Two students from Leipzig in Kyōto

After arriving in Japan and working our way through the first barriers of several registrations, we received a warm welcome by our professors here and were introduced to the facilities, including the game archive, which consists of a rich variety of old games now available to research.

Japanese Videogames between the Local and the Global: Workshop 1

Presentation abstracts


June 21 (Wed.)

Session 1: Game Archeology

周鵬 Zhou Peng (PhD student, Ritsumeikan University): Wondering in Text: an overview of the development of “adventure games” テクストの迷宮を彷徨う――「アドベンチャーゲーム」の発展についての概説


When discussing about “adventure games,” what the player actually does in the game is often left out of the discussion. However, without concerning the player’s action, or in other terms, their gameplay experience, I find it hard to fully understand what kind of games is “adventure game.”

In this presentation, I will use historical examples to show a game design structure that is shared by both early text-based “adventure games” and graphic “adventure games.” I believe that the core gameplay experience that interests players of “adventure games” is the power that allows them to reorganize the in-game world back to normal and control the fate of the main character.






Crowther, Will. 1976. Colossal Cave Adventure.

Infocom. 1980. Zork I: The Great Underground Empire.

Infocom. 1984. The Hitchhikers Guide to the Galaxy.

On-Line Systems. 1980. Mystery House.

On-Line System. 1982. The Dark Crystal.

Sierra On-Line. 1984. King’s Quest: Quest for the Crown.

ICOM Simulations, Inc. 1985. Déjà Vu: A Nightmare Comes True.



川崎寧生 Kawasaki Yasuo (PhD student, Ritsumeikan University): 日米ゲームセンター史の比較分析 Comparison between history of Japanese and American Game Arcades


ゲームセンターとは、硬貨投入型機械を設置し、それをプレイヤーに遊ばせることで利益を得る娯楽施設である。日本、そして米国のゲームセンターは、初期ビデオゲーム史における大きな功績と、他の小さくない事績を持つにも関わらず、現在大きく状況が異なる場所となった。本論の目的は、日本と米国におけるゲームセンターの歴史について、社会的・文化的背景を踏まえつつ比較分析を行い、日本のゲームセンターの周辺環境の独自性や、他国のゲームセンターが現在残っていない要因について、明らかにすることである。本発表では、日米のゲームセンター(Game Arcade)について、時系列順に出来事を整理し、比較の焦点を洗い出すことを目的とし、文献資料をもとに整理をおこなう。本発表では、「ゲームセンターの黎明期」と「社会統制への抵抗」、そして「ビデオゲームとの関わり」の三つの観点を中心に記述を試みた。


Game Arcade is Amusement facility that profited by playing user on Coin-Operated Machines. Japanese and American Game Arcade (Game Center) are different place, In spite of arcades had a big achievement in the history of initial video game. The purpose of this research compare history of Japanese Game Center and American Game Arcade, and analyze neighboring environmental originality of the game arcade of Japan and the factor that the game arcade of other countries is not left now. In this announcement, I arranged history about Japanese and U.S Game Arcade that based on documentary record. In this announcement I tried a description around three view point: the dawn of the game arcade, resistance to social control, and the relation with the video game.

Session 2: Gaming as Cultural Translation

シン・ジュヒョン Shin Juhyung (PhD student, Ritsumeikan University): Tasty worlds in Gurume Games and Gurume Manga


This presentation does not aim to suggest a clear definition of the Gurume games  (hereafter GG) a. To indicated the type of games that will be used in this presentation, I temporarily, defined GG as digital games that are “dealing with Gurume (food) and cooking, collecting ingredients, selling food.”

In a previous study, the elements of Gurume Manga (hereafter GM) are described as cooking (作る), eating(食べる), telling(語る)interrelation(つながる). In this presentation; I want to focus on Cooking and Eating to analyze both GG and GM. This is because “gurume (foods)” are always closely related to cooking and eating behaviors. In GGs, gurume inside the games opens to the imagery to food that you can never experience in the real world and gives access to tastes which are impossible. Thus it opens the possibility of a “third taste” which we can call the taste stimulating the imagination.

For the further studies, it would be necessary to analyze a larger number of gourmet games with manga to examine the particularity of digital games. Gourmet that is reproduced (represented) inside GG and GM, duplicates the real food, the cultural content, and fulfills the function as a tool of communication. It is true that “gourmet” of GGs takes on the role of an object of play, and the focus is on scores and finishing the goals of the games. GG’s gurume may not appeal to human desires of (appetite and taste) foods. However, we can say that gourmets in GM offer us to play freely without any limitation and to develop our imagination. Indeed, this point is crucial for opening the potentiality of gurume in GG.



