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»Ëms ŮǄƾsǄǂčė¢, }aibara.megumiȥaȦnihon-u.ac.jpims×ŃȤǥȚȊǂ8ƽÿǗ³ƣț Letƕs save the world by the Power of Games!ƗǗRŌĽǁƘDiGRA Japan ǥȚȊ´
Ĳ SIG ƽǃƘÙƚǀ2ŷǂĐ[ƌǗǵȚȈǁǪȒǙǬǥȚȊǗ6ƱǓǛȃȗǷƖǪȒǙǬǥȚȊǫȍȊƗǗŻ%ƯƼ
ƧƶƙËĕƽǃƘ2018  12 Å 9Ƙ15Ƙ16 »ǁĚ 7 _ǪȒǙǬǥȚȊǫȍȊ(SGJ7)ȧǊǘǀǂǾȒǙȀȒȚ(2)ȧǗwºƯƘǥȚȊǂǙǢǮǪǿȒǵǚǁ|ƯƼŝUǗ`ǓǥȚȊǗŻĄƯƶƬƾǁƺơƼeVƱǓƙ
ǠȚȖȚǸȤǪȒǙǬǥȚȊȟǪȒǙǬǥȚȊǫȍȊ, ǾȒǙȀȒȚ



The 7th Serious Game Jam Report
Megumi AIBARAi, Yoshihiro KISHIMOTOii ,Masahito FUJIHARA ,Masakazu FURUICHIi
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Nihon University,Play and Learning Lab.,Senshu University
aibara.megumi{a}g.nihon-u.ac.jp

Abstract We have been held the Serious Game Jam seven times. In this paper, we report about the 7th Serious Game
Jam (SGJ7) which was held on Dec. 15-16, 2018. The topics of the SGJ7 are the accessibility for games. It is the firsttrial for us to having 6 themes.
Keyword Serious Game, Game Jam, Serious Game Jam,ĀǀǓĐ[ƌǗǵȚȈƾƯƼJǒƟƫǓƬƾǁǐǒƘQĐ

1. ǃưǌǁ

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13

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Kenji ONO ii

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i kissygame {at} gmail.com

Abstract The DiGRA JAPAN Education SIG organized the Gamify Network in August 2018 as a place for learning andexchanging knowledge for developing serious games, applied games, and gamification in Japan. Three study sessions havebeen held until now and are interacting through the social media group. The current number of members on Facebook is 52
persons including working adults and students. Our goal is to realize a future called "Gamification the great country, Japan."
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Digital Games Research Association JAPANť ťĄŘProceedings of 9th Annual ConferenceƦǞƺǠǃƼǀƒƎQòĥ7ŵČÿîƛþçÒƒCƕŽŜ
i
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ii

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ii, iiiė\bj=jŋČÿǟÿđĂj«pim-yoshimura@a3.keio.jp, iim-kitazawa@keio.jp, iiitaishiro-k@mti.biglobe.ne.jpÃĩǥƦǞƺǠǃƼǀƎ´C£bƌŰūƦǞƺǠǃƼǀèŵľƒŲƟŜƌƅŰƇƎüĆŵ^5ŻƇŰƟŬČÿîƎĲ®YÚƈůƟ ICD-11Ǣ11th Revision of the International Statistical Classification of Diseases and Related Health ProblemsǣƌƚŭƱ
ǠǒðǢŗqǣGaming disorderŮŵJƖƠƁŬŻŴŻ±¼ ƢuĺƉŻƁüĆƏxƋŰŬ¼üĆƈƏ 1336 ƞƎbjçƢuĺƌ
ļPĎĸÀƢųŹƋŰū±¼ ĢĚƌųŸƟPŠƎůƟƦǞƺǠǃƼǀèǢProblematic Internet Use: PIUǣƎmųƜƑ PIU
ƉČÿðàūúøūþôÇĝūĀƉƎŔŅƢĸÀŻƁŬĒ¿ū±¼ƎĢ ƌųŰƇƚĹ`VƈƎ(ĥüĆƉHÅƎ2
Gƈ PIU ŵĵƙƝƠƟŹƉŵơŴƄƁŬūPIU ƢƜƞnĬôƌĳ ŻüĆƢōƍƟĩŵůƟŬ
ƭǠǝǠǁǥƱǠǒðǢŗqǣ, ƦǞƺǠǃƼǀi, Čÿðà, úø, Ā

Effects of internet usage on psychiatric symptoms and social function
Michitaka YOSHIMURAi

Momoko KITAZAWAii

Taishiro KISHIMOTOiii

i

Department of Neuropsychiatry, Keio University School of Medicine, National Center of Neurology and Psychiatry.
ii,iii
Department of Neuropsychiatry, Keio University School of Medicine
im-yoshimura@a3.keio.jp, iim-kitazawa@keio.jp, iiitaishiro-k@mti.biglobe.ne.jp

Abstract: With the growth of the internet, research on the influence of internet use on psychiatric symptoms is increasing.
"Gamin disorder", which is a diagnostic criterion for mental illness, was included in ICD-11. However, there are few
studies on Japanese. In this study, we conducted a questionnaire survey for 1,366 university students and investigated thecurrent status of problematic Internet use among Japanese young adults and the relationship between PIU and psychiatric
symptoms, sleep, social function, and happiness. As a result, it was found that PIU is also recognized in young adults inJapan at the same rate as in the previous studies in other countries. In future it is necessary to conduct research evaluating
PIU more objectively.
Keyword: Gaming disorder, Internet addiction, mental health, sleep, HappinessÏŞŻƇŻƖűäĺŮƉŻƇķ²źƠƟŵūƦǞƺǠǃƼǀƦǞ

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ĎĢʞʔʙʾʎ˄ʳƊ 9 ¼ĶDigital Games Research Association JAPANȮ ȮƄȚProceedings of 9th Annual Conferenceȼʽɾʾɥʋʘʎ˄ȽÁöćȯȰɤȑŬɡsɉɗ

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Ȯ ʌˀ˄ʥʾ˃ʴʞɿɾ˃ʕʙʞɿ˄ʖ
hiroshi.yamaguchi@tokyo.nifty.jp

ȇiįǃˊʓʽɾʕʎ˄ʳɲʎ˄ʲʩɿʍ˄ʓʺ˂ɠɟȵʎ˄ʳɤũɞš¥ũɤûŗɄôɏɜȿɷȶɕɤMýɡɥȵš¥Žɥʎ˄ʳɤɴɀɡȞŭɇɥɝɅɜȿɠȿˇȿȿþɁɸɦȼžɤɮɖŷɷʗʇʀȽ ɤʗʽʩȺʽɾʾɥʋʘʎ˄Ȼˈɞȿɀ{ȣɄȾɷɄȵÎƫɤûŗɥɍɵɡôɏȵɕɸƳ$ɄǉĿɑɫɅǛȣɞɠɷɝȾɹɀȶĢǞĉɥȵš¥ŽɄʎ˄ʳɞĺǱɏɜɟɤƂÁȺʋʘʎ˄ȻɠɤɃɻlǆ[ɑɷȺSIR öćȻɻýzɑɷȶɕɤ 4ŮŹƆɞɏɜȵʜʀʛʙ˄ɤŬǊɤDĦɡɴɶȺʽɾʾɥʋʘʎ˄Ȼɞȿ
ɀǁšɄ¥ȘɡɥáwɏɜȿɷɃɻúɶȵ(ɓɜöćƎCɡȘɏɜɤīǌǛȣɤòCɻǓɮɷȶʉ˄ˁ˄ʠˊʎ˄ʲʩɿʍ˄ʓʺ˂, ʀ˂ʞʛʋʕ, ʽɾʾɥʋʘʎ˄

A Preliminary Study toward the Development of SIR (shit-game is real) Index
Hiroshi YAMAGUCHIi
i

Faculty of Global Media Studies, Komazawa University
hiroshi.yamaguchi@tokyo.nifty.jp

Abstract. In recent years, the real and game worlds are increasingly interacting to each other, through developments anddiffusion of various attempts such as serious games and gamification. This is at least partially because the real world is not
such pleasurable as games - in somewhat dirty words, "sit (game) is real." This comes from a quote of the main character ina Japanese anime "World God Only Knows." In usual performance measurement of gamification, they measure how muchgame elements improved the real-world things; but in this study, the author tries the other way around. The author proposes"SIR" index, namely, an index that measures how much the real world is a sit-game. As a preliminary study, the author
analyzes twitter data to explore what this expression actually means, and also attempts to extract the problems for actuallycalculating index.
Keyword. gamification, index, sit is real¥ɥɤǵƌɻƬɃɒǼɼɘɶȵǄɁɠȿɞɋɹɝɄVɇ

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ʡʴ[ɱɍɸɗļœŨȼžɤɮɖŷɷʗʇʀȽˇƶğĻ}ƺȶɡjɉķɰɵɸɜȿɷɃɻíÿɏȵƊ 4 Əɝɥš¥ŽɤȼžɤɮȽˈɤ

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ĉɡɂȿɜɥȼžɤɮȽɡÏȿȺʊʶʾʎ˄ȻɞƁɑɷɱɤɤȵȾɹɀ[2]ȶȺĪȨɤɅɠʊʶʾʎ˄ɥYǞʯʙ˂ɻñɍɠªǣȥ¦ɥȂɀɱɤɤqƋɤİǺɻõɛȿɺɳɷ
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2. ʎ˄ʳɤĮɏɍɞɥ%Ƀ

ɤȬQɞʾ˄ʾɻŸȿĕȒɝȵÈKɍɸɜȿɷɞãɐɍɓɷ

2.1 Ǿɨ˃ʎ˄ʳŹƆɤĉƲɋɞɠɇʹ˄ʒ˄ɡɁɷɗɰɤbɠʣʂʤʂɻƻƅɏɜɅʎ˄ʳɄɠɔȞŭȿɤɃȵʎ˄ʳɤĮɏɍɞɥ%ɃɡɛȿɗɞöāɑɷȶɋɤʣʂʤʂɤŅťɋɕɄʎ˄ʲʩɿʍ˄ʓʺ˂

ɜɥȵćɇɤŹƆɄƾɺɸɜɅɗȶĢƏɝɥɕɸɵɤɀə

ɝȾɷɞȿɀɤɝȾɷȶɕɸɵɤɀəǁŮɠɱɤɞɏɜƙɍɸɜȿɷɱɤɻǁ 2 ɡżɑȶʱʋʐʡʈʾ[8]ɥʐ˄ʾȵʾ˄ǁŮɠɱɤɻøɊȵĢŹƆɪɤ×ťlƱÛɡɛȿɜīǌɑɷˇǁ 1ˈȶʾȵʩɿ˄ʠʥʛʋʓʕʝʳȵƳŬŮɠdSɤ 4 ɛɻøɊɷɄȵʮʀʔ˂ʈ[1]ɥȒɤĉ[ɡɂɉɷǾɨɤȋǃÛɡěG

ɋɸɱqıɤƪɁČɝȾɷȶɋɸɵɥš¥ũɻɴɶȺʋʘʎ

ɡńŲɏɗŹƆɞɏɜrȫȿȶÌMɤǾɨɡȓɑɷŹƆ˄ȻɝɥɠȿČsɡ[ɍɓɷɗɰɤêŃɝȾɶȵĢŹƆɤɥȵɕɸɵɤȿɒɸɱɄȵǾɨɻǾɨɤ%ɱɤɃɤɗɰ
ɡƾɺɸɷȵȾɷƃɤţŝǆŗɞ?ǸɑɷȶŮŲŮɡËƈɚɜȿɷɞȿɀM

ýɃɵCŬɑɷɱɤɝȾɚɗɤɡªɏȵÌɥɯɏɹǾɨɋɕƺƫɄȒɤĢǫɝȾɶȵĉ[ɥǾɨɃɵţɭɸɗɞöāɏɗȶ
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Ÿȿʩɿ˄ʠʥʛʋȵȏǇŮŒCȵƤ
ÚUħȵȟĮɲĔ7ɤʥʽʄ˄ʓʺ

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ɾʐ˂ˇƉ

ʴʇʡʋʕɤǜĈˈȵɾʿɾˇ3ŚˈȵʲʲʋʽȺʖʾȻɤ×ťȵȺʖʾȻɤȕķ
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ʚʋʗ˂ʟʲʤʀĒźɠŲŮȵ«ØɞȚ

2.3 ĢŹƆɤǆŗȵŅVɞáǡ

ɤƽpȵĕȒãǇɤɳɄɮȵųûŮɏɗɄɚɜȵĢŹƆɄŲŮɞɑɷȼʽɾʾɥʋʘʎ˄ȽÁöɝaÂɠg×ȵƱQɤĽőɞȝēÁɞ

ćˇȺShit is realȻɴɶȵɡȺSIR öćȻɞƁɑɷˈɥȵʎɤʥʼ˂ʕȵşłɲŅVɻƳDɝKÑ˄ʲʩɿʍ˄ʓʺ˂ɤǒ,êŃɻʬ˄ʕɡƪɁɜȿɇɋɞɞɠ

ɏɜȿɷãǇȵŅVɄƷɡɠɵɠȿ

ɹɀȶɏɃɏȵɇɤʎ˄ʲʩɿʍ˄ʓʺ˂ɄĬWUŠɲʵʚʬ˄ʓʺ˂sɞȿɚɗƛƦŮɡȺMsɅȻɠʐ˄ʾɻüɊȵɴƺƫ'æʮʀʔ˂ʈɥǾɨɻȺǰ$ɤ@ɃɵɺɅɝɷȔ ŮɠƉĢƱɻɕɤɭɭç ȵǔȵƵƿȵ£Ćȵɕɤĉ[ɤlĵɶ8ɸɗʦʩʅ˄ʱ˂ʕɻøɊɷƫɻ8ǽɑɷɞȿɀŗɥȵȺʽɠǟǃƖɡƝɨɛɉɷɱɤȻɞɏȵɕɸɵɄƳŧɝȾɷɋɞȵɤĄȿɞɏɜɤʎ˄ʳɞȿɀČsÛɞɥɲɲūɠɷȶɾʾɥʋʘʎ˄ȻɡǣÒɍɸɷȵš¥ɡɠɐɰɠȿȺÆƫȻɪ

Ď¹ţŅɃɵɞõơĕȒɡɴɚɜ\IɍɸɜȿɷɋɞȵĝɤƟªŮƀÀɻõɛɋɞɻǄCɏɗȶɕɤ

3. š¥ɥɟɀʋʘʎ˄ɠɤɃ

ɡɥȵƣÇȵ

3.1 ȼžɤɮȽŮʎ˄ʳǈ˃š¥ǈ»ǀȵ¡¤ȵȵªśȵ[ȵƝpȵDȜȵǉĿɞȿɚɗǟǃƖɄuɭɸȵɋɸɵɄǾɨɤȞŭɍɞɏɜǘǡɍɸɷȶüɤ:ƾŹƆɡɂɉɷǾɨɲʎ˄ʳɤȞŭɍɡªɏɜȵʇʀʻˁ[4]ɥɋɸɻjɉȵǾɨɻǅLɃɵƳŧɡɠɹɀɞ

Ⱥʽɾʾɥʋʘʎ˄ȻɡǣÒɍɸɷʎ˄ʳǈɥĒɵɃɡūɠɷȶɑɷʦʀʞɿɾɞǅLɡÏɺɓɴɀɞɑɷʾʠʁʕɞȿɀ 2 ɛɤȼžɤɮȽɡɂȿɜĪȨɄɇɤɥȵʎ˄ʳɤ

ŴªɑɷQɤȒɡ!ƧɉɵɸɗŅVɻǾɨɞ¤Ʃɏȵɕɡɾʐ˂ȵɾʿɾȵʲʲʋʽȵʀʽ˂ʋʕɤ 4 ǃƖɻǄCɏɗȶɲ[ȵƉ ɲ3ŚɄš¥ũɡɂȿɜɥ9DɝȾɷɋɞɝɥɠȿȶǶɡȵš¥ũɡɂȿɜɥʎ˄ʳɤɴɀɡɱɤ

ʚʋʗ˂ʟʲʤʀ[5]ɤýzɏɗȺʩˀ˄ȻįØɥȵǾɨɻuɌɞɄƳDɡȈpɤȿȿɴɀɡɀɭɇȿɃɠȿɋɞȵɑɠɺəɤɯɍɭɎɭɠŅVɡɂȿɜɄȫÁɡȚãɐɷşäɝȾɶȵɋɸɄǾɨɤɏŋȿŀ<ãɻƳDɡɞɚɜ

ɤɴɀɠƣÇ

ŎƱɠǃƖɄɑɆɷɋɞɄɅɤƃɡɠɡɱɮɵɸɷɞɏɗȶɕɋɚɜȿɷȶɕɤɋɞɥȵɗɞɁɦq'ɡɂɉɷĪȨɤȳȺʎ˄ʳɝɄãɐɷƳ¶ʏ˂ʟˀ˄ʾãɲ,2ɤáǡɥǾɨɤȞŭɍɤȋǃɠȇɻɠɑɱɤɝȾɷȶɡȱ¥ɵɠȿÜȲɥřȿȶš¥ɡɥŢàɄǯɶɠȿȴŢàɤƝġɄȵÕǃɠɼɘȴȻȺȺţɝǬɅɷɋɞɥ=ɜȵʊʶʾʎɋɸɵɤŹƆɡɂȿɜɥȿɒɸɱȵǾɨɲɤȞŭɍɥš¥ũɞɥEɶȜɍɸɗȺȻɤ

˄ɤɝǬɅɷȶɏɃɏʊʶʾʎ˄ɝǬɅɷɋɞɥȵɗȿɜȿɝæƈɑɷɱɤɞɍɸɜȿ

ţɝɥǬɋɵɠȿȶǬɅɷɴɀɠʷʜɥɕɱɕɱʊʶʾʎ˄

ɷȶɋɸɥȵʎ˄ʳɡȓɏɜɴɶǖƘɠDĦɻƾɚɗʑʿ˂˃

ɻɏɠȿȻȺʯʋɤfȁɥȵʕʀʛʚɛɉɸɦȿɛɱȿɷ˅˅Ȼ

ʔʱ˄ʱ˂[6]ɡɂȿɜɱqıɝȾɷȶɏɃɏȵȺʽɾʾɥʋʘ

ɞȿɚɗćȷɤʗʽʩɡɱǁɸɜȿɷȶʎ˄Ȼɥʎ˄ʳɻőɡš¥ũɻǒ,ɑɷɱɤɝȾɶȵÏɋɸɵɤʗʽʩɃɵ

ɁɷɤɥȵĪȨɄʎ˄ʳɻŎlƱȵĥɤŹƆɞɥūɠɷǆŗɻÕǃɞɑɷȶʏ˂ʟˀ˄ʾlƱɠɱɤɝȾɷɄɳɁɡ,2ɄȾɷɞɞɵɁɜ

2.2 ʎ˄ʲʩɿʍ˄ʓʺ˂ɤĉƲȿɷɋɞɝȾɷȶɋɤȂȿɥȵȼžɤɮȽɡɂɉɷʎ˄ʳɄČȵʎ˄ʲʩɿʍ˄ʓʺ˂ɤDȌɝɥȵš¥ũɤƴɤʎ˄ʳɝɥɠɇȵȿɺɳɷʊʶʾʎ˄ɝȾɚɗɃɵɝȾ
ɹɀȶʊʶʾʎ˄ɥƴɤʎ˄ʳɞūɠɶȵʫʿʀʷ˄ɤȅïɡʎ˄ʳɤȞŭɍɻõəǳɯêŃɄŹƆɍɸɜȿɷȶ[7]ƮɥɇɠȿȶƉɥȵʞʔʙʾʎ˄ʳɤȬQɻɕɤȺǾɨɲɑɍȻɡȾɷɞɏȵ23

ɲ3ŚɤǃƖɥě­ȗɝȾɶȵĿɰɵɸɗʕʟ˄ʽ˄ɻɠɖɷȇDɄ]ɻ`ɰɷȶɤɯɹɼȵ?ǸɑɷǃƖɱȾɷȶʊʶʾʎ˄ɤũɡɂȿɜɥʫʿʀʷ˄ɝȾɷƳDɄɝȵʫʿʀʷ˄ɡĝJɠǂĸɻɃɉɷɫɅȻɞɏȵɋɸɻȺʩɽ˂ʙʔ˄ŝŢȻɞxɼɘȶɬɞɼɟɤpɾ

>ɝȾɶȵ=ɜɄƳDɤĮɏʋʓʺ˂ǃƖɤɠȿʊʶʾʎ˄ɡɂȿɜɱȵʫʿʀʷ˄ɮɡɛɠɄɷɴɀɡǏǋɍɸɜȿɷɄȵɋɸɥĎ¹ţŅɃɵɡɞɚɜɴɶļõəɄȿȿɴɀȵ¥ȘɡɥǬɋɶɡɇȿşɅɶɥɠɍɸɗǅLɝȾɶȵɋɀɏɗȺƳDɡªɑɷŞIëȿȻɄɠȿɋɞɄȺʽɾʾɥʋʘʎ˄ȻɝȾɷɞɑɷ Çɤĩóɤ 1łɄȢƥɡǬɅɗɶɑɷȶɋɸɻMüęɡɠɵȿȺʩɽ
˂ʙʔ˄ĕƇȻɞxɩɋɞɞɑɷȶʎ˄ʳ@ƜōɡɂȿɛɞɠɚɜȿɷȶɜȵʫʿʀĕȒɡ×ɐɜh<ɄÚđɑɷšǣɡȓɑɷ Yamaguchi[11]ɤȺ¼RÀFʠʼʐ˂ʯ˄ʾƜōȻ

3.2 twitter DĦɱɋɤȤɞɏɜƪɁɷɋɞɄɝɅɷȶȺʽɾʾɥʋʘʎ

ȼžɤɮȽɤʧʛʟȖȵȺʽɾʾɥʋʘʎ˄Ȼɥʩɽ˂ɤȒɝņƾǙɞɠɶȵšɝɱɏɦɏɦ)ɺɸɷƃɤʢʛʟʲ˄ʳ˄Ȼɞɇʜʀ˄ʟɤ

ɞɠɚɜȿɷȶ¥Șɡɥȿɺɳɷʊʶʾʎ˄ɘɉɝɠɇƴćɇȾɷȶ

ɤʎ˄ʳɱuɭɸɜȿɷɠɟȵȼžɤɮȽɞɥūɠɷĉƲɝɱ(4) țȭɤĮˊȝēÁɤȫȿʎ˄ʳɡªɑɷȺʋʘʎ˄Ȼ

)ɺɸɜȿɷȶɋɸɥȺʽɾʾɥʋʘʎ˄ȻɞȿɀƪɁČɡɇɞȿɀǒ,ɥʜʀʛʙ˄@ɝćɇɮɵɸɷȶʩɽ˂ʙʔ

ɤȷɄ?ãɏɗɋɞɻżɑɄȵɞɥȿɁÕɒɏɱɕɸɄȼž˄ĕƇɄʎ˄ʳɤǃƖɞɏɜȋǃɠɤɥȵʎ˄ʳɻȞɤɮȽɡɂɉɷɤɞqɐƪɁČɝȾɷɞȿɀ.Ǒɥɠȿȶŭɇɑɷɘɉɝɠɇȵìȍɤ"ȿʫʿʀʷ˄ɡɱĮɏɇɋɤɋɞɦɄ¥Șɡɥɟɤɴɀɠáwɝ)ɺɸɜȿɷɃɻ

