the analog し、難易度的要素を加えながら再構築すると言う手 story in called picture-story show to the interactive 法である。 world of adventure game by digitizing, it is possible to こうした紙芝居の「制作」と「分解」、およ capture the that problem of reorganizing the story to び、「ゲーム性の付与」を通じ、学習者は物語に潜 game relatively easy. That is a technique to decompose むゲーム的要素に対するある種の“覚醒”を得るこ the story on the basis of the concept of the scene and とが可能となると考えられる。これは、ゲームシナ to rebuild while adding a degree of difficulty elements. リオ制作における基礎的な能力の獲得につながるも Through „Degradation“ and „production“ of these のといえる。 picture-story show, and the „the grant of game“, the なお、上記の学習モデルの有用性の検証につい learner is considered to be possible to obtain some kind ては、一種のアクション・リサーチを通じた知見導 of „awakening“ for the game elements that lurk in the 出を中心におこなっている。具体的には、立命館大 story. This can be said to lead to the acquisition of basic 学映像学部における開講講義「インタラクティブ映 ability in the game scenario production. 像制作実習I」で本モデルを実践し、ヒューリステ Note that the verification of the usefulness of the ィックに検討を重ねている段階である。発表当日に learning models is performed around the knowledge は、その様子についても報告したい。 derived through a kind of action research. More 70 specifically, to practice the present model in the offered lecture „interactive video production training I“ in the College of Image arts and Sciences Ritsumeikan University , it is the stage that repeated studies to heuristic. On the announcement day, we want to also report the situation..
Tue
SPB
71 Session 5A – Japan-West/Intercultural
Chair: Benjamin Bigl, Leipzig University
Wed
5A
72 The Aesthetics of Bad Translation: The Codification of a “Japanese Gamic Experience” by way of the language barrier
Tomás Grau de Pablos, Autonomous University of Barcelona
The story of the interaction between the Japanese large amount of time, and in one way or another, it came videogame industry and its Western audiences is to be treated as another feature that had to be expected riddled with anecdotes, events and small stories that when playing a game from that sector. However, instead communities share between themselves to form a of becoming a burden to their success, sometimes this general agreement on the experience of engaging with poor management has become an asset for a certain Japanese games. These stories are derided by a huge number of consumers who have eventually found it number of factors, and once some of them become charming an endearing. As such, poor translations have popular enough, they can be as major components managed to mix together with other ludic and visual through which the perception and categorization of conditions of a videogame and become constitutive Japanese videogames is developed in the Western elements of the identity of some of the most popular market. As expected, most of these perceptions come franchises of the medium. Throughout this paper, from several elements that are felt as “different” or I will offer several examples of how this particular “unique” to the sphere of Japanese gaming, usually by idiosyncrasy has become a distinctive component to identifying some quirks or traits that are seen as more configure the Otherness of several recognizable games, prevalent in that area than any other. Some of them particularly, those pertaining to the survival horror point out to firmly established differences in market saga Resident Evil and the long standing JRPG franchise tastes or design sensibilities that have developed over Final Fantasy. the years. However, there are several subtler elements that, despite their apparent innocuousness, can also be References: highly influential in this process simply by way of their Keogh, Brendan (2015) A Play of Bodies: A seeming ubiquity. Phenomenology of Videogame Experience. One of the most common examples that consumers Melbourne: RMIT University. recognize in Japanese videogames (especially earlier Mandelin, Clyde (2015) Legends of Localization Book 1: ones) is the persistence of translation problems in The Legend of Zelda. Tucson: Fangamer. both text and audio. Due to a constrained budget or Mandiberg, Stephen (2015) “Playing (with) the Trace: just a general lack of professionalism in some cases, Localized Culture in Phoenix Wright.” Kinephanos many popular Japanese games are renowned by their Volume 5: Geemu and Media Mix: Theoretical sometimes stunning lack of talent in the translation Approaches to Japanese Videogames. 111-141. department. This has meant that, for many years, Parish, Jeremy (2007) “GDC 2007: The Square-Enix videogames made in Japan were expected to display a Approach to Localization.” 1Up. URL: below-average competence in areas of game design like http://www.1up.com/news/gdc-2007-square-enix- dialog or audio dubbing. Far from only affecting lesser approach-localization known titles, this situation was quite pervasive for a
Wed
5A
73 Distinctive difference game titles between Japanese context and English context
Akito Inoue, Kazufumi Fukuda, Ritsumeikan University
1. Summary １．概要
When we think “Japanese video game”, What kind of 「日本のゲーム」といった時に、具体的にどのよ video game do we pick up? うなゲームタイトルが問題の遡上にあがるのだろ Today Japanese video game context and English video うか。現在、日本のゲーム史からすれば極めて重 game context, each context have a bias. For example, 要な作品や、あるいは英語圏のゲーム史からすれ most of the Japanese video game players don’t know ば重要な作品が、お互いの認識から抜け落ちてい “Zaxxon” (1982), and most of the non-Japanese video ることが頻繁にみられる。たとえば、『Zaxxon』 game player don’t know “moon” (1997). Both video (1982)と、『moon』(1997)の両方を知っているゲ games are regarded as very important video game title ーム研究者は多くない。だが、両作品はそれぞれ in each history. の言語圏では、重要なタイトルとみなされてい I wonder how bias, we have? In order to approach this る。 bias problem, I did research following この問題を調査するため、様々なゲームタイト • Picking up famous video game titles in the Japanese ルのうち（1）日本語圏でのみ記述されるもの (2) context 英語圏でのみ記述されるもの （3）国際的に偏りな • Picking up famous video game titles in the English く重要とされるもの三種類のゲーム選び出してリス context ト化し、分析を加えた。これをもって地域的特殊性 • Picking up famous both context を議論するための基礎資料としたい。 I listed up these titles and analyzed. These data would be able to contribute to thinking the characteristics 2．手法 between local video game cultures. まず、書籍、展覧会、アワードで選出されたゲー 2. Method ムソフトをピックアップし、一度でも選出されれ ばそれを選定候補として評価係数を加点した。（ I picked up video game titles from video game books, 細かな加点方法は表１を参照） awards, exhibitions about video games, and sales data. この手法によって、日本語圏資料での評価係 If the same video game title was found from several 数のみが高いゲームタイトル、英語圏資料での評 resources, the video game title gets a high score 価係数のみが高いゲームタイトル、日本語圏と英 (pointing method detail is described table.1). Some 語圏双方でバランスよく重要とされるゲームタイ video game gets points from only Japanese resources, トルを選出した。 the others get points from only English resources. その上で、プラットフォーム間でのバージョン Then I made lists(table.2). Checking game titles, I 違いなどの事情により、日米で偏りの出ているよう treated same video game title is one work though the なものは対象から除外した。（たとえば、日本のみ game title has several versions. For example, In Japan でGB版テトリスが取り上げられ、英語圏のみでPC版 Gameboy version Tetris got big sales, but PC version テトリスが取り上げられているが、これはタイトル Tetris is seldom mentioned. In some aspects, Tetris レベルでは同一と捉えた）。また、同シリーズ内の Wed version problem is important, but this research purpose 別の作品や、リメイク作品等が知られている場合も is not analyzing version problems. This research is これを除外した。その上で選出されたものが表2で 5A trying to know video game popularity, so “Tetris” is one ある。 work in this research. なお、このリストは「人気が高さにやや地域的 And these lists don’t pick up a week’s bias. For example, 傾向があるが、広い地域である程度知名度のある作 the GTA series is very popular in English contexts, 品」は選定対象ではない。（たとえば『GTA』シリ the other hand GTA series is the only famous among ーズや『ドラゴンクエスト』シリーズ）。 Japanese gamers, it couldn’t get high popularity in Japan. Of course, these cases are interesting, but these cases are difficult to describe the gradation detail.