梁宇熹 Liang Yuxi (PhD student, Ritsumeikan University): 中国における日本のビデオゲームの流通と受容 Japanese Video Games in China





Since Nintendo launched Family Computer in 1983, console game hardware and software plays the most role as an intermediary in which Japanese video games are circulated and accepted around the world. China is no exception. Therefore, in considering the distribution and acceptance of Japanese video games in China, it is necessary to consider how Japan-made game hardware and software are distributed / accepted. Therefore, one of the characteristics of the Chinese market is the development of an unofficial market of video games. Specifically, while China is growing into the world’s biggest game market, due to the absence of official makers, rampant piracy, and even the impact of social ideas and consumption habits, Japanese video games, which had once spread to some extent Has gradually declined its influence since the late 2000s. There are still many challenges still remaining in the Chinese market for Japanese video games to regain their past glory.

Keyword: unofficial market, game piracy

June 22 (Thur.)

Session 3: Between School Love and School Phobia

Armin Becker (MA student, Leipzig University): Schools in videogames

A cultural connection most of people in developed countries share is visiting a school in our younger years. Those experiences of schools will differ from one person to the next and the way the school is represented to us will lead to our own “image” of school and how each one will respectively represent his image of school through words and actions.

Another rather new cultural phenomenon, which emerged in the second half of the 20th century, and which is argued to have more and more reach and thus influence on humans, is video games. Schools as well became a typical setting for video games.

My research will focus on how video games depict schools. My personal experience with video games depicting schools have led me to believe that video games can have an influence on its players, resulting in a change in their attitude towards sociopolitical topics, by those games acting as a (re)presentation of what is “commonly” understood as school.

In this presentation, I want to introduce the idea of analyzing various video games via the “Sociology of Knowledge Approach to Discourse” by Reiner Keller, placing video games as a producer within the discourse of “school” and “schools in video games”.



西川秀伸 Nishikawa Hidenobu (PhD student, Ritsumeikan University): “The use of school in survival horror video games”


The purpose is to decipher the role of school in video game by referring to survival horror, insisting that the characteristics of survival horror have common with gothic fiction. The genre of survival horror makes protagonist vulnerable, less use of weapon, running, hiding, and solving puzzle. Although the characteristics of survival horror have common with gothic fiction for many reason, by adopting school as modern element in video games the genre of survival horror makes video game player be immersed in the world of video games. Moreover the survival horror makes use of school as negative function, therefore it makes school in video games uncanny place.







立命館大学大学院 先端総合学術研究科 表象領域所属 3回生 西川秀伸(ニシカワ ヒデノブ)

Session 4: Ren’ai Games (or, isnt love a game?)

Hugo Gelis (PhD Candidate, Leipzig University): Play and love in the active reception of

media mix products by Japanese dōjin fan

culture 日本同人文化の二次創作におけるメディア



In the dōjin scene, fans from the otaku subculture produce a lot of derivative works that often

revolves around romantic relationships between characters, sex and pornography. While this

happens in numerous fan communities, this active reception process of globally distributed

products is inscribed in a local market of cultural industries and fan culture. By approaching dōjin

production and consumption as a playful activity, we explore how it makes the experience of ren’ai

games happen outside of the video game media. We’ll address this hypothesis through two

specificities of the Japanese market, moe and media mix, who work hand in hand as transmedia

products are designed for attractivity and circulation.











Azuma, Hiroki. Génération†Otaku†∫†les†enfants†de†la†postmodernité†. Translated by Corrine Quentin.

Haute tension. Paris: Hachette Littératures, 2008.

Galbraith, Patrick W. The†Moé†Manifesto∫†An†Insider’s†Look†at†the†Worlds†of†Manga¨†Anime¨†and

Gaming†. North Clarendon: Tuttle Publishing, 2014.

Ōtsuka, Eiji. “World and Variation: The Reproduction and Consumption of Narrative.” Translated by

Marc Steinberg. Mechademia†5 (November 10, 2010): 99–116.

Steinberg, Marc. Anime’s†Media†Mix∫†Franchising†Toys†and†Characters†in†Japan†. Minneapolis:

University of Minnesota Press, 2012.