ʎ˄ʳɻơɉɍɓɷÕǃɄȾɷɃɵɝȾɹɀȶš¥ũíÿɑɷɗɰȵʜʀʛʙ˄ɡɂɉɷJť*ɻDĦɏɗȶ2018ɝɥ]ɤȷɄBÄɝŲɤǇɰɷɴɀɠæRɻĞ

¼ 7 Ĝ 1 ĎɃɵ 12 Ĝ 31 Ďɭɝɤ]¼Ȓɻªǣɞɏɜʜʀʛ

ɯɫɇɱɠȿɄȵɋɀɏɗȷɝɱ®ɤTQɝź¥ɡŲĲɻȁæɝɅɷȈpɤɴɍɋɞɄʎ˄ʳɤĮɏɮɞɠʙ˄@ɝȺʽɾʾɥʋʘʎ˄Ȼɞɤʉ˄ˁ˄ʠɝīƗɻƾȿȵɋɤɀəȺʽɾʾɥʋʘʎ˄ȻɤǮďɡŁɚɜȿɷɞÙɺɸɷɚɜȿɷȶǶɡȵš¥ũɡɥɋɀɏɗǃƖɄɠȿɋɞ

1,719 ɤʜʀ˄ʟɻòCɏɗȶKJ ŃɻťȿɜɋɸɵɻDĦɏȵɄȺʽɾʾɥʋʘʎ˄Ȼɞɤǒ,ɡɛɠɄɷɤɝȾɷȶ
>ãˊʎ˄ʳũɡɂȿɜʫʿʀʷ˄ɥ >ɝ
(5)ʎ˄ʳɄš¥ɻɷǃƖɞɏɜĶɤ 6 ɛɻòCɏɗȶɋɸɵɥȼžɤɮȽɡɂɉɷáwɞįɣ?ǸɑɷɱɤɞÙɺɸɷȶàlƱÛˊȼžɤɮȽɡɂɉɷť*ɞqıȵȺʽɾʾɥ
(1)Ⱦɶȵũɥʫʿʀʷ˄ɻɂȿɜɥʋʘʎ˄ȻɝȾɷɞɑɷʜʀ˄ʟɤɇɥȵʎ˄ʳɡĺɫɜš¥ũɥ

ŎlŎlƱɠ3ŚÛȻȵɑɠɺəȵȾɵɃɐɰȾɷƂÁàɝɅɷɋɞɄȵš¥ũɡɥɠ

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ʷ˄Ʉʎ˄ʳ@ɡɂȿɜŞIëȿɍɸɷȺ

ƱÛɥʎ˄ʳɤĮɏɮɤȇɞƪɁɵɸɄəɝȾɷɄȵɋɤĉƲɝɥɯɏɹȺ

Ôɡɷȶʊʶʾʎ˄Ƌɡ

>ɤvɶɡȬQŮɠÜâªǣʉʶʼʋʙ

˄ɄȚɭɶɕɤ=yɄŎlƱÛɄ®ɠɇȵ3ŚɡµnɍɸɷɤɝȺʋʘʎ˄ȻɘɞǒɏɜȿɷȶƴŮɡȵɡɥȵš¥Ʉʎ˄ʳ@ɤɴɀɡƳDɡɞɚɜļõəɴɇɝɅɜȿɠȿɋɞɻɇɱɤɄ

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ǃƖɝȾɶȵǶɡš¥ũɤȺʋʘʎ˄ȻÁpȿɡɱɛɠɄɷȶʱʋʐʡʈʾ[8]ɄøɊɷȵ^6ɤʫʼʛʟʩʅ

ȿʎ˄ʳɤĮɏɮɞɍɸɜȿɷɤɝȾɷȶɋɤɴɀɠƪ˄ʳɞɏɜɤʎ˄ʳɤɥȵɋɋɡɥɮɵɸɠȿȶɁČɥȵɗɞɁɦʱʋʐʡʈʾ[8]Ʉöāɑɷɴɀɠȵʎ(6) ʽʗʛʟlƱÛ ˊɭɗȵȺʽɾʾɥʋʘʎ˄Ȼʜʀ˄ʟɤ

˄ʱ˄ɄąɻĮɏɯɞɑɷäÁɞɥūɠɷɱɤɝȾ

ɡɥȵš¥ũɡɂɉɷȅïɤąɻɇɱɤɄćɷɴɀɡÙɺɸɷȶ(2) ăŪĢ ˊ ŎlƱÛɞ3ŚÛɞȿɀȵŴgɑɷǃƖɻɇȾɷȶ{ȣɥǍ(2)ɤȅïƮɤćɘɉɝɠɇȵȅïɤȋɍɲɕɸɳɁɤąɻÝɸɷÔŢɄȾɷɱɤɞÙƈɍɓɷɱɤɥȵȄÁɠćɤȉåɍɸɗȅïƮɝȾɷȶȅïƮɤǿOɄȅïƾŘɤŏǯÁɻɊɷȺȅïɺɸɷȶɕɤŗɝʎ˄ʳɡɂȿɜɀɭɇȿɃɠɃɚɗɞ
ɅɡʽʗʛʟɏAʕʙ˄ʟɝɅɷɋɞɥɅɠȬQɝȾɶȵɤʆ˄ʥ˄ˀ˄ʠȻɥǴ¼ɤŊǨƫƾVŹƆɡɂȿɕɸɄɝɅɠȿš¥ũɥȺʋʘʎ˄ȻɞȿɀɋɞɡɠɷȶɜɏɦɏɦiɶɊɵɸɷ{ȣɤ 1 ɛɝȾɶȵɭɗɋɀɏ

3.3 ȺļõəɴɍȻɞȺȈpɴɍȻɗȝēÁɤǜĈƳ$ɥʎ˄ʳɤʿʬʾʞʒʀ˂ɤ
ȇɝȾɷ[9]ȶɏɃɏʜʀʛʙ˄ɝɥȵš¥ũɡɂɉɷMƏɤ 6 ǃƖɻ KJ Ńɝɍɵɡƞpɑɷȯ 1Ȱȶɋɸɵɥʎ

ȺăŪĢȻɤɻɇɱɤɄɇɮɵɸɗȶʕʟ˄ʽ˄

˄ʳɤȺȝēÁȻȺʽˁ˄ʠȻȺʽʕʋȻɞȿɀ 3 ɛɤǃƖɡȓɑɷɤǃéɝĺǱŮ®ɠȿȅïƮɻýżɑɷɘɉɤʊʶ

ɱɤɝȾɷȶ (1)ʾʎ˄ɝɑɵȵěGɃɵȺĸǉȻɻľɰɷʫʿʀʷ˄ɡ˂ʙʔ˄ĕƇɞ(5)ɞɚɜɥȋƹɠɤɝȾɷȶÌɵɄȾɵɃɐɰĸɏȿȅï(6)ʽʗʛʟlƱÛɥȺʽʕʋȻɞɴɶ©ûɠȓ-ɻõɛȶŎlƱÛɞ(2)ăŪĢɥȺȝēÁȻȵ(3)ʩɽ
>ãɥȺʽˁ˄ʠȻȵ(4)țȭɤĮɞƮɄɺɃɷăŪĢɞȿɀȾɷƃɤȺʚ˄ʟȻɻľɰɷɤ

ɍɵɡ=$ɻ0ŶɑɷɞȵɋɸɵɥɑɫɜȺļõɴɍȻɞȺȈɥȵìȍɲĕȒɤǯɻǂɀɗɰɝɱȾɹɀȶɋɸɥpɴɍȻɞȿɀ 2 ɛɤŞÒɡɭɞɰɷɋɞɄɝɅɴɀȶʎ˄ʳɥȺÆƫȻɪɤĄōƍɞɮɷɋɞɱɝɅɷɃɱɏɸɠȿȶ(3) ʩɽ˂ʙʔ˄ĕƇ ˊĨÅŽʵʥʀʾˆʎ˄ʳʕʙʔš¥ũɞĺɫɜļõəɴɇȵȈpɴɇ'ɵɸɜȿɷɗɰɡ

ʆ[10]ɥȵɾʋʓʺ˂ʎ˄ʳɻȞŭɇɑɷɗɰɡɥʎ˄
ʳ@ɤŝŢŮøVɡɛȿɜȺƳŚɡãɐɠȿƐĢǞĉɤĈŢɥȵʎ˄ʳɤȺȞŭɍȻɤƆĒɻ ɠŲŮɞɏɜɅɗɋɸɭɝɤʎ˄ʳŹƆɡɥɮɵɸɠɃɚɗɱɤɝȾɷȶɭɸɷȶȺʽɾʾɥʋʘʎ˄Ȼɞȿɀʉ˄ˁ˄ʠɃɵCŬɑɷ24ɠɚɜȿɷɋɞɥȵɋɀɏɗǆŗɤȋǃÛɻAǘǡɍɓɷȶɱəɹɼȵš¥ũɥǪŐɄ¸®ɝȾɶȵɭɗąɤƝħɄš¥ɤĀÐɻɀɗɰȵ»ƋɠǪŐȉDɥȝɏȿȶȾɷĬɄȺʋʘʎ˄Ȼɝɠȿɏɇɮɻ'ɚɜɱȵȺʋʘʎ˄Ȼɠɻ
ŽyɡǛɑĬɡƉ ɝXɛɋɞɥȝɏȿɘɹɀȶʎ˄ʲʩɿʍ˄ʓʺ˂ɥȫʦʩʅ˄ʱ˂ʕƫɤʦʩʅ˄ʱ˂ʕĂ|ɡɥȗũɄȾɶ[16] ȵȫʦʩʅ˄ʱ˂ʕƫɪɤʰʀ˂ʟɝ
ʵʚʬ˄ʓʺ˂ɤƢõsɻɥɃɷɋɞɱ¨ēɝɥɠȿȶɏɃɏȵȺŢàŮȻɠşłɪɤĂ|ɥȝɏɇɜɱȵš¥ũɤʋʘʎ˄Áɻöć[ɝɅɸɦȵɋɀɏɗȷɄ#ɯéȵ 1. KJ ŃɡɴɷȺʽɾʾɥʋʘʎ˄ȻɤİǺ

6ɇéɠɟɻȅɩdƪɡɠɶȵɧȿɜɥĬɠɟɄÍǽɠ

4. SIR öćˇˈ¬CɡɯɉɗīǌǛȣɟɻƪåɑɷɅɚɃɉɡɱɠɶɀɷȶAI ɤŬȁɡɴɷȒɤ

4.1 ʎ˄ʳɞš¥ɥı˂ʇʳɤǢǞɡɱȵʰʔʝɿʪɠÊȠɻɁɀɷɤɝɥɠȿɃȶĚlƱÛɡȓǻɏɜAɨńŲɻňɨɛɛȾɷʬ˄ʓʛʋʀ

MƏɤDĦɡɴɶÐɵɸɗƝħɻťȿɜȵSIR öćɻ¬CɑɷɗɰɡÕǃɠīǌǛȣɤòCɻǓɮɷȶɞɥȿɁȵɭɒųȞɑɷɤɥȵʎ˄ʳɱš¥ɱıɝȾɷɞȿɀɋɞɝȾɷȶ[1] ʮʀʔ˂ʈ, ʻʤ˂.,ȫĴƸˇǐˈˇ2011ˈȼʮʵ˃ʾ˄ʞ˂ʕȽ,>ĉÃ, Huizinga, J. (1938) Homo Ludens: Proeve eener bepaling
van het spel-element der cultuur, Wolters-Noordhoff cop.

ɧɞɋɞɝȺʎ˄ʳɻőɡš¥ɻŎɷȻɞȿɚɜɱȵʎ˄ʳɱš¥ɱıɝȾɷȵɕɸɵ=$ɻZuɑɷƞŮɠöɝŴªŮɡ"ɇǒ,ɍɸɄəɠȷɡ

[2] ƶğĻ}ȼžɤɮɖŷɷʗʇʀȽ, ­ ȧ.
[3] ­´ƕţˇ2000ˈʮʀʔ˂ʈɤȺǾɨȻįØɞŊǨƫƾV, Ɯ~ŹƆéǞȚ, 23, pp.167-186.
[4] ʇʀʻˁ, ˀʔʃ, ŦȀȆ˃³¾(ǐ)ˇ1990ˈȼǾɨɞȒȽ,ǠǝŽ ƿĉÃ, Caillois, R. (1958), Les jeux et les hommes,
Gallimard.
[5] ʚʋʗ˂ʟʲʤʀ, ʲʤʀʾ, ģŇĒ(ǐ) (1996)ȼʩˀ˄$Ȫ }ɨɤšǣ Ƚ, ũÙàŽ, Csikszentmihalyi, M. (1990), Flow:
The Psychology of Optimal Experience. Harper & Row.
[6] ʑʿ˂,ʍʀʝɿ, ʄʽʛʋ˃ʔʱ˄ʱ˂, ²ĢǦ;(ǐ)(2011)ȼʾ˄
ʾʖ˃ʆʪ˃ʫʿʀ ʎ˄ʳʞʒʀ˂ɤŻ()Ƚ, ʘʩʟʥ˂ʋ˃ʋʽ
ʄʀʝɿʪ, Salen, K., and E. Zimmerman (2004), Rules of Play, MIT
Press.
[7] Ē(2012)ȼʎ˄ʲʩɿʍ˄ʓʺ˂ˊȸʎ˄ʳȹɄʨʔʢʕɻ
ɁɷȽNHK CŜˉ
[8] ʱʋʐʡʈʾ, ʔʃʀ˂, ±Ȇű/, ƼĢÓ˃ƼŌƨ( ǐ )(2011) ȼ ½ ɓ ɠ Ġ ĥ ɥ Ⱥ ʎ ˄ ʳ Ȼ Ʉ P ɷ Ƚ , Đ ´ ę è ,McGonigal, J., (2011), Reality Is Broken: Why Games Make Us
Better and How They Cn Change the World. Gernert.
[9] Schwartz, B. (2004), The Paradox of Choice: Why More Is Less.
Harper Collins.
[10] ĨÅŽʵʥʀʾˆʎ˄ʳʕʙʔʆ(2012)ȼȃƼșɤʎ˄ʳʞʒʀ˂ǠƩ¥ł ƠȽ, SB ʋʽʄʀʝɿʪ.
[11] Yamaguchi, H. (2007), On Policy Issues “in” Virtual Worlds:
Beyond the “Seniority-Based Dragonball Economy, ʞʔʙʾʎ˄ʳ ŹƆ, 1(1), pp.57-76.
[12] Heilbrunn1, B., P. Herzig1, and A. Schill (2014), Towards
Gamification Analytics - Requirements for Monitoring and Adapting
Gamification Designs, GI-Jahrestagung (2014), pp.333-344.
[13] Castronova, E. (2001), Virtual Worlds: A First-Hand Account ofMarket and Society on the Cyberian Frontier, CESifo Working Paper
Series No. 618. https://ssrn.com/abstract=294828.
[14] Yamaguchi, H. (2004) An Analysis of Virtual Currencies in Online
Games, The Journal of Social Science, 53, pp.57-76.
[15] Sampson, S. (2017), Angry White Males as Suffering Subjects,
https://antroperspektiv.org/2017/01/20/angry-white-males-assuffering-subjects/ ˇěƚźǘĎˊ2019 ¼ 1 Ĝ 30 ĎˈŵŲɏȵÌɵɤŏǯÁsɻHċőɞɑɷɞɋɹɡŞÒɄ[16] ʣŖĘŇ, ȌſN (2016), ʎ˄ʲʩɿʍ˄ʓʺ˂ɻİæɑ

ĲɻİƑɑɷɋɞɥĭɰɜȝɃɛȾɭɶáwɄɠȿȶɏɗɄɚɜȵɕɀɏɗöćɄlƱɝȾɷɞɑɸɦȵɕɸɥʎ˄ʲʩɿʍ˄ʓʺ˂ɞqıȵ%ɵɃɤȗ¤Ůɠȡɡɂȿɜȵȗ¤ŮɠŲŮɡťȿɷɱɤɞɠɹɀȶ

4.2 ȺÆƫȻɻȿɃɡĮɏɭɓɷɃ
ʎ˄ʲʩɿʍ˄ʓʺ˂ɡɂȿɜȵæħöĲɻɟɤɴɀɡ¤ɰɷɃɥɅɠ{ȣɝȾɷȶɗɞɁɦ Heilbrunn[12]ɥȵ«Ȑ§ɪɤʀ˂ʙʨʸ˄ɻǸɐɜɍɭɎɭɠʎ˄ʲʩɿʍ˄ʓʺ˂ɤæħöĲɤĝUÛɻīǑɏɜȿɷȶɗɞɁɦȵʎ˄ʲʩɿʍ˄ʓ
ʺ˂ɤªǣɝȾɷĬWɡȓɏć2[lƱɠöĲɻǏ¤ɏȵɕɸɻƠơŮɡǋŎɑɷɋɞɝȵɕɤĂ|ɤÁpȿɻíÿɑɷɞȿɚɗɱɤɄȾɷȶɋɸɵɤɡȺʽɾʾɥʋʘʎ˄ȻɡaɏɗöĲɻŰɶǳɯɋɞɄɝɅɸɦȵSIR öćɡǴȿɱɤɄɝ
ɅɷɃɱɏɸɠȿȶɗɞɁɦ¯ƭɤȘɡȵɕɤÎɤʉʶʽɾʦ
ʕɻɟɤƂÁĒźɡżɏɜȿɷɃȵɟɸɬɟɜȿɣȿɠƯæʓʕʝʳɻɞɚɜȿɷɃɞȿɚɗöĲɱƪɁɵɸɷȶɭɗ Castronova[13]ɤɴɀɡȵʎ˄ʳ@ɤƜōʓʕʝʳɡŵŲɏɗǒ,öĲɱƪɁɵɸɴɀȶʎ˄ʳ@ǸǤɥʎ˄ʳũɞš¥ũɞƝɨɛɉɷ$ɞɠɷ[14]ȶǚɝɱ

>ëȿɍɸɷɴɀǏǋɍɸɗʎ˄ʳ@ƜōʓʕʝʳɡɟɸɬɟǴȿɃɻöĲ[ɑɸɦȵSIR öćɡǴȿɱɤɄɝɅɷɃɱɏɸ
ɠȿȶɗɞɁɦ"ʦʩʅ˄ʱ˂ʕɤƫɪɤéÐȉDɡȉåɏȵǚɝɱ¤ɤȊɻ.ǑɑɷɋɞɥȵĬ_!ɝɱȵȾɷȿɥŽ=$ɞɏɜɱȵSIR öćɤɅɠǃƖɻ`ɰɷɃɱɏ
ɸɠȿȶɕɤáwɝȵšɥt¤Ůɡɮɵɸɷɋɞɤȿ¼RÀFɤǩȎ$ƔɱȵǄųɑ&ɄȾɹɀȶȋǃɠɤɥȵš¥ɻʎ˄ʳɞqıȵǚɱɄĮɏɰɴɀɡɑ
ɷɋɞɤȋǃÛɝȾɷȶSIR öćɥȵɋɸɭɝǄǿɌɍɸɄə
ɝȾɚɗȵŽɤȾɷȶƒɷǃƖɤȂȿɞ'ĬUŠɤǒ,, ʧʸ˄ʱ˂ʀ˂ʙʩʃ˄ʕ
ǞĉǗ 18(2),18, 65-76.

ɻɥɐɰũoɡɂȿɜȵɋɀɏɗȺÖɸɵɸɗȷȻ[15]ɤŏɄùƩŮɠȦŔɻŤɮCɑcVQɡ

25

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Digital Games Research Association JAPANƊ ƊĘƀProceedings of 9th Annual ConferenceǦȑǠȄȋǛȑȁưƵ 4Ćŷ¾ğƴƗƝǈ
u¾ÎźƙƖǈƃƴƭƔƯƵŔÔ
ÑĽirƊ ĽłrŰg1627060@st.t-kougei.ac.jp, t.imagire@game.t-kougei.ac.jpÙńȗǢǿȑǮǸǓȏƵÆCƴƔƌǦȑǠȄȋǛȑȁƵ¸ƶd7ơƯƚƩƍǦȑǠȄȋǛȑȁưƶƌȇȑǟȑƵd7ƶDĈƴċ
ĪƣǈƩǁƌȇȑǟȑ¸ƶǶǡǲǢƵųńƳ­ÛưƓǈƍȇȑǟȑƵû¨ìƵƭƴƏ 4ĆŷƐƙƓǈƍÏďĚưƶƌ¿qƵǛȑȁƴŻơƯƌ 4ĆŷÎźǃǛȑȁƵmŔ,MƴƭƔƯƵtŵćƳŔÔǋŁƔƌÍƿơƔ 4Ćŷ¾ğƵ­ÛƴƭƔƯ
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A survey on the impact of the coverage period on the pre-registration eventin social games
Tatsuya FURUYAMA Takashi IMAGIRE
Faculty of Arts, Tokyo Polytechnic University
g1627060@st.t-kougei.ac.jp, t.imagire@game.t-kougei.ac.jp
Abstract With the spread of smartphones, social games have increased. In social games, the number of users is an important
indicator of business because increase of users is directly linked to profit. One method of acquiring users is "pre-registration".
In this research, we investigated the existing games on the relationship between the pre-registration period and the interestin the game, and examined the optimum KPI.
Keyword social games, pre-registration, customer acquisition, business measures, active users

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[1] “Ultima Online Public Beta Testers” (The Wayback Machine),
http://web.archive.org/web/19971018085506/http://www.owo.com/
town/last.htmlȓÊħđŐÀȗ2019  1 Ë 31 ÀȔ[2] ƏżƵŒãǞȑǶǢ 4FŹoƐ(The Wayback Machine),
https://web.archive.org/web/20031204044156/http://gamewww.nex
on.co.jp/elancia/ȓÊħđŐÀȗ2019  1 Ë 31 ÀȔ[3] ¼
Ģpȓ2013Ȕ, ǦȑǠȄȋǛȑȁƴƗƝǈȇȑǟȑƵþùƱœŶŁ9ƵŻŨƴƭƔƯ, ÇirĩñŖƀ, ĝ 58
, pp.277-286.
[4] G Čȓ2013Ȕ, ȃǳǏȋǜȏǬȏǫƻƵ´©ƔŁ9êtńYƱ q : ǦȑǠȄȋǛȑȁƵuŌ0ÒƱ¶ğćP¢, cŧ#¶ğȌǶȆȑ, 4, pp.109-131.
[5] RĀ ň, ƉŴ ſ-, ĔĀ ůȓ2014Ȕ, ǢǿȑǮǸǓȏǛȑ
ȁƴƗƝǈȇȑǟƵƁĸȐĬĭŁ90Ò, ǒȏǧǬǏȏȂȏǮǜȏ
ǷȆȑǬǎȏǙǠȏǾǡǐȁ 2014 Ŗ¹ƀ, pp.304-306.
[6] ƉÞĕKȓ2017Ȕ, ǍǏǬȁœŶ_ǛȑȁƴƗƝǈĩñȃǭȋƴ
ƭƔƯ, şŅr\lpirǿǲǡȂȏǮrŰĢń, 23, pp.181-187.
[7] Ā ŕȓ2015Ȕ, ǦȑǠȄȋǛȑȁƴzƣǈŁ9ĩñrćǍǺȍ
ȑǩ:ƶƳƦǦȑǠȄȋǛȑȁƴœŶƣǈƵƘ, Ŷëirźēr`ĩñrƇēŇőrôĳƏŖ¹ƀƐ, 10, pp.45-61.
[8]  ŀ, ƳƦǦȑǠȄȋǛȑȁƴœŶơƯơƿƕƵƘ,http://mizkos.jp/wp-content/uploads/2015/07/2012sato.pdfȓÊħđ
ŐÀȗ2019  1 Ë 31 ÀȔ

4ĆŷÎźȓÀ¸ȔƱȉȏǗȏǙƄ[9] “Twitter”, https://twitter.com/[10] “Social Game InfoȘ'Ł ģ”, http://lp.atsenko.com/ ȓÊħđŐ
Àȗ2019  1 Ë 31 ÀȔ
[11] “APPLION”, http://applion.jp/iphone/rank/jp/gross/ȓÊħđŐÀȗ
2019  1 Ë 31 ÀȔ(1) ƑǸǌǏǍȑǒȁǹȌȁ ǵȑȍȑǣƒȕjbȕ2017. (iOS/Android)(2) ƑǺȊȏǤǢǜǲǘǮȒRe:DiveƒȕCygamesȕ2017. (iOS/Android)(3) ƑFate/Grand OrderƒȕǍǱǺȌǪǘǢȕ2015. (iOS/Android)(4) ƑnǐǓǪǩƺƴƺƴƒȕȌǻȋǸǌǏǹ, NHN PlayArtȕ2015.
(iOS/Android)[ 7.