74 3. Conclusion 3.結論
Table.2-Table4 and Figure.1 indicates several local 表2～表4および図1にあらわれているように、様 biases. Above all, it was to clarify the following, (1) Each 々な傾向があることがわかった。特に（1）英語 of us have little information, about 80’s famous titles in 圏の80年前後、日本語圏の90年台中盤の状況につ English contexts, and middle of the 90’s in Japanese いて相互に情報流通が少ないこと。（2）テキス contexts is little information. (2) A lot of ADV and ト量の多いADVやRPGについては日本でのみ知られ RPG genre game is only famous in Japanese contexts ているものが多いこと。（3）70年台～80年台に (3) A lot of ACT and STG genre game in 1970’s-1980’s かけての英語圏で流通したACTやSTGの重要作品が English contexts is not famous in Japan. 日本 ではあまり知られていないこと、などが明らかと なった。
Table 1. Detail of Pointing method
Type point Japanese resources English Resources International Resources Chronology, 0.6 Chronology of “Nippon “Supercade”,” High score”, History book, Manga*Anime*Game”, Chronology of ” Rules of play” Game study Magazine Famitsu no.1300 Exhibitions 1.3 Playable Game Exhibition The Strong museum hall of in Museum (2015), Exhibition of Nippon fame,MoMA, Smithsonian Manga*Anime*Game Museum (2012)
Awards / 0.45*1 BEST 10 titles in Magazine Famitsu Metacritiques Metascore, Game International Hall of fame / yearbooks,Famitsu Hall of fame*2,CEDEC Developer Conference Awards, Mobile Authoritative Awards, Japan Game Awards, Media Arts E3 Game Critique Awards, AIAS Game scores Festival Awards,Gamest Awards Awards, Game Canon Awards Gamer’s pick 0.3 Takarazima ”80’s TV game we love” 1001 Video games You Must Play up lists “Coming back master pieces”, Eroge Before You Die Scape*3, PC game ranking book, Ritsumeikan professor‘s pick up lists, “OLD GAMERS HISTORY”, “TV game study for adults.” Sales data 0.65 point Fami-tsu, Media-create vgchartz.com AppAnnie data per 1 million sales*4
*1 Game of The year :1.35 point, Grand Prize : 0.9 point, nominee *3 over 1000 comments and over85 median list up : 0.45 point *4 Sales data is power law distribution. So, I converted the data to Wed *2 Top score of the year in the Famitsu Hall of fame: 0.45 point, square root. other Hall of fame title is 0.1 point 5A
75 表１：加点方法の詳細
リスト種別 加点数 日本語圏資料 英語圏資料 国際資料 年表、歴史書、研 0.6 『ニッポンのマンガ＊アニメ＊ゲーム』年 『Supercade,』 究書籍への掲載 表、ファミ通1300号掲載 歴史年表 『Highscore』、 『Rules of play』 博物館、美術館へ 1.3 あそぶ！ゲーム展(2015)、「ニッポンのマン The Strong museum の展示 ガ＊アニメ＊ゲーム」展 hall of fame,MoMA, Smithsonian Museum(2012)
ゲーム関係の賞あ 0.45*1 『ファミコン通信ゲーム年鑑』BEST10、『フ Metacritiques Internationa るいは権威のある ァミコン通信』殿堂入りソフト※2、CEDEC metaScore, Game Mobile スコアの授与 Award、日本ゲーム大賞、メディア芸術祭、ゲ Developer Conference Game ーメストAwards Awards,E3 Game Awards CritiqueAwards, AIAS Awards, GameCanon ゲームマニアによ 0.3 別冊宝島『僕達の好きなTVゲーム 80年代』, 1001 Video Games You る選定リスト 『帰ってきた名作ゲーム』, Eroge Scape※3, Must Play Before You パソコンゲームランキングブック, 立命 Die 館映像学部教員ピックアップ, OLD GAMERS HISTORY, 大人のためのTVゲーム学概論 売上げデータ 100万本につ ファミコン通信、メディアクリエイト資料 vgchartz.com AppAnnie data き0.65点*4
※1 Game of The year 1.35点、部門最優秀賞 0.9点、ファ ※3 コメント数1000件以上でかつ、中央値85点以上のもの イナリスト 0.45点 のみを、一点につき0.003点で加点 ※2 殿堂入りソフトに限り年間で高得点をとったものから ※4 売上は上位のものがべき分布で成績が上昇するため、 順に0.45点～0.1点の範囲で順位に応じて 一度平方根の数値を割り出して、それを加点している。
Table 2. Selected game titles(Coefficient Top 50)
Context Genre Number TITLE of titles Japanese RPG 12 Torneko no Daibōken: Fushigi no Dungeon, Ragnarok Online,Yokai watch, Shin Megami Tensei: context Devil Summoner, Mystery Dungeon: Shiren the Wanderer, Romancing Saga 2, The Final Fantasy only game Legend, PoPoLoCrois Story, Romancing Saga, Yokai watch 2,moon, Bravely Default titles ETC 10 Love Plus,idol m@ster,Ingress,#denkimeter, Colony-na-Seikatsu,Gunma-no-yabo, Osawari-Tantei Nameko-Saibai kit,Hatsune-Miku Project DIVA,Neko-atsume,Aquanaut’s Holiday Wed ADV 9 Sakura Wars, Tsukihime, Higurashi When They Cry, Sound Novel Evolution 2: Kamaitachi No Yoru, Sound Novel Evolution 3: Machi – Unmei no Kousaten, D, 428: Fūsa Sareta Shibuya de,The 5A Portopia Serial Murder Case, Boku no Natsuyasumi SLG 6 Tokimeki Memorial, Kantai Collection, Densha de Go!, Derby Stallion, Gunparade March, Gihren no Yabou ACT 5 Heiankyo Alien, Dynasty Warriors 3, MANEATER, Naruto: Ultimate Ninja Storm, Kidō Senshi Gundam: Senjō no Kizuna SPO 4 Pro Yakyu Family Stadium, J-League Jikkyou Winning Eleven, Jikkyo Powerful Pro Yakyu,Tennis for two PZL 2 Gee Bee, Pazudora Z Fighting 1 Art of Fighting
RACE 1 SEGA RALLY CHAMPIONSHIP