(5) ƑPUBG MOBILEƒ, DMM Games, 2018. (iOS/Android)(6) ƑǍǏǯȋǿǢǧȑ ȀȊǔȏȉǏǹȒ ǠǍǧȑǭǏǣƒ, ǳȏǨǏǰȁǜǒȏǧȑǬǏȏȂȏǮ, 2017. (iOS/Android)4Ćŷĵ¸ȓȔƱȉȏǗȏǙƄ(7) ƑFAITHƒ, ǲǘǦȏ, 2018. (iOS/Android).

29ėĜĔįĶ
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ïśȷ1981 ǛȀȳȤȝȯǾȫȤǝ¸İƞŦǘǋǖƹȢǶȁȱ BASIC ȢǻȅȱȵȞȳȢǻȶƺǞ@:ǋǑƷtǅǝȢǶȁȱǃȞȳȢǻǗ}ǡƶÍąźǍǮtǅǝǸȱȅȓǴǱŉǖǑƷȞȳȢǻǞ 2003 ǝ:Ǳľǖ 2018 Ǜ4@:ǋǑǃƶaǝĝŘǞ
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Re-launched “Micom BASIC Magazine”- Report from editor and magazine contributor Keita MIZUKAMIi

Taro OHASHIii

iii,
HOSEI University Graduate School of economics
DEMPA PUBLICATIONS, INCiii
mizukami@cute.or.jp, ohashi@dempa.co.jp

Abstract In 1981, "Micom BASIC Magazine (Beemaga)" was launched as a posting magazine of the game program.
Many microcomputer boys learned with Beemaga and brought up many engineers who are active today.
After being suspended in 2003, Beemaga re-launched in 2018. This announcement summarizes what we have pursued at
the time, the future, pursuing the process from the launch of Beemaga - the days off to the restoration to the re-launch.
Keyword be-maga, Micom BASIC Magazine, DENSHI-KOSAKU Magazine, DEMPA PUBLICATIONS

1. ǞǌǨǛ

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i
i,ii,iii

ii

iii

iSZÆhZĤ~JıVhZÙ
iii
ogawa@his.teikyo-u.ac.jp®ĀƲľţōųũŝļƒƩƮƑźƬƃƀƮƓƅƮơ(TCG)ĀåŢÃ}šÔÒŐļTCG ŢƅƮơƛƩŻƭƨƮƨŢw^}šŚ
łŜļƔƦƐźƚčÕŢĂÀņŰÆĄ6öŝŁŲōŞŶ«ŐŜňŖĽũŖļTCG Ŷ±ŐŜļƀƮƓŶŧŲōŞšůřŜƛƪƃƦƠƬ
ƃŇÈŎųŲƈƊƐơŢ«ŞĩÎŶġūŜňŖĽAļƆƬƘƤƮƍ TCG ÑŠŻƬƍƮƙŽƮƊŶÉłŜļArduino ŢƛƪƃƦ
ơŢƌƮƊƆƮƓŶÈŒŲƈƊƐơŶ Unreal Engine 4 šůűĩÎŐŖĽũŖļ:ƈƊƐơţļArduino ŢĩÎÇMŶ]ûŐļ
Arduino ƕƮƓżŽŹŝŁŲ Arduino uno R3 ŦƛƪƃƦơŶƪƮƓŐŜ]ûŎŔŲōŞŬ6öŝŁŲĽAļ§ƈƊƐơ]þŢ¡*ŢČŪŞŐŜJ=ŒŲĽƁƮƫƮƓƲƛƪƃƦƠƬƃô, ƒƩƮƑźƬƃƀƮƓƅƮơ, ô, Arduino, Unreal Engine 4

Development of a gamified programming learning support using trading card gamestyle that focuses on narrative mode of thought
Takahiro NOZAKIi

Katsuhide ABEii

Mitsuhiro OGAWAiii

i,ii,iii

Faculty of Science and Engineering, Teikyo Universityiii
ogawa@his.teikyo-u.ac.jp

Abstract Computer programming learning has still been difficult in some cases. This difficulty can be depending on aleaner, not only language. As a method to support learning programming language for person being not good at programmingskills, Trading Card Game (TCG) style is considered as a tool with narrative mode of thought expresser. Then, we have beenthought TCG style may be helpful for understanding computer programming. As a result, a prototype of programming support
system for Arduino in TCG like style is developed and demonstrated. This system allows to invoke Arduino development
environment and compile the source-code generated by TCG like style and load it an Arduino hardware.
Keyword Programming Education, Trading Card Game, Learning Support, Arduino, Unreal Engine 4ƃąĎŢ´ľŢÃxšÊ¨ŒŲK9ŇŁŲĽ

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A Prototype Development of XyloStories- a Serious Game to Support Music Teachers for Kids Toya SAITOi

Koji SUGINUMAi

Nadia Gloenwaldii

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Megumi AIBARAi

Masakazu FURUICHIi

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Nihon University College of Industrial Technology University of the Arts Utrecht
E-mail: citu15059@g.nihon-u.ac.jp, furuichi.masakazu@nihon-u.ac.jp

Abstract: In music classrooms for three to five years old kids, music teachers use picture book type textbooks and realmusical instruments such xylophones or drums. In order to make their classrooms fun for kids, music teachers spend muchtime to prepare for class contents from scratch every time. If the teacher has many such classes, the amount of time that they
spend for preparation becomes enormous, which is a big problem for teachers. In order to solve such problem, we havedecided to develop a serious game type textbook used for music classrooms to support music teachers. In our prototype
system, we used xylophone as a real musical instrument, and the xylophone is used as the input device for the serious game,so we have named it “XyloStories”. In order to link xylophe and the serious game, we used Arduino for sensor module andRasberry pi as a signal processing unit. In this paper, we describe the outline of the serious game system. It will also bedemonstrated at interactive session.
Keywords: Serious Game, Music Education, Arduino, Raspberry Pi«mŰOŪŖŭşū, ıÑŭƟƔƙƼƏǂƳƂñŸA

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Digital Games Research Association JAPANʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈ ʈˮ̉˖˶̕˩̔̇˲˕˔̅˯˟˨ʺòĐʵơÓ~Journal of Digital Games Researchǿˢ̆̕%řˑüʸ~iǁɺ¯¿ʈ
nakamu-a@im.ritsumei.ac.jpŜȍ̙ĺŌ%řʻˇʯˏ˒ʍŢǋʺ̇˲˕˔̔ˣ̓ˠ̑̄̎˯˳ʷʶʍ Ɲʺˣ̓˱̓˰%řʻʍ̇˲˕˔̅˯˟˨ˑÏKʥʳʗˍʎ ʸʚʗʳˇʫˎʻ-¬ʴʻʷʗʎʭʮʥʍ ʸʚʠˍřƖ§ʻʍĺŌˈŢǋʺʶˎʵˇƟʷʰʭƐǵʺƖ§ʴʖˍʎˊʰʳʍǖƖ§Ȧʸ£ʲʠʼʍĺŌˈŢǋʺʫʺʶˎʵˇĉˑƟʸʧˍ̇˲˕˔̅˯˟˨òîʜƘ˃ˎˍʮˏʘʎŌƱƾʻʍǢ)Ȥʷˋʾʸǉ)Ȥˑ ʸƚʗˍʏˑêǧʺĉʴʺʒ ʓʵʥʳʵˋʙʍˢ̆̕%řˑ üʸʍʫʢʴòĐyʾơÓʜʚʢʷːˎʭʍ̇˲˕˔̅˯˟˨ʸʱʗʳũȻ-XŐˑʚʢʷʰʭʎʫʺǗőʍŷȴƌʜ<Ƥʷ¾ʴʖˌȁ+ŠʸÌʧˍȣȩʜãȃʮʰʭʢˏʛˋʍ̇˲˕˔˯˟˨ʜʚʢʷːˎʍʫʺʜʍ˛̓̍˖̓˙̓ˬ̕˱˖̓̇̓˳ʜ ȍʷ(ǤʲʠʵʷʰʭƔʸǶˍ˃ʴʍƐǵʺơÓʜʷʣˎʳʗˍʢʵʜľˋʛʵʷʰʭʎ˞̒̕̕˴̙̇˲˕˔̅˯˟˨,ˢ̆̕ƙř, Ŭ»ś, ũȻ-Ʊƾ

Emergence and Development of the Chinese Media Mix- Comparative Case Studies of Game Studios in ChinaAkinori (Aki)NAKAMURA
College of Image Arts and Sciences, Ritsumeikan University
nakamu-a@im.ritsumei.ac.jp
Abstract The present studies focus on the business model in the media industry which is prevalent in various media
conglomerates in Japan, North America as well as Europe being known in Japan as “media mix.” Based on the assertionof Contingency theory, if China’s business environment (the present paper include a broader definition of Chinese speaking
nations) is distinctly different than those of Japan, North America or Europe, then the media mix if being practice at all, may
emerge and developed in its own terms. The studies then focus on several Chinese digital game publishers and compareand contrast similarities as well as differences. The studies conclude that there is the distinction in how the media mix being
practiced and developed among Chinese game studies throughout years of the industrial development, confirming the claims
made by the contingent theory scholars.
Keyword Media Mix, Chinese Game Studios, Pan-Entertainment, Comparative Case Studies

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[6] Ōɵƫʻ Ŏ(2018): pp 360-364 ˑSŝĐʥʭʎˎʭʺʸÌʥʍʔÖ¹¥ʕʻ+ǬʺĕʛˋÁLʸɫˎʭòʴŀƜȊ+ʜȇːˎʳʗʭʎʢˎǵ)ʻŀƜnŠʜʍƌGʛˋɫˎʭŧɥʴȵˌùˍʢʵʮʎʮʜʍʢˎʸƟˑʙʭʺ
ʻw+ǬʮʠʴʻʷʛʰʭʎʒƅɁʓʵʗʘʔɿƅʕ˦̎̕˩
ʺƋƈʷ˾˓̓ʜ+ʺƝȑˈʍƢ¤ƎʺȘÂʸˇ¯ʝʷĬ«ʜhʙˋˎʳʗʭŌ+ˑƠƈʸė]ʥʭʺʮʎ˾˓
̓ʺȐƆʛˋʧˍʵʍŌ+ʻƢ¤Ǝʺaʺ˄ˑ>ˌʭÁ
Lʷ^+ʮʰʭʵʺȞʮ ʎw+ǬʻʢʺȑƆˑīĝʧˍ[7] Ōɵƫʻ Ŏ(2018):pp 360-370

46Ĝ 9 YØj·ÄǴǫǯȍǦȓȃt
Digital Games Research Association JAPANƔ ƔėƄProceedings of 9th Annual ConferenceǦȓȃzŸőƿǉǑƚlRƨǦȓȃƛǀgŮ
iŰjt ii,jŽÔļlpjt
i
mc@banabana.org

ÑńȘÄđęǁƗ1990 žƿć1ƬǒƵǦȓȃzŸőȔƼǐǔƨƚlRƨǦȓȃƛzŸƅőȕƿ«šƬǒƺƟǑŌ ǕyŚ
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ŕÊƯǑǌǀƻƞǑƘƳǀƻƗǫȆȑȍǀǴǫǯȍǦȓȃƼǀÝŠǌşǈơƹƹƅő«šŌ ǕÎŋƭƗƚlRƨǦȓȃƛƼ
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Research of " Women’s Games" based on the game magazines.
Takashi OBANA ii

Chitoko KOIDE ii

ii,

Chubu UniversityiOsaka Shoin Women’s University
mc@banabana.org

Abstract The purpose of this study is to examine and describe the trend of Information on introducing game shown ingame magazine, published after 1990s. In our study, The necessity of reexamine relation between of woman`s games andmagazines. and We tried to express the transition of Information for game magazines according to revolution of game using
coating sheet.
Keyword Women’s Games, OTOME Games, Game History, ”DENGEKI GIRLS STYLE”, ”B'sLOG”
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Digital Games Research Association JAPANǭ ǭŋǗProceedings of 9th Annual Conferencee ɊɥɷɒǀÁȁÄǾȰ¹ƖȘǈēąıȜãĦµȜõƒ- ɡɳɃɷɦɷțȋȰȸɵɎɝɬɷơî iiiêę ǭ ǫóĿÎ ǭ ľƇŮ iiiǭ ǫŭÿ ivǭ Crystal L. Patil vǭ Judith M. Schlaeger viǭ ǫ)ã vii
i,ii,iii,iv

ii,iii,iv,vi,vii
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éãÚNı||Ǔ '-Nıŀōňǭ ǈē>ǅ
v,vi
University of Illinois at Chicago, Department of Women, Children and Family Health Scienceis160008@tau.ac.jp,

viitakakura@tau.ac.jpøƊɻ žɊɥɷɒǀÁȜ{ȃȝǲ-¤ŔģȫɄɵɔȷɈɭɘɵɁȜȐȩǈēąıȴYȄȖǼȰǳe ɊɥɷɒǀÁȪ_úțǲȎȜŐ

ÂĞµțȭȰúǴȚ¹ƖȴÄǾȖǼȰȆȘȀȮǲǈēąıȁƿ±țȚȰȘ³ȳȱȰǳȉȀȉǲe ɊɥɷɒǡrȗȜǈēąıțǎȋȰ
ŀōtcȝȆȱȦȗțȚǼǳȎȆȗǈēȴYıȋȰɡɳ e ɊɥɷɒǀÁ 2 `țɁɱɷɡȸɵɎɝɬɷȴƄǼǲe ɊɥɷɒǀÁȁÄǾȰ¹Ɩȫ e ɊɥɷɒǡrțǿȄȰǈēąıȜãĦµțȔǼȖõƒȉȐǳȎȜŢìǲɃɷɨĞµǲũůĤvǲĥĊğĆȁǀÁȜ
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Electronic Sports Athlete’s Complaints and Consideration of Acupuncture- Interview Survey of Pro-gamers You HIRAMATSU

i

Tomoaki TAKANASHIii

Crystal L. PATILv
i,ii,iii,iv

Hiroyoshi YAJIMAiii Miho TAKAYAMAiv

Judith M. SHCLAEGERvi

Nobuari TAKAKURAvii

Tokyo Ariake University of Medical and Health Science, Affiliated Acupuncture and Moxibustion CenterTokyo Ariake University of Medical and Health Science, Department of Acupuncture and Moxibustion
ii,iii,iv,vii
Tokyo Ariake University of Medical and Health Science, Graduate school of Health Sciencev,vi
University of Illinois at Chicago, Department of Women, Children and Family Health Science

ii,iii,iv,vi,vii

is160008@tau.ac.jp,

viitakakura@tau.ac.jp

Abstract To improve athletic performance, professional sports athletes often include acupuncture as part of theirconditioning and overall health. E-sports athletes may also benefit from acupuncture, but no studies have been completed.
To begin to address this gap, we interviewed two e-sports athletes, whom we provided acupuncture, to document theircomplaints and determine if acupuncture was beneficial. They reported experiencing mental and physical stress fromcompetition, practice, and adverse living conditions that negatively affected their gaming performance. They also had
musculoskeletal pains. The participants reported that their gaming performance improved and that they experienced less painwith acupuncture. Results suggest that rigorous research is needed to assess if acupuncture effectively reduces e-sports
athletes’ musculoskeletal pain and improves gaming performance.
Keyword Electronic Sports, Sports, Health Care, AcupuncturețȪªǞȴǾȰȗǻȲǽȆȘǲȎȉȖȎȱȮȜ¹ƖțȋȰ

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ȜɥɉɈɭɵȝ 1 `ȁ ADCɸAttack Damage CarryɹǲȪǽ 1 `ũůȝɩɵɚɷțǹǻȳȍȚȄȱȞǼȄȚǼǺȆȘȀȮǲż>Ȝº°ȗȨȆȘȁȗȂȚǼğĆȪÚȮȀțȚȓȐǳ

ȁ SUPɸSupportɹȗǻȓȐǳADC ȜǀÁȝɡɳĀŚ 1 ǲ
SUP ȜǀÁȝŚ 6 ȀâȗǻȓȐǳ

ɼc. ƌDȚĥĊɰɋɨɽ

3.2 >ëŢì

ɼc. ƌDȚĥĊɰɋɨɽȝǲǵɐɷɨȗȜ7_ĥĊǶǲǵĥ
ĊɰɋɨȜȞȮȔȂǶǲǵåȚǦ

3.2.1 ȽɓɅɰɷȘȎȜǎƺµǶǲǵǦ

Ȝǚ+ŽȈǶ

>ëȜŢìǲɼa. League of Legends ȜɃɷɨĞµɽɼb. ũ

Ȝ 4 ȔȜȽɓɅɰɷȀȮù¾ȈȱȖǼȐǳɃɷɨəȹɊȘǼǽůĤvɽɼc. ƌDȚĥĊɰɋɨɽɼd. ®ƯơțȭȰɡɲȸȟȘȔñȜȗ7_ĥĊȴȋȰǀÁȐȒȑȁǲɐɷɨũȢȜ¶ªǞɽɼe. ĥĊȴyǾȰºƦɽɼf. ǈēąıțȭȰɡůȝÜǍȴ^ȳȍȖƄǽ×ȗǲ*ũůȫɡɯȸɣɷɕȜɲȸȢȜ~ªǞɽɼg. -¤ȜǄƊµȜƜƦɽȜ 7 ȔȜȽɓɅÜǍȜƾȇȉ×ǲȫǦɰɷȘ 22 ȜɆɠȽɓɅɰɷț>ǥȈȱȐɸƅ 1ɹǳțǦȜÜǍȪȎȱȏȱĬȚȰǳĞ

ȝǦȣȐȯǦȣȚȀȓȐȯǲǻȰǼȝǦȣȖȪŕQȚ

ȪȜȗčȦȍȰȘǼǽğĆțǻȓȐǳ

ƓȽɓɅɰɷǍȜǎ&µȴõƒȉȐŢìǲɼa. ɐɷɨȗɼd. ®ƯơțȭȰɡɲȸȢȜ¶ªǞɽƄǽɃɷɨȜĞµɽǲɼb. ũůĤvɽǲɼc. ƌDȚĥĊɰɋțǎƺȉ^ǼȚȁȮǲɼd. ®ƯơțȭȰɼd. ®ƯơțȭȰɡɲȸȢȜ¶ªǞɽȝǲǵũůțȭȰƯ

ɡɲȸȢȜ¶ªǞɽțūȁȓȖǼȐȆȘȁÚȮȀțȚȓȐǳȦ

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țȭȰɡɲȸȢȜ¶ªǞǶǲǵȚǼĽĻÜǍȜ¶ªǞǶȜ 4ȔȜɆɠȽɓɅɰɷȀȮù¾ȈȱȖǼȐǳƯĳơțȔǼɨɽȜ 3 ȔȝĹƧűȮȝǲɼe. ĥĊȴyǾȰºƦɽȴÄȃȘ_Üțǲɼg. ǈȖǲǣǲųǲÁǨȜİȧǲȦȐļŗĭHȚșȜ¹ƖȁÉȅȮ

ēąıțȭȰɡɲȸȢȜ~ªǞɽȴšǩȋȰȗɼf. -¤ȜǄƊµȜƜƦɽȴÄȃȭǽțȚȓȖǼȰğĆȪÚȮȀțȚȓȐǳ

ȱȐǳȆǽȉȐ¹ƖȝǲɡɳțȚȓȖũůÜǍȁwǾȐȆȘȚ
șȀȮw¶0ațǻȯǲɃɷɨɡɲȸȢȪ¶ªǞȴVȥȉȖ

ƅ 1. çơîțȭȯ­ȮȱȐȽɓɅɰɷȘɆɠȽɓɅɰɷ

ǼȐǳȦȐEƵȜɼc. ƌDȚĥĊɰɋɨɽȜªǞȀȮĽĻ

ƭȘȚȯǲŢìĳțɃɷɨțǗȗȂȚǼğĆțǔȰȆȘ
ȪǻȓȐǳ
ɼe. ĥĊȴyǾȰºƦɽɼe. ĥĊȴyǾȰºƦɽȝǲǵǦĥĊȴÓiȋȰºƦǶǲ
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ȘĽĻțȋȰºƦțȔǼȖȝ¦ơȈȱȐǳȦȐǲɐɷɨțǿǼȖȪƽJɡɳɁɯɨȁXȯ4ȱȮȱȖǼȰȆȘȴ$ț=ȉȚȁȮǲƽJȜ¯ƊµȪÈÐȉȖǼȐǳ
ɼf. ǈēąıțȭȰɡɲȸȢȜ~ªǞɽ
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ȭȯưĎȉǲİȧȴȤȘȵș»ȊȌțũůȗȂȰȭǽțȚȓȖ
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ɼg. -¤ȜǄƊµȜƜƦɽǵɐɷɨɄɧɬɘɂɷɈɭɵǶǲǵŗŅğĆȁǄƊȘȚȰɥɉɈɭɵǶȜ 3 ȔȜɆɠȽɓɅɰɷȀȮù¾ȈȱȖǼȐǳLeague of

ɼg. -¤ȜǄƊµȜƜƦɽȗȝǲǵ-¤ŦÇȜǄƊµǶǲǵɂȶȜ¯ƊȜƜƦǶȜ 2 ȔȜɆɠȽɓɅɰɷȀȮù¾ȈȱȖ

Legends ȝǲ5  5 ȗƄȳȱȰɐɷɨ¿ȗǻȯǲɐɷɨɄǼȐǳƧűȝɼe. ĥĊȴyǾȰºƦɽțȭȯǲĽĻȴȝȊȩ

ɧɬɘɂɷɈɭɵȁǄƊȘȚȰȆȘǲȦȐɃɷɨțǹȫȮȱȖ

ȘȉȐĥĊɰɋɨȴÕǾȰȆȘțȭȓȖ®ƯȜɄɵɔȷɈɭɵȁ

ɸ+ȈȱȖɹȝǼȄȚǼǺŗŅĳțƨÆȜȀȀȯȫȋǼɥɉȭȯſǼğĆțȚȰȆȘȴƜƦȉȖǼȐǳȦȐɼa. League ofɈɭɵȁpȋȰȆȘȁǲȎȜĞµȘȉȖÉȅȮȱȐǳ

Legends ȜɃɷɨĞµɽǲɩɵɚɷțƶ·ȴȀȄȰȆȘȁȗ

ɼb. ũůĤvɽ52

ȂȚǼȘǼǽƏĕȀȮȪżȮȜ-¤ȴŦÇȋȰǄƊµȁƜƦȉǲǈēąıȘȜǎƺțȔǼȖõƗȋȰ¯ƊȁǻȰǳ

ȈȱȖǼȐǳ×ȗǈēȜ4țȭȯǲżȮȜ®ƯȜğ¼çơîȝǲƧȁĞȜǡrȜǒȮȱȐÔȗǻȓȐȆ

ǿȭȠɃɷɨɡɲȸȜƫȁaȉȐȆȘȀȮǲåĳȚɂȶȘǲȦȐȸɵɎɝɬɷżȁǈēțȔǼȖŴĳțƝȮȱȰȜ¯ƊµȪƜƦȉȖǼȐǳ

ğĆȗƄȳȱȐȆȘȚșȜǒīȁǻȯǲǒĳȚËŝȜrȴ

4. ŰƬǾȚǼȁǲçơîȝnzȴbȩǲ@ȩȖ e ɊɥɷɒǀÁȁÄǾȰ¹ƖțȋȰǈēąıȜãĦµȴŃfȋȰơîȗǻ

çơîțȭȯ e ɊɥɷɒǀÁȁșȜȭǽȚ-¤hǤȴÄǾǲ

ȰȘŰǾȰǳȎȱțȉȖșȜȭǽȚºƦȴÇȓȖǼȰȀǲȦȐǀÁȜ-5. ŢƝ¤țǈēąıȁșȜȭǽțǎȉǽȰȀȜŏȁŃȈȱȐǳɶ ɡɳ e ɊɥɷɒǀÁ 2 `ȴƧȘȉȖǲ-¤ǿȭȠǈēą

4.1 e ɊɥɷɒǀÁȁÄǾȰ¹ƖȘ-¤ºƦıȜšǩțǎȋȰȸɵɎɝɬɷơîȴƄȓȐǳ

e ɊɥɷɒǀÁȜĥĊȝǲɼc. ƌDȚĥĊɰɋɨɽțȪƋȮȱȰƸȯǲĽĻÜǍǲǦɶ ɃɷɨĞµǲũůĤvǲĥĊğĆȁǀÁȜ®ƯȜơȴȚșǲsçĳȚĥĊɰɋɨȁ÷ȪȐȮȉǲŢìȘȉȖɃɷɨɡɲȸț¶ªǞȴVȥȉȖǼȰ
ğĆȁÚȮȀțȚȓȐǳ

ȩȖƌDȗǻȯǲĞțĽĻƭȝɼd. ®ƯơțȭȰɡɲȸȢȜ¶ªǞɽȴȪȐȮȋȆȘȁÚȮȀțȚȓȐǳLeague ofɶ ǈēąıȝǲǊÜǍȜũůțǼĥȊȰǣɶŹɶŶɶÁ

Legends țǿǼȖǲǵŗŅğĆȁǄƊȘȚȰɥɉɈɭɵǶȘȉȖǨȜİȧȚșȜœǪòŘȜ¹ƖȴÓiȈȍȰ[ŷµȁŃȜ ADC ȝǲɐɷɨȜƪȴƨǽŎuȗǻȯǲƘ^ȇȘțȎȜ

ȈȱȐǳŗŅĳȚƨƁȁ|ȂǼǳȆǽȉȐğĆțȉȖǲƧűȝɼe.
ĥĊȴyǾȰºƦɽȴÄǼȖǼȐǳȉȀȉǲ7_ĥĊȘǊÜɶ ǈēąıȜ4țȭȰɿɡɳ e ɊɥɷɒǀÁȜÄǾȰƯ¹ƖʀȫɿɃɷɨȜǗFɶɡɲȸȜƫʀȢȜªǞțȔǼǍȜũůȴĄȩȮȱȰǀÁĥĊȜĞµǲɡɯȸɣɷɕȜÜȖǲ¬UȚňĳõƗȁ¯ƊȗǻȰǳ

ǍȘǲǀÁȘȉȖƾȇȋÜǍȁɈɷɨɲɊȗǻȰȐȩǲɼc. ƌDȚĥĊɰɋɨɽȴyǾȰȆȘȝÛȗȝȚǼȘÌĐȈȱȐǳ

BĵĹW

League of Legends ȘǼǽŐÂȴƄǽȗǵɐɷɨɄɧɬɘɂɷƙ¨ȚȉɈɭɵǶȝüȀȍȚǼƊŜȗǻȯǲȎȱȴ:ĒțƼȩȰȐȩȜ

ƥƲ

7_ĥĊȗǻȰȪȜȜǲ*ǴȜ-¤hǤțĖĕȴ¨ȖȐuçŀōțȇPFǼȐȑȂȦȉȐɦɱɐɡɳɃɷɧɵɁɐɷ

^ǲ7_ĥĊȜǻȯ×ȫǲȎȜȭǽȚĥĊ©¼țȝ;ŰȜ!

ɨ AKIHABARA ENCOUNT ȜȼɷɗɷȴȩȘȋȰɐɷqȁǻȰȜȀȪȉȱȚǼǳ

ɨƽjɊɎɑɟɶǀÁȜĴúț®ȭȯ»ƥĨȉȅȦȋǳȦȐ e ɊɥɷɒǀÁȝǲǵǊÜǍȜũůǶȴǁȄȰȆȘȜȗ
ȂȚǼĤvțŬȀȱȖǼȰǳĞțɈɷɋɵȗȝ 16 ÜǍțVȡũůȁƠȍȮȱǲȆȜǍȝȤȘȵș¢ȜKȴ'Çȉ[1] ħe\ (2008) ɊɥɷɒŐÂűȜǈąıțȋȰYı¼¡țªǞȴVȥȋlȜõƒɺŵŘ|ĥȴƧȘȉȐƫhśơîɺ, 5Ùçǈēǘƛ, 58(5), pp.758-765.
[2] Reston, J. (1971.7.26) "Now, About My Operation in Peking; Now,
Let Me Tell You About My Appendectomy in Peking", New YorkTimes.
https://graphics8.nytimes.com/packages/pdf/health/1971acupuncture.pdf ɸáşŁƜÙ 2019.1.31ɹ
[3] Zimerman, AL. (2013) Evidence-based medicine: a short history ofa modern medical movement, Virtual Mentor, 15(1), pp.71-76.
[4] Strauss, A., Corbin, J. ÑƂɶô Ǯƕǯ.ǭ (1999) ǹƫĳŀōȜ
słɺɁɯȹɵɔɑɖɌȼɰɷǌĲȜÂĈȘÁǠɸő 2 ĜɹǺ, NàǓ.
[5] ½æɀɲȸɁɜɱđ (2006) ǹɁɯȹɵɔɑɖɶɌȼɰɷɶȶɡɳɷɐ ģƣȴĥȧ=ȋȦȗǺ, Ößń.
[6] ½æɀɲȸɁɜɱđ (2008) ǹɁɯȹɵɔɑɖɶɌȼɰɷɶȶɡɳɷɐǱĢƧȴȘȮǾȰǺ, Ößń.
[7] Zƀą (2006) nɌɷɰɵɁǀÁȜɄɵɓȷɈɭɵơÕțȋȰǈąıȜõƒ, 5Ùçǈēǘƛ, 56(2), pp.166-174.
[8] | 3ř (2013) de Quervain ĮțȋȰǈąıȜIìɺ1 į
$tcɺ, ŵň, 62(6), pp.613-614.
[9]Č(2013) ¾§ĲÈțȋȰǈąıȜIìɺvisual
analogue scale țȭȰõƒɺ, Ùçďćă,ĝģNǘƛ ,76(4), pp.263-272.

ȖǼȰȐȩǲŹŶǂȢȜƨÆȁ|ȂǼȆȘȁÚȮȀțȚȓȐǳ
ȦȐǲŞȀȚÁȜJȂȁȎȜÑ"µț{|ȚªǞȴVȥȋ
ȆȘȀȮǲÁǨǲųǲǣȜİȧŒȜ¹Ɩȁ{ȃȧȮȱȰȆȘȪ
ȳȀȓȐǳȈȮțȝǊÜǍȜɔȷɊɡɲȸĉƍțȭȰļŗĭ
HȪżƎȉȖǼȐǳȆǽȉȐ¹Ɩȝǲe ɊɥɷɒǀÁțȘȓȖ
ǁȄȰȆȘȜȗȂȚǼįğȑȘŰǾȮȱȰȁǲȆȱȮȜƯ¹
Ɩȁ e ɊɥɷɒĞãȜƯ¹ƖȀșǽȀțǎȋȰŗîȝ¬¯ƊȗǻȰǳ

ǭ

4.2 e ɊɥɷɒǀÁȢȜǈēąıȜ[ŷµkȜơîȗȝǲƓȜȭǽȚ e ɊɥɷɒǀÁȁÄǾȰƯ
ĳɶŗŅĳȚhǤțǲǈēąıȁãĦȗǻȰ[ŷµȁŃfȈȱȐǳĞțǵİȧȜưĎțȭȰũůȢȜ~ªǞǶȀȮȝǲ
œǪòŘȜǷİȧǸȜưĎțǈēąıȁãIȗǻȰ[ŷµȁŃȈȱȐǳȋȗțŹİǲǢǂİǲÁÈȜźǛĔȚșǲǀÁ
ȮȁƖǾȖǼȐȭǽȚœǪòŘȜİȧțȔǼȖȝǲǈȜãI
µȁtcȈȱȖǿȯ[7][8][9]ǲȆȱȮȝçơîȗ­ȮȱȐɥɉɓȷɠȚŢìȴÒÇȋȰǳȦȐkǲƯĳȚ¹ƖȜÓiȜȧȚȮȌǲŐÂȜɧɊȜĎȫǗFȜaȚșɡɲȸżȜƫȜÓiǲȟǼȖȝȎȜațȪǈēąıȁȋȰ[ŷµȁŃȈȱȐǳ¬ȝǲȆȜȭǽȚǀÁȜŗŅǚȢȜ
ªǞțȔǼȖȪǲƯ¹ƖȘ_úțȎȜlȴƚŞțõƒ

(1) ǹLeague of LegendsǺ, Riot Games, 2009. (PC)53ï 9 Jm·YªƶƬưǊƨǏǃ^
Digital Games Research Association JAPANŋ ŋëĽProceedings of 9th Annual ConferencecQ°ĹƨǏǃƇŪůƙè2Ƅ/ƇßÛŵżĔ
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Watching Support Focused on Characters' Move and Stamina in Fighting Game
Yousuke Miyauchii

Tomoki Kajinamiii

i,ii

Faculty of Informatics, Okayama University of Science, 1-1 Ridai-cho, Kita-ku, Okayama City, Okayama, 700-0005
Japani
i15i074my@ous.jp, iikajinami@mis.ous.ac.jp

Abstract This paper proposes a watching support method focused on characters’ move and stamina in fighting game. The
screen of the fighting game has a bar displaying characters’ stamina, and the player can adjust the distance to the opponent
by move the character from side to side. However, it is hard to understand the amount of movement and the accumulation ofsmall attacks of each character. Therefore, This paper develops a system to visualize the characters’ movement and decreaseof stamina within a certain period of time.
Keyword fighting game, e-Sports, watching support, information visualization

1. ƊŶƓƇ

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2.1 ƵǍƿǋǏƷǁƳƲǍƦ

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ƃŦƙǓƉƤǅǈƥưǏn Ɖ¢- t ƇŪůƙ8ÅƄƉĦľ$"# Ɲo 1ǒ2 ƃ_þŷƙǓŋ !"# < & ƐżƊ !"# > &ƉT@ŋ $"# = !"# − &(o 1)

ŋ !"# = & ƉT@(o 2)

ŋ $"# = 0ķļƇŪůƙƉƤǅǈƥưǏn Ɖ¢- t ƇŪůƙ/Ɖ
ÁeĴƝo 5 ƃ_þŷƙǓ
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ŋ =ē5Ɗǒo 5 ƃwż/ƉÁeĴ6#" ƝƔƄƇǒƤǅǈƥ

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3. ±ƢǍưƽƣǏƭ

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3 Ɖ2ÖƻưǏǍƊ 5.1 ôƃĩƎż 4 ƻưǏǍ(1-4)Ɖ2Ö

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ǎƆƞƄƆŮŽŬƜūƙ(BǒFǒGǒHǒIǒJ)[D_ÚƆėĩ]ǎƉ¢ƜūƗƆŧ(JǒL)[1] ©ıĐ ǎÓt ǎ ĳ&ǐ2007Ǒ °ĹƨǏǃƤǅǈƥưƉ
¶^ÿ, ~S'Ï^ãíSEƨǏǃ~S^(GI), pp.1-8.
[2] Lu, F., Yamamoto, K., Nomura, H, L., Mizuno, S., Lee, Y.,
Thawonmas, R.(2013) Fighting Game Artificial Intelligence
Competition Platform, proc. of 2nd IEEE Global Conference on
Consumer Electronics, pp.320-323.
[3] ²àėǎĵĢhG(2018) ƤǅǈƥưƉý~SƇRƁŧż
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āŬ 9 BŪƘǒ

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Digital Games Research Association JAPANř ř

Proceedings of 9th Annual ConferenceĖýƂÞÛŰŷaK©ŇƨǓǅƄĢAƓĵƓƝǑƲƽƞǓƯ
i

ii

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dcÎåSYi15i023or@ous.jp, ii kajinami@mis.ous.ac.jpi­ĔǗ¥éžƅǔĖýƂÞÛŰŷaK©ŇƨǓǅƄĢAƓĵƓƝǑƲƽƞǓƯƘªŲƔǖaK©ŇƨǓǅžƅǔ2ƄƿǏƝǈǓŧŵƕŶƕ©Ň]Ƙ±ŰŷƤǇǌƥƲǓƘŰǔBÓőƘĕŽţǖƿǏƝǈǓƅĆİƄĢAƄƿǏƝ7ÓƘĕŽƓĵƓƘĎţNAŧšƔǖŰŦŰƁŧƒǔƿǏƝƄĖýƂÞÛŰŷƓĵƓƅšƋƓĎƗƕŽŢƁŢǖ¥éžƅǔĖýƄŋ
ðſ7ŨƂÞÛŰŷƓĵƓƝǑƲƽƞǓƯƘ®óŲƔǖƤǓǐǓƸǗe-Sports, aK©ŇƨǓǅ, ƓĵƓ, Ėý, ƝǑƲǌƥƵƜƾƝǑƲƽƞǓƯ

An Interface for Supporting Post-Match Play-by-Play Analysis of a Fighting Game
Based on the Players' Eye Movements
Ryohei Odai

Tomoki Kajinamiii

i.ii

Okayama University of Science
i15i023or@ous.jp, ii kajinami@mis.ous.ac.jpiAbstract In this paper, we propose an interface to support post-match play-by-play analysis of a fighting game based on
the players' eye movements. The fighting game, which two players fight each other by operating their use characters with in
the same game screen. Players may look back on their own matches and review playing. However, previous studies have notconsider using two players' gaze data for supporting post-match play-by-play analysis. We construct an interface visualizing
similarity two players' focusing area and eye movement on game screen for supporting post-match play-by-play analysis.
Keyword e-Sports, fighting game, post-match play-by-play analysis, eye movement, interactive interface

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[1] Lu, F., Yamamoto, K., Nomura, H, L., Mizuno, S., Lee, Y.,
Thawonmas, L. (2013) Fighting Game Artificial Intelligence
Competitionř Platform, IEEE 2nd Global Conference on Consumer
Electronics(GCCE 2013), pp.320-323.
[2] Kajinami, T., Hasegawa, K. (2017) Watching Support System by
Annotation Displaying According to Fighting Game Situations,Entertainment Computing 2017(ICEC 2017), pp.435-438.
[3] Zuin, L, G., Macedo, P. A. Y,. Chaimowicz, L., Pappa, L, G. (2016)
Discovering Combos in Fighting Games with Evolutionary
Algorithms, Genetic and Evolutionary Computation Conference
2016, pp.277-284.

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A Software Implement of Intelligent Game Engine
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y.m.4160@gmail.com

iAbstract
For large-scale and complexity of game, techniques of artificial intelligence are being applied, but there is nota whole technical design to apply artificial intelligence to digital games. An intelligent game engine gives many good chances
to use artificial intelligence in game development. In the paper, a plan of implementation of the intelligent game engine is
introduced.
Keyword Game Engine, Intelligent, AIƖProof of ConceptƗŗÂİĝ

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ĳŁďÀäŁûþļďÀg¬ŁŴƕŮĻĠœĝŉĵĜƃŹƕ

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ŁûþłĜŴƕŮſşƕƃűŵŁŰŝűţŎŲƕƏĜƄŶƏŜŝ

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64

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5İœŦƕƅŞƓŪƓŁŭſŵŜŝřŴŨśƓƘ, ŴŪŮƏŦ
ƕƅ\U[Y ÍĖ pp. 59-62[3] Barbuta, AƖ2018Ɨ HORIZON ZERO DAWN: AN OPEN

WORLD QA CASE STUDY, Game Developers Conference
2018 https://www.guerrilla-games.com/read/horizon-zero-dawn-anopen-world-qa-case-study[4] Routhier, N (2018) Name 'Assassin's Creed Origins': Monitoringand Validation of World Design Data, Game Developers Conference
2018 https://www.gdcvault.com/play/1025452/-Assassin-s-CreedOrigins

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Digital Games Research Association JAPANŐ ŐéłProceedings of 9th Annual Conference

DCGAN ŷSűŞ 2D ƐƘƟǀǇƛǈƺŹơƩǈƠÐŷĻŧƋ±Ē
i

ii

i,iii

i

iii

ii

^ļn²^eŐ UåeĳëGŌ^eŐ UÏneĳ
e1c15073@st.oit.ac.jp, ii SHO.OOI@outlook.jp, iii Mutuo.sano@oit.ac.jp³ċǎħuǋÅleþƎÒŗŬÓÐųŖƋ GANǉGenerative Adversarial NetworkǊŜÜƏŷáêŤƌŲŗƋǌœźŢƌƂų
ŷǋGAN Ǝ,ÒťŬƬƨƫöƴǈơŹƛǈƺơƩǈƠƎă4ÐŧƋÂƎ±ĒťŬǌ$Ûŷźǋ .ŷơƩǈƠ%ŹƖƲƠƔƘƫƎą)ŠŧƋŢŴųǋGAN ƎÒťŲÐťŬÓŷŚŠƋXÔùŹƶƚƎĐÄťŬǌªáêųź,BµŹÂųƟơƩƺŹ
ÖŶƋ 2D ƐƘƟǀǇƛǈƺŹơƩǈƠƎă4ÐťǋŪŹÒƎ±ĔŧƋǌƗǈǆǈƬǎÅleþǋGenerative adversarial network (GAN)ǋ2D ƐƘƟǀǇƛǈƺǋă4ơƩǈƠÐǋÓÐ

A Study on Stage Generation for 2D Action Game based on DC-GAN
Kotaro NAGAHIROi

Sho OOIii

Mutsuo SANOiii

i,iii

Faculty of Information Science and Technology, Osaka Institute of Technology
ii
Faculty of Information Science and Engineering, Ritsumeikan Universityi
e1c15073@st.oit.ac.jp, ii SHO.OOI@outlook.jp, iii mutsuo.sano@oit.ac.jp

Abstract In recent years, Researchers has studied generative adversarial networks (GAN) in an image generation. We haveverified a method to automatically generate a dot picture game stage using GAN. Specifically, we eliminated the blur of theboundary line in the image generated using GAN by coloring the objects in the stage in advance. In this research, we verify
to automatically generate stages of 2D action games with different systems in the same way.
Keyword Deep learning, Generative adversarial network, 2D action game, Automatic stage generation, Image generationǈƺŹơƩǈƠƪƞƒǇŷÒŤƌŲŗƋŜYřŲŝŲŗ

1. źŦƅŷ
ħ u ǋ Å l e þ Ǝ Ò ŗ Ŭ Ó  Ð  ų Ŗ Ƌ GAN

ƋǌŢŹƈŘŷǋƛǈƺơƩǈƠƎă4ųÐŧƋŢŴŜųŝ

ǉGenerative Adversarial NetworkǊŜÜƏŷáêŤƌŲŗƋ

ƌŻǋƛǈƺ-ŷŚŗŲǋƘǂƕƒƥǈŹ²ĜƎĤÆ[1]ǌÓėĚŶŵŷÒŤƌƋÅleþŹ)ķųźǋeþ

ŧƋŢŴƆĀřƉƌƋƀśǋƿǈƞăġŜŢƌƂųŹ¢cơƩŷ^ĸŹÓŜ ċŴŶƋŬƅǋ«źÓŷLģŶŵŹ
'ÏƎĆŘ Data Argumentation ƎÒŗŲēúÓƎYƇǈƠƎeþŤũƋŢŴųǋęųƆñ8śŰťŗơƩǈƠƎ

ťŲŗŬ[2]ǌťśťǋGAN źēúÓśƉŪƌƉŷŊťŬ

1.2 DCGAN ŷŰŗŲ

ă4ųƋŢŴŜųŝƋŴĀřƋǌ

ťŗÓƎÐŧƋŢŴŜųŝƋŬƅǋēúÓŹHŉ

GAN ŹÂźµœŖƋŜǋªáêųź DCGANǉDeepŹŬŶĐÁîŴŶůŲŗƋǌƂŬǋGAN ŜŰǋŖƋÓŷŊťŬÓƎÐŧƋŴŗŘÌźǋÅleþŹēú

Convolutional GANǊ[6]Ǝ,ÒťŬǌDCGAN Ź'ÏƱǅǈźO 1 ŹŴŚƊųŖƋǌCNN ƎÒŗŬ GAN ŷŚŗŲǋ§*Ó\ŷƆµœŶÒ,ÒŜ©ŤƌŲŗƋǌřŻǋŷŏĐyÓŹÐŷ1ťŬŹź Denton ƉŜ°ť

ă4ĢŹƪƞƒǇŹÐŷ GAN Ǝ,ÒŧƋŢŴųǋµœŶŬ LAPGANǉLaplacian Pyramid of Adversarial NetworksǊ[7]ƯƥǈǇŹƪƞƒǇƎ]ŞÐťǋųŖƋŜǋ'ÏŹĴA½ŷƆ)ŠŲÓƎÐŧƋĺƎƝƷǈƫŧƋŴŗů

ŬƆŹųŖƋ[3]ǌŷƆǋŎ¯UŶŵƎÒŧƋŢŴųǋņ

ċŜŖƊǋÓÐŷ¥ĺƎċŧƋǌťśťǋRadford ƉŹ»ÓųŶŞǋ4ÓŷıÒŧƋÒƆŖƋǌªáêųźǋ

°ťŬ DCGAN ųźǋĊŹ'Ïŷ)ŠƋ

GAN ŹÌƎ,ÒťŲǋƬƨƫöƴǈơŹƛǈƺơƩǈƠƎ

ųŏĐyÓƎÐŧƋŢŴŜųŝƋǌ DCGAN źǋºŹ
4 ÊƎgĈŧƋŢŴųǋŪƌƎ=ĂŷťŬǌ

ă4ÐŧƋÂƎ±ĒťŲŗƋǌ

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CNN ź§^ƳǈǂǇƙƎůŲƦƓǇƝǇƳǂǇƙŧ

GAN Ǝ,ÒťŬƛǈƺơƩǈƠŹƪƞƒǇŴťŲǋVolz Ɖ

DCGAN ųźǋơƫǁƒ

ź Ŕ Super Mario Bros. ŕ (1) Ź ƛ ǈ ƺ ơ Ʃ ǈ Ơ ŷ j ť ŲƋŹŜĄÛųŖƋŜǋ

Covariance Matrix Adaptation Evolution StrategyǉCMA-ESǊƬ 2 Ź×ƃĦƃŷüŝřƋǌGenerator Ź'ÏźǋƎ,ÒťŬ GAN ųÐťŲŗƋ[4]ǌŢŹáêųźǋ2009 uŹ Mario AI ƜǇƵƩƑƟǀǇŹƧƽǇưƖǇ A *ƕǈƠƔǇƫ

fractionally-strided convolution ƎůŲƐƨƳƝǇƳ
ǂǇƙťŲŗƋǌ
(2) "õAlŹz»ƎÒťŲǋǄƴǃŜƳǄǈųŝƋśŵŘśǋƘǂƐŧƋŬƅ
ċśųơƩǈƠŹĕƎĆĄÛŷǋCNN ųź§Źlŷ"õAlƎÒŗƋů Ų ŗ Ƌ ǌ ƹ ǁ Ʈ n å ^ e Ź Giacomello Ź Ƨ ǈ ƺ ź ǋ