76 English ACT 13 Portal, Flower, Marble Madness, TRON: Maze‐Atron,Jumpman, Tempest, Joust, Brütal Legend, Spy context vs Spy, Earthworm Jim, Canabalt, Spy hunter, TANK only game STG 12 Zaxxon,Star Trek: Strategic Operations Simulator, Defender, Centipede, Dead space, Geometry titles Wars: Retro Evolved 2, Einhänder, I Robot, Berzerk, Star Raiders, Attack of the Mutant Camels,1943: The Battle of Midway, SLG, 8 flOw, Pirates!, Worms Armageddon, Dwarf Fortress, Dune II: Battle for Arrakis, Utopia, Company RTS of heroes, Lord of the Rings: Battle for Middle Earth II ADV 5 Myst, The Secret of Monkey Island, Zork I, ADVENTURE, Grim Fandango ETC 4 Vib-Ribbon, Passage, Majestic, TELSTAR PZL 4 ChuChu Rocket!, Q*bert, Zack & Wiki: Quest for Barbaros’ Treasure, Boom Blox RPG 3 EVE Online, Ever Quest, Never winter Nights SPO 1 Sensible World of Soccer JP/EN Both ACT 20 Super Mario 64, Metal Gear solid, Super Mario Brothers 3, Pac-man, Donkey Kong, Shadow of the context Colossus , Resident Evil, Ōkami, Metal Gear Solid 4, Guns of the Patriot, Sonic the Hedgehog, New balanced Super Mario Brothers Wii, New Super Mario Brothers, Katamari Damacy, Super Mario Galaxy, game titles Grand Theft Auto V, RED DEAD REDEMPTION, Shenmue, Crazy Climber, Journey, Super Smash Bros. for Wii U RPG 9 Final Fantasy VII, Pockemon(Red,Green),Final Fantasy IX, Dragon Warriors(Dragon Quest),Final Fantasy VIII, Final Fantasy XII, Final Fantasy X, Kingdom Herts, Pockemon(Gold, Silver) ETC 5 Nintendogs, Wii Fit, Brain Age, Mine Craft, Animal Crossing ACT 4 The Legend of Zelda, The Legend of Zelda : Ocarina of Time, The Legend of Zelda: A Link to the RPG Past, The Legend of Zelda: Majora‘s Mask RACE 3 Mario Kart Wii, Gran Turismo, Super Mario Kart FPS 1 Call of Duty 4: Modern Warfare SPO 2 Wii Sports, Wii Sports Resort STG 2 Space Invader, Galaxian ADV 1 HEAVY RAIN PZL 1 Breakout RTS 1 Pikmin
表2 選出されたゲームタイトル（評価係数の高い上位50件）
Context Genre Number TITLE of titles
Japanese RPG 12 トルネコの大冒険 不思議のダンジョン,ラグナロクオンライン,妖怪ウォッチ,真・女神 context 転生,不思議のダンジョン 2 風来のシレン,ロマンシングサガ2,魔界塔士Sa・Ga,ポポロ only クロイス物語,ロマンシングサガ,妖怪ウォッチ2 元祖/本家,moon,ブレイブリーデフォ game ルトフライングフェアリー titles ETC 10 ラブプラス,アイドルマスター,Ingress,#denkimeter,コロニーな生活,ぐんまのやぼう, おさわり探偵 なめこ栽培キット,初音ミク Project DIVA,ねこあつめ,アクアノートの Wed 休日 5A ADV 9 サクラ大戦,月姫,ひぐらしのなく頃に,かまいたちの夜,サウンドノベル 街,Dの食 卓,428～封鎖された渋谷で～,ポートピア連続殺人事件,ぼくのなつやすみ SLG 6 Tokimeki Memorial, Kantai Collection, Densha de Go!, Derby Stallion, Gunparade March, Gihren no Yabou ACT 5 平安京エイリアン,真・三國無双3,マンイーター,NARUTO－ナルト－ナルティメットスト ーム,機動戦士ガンダム 戦場の絆 SPO 4 プロ野球ファミリースタジアム,Jリーグ実況ウイニングイレブン,実況パワフルプロ野 球 ,テニス・フォー・ツー PZL 2 ジービー,パズドラZ Fighting 1 龍虎の拳
RACE 1 セガラリー・チャンピオンシップ 77 English ACT 13 Portal,Flower,Marble Madness,TRON: Maze‐Atron,Jumpman,テンペスト,Joust,Brütal context Legend,Spy vs Spy,Earthworm Jim,Canabalt,スパイハンター,TANK only STG 12 ザクソン,Star Trek: Strategic Operations Simulator,ディフェンダー,Centipede, game デッドスペース,Geometry Wars: Retro Evolved 2,アインハンダー,I, titles Robot,Berzerk,Star Raiders,Attack of the Mutant Camels,1943: The Battle of Midway, SLG, 8 flOw,Pirates!,Worms Armageddon,Dwarf Fortress,Dune II: Battle for RTS Arrakis,Utopia,カンパニー・オブ・ヒーローズ, Lord of the Rings: Battle for Middle Earth II ADV 5 ミスト,The Secret of Monkey Island,Zork I,ADVENTURE,Grim Fandango ETC 4 ビブリボン,Passage,Majestic,TELSTAR PZL 4 チューチューロケット,Qバート,Zack & Wiki: Quest for Barbaros’ Treasure,Boom Blox RPG 3 EVE Online,EverQuest,Neverwinter Nights SPO 1 Sensible World of Soccer JP/EN ACT 20 スーパーマリオ64,メタルギアソリッド,スーパーマリオブラザーズ3,パックマン,ドン Both キーコング,ワンダと巨像,バイオハザード,大神,メタルギアソリッド4 ガンズ・オブ・ context ザ・パトリオット,ソニック・ザ・ヘッジホッグ,NewスーパーマリオブラザーズWii,New balanced スーパーマリオブラザーズ,塊魂,スーパーマリオギャラクシー,グランド・セフト・オ game ートV,レッド・デッド・リデンプション,シェンムー～莎木～一章 横須賀,クレイジー titles クライマー,Journey（風ノ旅ビト）,大乱闘スマッシュブラザーズ for WiiU RPG 9 ファイナルファンタジーVII,ポケットモンスター（赤・緑）,ファイナルファンタジー IX,ドラゴンクエスト,ファイナルファンタジーVIII,ファイナルファンタジーXII,ファ イナルファンタジーX,キングダムハーツ,ポケットモンスター（金・銀） ETC 5 nintendogs （ニンテンドッグス） 柴＆フレンズ／ダックス＆フレンズ／チワワ＆フレ ンズ,Wii Fit,東北大学未来科学技術共同研究センター川島隆太教授監修 脳を鍛える大 人のDSトレーニング,マインクラフト,おいでよ どうぶつの森 ACT 4 ゼルダの伝説,ゼルダの伝説 時のオカリナ,ゼルダの伝説 神々のトライフォース,ゼル RPG ダの伝説 ムジュラの仮面 RACE 3 マリオカートWii,グランツーリスモ,スーパーマリオカート FPS 1 コールオブデューティ4：モダン・ウォーフェア,コールオブデューティ4：モダン・ウ ォーフェア SPO 2 Wiiスポーツ,Wii Sports Resort STG 2 スペースインベーダー,ギャラクシアン ADV 1 HEAVY RAIN（ヘビーレイン）-心の軋むとき- PZL 1 ブレイクアウト RTS 1 ピクミン
Table3. Influence to each area*5 Wed
Awards Sales History Book Museum Mania Total 5A
Whole - Influence to each area 26% 25% 18% 8% 23% 100% JP Only title - Influence to each area 21% 0% 32% 30% 16% 100%
Diff between JP Only and whole 6% 25% -14% -23% 6% 0% International title - Influence to each area 27% 27% 16% 18% 12% 100%
Diff International Only and whole -1% -2% 2% -10% 11% 0% EN only title - Influence to each area 9% 0% 20% 56% 14% 100%
78 Diff between ENOnly and whole 17% 25% -2% -49% 9% 0%
表3 各リストに占
Awards Sales History Book Museum Mania 合計 全体での各ドメイン影響率 26% 25% 18% 8% 23% 100%
JP Only title内での各ドメイン影響力 21% 0% 32% 30% 16% 100% JP Onlyと全体との差分 6% 25% -14% -23% 6% 0%
International title内での各ドメイン影響力 27% 27% 16% 18% 12% 100%
Internationalと全体の差分 -1% -2% 2% -10% 11% 0% EN only title内での各ドメイン影響力 9% 0% 20% 56% 14% 100%
EN onlyと全体との差分 17% 25%• Selection-2% by authority-49% (Awards,HistoryBook,Muse9% 0% - um) VS Selection by a crowd of wisdom (Sales,Ma- nia) is even. *5 Influence in the whole of each area has been adjusted • [Selection in contemporary (Awards,Sales) VS so as to be even. Selection in retrospective (History Book,Museum,- Mania)]is even.