Ŝ ǋ DCGAN ų ź " õ A l Ǝ ; Ɗ ľ ŝ ǋ globalŔDOOMŕ(2)ŴFŻƌƋ FPS ƛǈƺǉFirst Person shooter

average pooling[8] ŷ ü ŝ  ř Ƌ ǌ global average

gameǊŹƛǈƺơƩǈƠƎ GAN ŷƈůŲÐťǋGAN Ŝ

pooling ź Lin ƉŷƈůŲ°ŤƌŬ

DOOM ơƩǈƠŹªĝÛŶ´ĬƎŴƉřƋŢŴŜųŝŲŗƋ

AlŹƍƊŷŰŹÌƸƨƳŷŰŹƘǁơƎ

śƎUEťŲŗƋ[5]ǌŢŹƈŘŷǋ§ħŹÅleþųźǋƛ

jŤũƋŴŗŘ

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max poolingƩǈƠŹÐŷŰŗŲ±ĒťŬ[9]ǌĪrǋƬƨƫöŷjťŲ
GAN ƎıÒťŬVAųźǋƛǈƺƖƲƠƔƘƫŜńƄƀśǋ
mƌŲťƂŘŴŗůŬÎěŜğŢƋŬƅǋeþÓŷŖƉśŦ
ƅ'ÏƎ2řƋŢŴųŢƌƉƎIťŬǌ

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ŭŠųźǋŹƈŘŶHŉÊŜÐŦƋǌ
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ƛǈƺƖƲƠƔƘƫŹħƎČƋŴǋĪrĪƊÓųŝŲŗƋƆŹŴǋā¦ŴÈŠĦƏų7ĩ¤ŷŶůŲŗƋƆ
ŹŜŖƋǌŢŹVAųźǋgŀŷƛǈƺƎƳǄǈŧƋŀǋ

O 2. Global average poolingŢŹĩ¤ŶƖƲƠƔƘƫŹŗŜ¤ßŷŶůŲťƂŘǌ
Ź CNN ųźǋ"õAlŷƈůŲ)ŊŧƋŜǋglobal(2) Ő ƛǈƺƖƲƠƔƘƫŜmƌŲŗƋ

average pooling ųźǋÌƸƨƳţŴŹtQƎŴƊǋ

ĪrǋŢŹƛǈƺŹƖƲƠƔƘƫźKď~ųŖƋŜǋÐ

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ŘǌO 2 ŷǋglobal average pooling Ź'ÏŹƒƻǈƠ

ŤƌŬÓ%ŷźKďųŶŗƆŹŜŖƋƀśǋ·µŶŵŜÖŶůŲŗƋǌŢƌƆŚŶŦŞǋƛǈƺƳǄǈŷ

ƎâŧǌŁƎŝŬŧǌ

(3) Batch Normalization ŹÒ(3) Ő ā¦ŷƮƒƢŜŖƋ

§ħŹƼƪǃųź batch normalization ŜƍƌƋǌŢŹƛǈƺŹā¦źŅąųŖƋŜǋœŷąŹÖŶƋ

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ƬƨƫŜƃƉƌƋǌŢƌƉŹƮƒƢŜƛǈƺŷňƎ:Ɓ

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ċŜŶŞŶƋŬƅųŖƋǌƂŬǋįeþƎĽş3­ƆŖƋǌDCGAN ųź batch normalization Ǝ generator

ŧƋ.ŹēúÓýŷ'ÏƎŖƉśŦƅ2řŬǌŴ discriminator Ź

2.2 °ÂŷıÒŧƋǌ(4) Leaky ReLU ŹÒ

2.1 ųâťŬHŉÊƎĐÁŧƋŬƅŷǋēúÓŷ¡ťŬGenerator ųźÃ5Ļŷ(0lŭŠ Tanh ųđ'ÏźǋŹŴŚƊųŖƋǌ

ïƎĆŘŜǋŪƌ\Źlųź"Ų ReLU ųđïƎƂŨǋƛǈƺ%ŷÙVŧƋƖƲƠƔƘƫŹŘŮǋƳǄǈŷųź"ŲŹlų LeakyňŧƋƆŹǋŧŶƍŮā¦ƖƲƠƔƘƫ\ŹŧſŲŷjť

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67

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ǀǇƎĆůŬǌƂŬǋ

L,ÒťŬđï¹ŹơƵƨƘźǋCPU

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Learning with Deep Convolutional Generative Adversarial
Networks, arXiv:1511.06434, 2015.
[7] E. Denton, S. Chintala, A. Szlam, and R. Fergus: Deep generative
image models using a laplacian pyramid of adversarial networks.
Advances in neural information processing systems, pp.1486-1494,
2015.
[8] M. Lin, Q. Chen, and S. Yan: Network In Network, arXiv:1312.4400,
2014.

[1] I. J. Goodfellow, J. Pouget-Abadie, M. Mirza, B. Xu, D. WardeFarley, S. Ozair, A. Courville, and Y. Bengio: Generative Adversarial
Networks, Advances in neural information processing systems,
pp.2672-2680, 2014.
[2] E. D. Cubuk, B. Zoph, D. Mane, V. Vasudevan, and Q. V. Le:
AutoAugment: Learning Augmentation Policies from Data,arXiv:1805.09501.
[3] £ Ñ ă 4 Ģ ǉ ® Ǌ ÷ A á ê  ǋ https://www.nissan-[9] À{v`Ĳǋ^ÿǋķÞaǎGAN ŷƈƋƛǈƺơƩ
ǈƠŹă4ÐŷŰŗŲǋÓĻĭeĭAŐ ìǍ

Läd^ǋ2018ǌ[10] TaehoonŐ Kimhttps, “DCGAN in Tensorflow”://github.com/carpedm20/DCGAN-tensorflow

global.com/JP/NRC/HAMALAB/, §ôƐƘƣơ£ǎ2018/10/7[4] V. Volz, J. Schrum, J. Liu, S. M. Lucas, A. Smith, and S. Risi:
Evolving Mario Levels in the Latent Space of a Deep Convolutional
Generative Adversarial Network, The Genetic and Evolutionary
Computation Conference, pp221-228, 2018.
[5] E. Giacomello, P. L. Lanzi, and D. Loiacono: DOOM Level
Generation
using
Generative
Adversarial
Networks,
arXiv:1804.09154, 2018.
[6] A. Radford, L. Metz, and S. Chintala: Unsupervised Representation(1) ŔSuper Mario Bros.ŕǋ_Tǋ1985. (FC)(2) ŔDOOMŕ, id Software, 1993. (PC)(3) Ŕ!ãĖŐ ƯǃƩƭŹĹŕǋ_Tǋ1986ǌ(FCD)69ĵ 9 `îrËÛȘȑȔȯȌȷȨ{Digital Games Research Association JAPANǀ ǀİƯProceedings of 9th Annual ConferenceȘȑȔȯȌȷȨȘȜȄȒşVgċŮýǪƨėǥ
ǜǪÚÜg+ĹĊǮǪ§čǪ¿á
i
i

ii

iii

r{r{ƮĊ{ĤĲĭ ii, iii r{Ċ{Ɵ
iiiogawa@his.teikyo-u.ac.jpçŧȺǾǼǾǼǫǔǼǲǤǂȘȑȔȯȌȷȨȢȰȄǪċǿ¥ĊċĊ{ęǨūƢǙǻǝǵǨǂȢȰȄǪċŮýǥǂǜǪǝǵ
ǪċŮýťŊǪƨėǿšǠǣǐǝǃǲǝǂĤĲǪƛįǨǍǊǣǂȌȷȨȘȜȄȒǨŁVȶşVSŒǧċŮýťŊǪƨėǏÛ
ƇęǤǉǻǔǥǿŻǘǂǜǋǗǝȌȷȨȘȜȄȒşVgċŮýǏSŒǤǉǻǔǥǿĨǗǝǃ`ǂǅǔǪǸǋǧŮýťŊǨǸǺȌȷȨȢȰȄǨċŮýǏSŒǨǧǼǬǂȌȷȨǿǙǼǬǙǻǰǦȸċŮýǎǹ+ą¯ǨƪǙǻ«kǶ£ǣȹǸǺŮýǨǧǻǆǥ
ǊǋÈǝǧÚÜg+ĹĊÉǨǡǊǣŻǘǂ¿áǙǻǃȉȷȲȷȚȺȌȷȨȘȜȄȒ, ċŮý, +ĹĊ, ċŮýťŊPhysiological measurement by game devices embedded sensor and its application
for future health care
Seiya OTSUKAi

Yanjun SUNii

i

Mitsuhiro OGAWAiii

ii, iii

Graduate School of Science and Engineering, Teikyo University
Faculty of Science and Engineering, Teikyo Universityiii
ogawa@his.teikyo-u.ac.jp
Abstract We have been investigated about physiological measurement during game playing and developed customized
sensor device for the purpose. In this study, we attempted to discussion about application of physiological measurement
instruments for daily health management in home. When these measurement devices would be embedded within gamedevices, game devices will be able to be used as health management bases in near future.
Keyword Game Device, Physiological Measurement, Health Care, Physiological Measurement Instrument

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ǎOFǗǧǎǠǝŋǿóƋǗǣǊǻǏǂ1 `ǗǎóƋǗǧǎǠ

ėǙǻǔǥǏǤǐǻǥŏǌǣǊǻǃǲǝǂŦÄŤƼŐƩǤǪ
ŕ¡ĪĿą¯ǪóƋǫbƱǤǉǻǥǗǣǶǂWŤƼŐǪǝŋǨǍǊǣǫǂŠeǪŰƦĈǫ 59.5%ǤǉǠǝǃǧǍǂÆ
ć[6, 7]ǪŤƼŐǏǦǪįƣŦǙǻǎǨǡǊǣǫÆćǎǹ
ǫ?ÇǤǐǧǎǠǝǃǗǎǗǂǊǚǼǨǗǣǶǂ+ĹĊǨŕ¡ĪĿą¯Ǫ¾Įȸ#ǌǬǂ®ĪĿ/ą¯ǏÄËńǊǣǊǻǪǤǹǎǪȒșȰȒǏǎǎǠǣǊǻSŒªǏǉǻǂŖ[ǏǉǻŤƼŐǿƂǥǗǝlVǤǶǂòËǪŮýǪƝ

ǧǦȹǿĢǻǔǥǏSŒǤǫǧǊǎǥŏǌǣǊǻǃ

²ǫÎǤǫǧǊǔǥǏǾǎǻǃ

4.2 ȌȷȨȍȳșȱȷȭȷhűg¥ƲŮƲæøǂƉƝǹǪĤĲǤĨ]ǖǼǻǔǥǫǂč+ŮýȌȷȨȍȳșȱȷȭȷǨƤĸȗȷȢǤ 2 ǡǪƲæǿ²ǙťŊǪŃńǎǡƷ`Ǫ"čǫǂǜǼǹťŊǿŕƆǤƈ4ǗǂǖǹǨºǻǔǥǨǸǺǂǔǼǹƲæǎǹ¥ƲcǿȢȱȋȭȨǨOFǙǻǸǋǧŋǨǍǊǣǶǂbƱǤ

;SŒǤǉǻǔǥǿ

ĨǗǝ[10]ǃÛôǤŮýǖǼǻ¥Ʋcǫǂǅ®Ʋæǿ"čǉǻlVǏǧǑǧǊǥǊǋǔǥǤǉǻǃ

ǗǧǊ 2 ƲæŮýǤǉǻǔǥǆǂǅƲæţƳǪ<æƲǿóƋ

3. ȌȷȨȘȜȄȒǨŁVȶşVǗǝċŮýǥǜǪ+ĹĊǮǪ§čǪSŒªǨǡǊǣę*Ǩǎǡ}~Ǩ'ǡǔǥǏÙ

ǤǐǧǊǔǥǆǎǹǂƖ

ǪL{čǪ¥ƲcǥóƋǗǣ S/N ǏǑǂõǜǪǶǪǎ

ǔǔǤǾǼǾǼǫǂčǪȘȑȔȯȌȷȨǨǡǊǣŏ

ǹ¥ŔǪĒǿĢǻǔǥǫSŒǥ©ǾǼǻǃǗǎǗǂ¥ƲcǿšǋǃȌȷȨȘȜȄȒȸȌȷȨčťŊȹǪ#ǥǗǣǂǤÕǶƥǑǂ¥ŔǪ·;ǪġƩǿĨǙ R õǫŘwǨä;PlayStationVR ǧǦǪ VR (ȜȷȕȪȯȮȂȮȗȃ) ȘȃȒȢȰ

ǙǻǔǥǏSŒǤǉǠǝǃ

ȄťŊǿŏǌǝlVǂǔǼǹǫŗęǧċŮýťŊǸǺǶ

ǝǞǗǂȌȷȨȍȳșȱȷȭȷ"čǨǸǻƲæǥċǪ½rǐǑǂƣǊlVǏǉǻǃǲǝǔǼǹǫǂǜǪ"čÑǨǫ¦ǚċ(VR ȘȃȒȢȰȄťŊǪlVǫƺƟ)ǥ½ŬǙǻǥǊǋĄ

ŬeǪnJǪǝǵǂ¥ƲcǿǙǯǣǪKƩǤ}~ǨŮýǙ¤ǏǉǻǃǔǼǫǂVR ȘȃȒȢȰȄťŊǨƭǹǚǂ#ǌǬȌǻǔǥǫƱǗǎǠǝǃ
ÛôǪ+ŮýǮǪ§čǫǂ¥ƲcõǪ S/N ǏǊǔȷȨȝȖȚȶȌȷȨȍȳșȱȷȭȷǤǉǼǬ³¼Ɵǥ½ŬǙǻǃ

ǥǎǹƭ~ǖǼǻǥŏǌǹǼǻǏǂR õǏ71;SŒǤǉǻǔǥ

ǨǸǺǂÅœǪä;ǫSŒǤǉǻǥŏǌǹǼǻǃĆ¥ĕėǷŝŠÑǨǳǹǼǻ¥ƲcǪ S-T ƬǪǸǋǧrǐǧ¥ƲcǪąnJǿ

[1] ȥȄȑȳȈ, ƽìřt (Ų) (1973)ǇȥȩȶȯȷȘȳȒǈ,;ǤǐǼǬĊ¬ęǤǉǻǏǂ¢Ǫ°u6ŻÈĩ.

ƣǧäůǿŧǙǻǃ

[2] ȱȑȆȶȇȄȬȲ, qĎƜsƞ, mt (Ų) (1990)ǇƚǭǥƩǈ, Žźĩ.

4.3 œõÁÑƩŮý

[3] Ehrlich, Paul R., Raven, Peter H. (1964) Butterflies and Plants: A
Study in Coevolution, Evolution, 18 (4): pp. 586-608.
[4] ȇȚȇȲàĩ (Ň) (2017) ǇȠȁȧƖȌȷȨĘÔ 2017ǈ, Gz
ȡȰȄȳ.
[5] Kato, T., et al. (2010) Factorsassociated with day-by-day
variability of self-measured blood pressure at home:the Ohasama
study. Am J Hypertens., 23(9), pp.980-6.
[6] ƉƝûxȶøU (2005) šInǨǙǻ)@Gŭǿȍȳ
ȟȫȷȔJǗǝƽŠe ƫȢȱȋȭȨȸĵ 1 kȹǁȢȱȋȭȨĽ
ŐǪ 10 ȴÖ¢ǪƑƊŹßǁ, šIL{ĤĲ, 11(1), pp. 14-22.
[7] øUȶƉƝûxȶōƵxȶŜâx (2006) šInǨǙǻ)@GŭǿȍȳȟȫȷȔJǗǝƽŠe ƫȢȱȋȭȨȸĵ 2 kȹ
ǁ1 `Ǫ)@J4ǨǸǻƬeǍǸǭċùŎ±Ã_ǁ, šIL{ĤĲ, 12(1), pp. 15-24.
[8] rmŷ ȶCĎ!ȶƾƿvþȶ0÷ (2018). VR čȣȖȚȦȅȳșȘȃȒȢȰȄťŊhǵƍǳgċŮýǿěºǗǝƹƟ3ƲœõŮýǪŴǳ, ȘȑȔȯȌȷȨ{ĤĲ, 11(1), pp. 15-28.
[9] rmŷ ȶƾƿvþȶ0÷ (2017) CƹƟ3ƲœõŮý

4.1 ǤĨǗǝœõǪȟȷȊǥǂ4.2 ǤĨǗǝ¥ƲcǪ R õǥǪÑƩǿǅœõÁÑƩǆǥ\ǭǂŠúǏ¥Ŕǎǹ3ƲœõǪŮýŊǲǤĮIǙǻÑƩǤǉǻǃǔǪǅœõÁÑƩǆǫǂŠeǏƽǊǰǦģǑǂIœĥJǏƽǊǰǦģǊǃǔǪ
ǅœõÁÑƩǆǫǂŠenIǪƴǿRǒǻǔǥǏĢǹǼ
ǣǊǝǏǂƎǂǔǼǹǪ«kǎǹŠeǪł*ǿĢǽǋǥ
ǊǋȇȠȰȒŠeŮǪĤĲǏèǄǧĤĲȋȯȷȢǤƘǵǹ
ǼǣǊǻ[11]ǃǧǍǂȇȠȰȒŠeŮǥǫǂIœǿeƏǙǻȇ
ȠǧǗǤŠeǿý~ȶ¾~ǗǸǋǥǙǻŠeŮýȐȒȗȨǤǉ
ǻǃÛȋȯȷȢǤǫǂǔǪǅœõÁÑƩǆǏŠeǪnIǿĨ
ǙǔǥǎǹǂȒșȰȒǪºéǨǧǻǥŏǌǂȘȑȔȯȌȷȨȢȰȄǪŮýǿŴǳǣǊǻ[10]ǃȌȷȨȢȰȄǨǍǊǣǶœ
õÁÑƩǪ¾~ǏSŒǧÑƩǏqǑyfǙǻǔǥǿĦ

ǨǸǻȘȑȔȯȌȷȨȢȰȄǪ¥·nIŮýǪŴǳ, ({µk, 117(219), MBE2017-39, pp. 23-28.

ŵǗǝǏǂǜǪ­ŌǪäůǷ(T:ĊôǨǫǂǖǹǧǻäů
Ǐ¦ŧǥŏǌǹǼǻǃ

[10] rmŷ ȶ0÷ (2018) ȌȷȨȘȜȄȒhǵƍǳgċŮýǨǸǻȌȷȨȢȰȄÑǪœõÁÑƩŮýôƨėǪŴǳ,2018 ozĤĲėţr İƯ, ËÛȘȑȔȯȌȷȨ{,pp.37-39.
[11] Sharma, M. et al., (2017) Cuff-Less and Continuous Blood Pressure
Monitoring: A Methodological Review, Technologies, 5(2), 21;
https://doi.org/10.3390/technologies5020021

ÛôǪ+ŮýǮǪ§čǥǗǣǫǂƧÙƩǪœõÁÑƩŮýǏŏǌǹǼǻǃðŠeǎǹÛ¯ªƽŠeȸǥǑǨēĔǧǦǿNaǥǗǧǊƽŠeȹǮǥƘǴlVǂǜǪƕǪĿňǿĢǻǔǥǫƱǗǊǃǧǛǧǹǂðŠeǪ¹ǟǏƷ`ǨŠeǿŮýǙǻǔǥǫŏǌƱǊǎǹǤǉǻǃǗǎǗǂÛôǿ
čǊǼǬǂŃńęǎǡƷ`ǪœõÁÑƩŮýǏSŒǥǧ
ǻǃÛôǨǸǻœõÁÑƩǎǹŠeǪł*ǿĢǻǔǥǫ
bƱǤǉǻǥǗǣǶǂŠeǪĝęnIǨƪǗǣǫ«kǿ£ǻǔǥǏSŒǤǉǻǎǶǗǼǧǊǃ

6. ŏǥŀŭÛİǤǫǂŃńǗǝǤǪ+ƪƗ«kŮýǏ¦ǚǗǶÎǤǧǊǔǥǿĨǗǂǔǪǸǋǧ«kǿŮýǙǻǝǵǨȌ
ȷȨȘȜȄȒǏAčǤǉǻǔǥǿ¿ŭǗǝǃǔǋǗǝµŢǫǂȘȑȔȯȌȷȨí5ǣǿ+ĹĊǨ"čSŒǧȐȮȂȒȌ
ȷȨťŊǥǙǻǔǥǿSŒǥǙǻǶǪǥǶŏǌǹǼǻǃ
ǲǝǂǅȘȑȔȯȌȷȨǿǙǼǬǙǻǰǦȸ+ǨƪǙǻ«kǿƯıǗǣȹ+ǨǧǻǆǥǊǋƓŸęǧ+ĹĊǪÚÜ
-ǿ¿áǗǝǃ
žƌÛİǤƐǯǹǼǝĤĲŀÞǍǸǭƀŻǪƟǫǂJSPS
ĭĤƆ 15H02798 ǍǸǭ 18K19844 ǪG²ǿRǒǝǶǪǤ
ǙǃǲǝǂÛĤĲǪƙšǪƟǨǍǐǲǗǣǂǅȧȒȧ{ċǶǪǢǑǺÂÀǆǪǕÂÀǿǊǝǞǐǲǗǝǔǥǨ®žǿďǗǓǲǙǃǲǝǂÛĤĲǨǙǻr{Ċ{ƟȞȫȷȦȳ«kȐȒȗȨ{ĭMåċǂƾƿvþǖȀǪqrǧǻƄćǨ
Ƕ®žǊǝǗǲǙǃ

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Digital Games Research Association JAPANż żĂŰProceedings of 9th Annual ConferenceǙǏǔǵǋǻǮǧǶƿƤîEĞƣìķßīĘĺķ
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iv
ogawa@his.teikyo-u.ac.jpÌįǾſƦƏƸƮƠŽǙǏǔǵǋǻǮǧǶƿƥìƻëìënõƤĵŢƔƷƙưƤŽǧǶƿƤîEĞƣìķßīĘƥũôƻĨƜƟƋƙžƒƉƒŽũôƤūƔƷ¢ĩõƣùİƦŽæơƒƟÁúĄǉǵǻǧ+ƤŨƓƵƸƟƅƷƥƊêèƠƄƷžƺ
ƸƺƸƦŽƏƆƒƙìķßƻƴƶfƌƥúĄěƊîƅƷƏơƊƠƋƷƴƆƤƣƷƏơƊëƠƄƷơĚƇŽƗƥƙưƥ)ũEĞơ
Ɨƥ³ÙƤƝƅƟÊĸƒƟƋƙž UŽſƊũôǺîƒƟƅƷ'ŲĠÚǒǹǍƤƝƅƟŽĺķǙǻǔƲĭŘ¢ĩƥ)ũƤū
ƔƷQŷƻÊĸƔƷž
ǇǻǸǻǛǾǄǻǧǹǓǻǐǠǻǛǀǁƽŽ'ŲĠÚǒǹǍŽìķßŽǧǶƿǲǻǯǚǴǈǐ

Attempt of open source hardware of physiological measurement system
during game playing
Tatsuya HIROSEi

Seiya OTSUKAii

i

Yanjun SUNiii

Mitsuhiro OGAWAiv

ii

Faculty of Science and Engineering, Teikyo University
Graduate School of Science and Engineering, Teikyo Universityiv
ogawa@his.teikyo-u.ac.jp

Abstract We have been investigated about physiological measurement during game playing and developed customized
sensor device for the purpose. In this study, we attempted to describe the methodology of public access to make and/or
duplicate our devises and systems in other research groups. This attempt should be considered as a follower of the opensource-hardware movement.
Keyword Open-source-hardware, PPG sensor, Physiological Measurement, Player MetricsƜƟƅƙƚƌƙưƤƦoƠēƔƷįƊƄƷƊŽo

1. ĝ¸ơöõ

ƠĭŘƔƷƙưƤƦŤíƊŵơƣƶŽŤíƥƙưƤƦæƷ

ƺƸƺƸƦƏƸƮƠƤŽƅƺƳƷ player metrics (ǧǶƿǲƫƋŉťƊįơƣƷž

ǻǯǚǴǈǐ, ǧǶƿǲǻķß)ƤūƔƷúĄƥƙưƤǋǻǮ

ƗƏƠƺƸƺƸƦŽƅƺƳƷƀǄǻǧǹǓǻǐǠǻǛǀǁƽƁ

ǧǶƿƥìķßƻļƯŽķßƑƸƙ_ƉƵǋǻǮǧǶ
ƿǲǻƥëèǺìëèƥĵŢƲ©qƻļƯƟƅƷ

ƥÌƤøöƒƙžƀǄǻǧǹǓǻǐǠǻǛǀǁƽƁƦŽǠǻǛ

[1]žƮƙŽƏƸƮƠƥúĄƲÊĸƥĒÇŽƏƥƴƆƣìķǀǁƽƥĺķǺĭŘÙƻǄǻǧǹǓǻǐǓǥǚǀǁƽƥÌƤßƻrî:ƔƷƙưƤƦŽķßƑƸƟƅƷƏơĢƻǧǶƿ!ƜƟ)ũƒƴƆơƔƷƱƥƠƄƷžĺķǺĭŘƤūƔƷ¢ĩǲǻƤłƑƸƕƤķßEĞƠƄƷƏơƊëõƠƄƷơĚƊ)ũƠƋƸƧŽƺƸƺƸƊîƅƷƴƆƣīĘƥîƻ¾

ƇƟƅƷžƗƥƴƆƣìķßÙơƒƟƦŽǣǙǄǅǯǳƲǶ

ƔƷǉǵǻǧƊĢōƠƏƆƒƙīĘƻĭŘǺĭƒƟ2îƠǻǕǻƤƴƷìǢǳǯǻǔƥŞŮķßÙƊĚƇƵƸƷžr

ƋƷEĞƊƄƷž

ůŽǅǯǳǙǡƿǐƻîƅƟǧǶƿǲǻƥ8Ʋk9ƻķß

UŽƀǄǻǧǹǓǻǐǠǻǛǀǁƽƁƥÌƤ^ƞƋŽķƔƷǋǻǮƱfƌm[ƔƷž³ŽƺƸƺƸƦŽǋǻǮǙǡ

ßīĘƥĭŘƻŽƺƸƺƸƥǉǵǻǧeƠƱĨƇƷƏơƻö
ÏƤƒƟŽīĘĺķǺĭŘƻļƯƙƥƠ_MƔƷžƿǐƤøöƒƙžfƌƥǋǻǮǧǶƿƤƈƅƟƦŽǋǻǮǌǹ
ǚǷǻǳǻƲ VR ǙƾǐǧǶƿƣƢƥǋǻǮǙǡƿǐƻîƅƷ

2. ǄǻǧǹǓǻǐǠǻǛǀǁƽ

ƏơƊįƠƄƷžƱƒƱǋǻǮǙǡƿǐƤìķßīĘƻ
]ĺƠƋƸƧŽǋǻǮǧǶƿƤƕìķßƻĨƆƏơƊ

ƀǄǻǧǹǓǻǐǠǻǛǀǁƽƁƥÌƦrůƤƦÀƚq

EĞơƣƷžƏƥƴƆƣĝ¸ƉƵƺƸƺƸƦŽǋǻǮǙǡƿǐ

ƮƜƟƅƷơƦĶƅűƅžƒƉƒŽHāƥqęƲļƯƤ*Ŗ]ĺ\ƥìķßīĘƥũôƲĻƻŚưƟƋƙž
ƒƉƒŽê[ƮƠƺƸƺƸƊũôƒƙìķßīĘƤƝ

ƔƷëĵơƒƟƦŽ

ƅƟƥĺķ_Ʀ)ũƑƸƟƅƣƅžƺƸƺƸƊKƔƷƴƆƣǧǶƿǲǻǯǚǴǈǐƊrůƤîƅƵƸƷƴƆƤƣƷƙư

A)ĺķ_Ɗ)ũƑƸƟƅƷƏơ

B)¢ĩõƤîƅƷƏơƊt¶ƠƄƷ³ÙƠĭŘEĞƠ
ƄƷƏơƤƁŽƀ×ŏõ

Ɗ¦ƎƵƸƷžĹ B)ƤƝƅƟƦŽƇƧĭŘ_Ɗ)ũ

ŪƲ·ŪƻƉƍƕƤƁƜƟƅƙƚƍƷƏơƊįƠƄƷž

ƑƸƟƅƙơƒƟƱŽoƉƝt¶ƤƽǈǒǐƠƋƷÙƠƣƏƥQŷƤūƔƷ»Ʊ>ĎƣĵØĉƦŽƺƸƺƸƊũô

ƅƱƥƦLƮƸƣƅžƇƧŽ=zǙǡƿǐƥĭŘƤūƔ

ƒƙīĘƻņcƔƷơƅƆÙƠƄƹƆžƒƉƒŽƏƸƊt¶Ʒ_Ɗŀ±Ơ)ũƑƸƟƅƙơƒƟƱŽƗƥǙǡƿǐƻĭ

ƠƦƣƅƏơƦ$ƔƷƤµƵƉƠƄƷžƏƆƒƙīĘƻ

ŘƔƷƙưƥ³ÙƤƽǈǒǐƔƷÙƊǼģƤƦŽƏƥƴƆƣìķßīĘƻƀƅƙƅ

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The effect of cognitive resources on the evaluation of digital games
Yoshiyuki Tamamiyai
iiHakuoh University.
tamamiya@fc.hakuoh.ac.jp

Abstract The current study was designed to investigate whether digital games which are difficult to control its character
deprive cognitive resources of the players more than the games which are easy to control and the deprivation makes thegames less fun. Twenty undergraduate students participated. They were randomly assigned to one of the two condition andasked to play a tennis game for 10 minutes. The deprivation of cognitive resources was measured by the number ofconfirmation of the game instruction. After the game play, participants fulfilled the questionnaire about how fun the game
was and how difficult it was to control the character. The results showed that participants who played the difficult game
confirmed the instruction more than those playing the easy one. However, there was no significant difference between thetwo condition on subjective measures.
Keyword: cognitive resources, the evaluation of digital games, operability

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[6] ÙfĄ ǋ2016aǌ ,ÝćƃĘĀƂųŽVƖGíŴƓō`¬śĘĀį¦vŪƥƧƮƻşdictionary lookup system by gazeǎ
DLUSGŠ śƃŃå, Vcëô, 5, pp.105-109.
[7] %Þ<ǉĐ @ǉAl¢ǉŕ ÇǉÒh¤w (2009)ƮǅƳƣǊƻÑĶćƃĊÅ4ƂŅŴƓƢǊƧƧƩƯƙ, V'Ûcĥġ, 50(12), pp.2782-2795.
[8] ÙfĄ ǋ2016bǌ ƯƦƩǄƣǊƻũĢê»ĉƂŦƓ3¯ƃ)®ſ{ƃmª, Vcëô, 5, pp.94-98.

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ĢŇńŇĲŌ6¢º*, z®Đ, ķłŇĻ,^Empathy as a Motive of Prosocial Behavior in Digital Gamesand the Frames of Meaning
Ji Soo LIM
Dokkyo University
imu_jisoo@dokkyo.ac.jp
Abstract When playing digital games, players adopt different frames to interpret what is going on in the games. Fine[5]suggests that players may adopt three different selves, or frames when they are playing games or talking about games. The
three frames are character, player, and person. With a character frame, players interpret the game according to the rules of
the game world. With a character frame, players interpret the game according to the rules of the game. Person frame is theprimary framework that the interpretation of every day is based on. How players interpret the game may affect the meaningof their behaviors in the game. In this study, I looked at the frames of meaning that players adopt when they play games, how
they are related to empathy toward other characters, and how they affect players’ decisions to help other characters in games
by conducting a survey.
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[1] Gentile, D. A., Anderson, C. A., Yukawa, S., Ihori, N., Saleem, M.,
Lim K. M., Shibuya, A., Liau, A. K., Khoo, A., Bushman, B. J.,
Huesmann, L. R., & Sakamoto, A. (2009) The effects of prosocial
video games on prosocial behaviors: International evidence fromcorrelational, longitudinal, and experimental studies, Personality
and Social Psychology Bulletin, 35(6), pp.752-763.
[2] Anderson, C. A., Shibuya, A., Ihori, N., Swing, E. L., Bushman, B.
J., Sakamoto, A., Rothstein, H. R., & Saleem, M. (2010) Violent
video game effects on aggression, empathy, and prosocial behavior
in Eastern and Western countries: A meta-analytic review,
Psychological Bulletin, 136(2), pp.151-173.
[3] Shibuya, A., & Sakamoto, A. (2005) The quantity and context ofvideo game violence in japan: Toward creating an ethical standard.
In Shiratori, R., Arai, K., & Kato F.(eds.) Gaming, Simulations, andSociety, Springer Tokyo, pp.111-120.
[4] Lim, J. S. (2018) Using Think-aloud Protocol in Looking at the
Framing of One’s Character with a Case Study on Terraria, 10th
International Conference on Virtual Worlds and Games for Serious
Applications, Würzburg, Germany.
[5] xYň2018ŉİĩĭŁĥŇĻĈîóėĸłĞľŇĉÀÓłĹŁ
ą6¢º*ĉ*ó, §ŋ:QC£Ü, ouİĩĭŁĥŇĻF, pp.100-103.
[6] Fine, G. A. (1983) Shared Fantasy, Chicago: The University of
Chicago Press.
[7] Goffman, E. (1974) Frame Analysis: An Essay on the Organizationof Experience, New York: Harper & Row.

83

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How can smart phone game players be classified?
- The classification of Japanese players by analyzing interests through game playing Nobushige KOBAYASHIi
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Yuhsuke KOYAMAii

Ema TANAKAiii

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Tohoku Gakuin University Shibaura Institute of TechnologyĶ iiiFoundation for MultiMedia Communications
natsunokumo2008@gmail.com, yuhsuke@shibaura-it.ac.jp, ema@fmmc.or.jp

Abstract The purpose of this paper is to answer the question “How can smart phone game players be classified?” byanalyzing the interests players acquire through gaming. Though previous research analyzed motivations and play styles ofgame players, they mainly focused on child or young players. On the contrary, this paper classifies Japanese smart phonegame players by analyzing data collected by questionnaire survey to both young and old.
Keywordsmart phone game, player, classification, interest, correspondence analysis

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[1] =ēÝƭ2013ƮÄţU[ÆŢņŌųƆƫƝţ.Çş¼
ĘƲƆƫƝƣƫƉƫÏÖţ¦ÜŢBŌŝ, yPĞ"[ć,
31(2), pp.67-76.
[2] Berry, V., Boutet, M. Coavoux, S. (2014) Playing Styles; The
Differentiation of Practices in Online Video Games. In Grenfell, M.,
Lebaron, F.(eds.) Bourdieu and Data Analysis: Methodological
Principles and Practice, Peter Lang, pp.165-180.
[3] Fox, John. (2010) Series Editor’s Introduction. In Le Roux B.,
Rouanet, H. Multiple Correspondence Analysis, Sage, pp.viii-ix.
[4] 7ÈUƪÿÏƭæöƮƭ2017ƮŀÓŢşŚŝėDşŤŇƲ
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Digital Games Research Association JAPANƦ ƦğƑProceedings of 9th Annual ConferenceŊƴċ©ȝȭǲȧȳǕǺȦȪǼȈȳų\- ǿȳȣ vs. ȫǰȬ i

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echo825cedar{at}gmail.com, iiig1370309{at}edu.cc.ocha.ac.jp, ivnasoh3{at}yahoo.co.jpçŔȿìĪǏǖǿȳȣǐȃǴȰȉȳǓƌǃǩėġƹøēǀǪǎƴǩƹƪÐÛǏǖǒƴƫǰǲȐȬǿȳȣƪȮȳȬȝȭǲȰǽǿȳȣ
ǒǑÐÛǕǿȳȣǕā¢ǭĹƶƪǿȳȣǺȦȪǼȈȳǓøēǁǎƪ2018  6 ÙƸǧ 8 ÙǓƸƽǎƪŊƴċ©ȝȭǲȧȳ10 ǓPèŻLǲȰȈșȨȳǭÏǁǈƫǿȳȣǕċvǺȦȪǼȈȳǛǕwƺ|ƴƪpƻĐkǃǩċvǺȦȪǼȈȳǕā¢ƪąčǓƷƽǩċvǕȈǲȝǕwƺ|ƴǒǑǓǌƴǎǈǄǔǈƫǆǕĳÞƪv©ǺȦȪǼȈȳǓǌƴǎǖƪv©đǒā¢ƹwǟǪǩ.\ǖǠǧǪǈƹƪċ©đǒā¢ǣ]ǮǏƴǈƫǆǕÎǏƪċ©ǺȦȪǼȈȳǏǖǦǨċ©đǒā¢ƹwǟǪǩ.\ƹǠǧǪǈƫ
ǺȳȯȳȐȿǿȳȣǺȦȪǼȈȳ, ǲȰȈșȨȳ, ȃǴȰȉȳ, ą, ċ©ȝȭǲȧȳ

Preferences of Game and Real Characters- In-depth Interviews of Young Male PlayersAkiko SHIBUYAi
i

Soka Universityiashibuya {at} soka.ac.jp,

Hibiki OKURAii

ii

Akiyo SHOUNiii

Tokyo Medical and Dental UniversityƦ

Naoko ASOUiviii, ivOchanomizu Universityii

echo825cedar{at}gmail.com, iiig1370309{at}edu.cc.ocha.ac.jp, ivnasoh3{at}yahoo.co.jp

Abstract Digital games have been criticized as its stereotyped expression of game characters, but the number of gamestudies about gender has been limited in Japan. Since digital games in Japan has unique features such as idol games, roleplaying games, we conducted semi-structured in-depth interviews regarding preferences and general impressions of maleand female game characters, and preferences of males and females in the real world. The results shows that interviewees
suggested both masculine and feminine features for female game characters preferences, but they mentioned moremasculine aspects for male game characters.
Keyword game characters, interviews, gender, reality, male playersȈȳƹpƴƿǐƹ

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[1] Williams, D., Martins, N., Consalvo, M., & Ivory, J. D. (2009) The
virtual census: representation of gender, race and age in video
games, New Media and Soiety, 11(5), pp.815-834.
[2] Lynch, T., Tompkins, J., van Driel, I. I., & Fritz, N. (2016) Sexy,strong, and secondary: A content analysis of female characters invideo games across 31 years, Journal of Communication, 66(4), pp.
564-584.
[3] uŭúȵ2014ȶ Access Accepted Ħ 440 dȿMĪǿȳȣåčǭ
ÇǩƹǃƩǿȳȡȳǿȳȏ”cƜ, https://www.4gamer.net/games/
036/G003691/20141107133/ȵØıĘŢÐ 2019.1.28ȶ
[4] The World Economic Forum (2018) The global gender gap report2018 http://www3.weforum.org/docs/WEF_GGGR_2018.pdfƦ ȵØıĘŢÐ 2019.1.28ȶ
[5] Kowert, R., Breuer, J., & Quandt, T. (2017) Women are fromFarmVille, men are from ViceCity: The cycle of exclusion andsexism in video game content and culture, In Kowert, R. & Quandt,
T. (eds.) New perspectives on the social aspects of digital gaming.
New York: Routledge, pp. 136-150.
[6] VƧlisalo, T. (2017) Engaging with film characters: Empirical study
on the reception of characters in The Hobbit films, Fafnir ƨ Nordic
Journal of Science Fiction and Fantasy Research, 4(3-4), pp.
12-30.
[7] ƛĭ}ȵ2013ȶ Ưvǐƣ÷ȿǹȳȬȘȳȮȳǖƴƸǓUǀǪǈǕƸư, Ʀ NTT >Ā.
[8] Fox, J., & Tang, W. Y. (2017) Sexism in video games and thegaming community. In Kowert, R. & Quandt, T. (eds.) New
perspectives on the social aspects of digital gaming, New York:
Routledge, pp. 115-135.
[9] McLean, L. & Griffiths, M. D. (2018) Female gamers’ experienceof online harassment and social support in online gaming: A
qualitative study, International Journal of Mental Health Addiction.
https://doi.org/10.1007/s11469-018-9962-0 ȵ Ø ı Ę Ţ Ð
2019.1.28ȶ

ǿȳȣǕª®ǖǤǋǘǨwƺǐƴƵó¾ǊƹƳǩƫÛǖǆƵǒǨǈƴƫ6aǏǖǒƴǐ¨ƵƽǑƪƯȫǰ3ƪþďǁǫưǐ¨Ƶǣƴǩƫ0ŃŴǣǑǊǧƸǐƴƵǐǆƵ¨ƵǐƿǫƹƳǩƮƫ

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ƴƮǺȦȪǼȈȳƹpƸǋǈƫ;ƖđǓǖƪƷǐǒǁƴƪ;óƪÑǩƴƪšwƺǒǑĴđǓv©đǒā¢ǭƳƾǩǣǒƻǒƻƪv©ǧǁƴǺȦȪǼȈȳǭwǡȒȳȅƹĘŢǀǪ
ǈƫǆǕÎǏƪóƹƴƪêãwƺǒǑƪƕĴđǒv©
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;ƖđǓǣƪíĸ¯ƪ(¦ƹƳǩǒǑƪċ©đǒ-ƖǖǦǨƇŖǀǪǎƴǈƹƪ)©đǒƢHƹƳǨƪ:hđǒ7ǐǖǤǤĎǒǩċ©ǺȦȪǼȈȳǭwǡ.\ǣǠǧǪǈƫ

4.2 ǿȳȣǺȦȪǼȈȳǏpƴċvǕā¢ċvǕǺȦȪǼȈȳǓǌƴǎǣƪìĪǕėġǏ¿ÈǀǪǎƴǩüǉƽǏǒƻƪĬƪİŴǕċ©ƪƴv©ƪûĮĬƪ
ĝĬǒǑƪÐÛǕǿȳȣǧǁƴā¢ǣ¿ÈǀǪǈƫ

4.3 ǿȳȣǐąǕǺȦȪǼȈȳų\ǐȃǴȰȉȳř
ąǕȃǴȰȉȳřǓǌƴǎǖƪǿȳȣǤǰȒȤǒǑǕƘǭUƽǎƴǩWŁ©ǭ¿ÈǃǩnǣĻƸǪǈƹƪŘǤ(1) ƯǰǲȐȬȡȄȈȳȂȰȎȭȪǹȳȬȅƦ ȄȈȳȪǲȏȄȍȳȃư,Cygames, Ȗ Ȱ ȉ ǲ ȑ ȣ Ȁ ǵ Ȱ Ȉ ȳ ȍ ǲ Ȱ Ȥ Ȱ ȏ , 2015.
(Android/iOS)(2) ƯǰǲȐȬȡȄȈȳȢȫǷȰȪǲȜȴƦ ȂǰȈȳȎǲȅưȷȖȰȉǲȑ
ȣȀǵȰȈȳȍǲȰȤȰȏ, 2017. (Android/iOS)(3) ƯȖȰȐȫȴǹȳȬȅȖȰȐȗȳȍǱȳȴư, Craft Egg, 2017.
(Android/iOS)ąčǏ>ǋǈǕƘǣŤǧǪǈƫ

4.4 ÛėġǕ­ĸǐƍčÛėġǓǖǕǦƵǒƍčƹƳǩƫǌǓǖƪ10 [ǕŮĺǛǕǲȰȈșȨȳǓiǍƻüǏƳǨƪŊƴċ©ȝȭǲ
ȧȳ6"ǓŅLǏƺǒƴWŁ©ƹƳǩüǏƳǩƫǌēǓǖƪ

ĩǕƌ'ǏA

ǁǎƴǈƠàĈǤŊƴě(4) ƯPUBG MOBILEư, PUBG Corporation, 2018. (Android/iOS)(5) ƯȇȬȉǕť ȜȭȄ ǷȜƦ ȁ ȯǲȬȐưȷsjȷ2017.
(Nintendo Switch/ Wii U)ǛǕǲȰȈșȨȳǭÏǏƺǄƪ6aƹrĈǏƳǨƪÊĬrǓǃǩĈǣpƴƿǐƸǧƪÊđǒ&+řǭTÓ(6) ƯņƏƿǪƻǁǥǮư, ŚǿȳȣȄ, DMM.com, 2013. (PC)(7) ƯFate/Grand OrderưȷȎǱȪǲȏȯȳǼȄ, ǰȒȝȭȋǼȄ, 2015.
(Android/iOS)(8) Ưƣ÷vȫȫǸȬǒǕǖ A's Portable – The Battle of Aces – ưȷǳǱȋȊǼȪțȏ, ȖȰȉǲȑȣȀǿȳȣȅȷ2010ȸ(PSP)ǁǎƴǩWŁ©ƹƳǩƫǌēǓǖƪǲȰȈșȨȳÏĺǓÊaǭ]ǮǏƴǈǈǢƪěđǓÚǟǁƴĨƶƹý­ŬǓ
ƄºǀǪƪÛƗǭƺ>ǅǒƸǋǈWŁ©ǣƳǩƫƿǕǦƵǒƍčƹƳǨǌǌǣƪŊƴċ©ǿȳȣȝȭǲȧȳ

(9) Ưƥƹxƻ 0Ʀ ţƴǕk´ư, Ȇǹ, 2015. (PS4/PS3)

ǕǺȦȪǼȈȳų\ƪȃǴȰȉȳřǕƅǭ9"đǓĖǩƿ

(10) Ưƥƹxƻ æư, Ȇǹ, 2016. (PS4/PS3)(11) ƯUndertaleư, ȏșȳȲțǶȋǼȄ, 2015. (PC/PS4/PSVita/Nintendo
Switch)ǐƹǏƺǈǐƴƵüǏÛėġǓǖ­ĸƹƳǩƫÛėġǏǖŊ
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ǕȝȭǲȧȳǕǺȦȪǼȈȳų\ǤȃǴȰȉȳřǭòŶǃǩ

(12) ƯǵȳȄȀȰȖȋȏ 04 ȂȦȋȈȳȐȄǸǲư,Ʀ ȑȣȀ, 2001. (PS2).
(13) ƯǵȳȄȀȰȖȋȏȲȇȮ ȁȲȞȬǸȰȲǳǶȳư,Ʀ ȑȣȀ, 2006.
(PS2).