Table.4 Publisher bias in each list 表 4 各リストに占めるパブリッシャーの偏り
JP only EN only Both
Publisher titles Publisher titles Publisher
1 BANDAI NAMCO/BANDAI/ 5 Atari 7 Nintendo 22 NAMCO
2 Chunsoft 4 Electronic Arts 2 SQUARE 5
3 KONAMI 4 Midway Games 2 SCE 4
4 SEGA 4 SCE 2 KONAMI 3
5 SUQARE / ENIX 4 Others 37 SEGA 3 Wed
5A 6 SCE 3 Activision 2
7 Ascii 2 CAPCOM 2
8 LEVEL5 2 NAMCO 2
9 Others 22 RockstarGames 2
79 10 Others 5
Figure 1. (Y-axis is number of titles) 図 1：地域別の特徴的タイトル時系列分布
Wed
5A
80 Research on Serious-Game Design for Inter Cultural Understanding mediated by 3D Metaverse メタバースを媒介とした異文化理解のためのシリアス・ゲームのデザインに関する研究
Juhyung Shin, Yan Jiao, Yehang Jiang, Mitsuyuki Inaba, Ritsumeikan University
The aim of this research is to suggest a game of mediated 本研究の目的は、多様な文化的コンテンツが設置さ virtual reality (here after Metaverse) for understanding れた仮想三次元空間（メタバース）を媒介とした対 of various intercultural contents. 話によって、学習者同士の異文化理解を促進するた Our research group uses Second Life which is the めのシリアス・ゲームを実現することである。 most commonly used Metaverse, to create virtual 我々は、メタバース空間として現在最も普及し restaurants which embody the food culture of Japan, ているSecondLife内に仮想レストラン（図1)を構築 China and Korea (Fig. 1). In these virtual restaurants, し、その中に日・中・韓の食文化や食習慣に関する players take quizzes related to the food culture of コンテンツを設置した。またそれらの各コンテンツ Japan, China and Korea and the table manners of には、日・中・韓の食文化／習慣に関わる課題文を each country (Fig. 2 and 3). Participants seek out the 埋め込んだ（図2、3)。それぞれの課題文は、複数 right answers through discussing with each other as a の文化に関するものとし、学習者同士がそれぞれの collaborative learning process. The participants of the 自身の文化的な知識を紹介し、それらを元に話し合 experiment were 5 persons (including one researcher うことで、共同で解決できる仕組みとした。 who is Japanese and four students from three different 研究者である日本人の1人と、中国人の2人・韓 countries China, Korea and Malaysia, gender rate was 国人の1人・マレーシア人の1人の留学生の合計5名 four men and one woman). が参加する学習実験を行った。5名の参加者全員（4 There was one big screen which all participants 人の男性、１人の女性）が一つのスクリーンを見な were able to see and they controlled the avatar to solve がら、その中のアバターを操作することで、共同で the quizzes. The student participants were all foreign 課題を解決するというスタイルで学習を進めた。日 students in Japan. The language used for discussion was 本に留学している学生を主な対象とした実験である Japanese. The playing the game and discussion were ため、学習者の共通言語は日本語とした。実験の過 recorded on video (Fig. 4). After conducting experiment, 程はビデオに録画した。（図4) we analyzed the video data (interaction, conversation 実験終了後、録画データをビデオ・エスノグラ between participants and playing activities) with フイーの手法を用いて分析した。実験の過程では、 ethnographic methods (Hollan, Hutchins, & Kirsh, それぞれの学習者から、自国の食文化や習慣に関し 2000). て十分に理解していないという発言が多く見られ The most interesting findings were come from the る。また各国の食文化や習慣の相違点を話し合うこ discussion in which the participants talked about what とで、様々な食文化の背景やそこにある価値観をよ they did not sufficiently understand even about their り良く理解できたという発言が出た。さらに、課題 own culture. Furthermore, through collaborating with 文のみならず、メタバース內でアバターを操作し、 each other, participants discovered that they were able ゲームシナリオに従って課題を共同で解決する過程 to understand different food cultures and manners をとったことで、楽しみながら異文化学習ができた more precisely better by having conversations. という発言もあった。 This experiment’s analysis shows these three results. 今回の実験に対する解釈において、得られた知 Wed First, using 3D Mataverse offers the situation in an 見は次の3点である。第一に、メタバースはエンボ 5A embodied learning environment and understanding to ディメントの学習と理解の場を提供した。メタバー the participants. The reason we used this 3D Mataverse ス・ゲームはゲーム・ベース・ラーニングのため、 game is that for game based learning, embodiment is プレイヤーに没入させたり、体験させたりするエン important for players’ immersion and experience for ボディメントが重要である。第二に、本ゲームは、 learning. Second, concerning the contextual based コンテクスト・ベース・ラーニングを通じて文化の learning, in this game contextual learning situation 理解と新たな知識の獲得をプレイヤーに促す。第三 stimulates players to appreciate and easily gain the new に、参加者の間の相互作用を通して文化の理解をさ knowledge. Players are spontaneously participate in らに深めることができる。すなわち、共同プレーが meaningful contexts and use the knowledge that will 生じる相互作用のなかで学習の行為を促す。 acquired from playing the games. Third, participants 結論として、今回の実験によって、メタバース can understand culture better by interacting each other. 内を媒介とした共同解決型のシリアス・ゲームとい 81 Basically, participants’ learning is based on co-playing う枠組みが、学習の意欲をある程度維持したままが through interactivity. To solve the quizzes, participants 学習をすすめる点で有効であることが示唆された。 collaborate with each other in a social relationship and また、食文化習慣という限定された話題ではある this interaction has a positive effect to understand both が、異なる文化的背景を持つ学習者が共に課題解決 ones’ culture and others’ culture. に取り組むという学習デザインが、異文化理解のみ In conclusion, this experiment suggests that using ならず、自文化の理解を促進する上で有用であると 3D Mataverse serious games can be useful to maintain いう可能性も示唆された。 players‘ motivation to learn and to let them advanced in 今後は、より多くの学習者が参加する実験を行 their learning process. Even though the topic was focused う予定である。また今回の実験では性別による作法 on the food culture and the table manners, suggest the の違いについて意見が出たことから、男女比を均等 further potential of using this learning design, which にした実験も必要である。さらに学習者の出身国を includes the interaction among players of different 増やし、今回の実験で得られた知見の一般化する可 cultural background and seems effective to understand 能性について検証を行う予定である。 the cultural issues. To verify this conclusion and have a more generalized results, further experiments will be conducted with various participants’ rate of gender and cultural diversity.
References
Hollan, J., Hutchins, E., & Kirsh, D. (2000). Distributed Cognition: Toward a New Foundation for Human- computer Interaction Research. ACM Transactions on Computer-Human Interaction, 7(2), 174–196.
Wed
5A
82 Session 5B – Cultural/Global Context
Chair: Shuji Watanabe, Ritsumeikan University
Wed
5B
83 Changing Imagery of Gaming and the Emergence of Re-playable Lives: Reflections of Gaming Practices across Japanese Pop-Cultural Media
Selen Çalik, Kyoto Seika University
In his article “On the Ontology of Fictional Characters,” bridging “play” and “reality” through more and more Umberto Eco draws attention to the finality of true to life renderings of 3D environments, “mimetic characters’ fates as the main source of emotional interface games” (in Jesper Juul’s wording) of Wii and attachment for the audience. Contrastingly, throughout Kinect, or through virtual reality equipment such as the Gēmuteki Riarizumu no Tanjō, Hiroki Azuma explores Oculus Rift. the relatively recent profusion of repetitive elements in While such a phenomenon may escape the eye fiction —especially in anime, manga, and light novels— in its ubiquity, it can be observed rather clearly from which put the concept of “finality” in danger. Mortality the perspective of other popular media crossing paths wanes as lives are easily restarted in original as well as with games. This paper aims to discuss the concept of fan-made works, very much like in games. This new “playable lives” in relation to the growing visibility of kind of „game-like realism“ seems to be drifting away video games as a medium in the digital age, and across from social realities, taking a direction that has been different media. Through the example of Sword Art negatively criticized by many as escapism. Online, first appearing as a light novel series by Reki But what if we consider that we are playing our Kawahara (ongoing since 2009) then spawning across lives? Especially today, with online interactions on multiple media (including manga, anime and video virtual platforms being not only possible but also quite games), reflections of gaming practices in Japanese common all over the world, the relationship between popular culture will become visible. Combining media video games and life cannot be reduced to a one- theory and intermedia studies, this paper intends to directional impact one has on the other. The “magic analyze the impact and the reception of gaming today, circle” of games increasingly reveals its porousness, arguably giving birth to re-playable lives.