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Digital Games Research Association JAPANș șŮȅProceedings of 9th Annual ConferenceʆɼɧɮʠʒɆcǜe`ȅɅǸȵəûĮǇŖĖƸ
-ɧʠʘʚʅɳɽʙʠ`ȅʊʜɲɤɫɽɆǖɝǝȴɀii, iii

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fukudakz@gmail.com, iifikuine@sk.tsukuba.ac.jp, iiiakitoinoue.ac@gmail.com,
iv

tatesyu@soccer.interq.or.jp, vshimizu@iir.hit-u.ac.jpĘƯʤ2016 ¸ɖɘȝŶƗɗɇšŰʊʜɲɤɫɽɝƅƑȳȝʆɼɧɮʠʒōėɅǸȵəcǜe(ɧʠʘʚʅɳɽʙʠ)Ɇ`ȅɝǠɒɀȫȺȞȰɚɏɁɅȝ ɅōėɆƢơċʟ×űċɅĲǘȳȺûȟɝ¤ǌɅȳɀ 32 ɆƘȫaɘǅĒɝüȳȝƇđ
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ɆûĮǇɅǸȵəŝưɝôŊȳɀɁȝ`ȅĲOɝǝȴɀÿɗȩɅɄȽȺɮʠʒōėɆńĥÎɅȾȥɀǇȴəȞȹɆɁȝʆɼɧɮʠʒɆōėŖńĥÎȪcǜe`ȅǅĒɅȧəÂȋɅȾȥɀǊǇȵəȞɪʠʝʠɾʤʆɼɧɮʠʒȝɧʠʘʚʅɳɽʙʠȝōėRȝûĮǇȝšŰ0Ŋ

Methodological Considerations of Oral History Collection for Video Games: Throughthe Practice of Game Oral History Project
Kazufumi FUKUDAi
i, iii

Fumihiko IKUINEii

Akito INOUEiii Morihiro Shigiharaiv Hiroshi SHIMIZUv

Kinugasa Research Organization, Ritsumeikan University ș ii Faculty of Engineering, Information and Systems,
Tsukuba University, iv Journalist, v Institute of Innovation Research, Hitotsubashi Universityifukudakz@gmail.com, iifikuine@sk.tsukuba.ac.jp, iiiakitoinoue.ac@gmail.com,
iv

tatesyu@soccer.interq.or.jp, vshimizu@iir.hit-u.ac.jp

Abstract We organized research project for the collecting oral history in the video game industry since 2016.ș The main
targets are people who were active during an early stage of the industry. This project has published 32 interview documents.
At first, this research introduced the outline and achievements of the project. Secondly, We organized general topics ofmethodology of oral history. Thirdly, the characteristics of the game industry, which was clarified through the research was
discussed. Finally, We reconsidered the methodology of oral history based on the characteristics.
Keyword Video Game, Oral History, Industrialization, Methodology, Research EthicsɔĚĆɄɃɆF"ǐøȝɓȳȭɇǶŕƗɅɖəþƹʟÚƹ

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ȰɂȪåȯɗɚəȞʆɼɧɮʠʒōėɝaɘÛȦɁȝȹɆȰɂȝƘȫĻɗȳɝɁȫəǼɘĸɗȵȰɂȝɢʞɶʆʖɢʠɂɆǥ¼ɄǕȇÒɝ+ȾȰɂȝɄɃȪȹɆŊŐɁȤəɂȳɀȥəȞɏƯɄɠɫɶʠɏȺɳɻʠɫʍʚɷʠɁȤəėɆVJɝÆəȺȝɢʞɶʆʖɠʠȪȤɏɘɅȥɂȝśÚɅ|ÒɝȧəȰɂȪȝś¤ŖɅȈȳȥȰɂȪ¼ȟʊʜɲɤɫɽɁǊǇɂɄȽ

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ɅȨȥɀȝGɅȧɀȨȭȰɂɓëȱɚɀȥə[9]ȞɅ¤ǌɂɄəŃɇǮƯɄ"qɅǸɜəF"ƗɁȤɘȝėɅɂȽș ɏȺȝɢʞɶʆʖʠɆöĆǐøɆìŤɅȾȥɀɇȝĉNɀǎǮɄÄɗʣÄɗɆʙɵʠɳɝì%ȵəÊƯȪȤəȞɏÎȪœuƲȱɚɀȥə[3, p. 141]ȞɢʞɶʆʖɠʠɇGǅĒȺȝɢʞɶʆʖʠYŮŢƿɆȺɒɅºßÀƗɄɃɆMJɓɝƧȽȺǸ(ȝ:ÚȳȺǐøɝɓɂɅǊǇɝǠɒȺȭɄəĩɒɗɚəȰɂɂɄəȞȹɆȺɒȝėɇóɆǅĒ&ȑȩɗȪȝɢʞɶʆʖʠɅɂȽɀɇȹɆĂĽɁɆƖȧɂȥȦùŁŖÏ

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5. ƇǇɂÅɆ¬ĊɆ×đʙɳɽɆ<ĉɔřǳRɄɃȪƖȧɗɚəȞGŲɆǝɘȝʆɼɧɮʠʒōėɆɧʠʘʚʅɳɽʙʠɁɇȝńĉɆǄȒȪȤəȞɅȨȥɀȝȹɚɗɝǗɏȧûĮǇŖ
Ʉ?ĖƸɝƧȥȝćÅɅÅɆûǱɅȾȥɀǜɌəȞ

[1] ĉČǑ. ʘɢʈʅɳɽʙʠɅȨȮəɧʠʘʚʟʅɳɽʙʠ(<ńȅ 2>
þɆɧʠʘʚʟʅɳɽʙʠšŰ). þčɧʠʘʚʟʅɳɽʙʠšŰ.
2006, vol. 1, p. 50Ț64.
[2] Thompson, Paul, Ǭȍ. ɧʠʘʚʟʅɳɽʙʠɆdƛÎɂþčɂɆǸǟ. ŏȆƾ. 2003, vol. 96, no. 3, p. 291(17)-313(39).
[3] ÇZǎ. ɧʠʘʚʟʅɳɽʙʠ : ŉeɆȺɒɆcǜƹǳ. ;Ǉúť, 2002.

4.1 ɆȠÏɆŬSÎȡɅȾȥɀɇȝjźɁǊǇȳȺǝɘȝęǞŖɄƯxɅȿȭȺɒȝƵĵɇĀɁɇɄȥȻɛȦɂƖȧɗɚəȞȺȻȳȝÀĿɄȪɗȵɌɀɆėȪȝȰɆɖȦɄǅĒĲOɅȉVJŖɂȥȦɜȮɁɇɄȥȞVJŖɄėɂɆǸ(ęŻɂȝǅĒƐɝůɐȯəȰɂȝĉŎɄÁɁöĆɝ;ǶȵəȰɂɄɃɅɖɘȝōėɅȨȮəɧʠʘʚʅɳɽʙʠɆ'[4] Ř®p. ťǅĒĮ:ǵ. ĉ÷ǹ, 2004.
[5] ēYǣÿ. ƆvƗɂšŰǶŕ-ŒċŖúƥɶɫʜʙʒɳɆɧʠʘ
ʚʅɳɽʙʠɝǝȴɀ-. ŦØ, 2015.
[6] ğ. ·× 28 ¸¼ʓɼɡɠƠƨ ǟí)Ǡė ǟí<jė ɮʠʒōėŌ×ɅȨȮəɢʂʋʠɱʗʞɆAǯĝùŖɄɧʠ ʘ ʚ ʟ ʅ ɳ ɽ ʙ ʠ  ė  ü  n Ć . Đ  , 2017, 55p.
https://mediag.bunka.go.jp/mediag_wp/wpcontent/uploads/2017/03/hitotsubashi-report.pdf.
[7] ğ. ·× 29 ¸¼ʓɼɡɠƠƨǟí)Ǡė ǟí<jė ɮʠʒōėŌ×ɅȨȮəɢʂʋʠɱʗʞɆAǯĝùŖɄɧʠʘ ʚ ʟ ʅ ɳ ɽ ʙ ʠ  ė  ü  n Ć . Đ  , 2018, 58p.
https://mediag.bunka.go.jp/mediag_wp/wpcontent/uploads/2018/07/6324bc70620013297b4e8f6cec9b6a1f.pdf.
[8] Gorges, Florent, Gorges, Mizuki. ɳʌʠɳɢʞʋʠɷʠɝIȽȺőƮƴ^ɅƘȭ. ɠʞʆɹɽ,ÈǷĆ» (ŕ), 2018.
[9] Association, Oral History. “Principles for Oral History and Best
Practicesfor
Oral
History”.
http://www.oralhistory.org/about/principles-and-practices-revised2009/, (accessed 2019-01-24).
[10] ®cƕǨ, and ǰĐQ. țȠƹÕȡɅĦȱɚɄȥȠƹÕȡɝêəʤɢʂʋʠɱʗʞšŰɆȺɒɆɧʠʘʚʟʅɳɽʙʠ.Ȝ ğɢʂʋ ʠ ɱ ʗ ʞ š Ű ɴ ʞ ɶ ʠ ʝ ʠ ɪ ʞ ɬ ʌ ʠ ʄ ʠ , 2017.
http://pubs.iir.hit-u.ac.jp/admin/ja/pdfs/show/2021.
[11] Yow, Valerie Raleigh, iŏȩɖ, ·ŏ9f, -ªƀ, and K
ƦŚ. ɧʠʘʚʅɳɽʙʠɆŊǇɂǖ : öʟťūɝɊȵɌɀɆɆȺɒɅ. ɢʞɶʠʉɹɫɳ, 2011.
[12] Ŝ²*Ǟ, ŏǨ, and īǯs . öʟťūɆȺɒɆ
šŰ0Ŋɩɢɾʉɹɫ. ÔÖƔ@ł, 2015.

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Abstract It was said that the game industry does not leave past records in the future. But if someone consciously does
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Digital Games Research Association JAPANȸ ȸƀȤProceedings of 2018 Conference>]ɍɼǊɞʎʻʭʔʹʕʻɫŹŭųǉsɫ7ģ-ǫNɰɫŹƙ<ɦɫșʀɽʁ

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ƅhȲȸ ,Ɔƞ`ǃŵƂŻȸ ,Ɔƞ`ǃ¨ý
isa54737@ba2.so-net.ne.jpįǉˀğŵƂɬʎʻʭʔʹʕʻɎċğŹɩĩɉɞĸ]ŭƳĒʁĎɼɍɩəɾɓɦʁŮŭɦəɾɂğũǅɬɝɫȡɩȒǉɨǎŎɫɢɥɈɾʎʻʭʔʹʕʻɦǫNɦɫș#ØʁƯ¥əɾɂũǅɥɬǺśʁ ÓɩǫNɫŹƙ<]ʁāŜɁʎʻʭʔʹʕ
ʻ]ɦȒɪɤ7ģəɾɂɝɫ ɥɁċğɫʎʻʭʔʹʕʻɦɁǫNɦɫș#ØɎwɦȊɉąƚɗɤɉɡɞǉsʁƯ¥ɗɞɂʊʻʸʻʝˀʎʻʭʔʹʕʻɁʃʻʍʻʝʎʻʭɁǫN]ɁŹƙ<]ɁʎʻʭşĬ]The analysis of social fixing factor of game arcade that overlook from prehistory-Centering around a relation with the social regulation to gamblingYasuo Kawasakii
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Graduate School of Core Ethics and Frontier Science of Ritsumeikan University.
i Sa54737@ba2.so-net.ne.jp

Abstract .This Research project aim to clarify historical back ground that game arcade take root in Japanese society. In
this presentation, I will analyze relationship between Game arcade and gambling because it is important view point ofhistorical background. I investigate history of regulation of gambling on modern and present history, and I analyze this history
that superimpose on history of Japanese game arcade. Finally, I consider that was not much relationship between Japanesegame arcade and gambling, unlike other countries.
Keyword Game arcade, Arcade game, History of Gambling, History of Regulation, Game historyɴɽɨɐɁɉɚɿɸɍŐÍɫɸɫʁǫɑɤɉɾɓɦʁƯ¥ɗ

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[1] Wolf. Mark J. P .(2012ʽ"Arcade", Mark J. P. Wolf ed., Encyclopediaof Video Games: The Culture, Technology, and Art of Gaming Vol01.
Westport, Connecticut: Greenwood Press: 34-37[2] Kent, Steven L(2001) The Ultimate History of Video Games: The
Story behind the Craze That Touched Our Lives and Changed theWorld, Roseville, CA: Prima Publishing.
[3] ǬĝűŌ(2005)ɆɝɿɬɆʪʹɇɍɼɬɘɴɡɞ-ʃʻʍʻʝ TV ʎʻʭɫäɽƅɠɇʿʃʬʲʻʓʮʹʜȁ&Ź.
[4] µ´¦Ş(2018) ɄċƎʎʻʭʔʹʕʻ]ɫļǴ7ģȺ~êʺƃȘɫųȈžɩųŮɗɤȺɅɆśȱ$ŵƂɇƈ 18 ^ʾɆśȱ$ŵƂɇƢȤk: 55-65.

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5.1 7ģɦƯ¥[5]
ĠÎã(2018)Ɇ wʎʻʭşĬ]ɇ,Gz ʥʶʅʹ.
[6] µȷ¦Ş(2018)ɄʎʻʭʔʹʕʻɎŹɩųəɾɞɷɫǞǉsɫ7ģ-ʝʅʙɥɫʤʄʻʵʝǛĦ7ģʁ Óɩ-Ʌ2018 ¿Åċğʛʑʕʵʎʻʭ ŵƂ,(ũǅċ:2018/09/01).
[7] aš¤(2018)ɄʋʰʹʥʵɩǫɑɼɿɾɸɫɬɍȺʎʻʭŵƂɍɼɫƯ¥Ʌċğǒ^ƢɆǫNɫǒ^ǝȹǫɑɾʺǙɶʺƯɋɾɇĆĕŹ:79-96.

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ĜɫĺȠɍɼ¬ɨɐɕɛɞɂɝɫɥʎʻʭʔʹʕʻşĬɬ[9] µ(1989)ɆǫNɫċğ]ɇ,¾4Ź.

ǍȃɿcɑɁåɉɬ"cɑɫĮĳqʁ:ĜɍɼȇoɗɁȆx{şĬɦ1ɩ/wŭɨĬťtɸǓƅɗɤɉɞɂɝ

[10] µʼ2012ʽɆċğȆç]ɇ,¾4Ź.

ɫƘĥɁ`ŃŭɩcɑɫĮĈǓʁȇoəɾɞɷɩɁ

[12] Ŀƹi(2000)Ɇȱ$oĬYơɽɇ,ǟǜŹ.
[13] ź%ă,īš&Æ,ƿ,ņ[ÊƢ(2010)ɆċğŃ<]ɇ,ȧĤėȜ.

[11] ƑšȬȐ(1986)Ɇċğɫʋʰʹʥʵɇ, 0ǝŹ.

¬ɗɥɸȨ`Ńɦɨɾ\ƴØɎɈɾĳqɹĬưɬÕȏɹõȝɁåɉɬ`ŃŭɩEɍɛɾĳqɰɦ0Ĳ@ɦɸL@ɗɤ

[14] Řȓ'Ł(1999)Ɇɹɐɖɦċğɇ,Ɗûėé.
[15] Ȼ Ʉ 0 o Ƈ î ɩ ș ə ɾǝ Ǜ Ħ Ʌ ȼ ȸ https://survey.govonline.go.jp/s53/S53-04-53-03.htmlȸ ʼĘƕŷǗċ:2019/01/21ʽ
[16] ” Ʉ ŕ Ʃ ɦ 5 ƫ Ɖ ɩ ș ə ɾ ǝ Ǜ Ħ Ʌ ” https://survey.govonline.go.jp/s50/S50-05-50-03.html (ĘƕŷǗċ:2019/01/21)[17] Ȼ ċ Ȧ L ɫ Ɉ ɺ ɵ ( ș ȃǤ e ɶ ) ȼȸ
http://www.nichidenkyo.or.jp/history/ ʼĘƕŷǗċ:2019/01/21ʽȸ
[18] Kocurek, Carly, A. ʼ2015ʽ Coin-Operated Americans: Rebooting
Boyhood At The Video Game Arcade, Minnesota: University of
Minnesota Press.
[19] űȕGƑ(1998)Ɇɓɿɍɼɴəɴərĵ+ʎʻʭşĬɎȩūɉɇ,
ɍʂɏ6œ.
[20] ĨÈŹʕʅʜʻŹ]ƢȤk(1993)ɆȆɯɣɐɽrJ¿ɫɈɺɵɇ,ʕʅʜʻ.

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ȡɩɁşĬ(Ɏƶ[21] «²V(2016)ɆċğʛʑʕʵʎʻʭşĬ]ɇ,ăėȜ.
[22] Huhtamo, Erkki(2005) "Slots of Fun, Slots of Trouble: An
Archaeology of Arcade Gaming," in: Joost Raessens and Jeffrey
Goldstein eds. , Handbook of Computer Game Studies. Cambridge,
Massachusetts: The MIT Press, 3-21. ʼ=šƒǧǔʼ2015ʽɄÞÖɨʒʷʘʜɁuɡɞʒʷʘʜȺȺʃʻʍʻʝʎʻʭɫƯ[ɅʿɆʮʛ
ʄʃƯ[ɇʿNTT 6œ:107-146ʽ.
[23] ɄłɁɨɜɍľ ʮʖʵʎʻʭɅɆěċĆƱɇ,1974/11/16, ě
8, 21.

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ƱǤǡǤǆǫVR, (D7ï, Įá, ĮĘ_8, ƸǝƩƺƴǤǖ

Study on Viewing Attitude and Viewpoint of Movie in VR Viewing Experience
Hiroki ENDOi

Masanobu ENDOHii

Faculty of Arts, Tokyo Polytechnic University.
g1627009@st.t-kougei.ac.jp, iim.endo@game.t-kougei.ac.jpiAbstract In viewing experiences in serious games, VR viewers using HMDs with acceleration sensors experience closer
to the feeling that they actually went there than viewing on a normal display. We verified the viewpoint of contents that canobtain higher presence by using movies shot at multiple heights. As a result, we found that the presence according to theviewpoint of viewing attitude is higher than the viewpoint of the body height of the viewer.
Keyword VR, 360 degrees video, Viewpoint, Viewing attitude, Serious gameÕrơƕƠƤƘųǎǟƽǢƺƧŮƜƣĬčƓƈƑųĈŎ}1. ƗƉƜƕ

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ƺƖÆĸƧĤŻƎŻŴ

[1] Ĝ³ǣģľǣàōa(2011)ŸǉǤǀǙǞǝƩǝǃƪbŹ, ƵǠǇý.
[2] IJsselsteijn, W. A., et al. (2000) Presence: concept, determinants, andmeasurement, Human Vision and Electronic Imaging V, 3959,
pp.520-530.
[3] Bystrom, K. E., Barfield, W., Hendrix, C. (1999) A conceptual modelof the sense of presence in virtual environments, Presence:
Teleoperators & Virtual Environments, 8(2), pp.241-244.
[4] Herbelin, B., Vexo, F., and Thalmann, D. (2002) Sense of presencein virtual reality exposures therapy, Proceedings of the 1st
International Workshop on Virtual Reality.
[5] Tanaka, N., and Takagi, H. (2004) Virtual reality environment designof managing both presence and virtual reality sickness, Journal ofphysiological anthropology and applied human science, 23(6),pp.313-317.
[6] VIPOǣMogura(2018)VR ƵǢǃǢǂƧƣƓƁƕÓƕƈƔƄƤƘŻ Ƅ Ɣ Ż Ɔ Ɠ https://www.vipo.or.jp/u/I-2_How-to-make-VRcontent.pdf(µĎûļ§ǫ2019 { 1 ¶ 23 §)[7] :Ģöūovű ūoƖÚƖů4ƧǭǬƒǥ,https://www.youtube.com/watch?v=7L_vBt85MC4( µĎûļ§ǫ
2019 { 1 ¶ 24 §)[8] VR360ŲƯƶǗtTĭb MOVIE,
https://www.youtube.com/watch?v=x35hJ1ucf8s( µ Ď û ļ § ǫ1062019 { 1 ¶ 24 §)[9] Â¹õ`ǣL ēF`(1996)ĄŜƕžƄƣĀ7ņŤ,ť`Sōbŀ¤Ļ A, 79(2), pp.498-505.
[10] ì÷ǣÌº^|ǣ¿«;(2002)ĄŜ+ƖĀ7Ïûƕ>ƚƊĮáƖŮƇƖŨ, úăċĬ, 40, pp.89-94.
[11] ì÷ǣÌº^|ǣ¿«;(2002)ĄŜ+ƖĮáƖŮƇƕƠ
ƣ¢, ť`Sōbŀ¤Ļ A, 85(1), pp.134-136.
[12] Õr$ǣPaZǣsp$±ǣŰÚǣœģŢ(2017)ǜƫǆ
O VR ƵǢǃǢǂƖƎƜƖĉƖĲįƓ~ŧƖcdƧ1ëƈƎǎǟƽǢƺCÖ, ƮǢƾǤǃƫǢǗǢǅƵǢǌǚǤǃƪǢƳ
ƸǢǓƹƬǖ 2017 ŀ¤ţ, 2017, pp.23-28.
[13] ¾ì°ǣE)¹qǣ²ºČ(2018)ĒÍÉƓ(DJª#Ƨë
ŻƎŇŚ?VOǃǟǎǟƽǢƺǠǒǁǅƖÁ, ǊǚǤǔǢƫǢƾ
ǍƭǤƺbŀ¤Ļ, 20(3), pp.289-300.
[14] Ć+ŃǣpĐZŕǣī¼ŔĩǣŰÚǣłs¯Øǣàōa(2013)nüĄŜƖ 3 Î%ĵřƧëŻƎ;äūnüƖ¬Ŝň(<åţ>ƩǤǅǦƮǢƾǃƫǢǗǢǅ 3), §ºǉǤǀǙǞǝƩǝǃ
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g3117001780@edu.teu.ac.jpǭmikami@stf.teu.ac.jp

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A study on fear control system of VR horror gamebased on heart rate and its variation
Boxin ZHAO i

Yoshihisa KANEMATSU ii
Kunio KONDOii

Naoya TSURUTA ii

Koji MIKAMIii

iMedia Science Program, Graduate School of Bionics, Computer and Media Sciences, Tokyo University of Technology
iiSchool of Media Science , Tokyo University of Technologyig311701780f@edu.teu.ac.jp,iimikami@stf.teu.ac.jp

Abstract The purpose of this research is to propose a method to dynamically change fear effect of the scene during playin horror game. The degree of appropriate fear in horror games varies depending on players. Therefore, the authors developeda system that switches not only the sound and brightness in the game, but also the scene itself in the game, according to thestate of the heartbeat of the player. Compared with existing research that switches sound and brightness in the game using
biometric measurements, it was found that using the proposed method, we can more effectively control the sense of fearaccording to the player's heartbeat condition.
Keyword VR, horror game, procedural generation, biometryǡǩƽǩǚſġƙǒǤƳǝǩƚDƭƋƕǭŉ*ƚ

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[6] Henry. Fernandez (2017) Adaptive Game Experience Generation
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!óýĦµƛĈ©cÑǭū å8na 44(01)ǭpp.156-162.
[9] Xavier. Bornas (2005) Looking at the heart of low and high heart ratevariability fearful flyers: self-reported anxiety when confronting
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The Research on Virtual Reality Sickness with Advancing Color andReceding Color
Xiaoran CAIi

Yoshihisa KANEMATSUii Naoya TSURUTAii
Koji MIKAMIii

Kunio KONDOii

iMedia Science Program, Graduate School of Bionics, Computer and Media Sciences, Tokyo University of TechnologyiiiSchool of Media Science , Tokyo University of Technology,

g31170073f@edu.teu.ac.jp,iikanematsuyh@stf.teu.ac.jp iii tsurutany@stf.teu.ac.jpvmikami@stf.teu.ac.jpivkondo@stf.teu.ac.jp