Wed
5B
84 Umineko no naku koro ni: Reading Japanese novel games in their cultural context, from information society to urban consumption
Ernest dit Alban Edmond, Concordia University,Paris Saint-Denis
Novel Games, also called Visual Novels or Sound urban consumption and fragmentary storytelling in Novels are reading games which origins and popularity the city of Toyo to dress up a history of the emergence are often attributed to Japan. But what are Japanese of nowadays Japanese visual novel extended industry Novel Games and how can we frame their cultural while exploring the specificities of its texts. and industrial particularity or legacy? This article will present one example of a quite famous amateur Japanese Some References used in the paper novel game to situate and investigate the larger history and cultural picture of this genre. Incorporating 07th Lamarre, Thomas, The Anime machine, Univ of expansion Umineko no naku koro ni in the larger frame Minnesota Press, 2009. of Otsuka Eiji’s autobiographical Otakuseishinron, I Azuma, Hiroki, Dôbutsuka suru posutomadan『動物 want to highlight how novel games are the historical 化するポストモダン』Tôkyo, Kôdansha, Gendai- product of the specific atmosphere of the late 80’s shinsho, 2003. advertising and marketing tendencies, maturing and Otsuka, Eiji, Otaku no seishin『 オ タ ク の 精 神 』, finding its urban homeostasis in the early 2000’s media Kôdansha Gendaishinshô, 2004. ecology of entertainment, gradually shifting from a top Bakhtin, Mikhail ., the Dialogic Imagination, Austin, down environment to a Peer to Peer one. Université du Texas, 1981. This lecture of novel games is therefore based on Benedict, Anderson, Imagined Communities, Verso, communication and linguistics to understand how the 2006 edition. visual novel gaming experience is a narrative game and Dejaeger, Hanna, Languaging and communities why it found its roots in the cultural re-emergence of Cuffari, E, Di Paolo, E, and De Jaegher, H (2014). publicity, urban legends, fan made or self made dôjin From participatory sense-making to language: event. The article will also present the more actual There and back again. Phenomenology and the iterations and movements created by this convergence Cognitive Science. doi: 10.1007/s11097-014-9404-9. of reading and gaming as “kakera asobi” ,fragment Sfez, Julien, Critique de la communication, Le Seuil, gathering, that was born from Bikkuriman Chocolates Paris, 1988. and then became a gaming practice linking both video Maffesoli, Michel, Le temps des tribues, la fin de games and fan consumption. Using the Umineko no l’individualisme dans les sociétés post modernes, La naku koro ni ‘s example of production, diffusion and table ronde, 2000. reception models, we will connect those questions of
Wed
5B
85 Construction of Female Corporeality in Rune Factory Frontier – Patterns of a Local and Global Discourse about the Female Body
Sebastian Sabas, Heinrich Heine University Düsseldorf
As a part of the international media landscape and due Furthermore, the design of the characters in accordance to their growing diffusion among the population, video to a culturally constructed “Western phenotype”, as games have come to play a greater role than ever in the well as their mostly non-Japanese names, indicate that process of analyzing the construction of and discourse the game has to be seen as a part of an international about cultural concepts. Through their participation in discourse. The construction of corporeality in Rune a local and global public discourse, video games depict Factory Frontier therefore shows local as well as global social and cultural constructs as any form of expression patterns. does. One of the most controversially discussed This paper aims to deconstruct the corporeal constructs is female corporeality. concepts constructed in the game and explain them in With its marriage system and the large number of the context of a local Japanese as well as an international eligible bachelorettes, the video game Rune Factory discourse about female corporeality. It will show that Frontier, published exclusively for Wii by Marvelous the construction of corporeal concepts of the game Entertainment (Japan) (Marvelous Entertainment Inc. has to be seen as a combination of patterns of local 2008), offers the opportunity for an extensive discourse and global discourses about corporeality. Furthermore, about various corporeal constructs. The characters it will discuss possible motives for the application of from this video game depict various constructs of certain stereotypical corporeal categories in the context female corporeality that show patterns found in a local of a glocalized publication of Japanese video games. Japanese as well as in an international discourse about the female body. The fact that the game was published Works Cited in Japan as well as North America and Europe indicates that it is important to look at the concepts of the game Marvelous Entertainment Inc. 2008. ルーンファクトリ in the context of both discourses. ーフロンティア。ホー ム。(Rune Factory Frontier. The design of these characters shows patterns of Home.), http://www.marv.jp/special/game/wii/ female innocence and de-sexualization known from the runefactory/index.html (01/15/2016). construction of the shôjo culture (Monden 2014: 272) Monden, Masafumi. 2014. Being Alice in Japan. as well as concepts of maturity and sexualization known Performing a Cute, ‘Girlish’ Revolt. Japan Forum from the construction of motherliness (Pike & Borovoy 26(2): 265–285. 2004: 497). These concepts – often discussed when Neverland Co. 2010. Rune Factory Frontier. European talking about “Japanese” corporeal concepts – may be Version. Hitchin: Rising Star Games Ltd. considered part of a local (Japanese) discourse about Pike, Kathleen M. and Amy Borovoy. 2004. The Rise the female body. However, there are also categories of Eating Disorders in Japan. Issues of Culture and considered part of an international construct of female Limitations of the Model of Westernization? Cult corporeality, such as the beauty ideal of a thin body. Med Psychiatry 28(4): 493–531.
Wed
5B
86 Session 6A – Industry criticism
Chair: Kazufumi Fukuda, Ritsumeikan University
Wed
6A
87 Developing new business models for content creation in the Chinese game industry
Paul Martin, Bjarke Liboriussen, Andrew White, University of Nottingham Ningbo China
As reported by Talking Heads’ David Byrne, creative models for Chinese online and mobile gaming, models workers and artists generally feel that they are not whose popularity have grown exponentially in recent receiving sufficient reimbursement for their online years and now sustain a majority of new games globally content (Byrne 2013). Confounding those who argue (Lehdonvirta & Castranova 2014: 13). Although China that barriers to entry to online markets are being is widely regarded as something of a parasitic copycat lowered through the widespread diffusion of low cost in the domains of consumer electronics and digital digital media devices and software, entertainment entertainment – cf. the popularity of the notion of markets have become more concentrated in recent ‘shanzhai’ (Chubb 2015; Pang 2012) both domestically years, such that a small number of conglomerates tend and internationally – the development of these to dominate each sector (Elberse 2013; Hesmondhalgh freemium business models in the early 2000s marks 2012). This tendency is even more pronounced in online a moment of world-leading innovation (Nakamura entertainment markets, where access to electronic 2015; Yu 2014). This moment is yet to be formally products is predominantly managed through gate- documented and we intend to do so based on expert keepers like Amazon, Facebook, Google and Apple. interviews to be conducted in the spring of 2016. Although Chinese equivalents such as Alibaba, Tencent, Sina and Sohu might not have the same near-monopoly status enjoyed by Google and Apple in certain western References markets, increasing monopolization of online markets Bartlett, J. (2015) Imogen Heap: saviour of the music generally benefits mainly the owners of gate-keeping industry? The Observer, 6 September. Available: companies and the advertising industry parasitic on http://www.theguardian.com/music/2015/sep/06/ online content. imogen-heap-saviour-of-music-industry How to divert the proceeds of online content into Byrne, D. (2013) The Internet will suck all creative the hands of the creators rather than the gate-keepers is content out of the world. The Guardian, 11 a question that has long concerned artists and creative October. Available: http://www.theguardian.com/ workers as well as scholars. Part of the answer to this music/2013/oct/11/david-byrne-internet-content- question will involve innovative uses of technology, world especially where they have the capacity to deliver Chubb, A. (2015) China’s Shanzhai Culture: micropayments to these content creators. This has ‘Grabism’ and the Politics of Hybridity. Journal of been explored by UK and American practitioners and Contemporary China 24(92): 260–79. scholars in relation to the music industry, newspapers Elberse, A. (2013) Blockbusters: hit-making, risk-taking, and film (Graybeal & Hayes 2011; Lanier 2013; Leyshon and the big business of entertainment. New York: 2014; Taylor 2014), and there have been developments Faber & Faber. 2 in ‘blockchain’ technology which have the potential to Graybeal, G.M. & Hayes, J.L. (2011) A modified news contribute to the creation of efficient micropayment micropayment model for newspapers on the social models (Bartlett 2015). As Ren and Montgomery (2012) web. International Journal of Media Management, Wed have demonstrated in relation to online literature, the 13(2): 129-148. Chinese Internet is a site of many different innovative Hesmondhalgh, D. (2012) The Cultural industries. 3rd 6A models for providing direct payments to original edition. London, Los Angeles and New Delhi: Sage. creators. Lanier, J. (2013) Who owns the future? London and This paper is based on the initial findings of a team of New York: Allen Lane. researchers who are considering the global question of the creation of new online business models to investigate Lehdonvirta, J. & Castronova, E. (2014) Virtual what type might be appropriate for generating revenue Economics: Design and Analysis, Cambridge (MA): for creators of content in the respective Chinese creative The MIT Press. industries in which they have particular expertise: Leyshon, A. (2014) Reformatted: codes, networks, and music, journalism, video games and film. the transformation of the music industry. Oxford: The presentation will pay special attention to the Oxford University Press. development of micropayment, or ‘freemium’ business Nakamura, A. (2015) Past, Present and Future 88 Prospects of Digital Game Industry in the PRC: Ren, X. & Montgomery, L. (2012) Chinese online One Prospective From the Scholar Who Walked literature: creative consumers and evolving business Along With This Miraculous Growth. Keynote models. Arts Marketing: An International Journal, presentation at the Second Annual Chinese DIGRA 2(2): 118-130. Conference: Digital Games in China: Past, Present Taylor, A. (2014) The people’s platform. London: Fourth and Future. Beijing. Estate. Pang, L. (2012) Creativity and Its Discontents: China’s Yu, G. (2014) No Title. Invited talk at the (Chinese) Creative Industries and Intellectual Property Rights Game Studies conference. Ningbo. Offenses. Durham: Duke University Press.
Wed
6A
89 Harnessing the Power of Persuasion: Strategies towards Increasing Women’s Participation in Japan’s Game Industry
Mimi Okabe, Geoffrey Rockwell, University of Alberta
What are the opportunities for women in game design feminist literature on gaming to recommend changes in Japan? This paper will look at the formal and that would make game design more welcoming. It also informal opportunities for women to get involved in examines various strategies taken by women (and men), designing videogames. According Job-Jam Kyoto 2015 currently in the game industry, that encourage women’s (a job fair that featured various game companies) the participation within Japan’s game industry. ratio between men and women applicants was 73:34. At the Kyoto Indie Game seminar, the ratio was 20:1 or References: 30:1.The staggering difference in the number of women “Aim to become a Woman Creator!” ha.athuman.com. (versus men), who are interested in pursuing a career Human Academy Co, Ltd. 2014. Web. in videogames and/or the game industry in Japan, begs Badgett, M.V. Lee, Nancy, Folbre. “Assigning Care: the question: why are so few women interested? What Gender Norms and Economic Outcomes” Women, socio-political and cultural factors are at work? And Gender and Work: What is Equality and how do what are some strategies to begin minimizing the gap? we get there? Ed.Martha Fetherolf Loutfi. Geneva: In his effort to revive an economy hampered by a International Labour Office, 2001. Print. 327-344. declining population, Prime Minister Shinzo Abe’s Consalvo, Mia. “Crunched by Passion: Women Game campaign for womenomics—to fill 30% of leadership Developers and Workplace Challenges.” Beyond positions in Japan held by women by 2020—might offer Barbie & Mortal Kombat New Perspectives a solution to increase the number of women in Japan’s on Gender and Gaming. Eds. Yasmin B. Kafai, game industry, but is it enough? Interviews with Japanese Carrie Heeter, Jill Denner, and Jennifer Y. Sun. women game developers, which were conducted in the Massachusetts: MIT Press, 176-190. Print. summer of 2015, make visible complex and cultural Female Game Creator. Web. 7 Nov. 2014.
Wed
6A
91 Dark Side of the Sun: A controversial examination of the underworld of the Japanese video game industry
John Szczepaniak, Freelance Journalist
It‘s well accepted that Japan has a culture emphasising the land of the Rising Sun, one which few acknowledge hard work (1); up until the 1980s, it was normal to and even fewer investigate. However, although all of work a 6 day week. There is even a word for death from this might seem scandalous, all of those involved did so overwork, karoshi (2), in addition to one of the highest willingly and eagerly. They worked with the yakuza to suicide rates in the world. In the aftermath of World War build games into something more stable. They suffered II there was a focus on work and, as one Japanese game through hardship to build an industry which became developer states, the perception was that „play“ was a world leader. Indeed, it is my belief that an intrinsic bad. (3) Although Japan is becoming an increasingly culture of hard work and self-sacrifice is one of the key leisure based society, and video games are very much reasons that Japan dominated the arcades, in addition a leisurely pursuit, the foundation and history of game to 8-bit, 16-bit, 32-bit, and the PS2-era of home gaming. development is built on long working hours and brutal Japan‘s success and historical legacy is thanks to this conditions. The humorous cliché is that Japanese intrinsic sense of „giri“, a sense of duty and obligation workers spend their lives in the office, sleeping under (5), of self-sacrificing devotion to the cause, the group, their desks, but this is actually quite true. In addition, the greater whole. Sadly, due to a policy by almost the negative perception of „play“ meant that games, every company to hide the names of developers (for along with other forms of entertainment, ended up fear of headhunting), these heroes of Japan have gone entwined with the yakuza. (4) unknown. Based on statements from over 30 video game developers, I aim to examine the many darker aspects of game development in Japan. Excessively long working References: hours, working without sleep or food, living in the (1) Ross Mouer, „Chapter 6: Work Culture“, Cambridge office for months at a time, being kept locked in the Companion to Modern Japanese Culture, 2009. office until work is completed, underage employees (as (2) Blaine Harden, „Japan‘s Killer Work Ethic, Toyota young as 14) breaking labour laws, low pay, no royalties, Engineer‘s Family Awarded Compensation“, The tax evasion and fraud, physical violence towards staff, Washington Post, 13 July 2008. and the negative effects of all this on people‘s physical (3) Sepp Linhart, „From industrial to postindustrial and mental health, resulting in illness, depression, and society: changes in Japanese leisure-related values thoughts of suicide. and behavior“, Journal of Japanese Studies 14/2, Most significantly, overlaying all the above, is the 1988, p305. presence of the yakuza, as a means of funding the start (4) Andrew Rankin, „21st-Century Yakuza: Recent of new companies, sabotaging rival developers, and Trends in Organized Crime in Japan“, Japan Focus, acting as a protective force in arcades (cited example http://www.japanfocus.org/-Andrew-Rankin/3688/ being arcade developer Taoplan). Video games, though article.html, 2001. mainly marketed at children, are not the squeaky clean (5) Roger J. Davies & Osamu Ikeno, „Giri: Japanese industry many believe, and there is much overlap with Social Obligations“, The Japanese Mind: Wed adult entertainment such as pachinko. Despite the Understanding Contemporary Japanese Culture, negative perception of such organisations, they were 2002, p95~101. 6A essential to fostering and developing the early industry. There is undeniably a dark side to video games in
92 Session 6B – Game Design/Difficulties
Chair: Jan-Noël Thon, University of Tübingen
Wed
6B
93 ‘Metroidvania’ As Japanese Take On (Semi‑)Open World Game Design – From early platform games like Metroid and Castelvania to RPGs like Dark Souls and Bloodborne
Marc Bonner, University of Cologne
Keywords: metroidvania, game space, level structure, their critically acclaimed third-person action RPGs difficulty, maze, labyrinth, theory of space Dark Souls (2011-2016) and Bloodborne (2015) in order to stage certain aesthetics contrary to today’s western Like in European garden design of early modernity game play concepts (Van Nuenen 2015; Vella 2015). the game worlds of the Japanese Metroid (Nintendo This paper will analyze the traditional Japanese 1986-2010) and Castlevania (Konami 1986-2014) game ‘Metroidvania’ game worlds by exposing their spatial series use mazes and labyrinths in order to entertain the elements (Totten 2014) and characteristics from 1986 to gamers and bereave them from survey and control. In 2015 and define them as Japanese take on (semi-)open the mid 1980s Japanese platform games like the said as world video games. well as the Mega Man (1987-2015) or Contra (Konami 1987-2013) series combined the most challenging Bibliography difficulty levels with game mechanics from role playing Aarseth, E. I fought the Law: Transgressive Play and or shoot’em up genres. Once an established gameplay the Implied Player, in Proceedings of DiGRA technique of the 8- and 16-bit eras this distinct staging 2007 Conference. URL: http://www.digra.org/wp- of the implied gamer’s (Aarseth 2007) experience by content/uploads/digital-library/07313.03489.pdf. complex level structure and hard to champion events Ascher, F. Die Narration der Dinge Teil II – (e.g. boss fights) nowadays is a niche in gaming culture. Environmental Storytelling, in Paidia. Zeitschrift The effort of replaying a certain point over and over für Computerspielforschung, November 2014. again, the uncertainty of decoding the game mechanic’s URL: http://www.paidia.de/?p=4027. semiotics in the right way due to the lack of explanations Bogost, I. Persuasive Games. The Expressive Power of (Eco 2009), and the avatar’s ever repeating death as only Video Games. MIT Press, Cambridge (MA), 2010. performance to understand these game worlds, make Eco, Umberto: Function and Sign: The Semiotic of these franchises special cases of what western game Architecture (1997), in Neil Leach (Ed.) Rethinking studies’ discourse defines as (semi-)open world game Architecture, A Reader in cultural theory, Padstow/ (Ascher 2014). Cornwall 2006, S. 182-202. What Metroid and Castlevania did differently Paul, M. Meaningful Movement: The Labyrinth compared to the separately loaded single stages of Mega And ‘Castlevania: Symphony Of The Night’ in Man or Contra is the interconnection of linear level Proceedings of DiGRA 2009 Conference: Breaking tubes as networks at unforeseeable points in the game New Ground: Innovation in Games, Play, Practice architecture. Only by several gaming sessions, free- and Theory. URL: http://www.digra.org/digital- roaming and mastering of certain events, the players library/publications/meaningful-movement-the- unmask the game world’s coherence and spatial logic labyrinth-and-castlevania-symphony-of-the-night- including non-euclidean shortcuts. These distinct extended-abstract/. interconnected platform structures were coined by Totten, Christopher W.: An Architectural Approach To Wed the term ‘Metroidvania’; a Japanese design solution for Level Design, Boca Raton/London/New York: CRC pacing hard to master videogames that also saw many Press, 2014. 6B western copies and pastiches in its wake. Van Nuenen, Tom: Playing the Panopticon: Procedural Today this special procedural rhetoric (Bogost Surveillance in Dark Souls, in Games and Culture, 2010, Paul 2009) can be understood as a Japanese take January 2015, pp. 1-18. URL: http://gac.sagepub. on open world game structures. Thefigure-ground com/content/early/2015/02/10/1555412015570967. architecture (Totten 2014) of such ‘metroidvania’ game abstract. worlds exists in one game space contrary to the single, Vella, Daniel: No Mastery Without Mystery: Dark enclosed levels that beforehand were established in 2D Souls and the Ludic Sublime, In: Game Studies, The sidescroller platform games. By referring back to the international journal of computer game research, characteristics of said franchises, Japanese developer vol. 15, issue 1, Juli 2015. URL: http://gamestudies. FromSoftware uses aforementioned level structures org/1501/articles/vella. and spatial arrangements as dramaturgical agent in 94 Moral Ambiguity and Player Complicity in the “Souls” Series
Thorsten Busch, Jason Begy, University of Konstanz & Concordia University
Morality, moral choice and ethical dilemmas have 5.Specific locations within the games offer narrative become prominent gameplay elements in videogames backdrops that allow for multiple moral interpretations. over the past few decades. Consequently, they have been 6.Hardly any of the moral choices in the games are binary discussed extensively in recent years among gamers, in terms of good or bad, and they are not evaluated by designers, and scholars (Reynolds 2002; Takahashi game systems like “karma meters.” 2004; Consalvo 2007; Tavinor 2007; Project Horseshoe 7.The games’ lore is introduced sparsely via obtuse 2009; Zagal 2009; Stevenson 2010; Gies 2012). One dialog and item descriptions, tasking players with of the main criticisms raised by players, critics, and piecing together the narrative and moral qualities of the scholars alike is that most games are too simplistic in games’ characters. both their portrayal of moral subject matter and in 8.Even presumably obvious moral decisions often get their implementation of moral choice as a gameplay reframed via specific, hidden information that entirely mechanic (Sicart 2009, 2013a/b). changes the context within which players interpret Most of this discussion has focused on “Western” them. role-playing games, such asFable,Dragon Age,Mass 9.Lastly, the games feature multiplayer elements that Effect, FalloutorThe Elder Scrolls. These franchises have allow players to interact with one another in a wide put player decisions, and most prominently moral ones, range of morally ambiguous ways. at the forefront of their marketing. In all of them, choices are a key component of both the overall narrative and References the minute-to-minute gameplay, with players choosing Consalvo, M. 2007. Cheating. Gaining advantage in an alignment, deciding which virtual races or NPCs videogames. Cambridge, MA: MIT Press to save or eliminate, and solving the games’ overall Gies, A. 2012. Reviewers’ talk: Mass Effect 3, the dilemmas. ending, the narrative, the controversy. Polygon, In contrast to the aforementioned games and body March 26. Available at: http://www.polygon. of academic literature, we will broaden the scope of the com/2012/10/5/3461080/reviewers-talk-mass- debate by focusing our presentation on Japanese games. effect-3-the-ending-the-narrative-the-controversy Specifically, we will reflect on FromSoftware’s “Souls” Project Horseshoe. 2009. “Choosing between right series, i.e.Demon’s Souls (2009),Dark Souls (2011),Dark and right: Creating meaningful ethical dilemmas in Souls II (2014),Bloodborne (2015), andDark Souls III games.” Available at: http://www.projecthorseshoe. (2016). Not only have the “Souls” games invigorated com/ph09/ph09r3.htm Japanese games’ cultural cachet in the West in recent Reynolds, R. 2002. “Playing a good game: A years, they have also had a massive influence on game philosophical approach to understanding the design in North America. And when it comes to morality of games.” International Game Developers portraying moral issues, these games explore moral Association meeting 2002. Available at: http:// gray areas like few others do. opencoursesfree.org/archived_courses/cs.berkeley. Thus, our talk will deliver a close reading on moral edu/inst.eecs-cs10/fa09/dis/02/extra/reynolds_ ambiguity in the “Souls” series, focusing on how these ethics.pdf games make players complicit in morally ambiguous Sicart, M. 2009. The ethics of computer games. Wed or downright questionable acts. Specifically, we will Cambridge, MA: MIT Press 6B discuss how the “Souls” formula uses the following Sicart, M. 2013a. Beyond choices. The design of ethical elements to create moral ambiguity: gameplay. Cambridge, MA: MIT Press 1.The games’ settings and overarching narratives are Sicart, M. 2013b. Moral dilemmas in computer games. obtuse and ambiguous. Design Issues 29(3), pp. 28-37 2.Almost none of the non-player characters (NPCs) that players meet are merely either good or bad. Stevenson, J. 2010. “A framework for classification 3.The games’ main quest lines are morally ambiguous, and criticism of ethical games.” In Schrier, K., and and their multiple endings are open to moral Gibson, D., eds., Designing games for ethics: Models, interpretation. techniques, frameworks. New York: Hershey, pp. 4.Players meet NPCs that introduce well-hidden, 36-56 morally questionable, and unpredictable side quests. 95 Takahashi, D. 2004. “Ethics of game design.” Zagal, J. 2009. “Ethically notable videogames: Moral Gamasutra, December 27. Available at: http:// dilemmas and gameplay.” Breaking New Ground: webdocs.cs.ualberta.ca/~games/299/Gamasutra.pdf Innovation in Games, Play, Practice and Theory. Tavinor, G. 2007. “Towards an ethics of video gaming.” Proceedings of DiGRA 2009. Available at http:// Proceedings of the Conference on Future Play, facsrv.cs.depaul.edu/~jzagal/Papers/Zagal- pp. 1-8. Available at: http://dl.acm.org/citation. EthicallyNotableVideogames.pdf cfm?id=1328204
Wed
6B
96 A theory that studies diversity for profit called Difficulty Engineering and Intrinsic Difficulty
内発的難易度による難易度工学
Shuji Watanabe, Ritsumeikan University
A desired goal, it was madeby “the Intrinsic Difficulty”. 失敗や成功のフィードバックをプレイヤー自身にさ Typically, The Difficulty is supported justせながら挑戦を誘発する難易度を「内発的難易度」 extrinsicdifficulty,howeverThe Structure of Multiple と呼ぶ。本研究では、難易度の階層化・構造化によ Difficulties gives a person motivation by balancingfor り、「内発的難易度」を発生させる仕組みをとりあ priorities between multiple difficulties.(watanabe,2015) げる。同時に、これに代表されるような挑戦を生み We focus on these two characteristicsin “The difficulty“. 出すユーザーエクスペリエンスを対象としたデザイ One is“HMD(the Hierarchization of Multiple Difficulty) ン科学の一分野として「難易度工学」を考える。 and otheris “SMD(the Structuralization of Multiple 難易度を分析する手法として、先行するスポーツ心 Difficulty) . 理学における「スキルの階層化と構造化」に着目 These theories are by applying Hierarchization する。スキルは難易度に適切な応答するとフロー効 and Structuralization for player skill in sports 果のようなポジティブな反応を返す『パックマン』 psychology(Nakagome 2007). By way of examplein を例に考えてみよう。初心者の場合、初心者には目 “Pac-man”, の前にある「モンスターから逃げる」「ドットを取 “HMD” which is capable of assisting a playing a る」という低階層の難易度のみを認知すれば、当分 digital game so that even a beginner can make come to の間はフロー体験を得ることは可能となる。最初は grips with playing more the lowest class difficulty(ex. より高い階層の難易度である「ハイスコアを目指 “run awayfrom monsters!” or “get dots!”), by capable す」は意識する必要がない。この仕組みをスキルの property for ignore higher class difficulty(ex.”achieve a 階層化と対比した「難易度の階層化」と呼ぶ。 high score!”).This make a beginner get to a flow state また、「ドットを取る」という難易度から、「ステ faster by recognized simple game mechanics. ージクリア」という難易度の階層化までを一つの In other side,”SMD”is capable of assisting a 難易度構造と考えた場合と、「ドットを取る」と「 seniorplayerfor longer span flow state even combination ステージクリア」、さらに上階層の「ハイスコアを of simple difficulties for instance the following. 目指す」までを一体構造で考えた場合では、おのず In the case of looking “Difficultyofclearingone と「ドットを取る」といった難易度の意味や性質が stage”,and other case of looking “Difficultyof異なってくる。このような難易度が複数階層化し一 achievementa high score”, each case has same lower 体となった構造は、結果的に習熟したプレイヤーに class difficulty such as“Difficultyof gettingdot”, However さえ、基本的な行為(この場合のドットを取る)を飽 “Difficultyofgettingdot“includedin both case there きさせることのない適切な難易度とスキルのバラン wererecognized different properties even identity game スとして提供することを可能にする。この仕組みを mechanics. In other words, when player recognizes スキルの構造化と対比した「難易度の構造化」と呼 higher class difficulty, he has to change strategy for ぶ。 optimal solution(ex. “distance from monster” “time of また、「難易度の階層化・構造化」は初心者と上級 getting power pellets) of playing lowerclass difficulty 者といった2者間のみを対象としたものではない。 even a playing for identity extrinsic difficulty design. 難易度が2つ以上組み合わさることでつくられるシ As in HMD and SMD, a player can select to focus ステムは「より狭い階層を局所的に解決する戦術的 Wed “Difficulty” between following A and B even single 志向」なのか、それとも「より広い階層を大局的に 6B experiencein a game. 解決する戦略志向」なのかを、1個人のプレイヤー A) The tactical thoughts to solve narrower class(higher に選択させる事も可能となる。これを「内発的難易 rate of time preference) 度」と呼ぶ。 B) Thestrategic thoughts to solve more massively 「内発的難易度」は、プレイヤーの脳内で発生させ difficulty class(lower rate of time た難易度構造体であり、結果的にその挑戦に失敗し preference) たとしてもゲームデザイン(ゲームそのもの)にネガ Even in a player, a structure between A) and B) is ティブな印象をもたれない。これを発生させるため capable for making his prediction based on his own のデザイン上のメソッドも重要となる。 skill. In this way a player is able to select a degree of difficulty how to efficiency for real-world time, that is named “intrinsic difficulty” for this paper. 97 Examples include battle scene of JRPG, We seems a Difficulty is simply “Enemies” in these games, However a player have to challenge difficultiestheseare“Defeating enemymore earlier” by game mechanics that was imposed a burden as “Real-world time” such as “Game Over” or “Penalty for respawn” or “Billing”. (Watanabe,2014) He have to think more earlierway on his skill such as a usingGOLDbetween A)buy swordand B)recoverHPat an inn.Thus, extrinsic difficulties areableto guide player in his intrinsic difficulty.Whatis the difference between the viewpoint of “Difficulty model” and “Goal (or Purpose, or Objective) model”? The Cliff-nize(The crosswalk often change into the cliff) is one of the most important and general example for knowing what is “Difficulty model”. “Difficulty Engineering” is theory and engineering for “the dropping” and “no definite purpose”. Flow Theory that is need to define “Goal (or Purpose, or Objective)”, and Game Theory that is need to define “profit”. Decidedly, “Knowing how we should do it”is best solution a pursuit for profit in our world. “Difficulty Engineering” indicates a solution for “the diversity for profit”. It is capable for explaining a phenomenon that is the process of accruing “Goal”,and “Goal” induces next discoveringnew difficulties. In other words, “Goal” is just a byproduct in “Difficulty Engineering”. The human is a living thing that can‘t help finding “difficulty” in his worldbeyond theverbal.And the Digital Games are “The Arts(Observationandabstraction)for the Difficulty”, because there are Real-world and Game designin the same planeon “The Difficulty”.
References
[1]Watanabe(2015) Dramatic Difficulty-The possibility of “The Artistry of Difficulty” in Digital Games-, Replaying Japan 2015 [2]Nakagome(2007) The world ofpsychology -sports Wed psychology-, Baifukanpublishing [3]Watanabe,Nakamura(2014)Why Do People Play 6B Games? “Game Essence” from a Developer’s Perspective,Soft bank publishing
98 This conference is supported by