Abstract In order to verify the effect of the advancing color and the receding color on VR sickness, I designed anexperiment about the familiar tunnels in our daily lifeǚ The software uses unity, and the tunnels have three colors, gray, red,and blueǚ I choose the objective evaluation method: Wii balance board, it can measure the trajectory of the center of gravity
shift, indicate the coordinate points in the excel and make the center of gravity movement chart, the center of gravity is more
intensely, the dizzy of the personnel body’s feeling is more strongerǚ The experimental results show that red can bring a
instability feelings to the experiencerǚ
Keyword VR, Color, Sickness, Balance, SSQ,ĨýƔýîƓýƝxƓŅŵýƎǙƆƓƓýƏd1ǚ ßèúģvǙVR ƻǀƩƵƓrĘ1źĨƚǙTżƓǋǕƲǕź´ƀƅơƏģżƒŴơƞŶƒĆŷơýƎŴơǚęǔ°ǔņƑƐź

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Characteristics of "OTOME game" seen from the smartphone application'Ikemen series'

Chitoko KOIDEii

Takashi OBANAii

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Osaka Shoin Women’s University
Chubu Universityikoide.chitoko@osaka-shoin.ac.jp

This presentation is based on an interview survey from Cybird Co., Ltd., which produces "Ikemen series" about thefeatures of the "OTOME game" of the smartphone application. Through interviews, three items - "stage setting", "gamesystem" and "female protagonist" of the "Ikemen series" will be discussed in detail.
KeywordOTOME Games, 'Ikemen series', CYBIRD , smartphone application

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Digital Games Research Association JAPANư ưģƞProceedings of 9th Annual ConferenceƵu¯ǜƤáȷĆòǜƤáƶǜ Əæń¥Ǵŀ¬ǈǏ
9ÛáÑƌ°óǚƖǊǰàš
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ii

iii

i,ii,iiiÚĠ{ȨȕǸǷƎ
m011516004@edu.teu.ac.jp, iiakinori@edu.teu.ac.jp,

iiii

itoken@stf.teu.ac.jpâŘɂ{ŚåȉȰȸȌȐǹȖȱǴųǗǈǏȅȸȧƤáǜ9ÛĔěĤǴÆǊǰƜƲȆȵȔȵȓãƄǜŝĀƾǮƏŘ¥ƿƮƺǗŀƼǮǱǰáÑǜƌÅóƿǚűůǗǙǰƳÖěĤǖǝƷȔǹȱȌǾȡȷȊȷǷȞȋƸǴ #ǗǈǕƲáÑƌ°óǜàšǴ *9ÛǗǈǕÆǈǏƳųȐǹȖȱǜ¥Þȗȯȥ BGM ǜǭƻǙæńǜƤáƿzƺǄǗƾǮƲÌĐƤ
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ǰ ƿ8ÙǏƳȗȯȥȔǸȒȂǙuƣǗǈǕƵȼĆòȼÑƶǜƎ9ǗƲƌÑǴáÑ9ÛǊǰǄǗǖƤáĔǙíźǴǊǰǄǗ
ƿVńǗǙǒǏƳ
ȁȸȴȸȗɂȅȸȧƤá, ƷȔǹȱȌǾȡȊǷȞȋƸ, ȠǸȱȧȷȋȆǷȰȵȃ, ãƄ9ÛPreliminary study on Development a Selecting Method for Analyzing Music Pieces
in Franchise from the aspect of Dual Functionality- Case Study on Analyzing Music of "Tales of the Abyss" Ubu Satoi

Akinori ITOii

Ken'ichiro ITOiii

i,ii,iii

Tokyo University of Technology, School of Media Sciencem011516004@edu.teu.ac.jp, iiakinori@edu.teu.ac.jp, iiiitoken@stf.teu.ac.jpiAbstract When conducting analytical research on game music for large series titles, the method of selecting music that is
considered to be of high importance from the viewpoint of content structure will always be discussed. In this study, as a casestudy of "Tales of the Abyss", the study of the music selection method was carried out as a preliminary analysis. Because of
the nature of the target title, since there are many music like functions like drama BGM, we focused on "Music of the place/ Music of the situation" through review of previous research and educational method on film music function and writing
method. The "Tales of" series focused on the fact that there were many songs having a dual function of "the music at theplace is also functioning as the music of the situation", and the game structure analysis through development of thevisualization method was carried out . As a result, as a result, we were able to select songs in 115 titles of 46 title. As adramatic scene, it became possible to make musical comparison by analyzing music of "1 situation 1 song" part and selectedsongs.
Keyword game music, "Tales of the Abyss", film scoring, structure analysis

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[1] Collins, K., 2008, Game Sound, The MIT Press. The MIT Press.
[2] Ư, 2016ƷÌĐƤáƾǮȅȸȧǾȸȕǸǾǢɂÌ,ƤƥěĤǜ
pƸ, ÎõÒ®.
[3] ōÃ, ōŰƍ , 2014,ƤáǴ¤čǈǏȅȸȧãƄ9Û
PǠáÑ9ÛěĤǚ[ǂǏěĤȠȲȸȧȴȸȂǜàš, DiGRA
JAPAN 2014 è{ ģƞ, ÈÖȕȊȐȱȅȸȧ,
pp.27-30.
[4] ōÃ, ōŰƍ, 2015, ȅȸȧãƄƾǮǧǏȅȸȧƤá9
ÛěĤǚ[ǂǏěĤȠȲȸȧȴȸȂǜàš #t], DiGRA
JAPAN 2014 è{ ģƞ, ÈÖȕȊȐȱȅȸȧ,
pp.44-47.
[5] Bellour, R., 2000, The Analysis of Film, Indiana Univ Press(Original French ver. published in 1979).
[6] Chion, M., 1994, Audio-Vision:Sound on Screen, translated by
C.Gorbman, Columbia University Press.
[7] Neumeyer, D., 2015, Meaning and Interpretation of Music in Cinema,
Indiana University Press.
[8] ƒƓõ, 2014,ƷÌĐƤƥůƱýU) ÌĐǴłǁƸ, ǧǊǋÒ®.
[9] Sijll, J.v., 2005, Cinematic Storytelling: The 100 most powerful film
conventions every filmmaker must know, Michael Wiese
Productions; 2nd Edition.
[10] ùĎċĽ~, ōÃ, ōŰƍ, 2017, nȦȬȸȊǿȱȗȯȥǜéÑȉȸȵǴųǗǈǏÌ,ȷƤáǜ2ãƄǚƖǊǰǷȏ
ȉǼȸȉȮȵ9Û, Ì¨²t,41(12), pp.265-266.
[11] Fukada, R., Ito, A., Ito, K., 2017, A Structure Analysis on MusicalScenes on Drama Content with Association Analysis, Proceedings of
NICOGRAPH International 2017, p.97.
[12] Karlin.F., Wright R., 2004, on the track, Routledge.
[13] ȁȬȸȞȋȖğ, 2006, ƷȔǹȱȌǾȡȊǷȞȋ 1ȆȵȢȰȸȖȀǹȗȡȒȂƸ, ȁȬȸȞȋȖğ.
[14] żğ, 2007, ƷȔǹȱȌǾȡȊǷȞȋư ȁȪȯȂȐȸǼȟȏȸȗưȜǹȡȱƸ, żğ.

Appendix
A. "on the Track"ħɁĦɂ24 ƧĕƵplaying the dramaƶƵaudience expectationsƶ
Ƶmusical expectationsƶƵdon't tip the storyƶ
ƵtoneƶƵreading the tone and a adingseƶƵmain titleƶ
Ƶmain title music can suggest the drama before it occursƶ
Ƶwhose point of view to play?ƶƵplaying the overviewƶ
Ƶplaying what the scene is really aboutƶ
Ƶgetting inside the character's feelingsƶ
Ƶplaying the environment or locationƶƵplaying the situationƶ
Ƶhow intensely to play the dramaƶ
Ƶless is more/understating the dramaƶ
Ƶplaying through the dramaƶ
Ƶphrasing the dramaƶƵhitting the actionƶ
Ƶhitting the action with the themeƶ
ƵhighlightingƶƵred herringsƶ
Ƶscoring the film like a balletƶƵunderscoring the dialogueƶ

122Ǝŋĺƶ9ÛÆ#ł 9 göxÖæȬȣȦɇȞɍȿ
Digital Games Research Association JAPANǊ ǊļƵProceedings of 9th Annual ConferenceȨɍȿȴɇȬȒɋȜȏĨĦǵǦǭƇŶǟȞɍȿǺHêǸưǨȌîŹii
I

ÚÜxǊ ÚÜÎŞȥɋȦɍiyuki.fukuyama@meisei-u.ac.jpñŰɘæİĽǴǻǑƙăūǦǳǙȌǔƇŶǟȞɍȿǕǵǔMZřǕǺǂ®ǸāĨǦǑƇŶǟȞɍȿǞĴĦɌ²IĦǷȤȚ

ɇǸÀǱHêȏîŹǨȌǣǵȏĨÁǦǭǒǣǺǭȅǸȨɍȿȴɇȬȒɋȜȏĨĦǵǦǭƇŶǟȞɍȿȏƮĤǦǑǈíěȏƊǵǦǭƔȏūǰǭǒƔǺŒêǑǔȨɍȿǿǺƌĖ´ƈǕǵǔȨɍȿ4ǴǺȟȾɃȯȝɍȢɄɋǕǸǦǳɒɎýĈǴã´ǞȃȊȍǭǒ
Ȃǭ¥ȑɋȝɍȭǺǔÖǺȨɍȿɀɋȱɍǵǻÞúǺěĂǴȆŤǠǦǭǙǵ­ǚǕǷǶǿǺgŅǸǜǙǳǈǙȤȟȑǞűȊȍǑ

ȨɍȿȴɇȬȒɋȜȏĨĦǵǦǭƇŶǟȞɍȿǞē:ĂIǺĨĦǴǘȌǔäȂǦǙƯư%ȏ¡¹ǦǑƵiǺbǵǦǳȉǙěĂ
ǲǠȋǸQĞǨȌǣǵǕǸHêĦǴǘȌǣǵǞĳcǥȍǭǒ
ȚɍɊɍȮɘǊ ƇŶǟȞɍȿ, ȨɍȿȴɇȬȒɋȜ, ǈńí, ē:ĂIA Study on the Effect of a Problem-Solving Game for Team Building
Yuki FUKUYAMAii

Meisei University
yuki.fukuyama@meisei-u.ac.jp
Abstract In this research, we focused on the similarity of “Problem-solving game” which is prevailing in recent years
and “cooperative learning”, and aimed to examine the effect of problem-solving game on social / emotional skill. For thispurpose, we developed a problem-solving game for team building and practiced for high school students. As a result of thepractice, significant differences at 1% level were in "awareness of contribution to the team" and "communication in theteam”. It was suggested that a problem-solving game aimed at team building is effective for "forming desirable
relationships and participating in building a good life as a member of group" which is the purpose of “special activities”.
Keyword Problem-solving game, Team building, High School, Special Activityĩ

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ǟȌɌĩ¼ǺſȏSǡ/ȍȌ´÷ǞǘȌǵǙǚǔȨɍȿ4ǴǺȟȾɃȯȝɍȢɄɋǕȆ >ǝȊ ¥ǸǝǡǳǈȂǰǳǙǭǒ
ŵƅìǺ»űǵǦǳȆǑȞɍȿƮ|[1] SCRAP
n.d.
http://realdgame.jp/about.html (
2019
1
26 )
[2] NAZO×NAZO
n.d.
https://nazoxnazo.com/about/ (2019 1 26)[3] Johnson, D. W. and Johnson, R. T., Holubec, E. J. (1993)
Circlr of learning: Cooperation in the classroom (4th ed.).
Interaction Book Company.
[4](2015):
87, pp.2-4[5](2018)
RPGD
D
25(4), pp.375-391.
[6] Snell, M. E., Janney, R., & Delano, M. 2000 Models ofpeer support in instruction. In M. E. Snell & R. Janney2000 Social relationships and peer support. Paul H.
Brookes Publishing Co.

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ƛĔÿǺȭɅȷɇǸȉǰǳȞɍȿÝƯǞxǸįŖǥȍǳǦȂǙǑȞɍȿȏțɆȑǴǟǭȨɍȿǞɗȨɍȿɒȨɍȿǸĠȂǰǳǦȂǰǭǣǵǞPhǴǘȌǵ³ǥȍȌǒæȞɍȿǻǑě§ǞīƺĨǸRȋŐȅǼȤȫȩȸɔǺțɆȑȂǴǻƝȅȊȍȌǣǵȏ³ǦǳǜȋǑȤȫȩȸɔȏțɆȑǨȌǵ0ǷțɆȑǴǻǷǙȆǺǺŰȚɁȤȭǺÌ7Ǹ¹[7](2008).
[8] Salen K and Zimmerman.E (2006). The game design
reader : a Rules of play anthology. Cambridge, Mass. :MIT
Press,[9](2007)
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DǦǑćƒ¶Ǟ¨ȊȍȌȉǚǸǷǰǳǙȌǒǦǝǦǑgǻȤȫȩȸɔȏțɆȑǴǟǭȨɍȿȆɒȨɍȿǴǘȋǑȨɍȿǴǝȏ¹ǦƞǢǭǵǙǚćƒ¶ǞũǝǰǭǣǵǞPhǴǻǷǙǝ
ǵŚǛȊȍȌǒǣǺǣǵǻǑǔƸÛǻǯȈǚǶŤǝǰǭǕǵǙǚ
ƐeǺȤȟȑǞȉȋȆǠǑôĈ+ȆǈǙǣǵǝȊȆǛ

2016

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ȌǒǭǮǦǑǔȨɍȿɀɋȱɍǵŤǠ7èǭǕǑǔÖǺȨɍ

TAASȿɀɋȱɍǵǻÞúǺěĂǴȆŤǠǦǭǙǵ­ǚǕǵǙǚƐ

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Vol.19 (2),pp.21-28.
[11](1998)

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Vol. 15, pp.347–361[13]æİĽǴǻǑƙăūǦǳǙȌǔƇŶǟȞɍȿǕǵǔMZřǕǺǂ®ǸāĨǦǑǊ ƇŶǟȞɍȿǞƯư%ǺËfǷǶǺĴĦɌ²IĦǷȤȚɇǸǛȌ¢ƻǸǱǙǳîŹǨ

126(2009),Vol. 57, pp.24-37

DŖ 9 _ąsáîȰȦȪɈȡɏɁ|
Digital Games Research Association JAPANǐ ǐŎǂProceedings of 9th Annual ConferenceȡɏɀȺȘȠɏȥɅɌȕİǜǱáîƕ|űǾȻɊȩȧȰȤșɌiœXǌs|s|ƿ &ŔũP|ƀŅőŋilingzhihun@126.com

ÿƆɒîŅőǿȡɏɀȺȘȠɏȥɅɌǾÂĐȕİǜǱƩļǺŅőǸǪǶǕ|űſ?ºĆSǕǂ ūűǻƸĠȕŭǜǱ|űǕȢɀɄȴȠɏȥɅɌǻŁľǪǕáîƕØŵǾƩē?ǻǟǤȑ|űȥȧȯɁȕȰȤșɌǪǱǖ šǾáîƕ|űŴȕƠǸǪǶǕ­òǾØŵßĐǻǟǤȑáîƕ|űǸǾĉƫǍȕǟǦǺǴǱǖîĺƁǷǿǕȡɏɀȺȘȠɏȥɅɌȕİǜǱ|űȥȧȯɁǾĉƫǍǟȎȂǕǯǾťöǻǵǜǶƛǫȑǖ
ȝɏɋɏȲɒȡɏɀȺȘȠɏȥɅɌǕƌƕ|űǕáîƕØŵǕØē?Ǖƌƕ|űȻɊȩȧȰȤșɌThe Process Design of Japanese Learning Using Gamification
Yan JIAO

Emiko HIROTAi

Mitsuko FUJISAKI

Misaki YAMAGUCHI

Yehang JIANG

Graduate school of CoreEthics and Frontier Sciences, Ritsumeikan University
lingzhihun@126.com

Abstract In this study, we focused on “Lift up earner’s motivation”, “intensive learning”, and “community” as a part ofpractical study of gamification. Moreover, we designed process of learning in Japanese language education of practicalactivities. The objective of this study is intermediate Japanese learners and we are going to experiment with treatment groupand control group. In this presentation we report this comparing experiments.
Keyword Gamification, Language learning, Japanese language education, Classroom activities, Language Learning
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[1] îv ɎĕNɐ2012ɑȡɏɀȺȘȠɏȥɅɌȕēİǪǱs|ØŵǾKŶ¸ǻǵǜǶ, áîȰȦȪɈȡɏɁ| 2012 ąũŎǂ, pp.91-96.
[2] ï]»ɎŽɐ2014ɑȡɏɀȺȘȠɏȥɅɌǡǆeƕÐüǻǞȑ¨Ǉ: ÞǱǺǆeƕØðǾƻĺȕľËǪǶ, )œs|Û|ƵşƆ, 21(1), pp.19-34.
[3] ċıƢɎı ĿɎmĒŲ§ɎñğȌȐɎ¢ĖɎƧæyɎƋĥɎƅî²ɐ2017ɑBanG-IM: Ğ{$³\ǋȕƋĎǬȑĞ{'9ȥȧȯɁǻǟǤȑȡɏɀȺȘȠɏȥɅɌȕ´İǪǱ5İºĆS@Ǿƒȇ, ¹k.Į|șɌȪɆȞȥɅɌ 2017, 1-504-22, pp.186-189.
[4] îŐ²ɐ2017ɑáîƕÐüǻǟǤȑǕȡɏɀȺȘȠɏȥɅɌȕİǜǱ|űºĆSǾƒȇ, áîƕØŵßĐŅőƓ, 24(1), pp.8-9.
[5] ãɐ2012ɑǙȡɏɀȺȘȠɏȥɅɌ: <ȡɏɁ>ǡȹȦȵȧȕoǞ
ȑǚ, NHK /Ħ
[6] ɋɏȸȭȞ, K.ɎȷɌȪɏ, D., ĚƵ+zɐƐɑ, ȮôÞɐĽƐɑ
ɐ2013ɑǙȚȜɏȱɌɎȧȞɏɈ: ȡɏɀȺȘȠɏȥɅɌǂƝŰǚ, ƾ

·ȢɀɄȴȠɏȥɅɌȨ, Werbach, K., Hunter, D. (2012) For the Win:How Game Thinking Can Revolutionize Your Business. Wharton
Digital Press.
[7] ĪœſÖĐáî|įÔÒăĀ (2016). ¾ 27 qeĶ| į f ŝ ĩ ď ƙ ø ť ö Ī œ ſ Ö Đ  á î | į Ô Ò ă Ā ,ǐ
http://www.jasso.go.jp/about/statistics/intl_student_e/2015 ɐ é ţ ŇƔáɒ2018  12 ê 30 áɑ
[8] ĪœſÖĐáî|įÔÒăĀ (2018). ¾ 29 qeĶ| į f ŝ ĩ ď ƙ ø ť ö Ī œ ſ Ö Đ  á î | į Ô Ò ă Ā ,ǐ
http://www.jasso.go.jp/about/statistics/intl_student_e/2017 ɐ é ţ ŇƔáɒ2018  12 ê 30 áɑ
[9] Ƹ!Yzɐ2013ɑáîƕ|ùǻǟǤȑǗųǞȑáîƕǘÐüǾƒ
ȇ, ƌƕÛ@ØŵŅő| ƩŅőǾÞǪǜg Ŏǂ, p.41.
[10] xıpɐ2016.9.23ɑǗáîȃǾǗĶ|į 30 ƍĴǘǡÈǣĘ7ǺǑƥǒǾǘ, http://diamond.jp/articles/-/102584ɐéţŇƔáɒ2018  12 ê 30 áɑ
[11] Yamaoka, T. (2006) On the Importance of Imitation and Repetition in
Foreign Language Learning. ARELE: annual review of English
language education in Japan, 17, pp.1-10.
[12] ĂǊƣ÷zɐ1995ɑǗáîƕǾƕ¥ǻǟǤȑ|űȧȱɆȯȦɏǘ, eãǬȑǦǸǿǷǢǺǠǴǱǖȆǱǕńíƼȋƺíƼǻȔǱǴǶǕ

ǁiłØs|áîƕØŵŅőȩɌȪɏɐŪɑǙICU áîƕØŵ^ƯŧļǻÞǪǜÐüȥȧȯɁȕİǜǱ|űȻɊȩȧǿ_ǾAVƎµƛǂáîƕØŵǾƘǋǚ, ój/Ħ, pp.219-248.

ȎǝǺťöǡ®ȏȒȑǠǿûƑǬȄǢǸǦȓǷǛȑǸųǞȏȒ
ȑǖ

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130

インタラクティブ発表131Æ 9 =^L ÄĄŦşšŽŚƃŴP
Digital Games Research Association JAPANđ đ

Proceedings of 9th Annual Conference

FPS ŚƃŴĺğĥŉŭŤŗĺ½¹Īİ#gÒ|
i
i, ii

ii

XW¯ÁLPÌ5lEPøđ Ě700-0005đ XW¼XW\-.¯L´đ 1-1
ii
kajinami@mis.ous.ac.jpáƊÄĶļƆ1 Ãä©ĶýĹĸŌ²ĜĵrĝŞŹƃťŎƁŘŚƃŴ Firstđ Personđ ShootingƄFPSƅĺğĥŉŭŤŗĺ½¹Īİ
#gÒ|s¥Ō{ĬŉƇŭŤŗķļàĻŖŷŻŗšƃĻĠŇŰžŏŸƃġÖ!ĻŖŷŻŗšƃŌ÷uĬŉħķĶěňƆr
¤ĺcćŌ0ŀĬƇĪĠĪĹġŇ#gÒĺķĲĵö"ĹŭŤŗļ>ąĶěŉƇÄĶļŖŷŻŗšƃķŲŤŰķĻ»kƆŖŷŻŗšƃ
Ļ<ĻaĩƆŖŷŻŗšƃĻŠŭƃŨŌÑpĪİŭŤŗ|ŞŠťŴŌÈĬŉƇŖƃƀƃŨƊFPS ŚƃŴ, #gÒ|, ŭŤŗ, ŭŤŗ|ŞŠťŴBeginner Support Focused on Pick in First Person Shooting
Tomone MAEKAWAi
i, ii

Tomoki KAJINAMIii

Faculty of Informatics, Okayama University of Science, 1-1 Ridai-cho, Kita-ku, Okayama City, Okayama, 700-0005 Japanii
kajinami@mis.ous.ac.jp

Abstract In this paper, I propose a beginner support method focusing on pick in shooter’s First Person Shooting (FPS)
which fight with guns etc. from the individual person’s point of view. Pick is a player selecting his/her operation characters,
which affects the game situation. However, for beginners to select appropriate pick is challenging. In this paper, I constructed
pick support system that into consideration the compatibility between characters and maps, the strength of weapons ofcharacters, and the speed of characters.
Keyword First Person Shooting, Beginner Support, Pick, Pick support systemŨ)ķƆ4ĈĻúłĒƆēƆĔ(01. ļīŃĺ
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ĻŰžŏŸƃġ²ĬŉŖŷŻŗšƃķĻ»k/đ Ñđ đ ­[ÓQ¸ĹśŵƁŧ][1] Tang, A., Massey, J., Wong, N., Reilly, D., Edwards K, W. (2012).
Verbal coordination in first person shooter games. Proceedings of theACM 2012 conference on Computer Supported Cooperativeđ
Work.579-582.
[2] Conroy, D, Wyeth, P, Johnson, D. (2013). Understanding player
threat responses in FPS games. Proceedings of the 9th AustralasianConference on Interactive Entertainment: Matters of Life and Death
Article No.32.
[3] Rodrigo, V-M, Regan L. M, Carl G. (2015). Now you can competeđ
with anyone: balancing players of different skill levels in a FirstPerson- Shooter game. Proceedings of the 33rd annual ACM
Conference on Human Factors in Computing Systems, pp.2255-2264.
[4] Rodrigo, V-M, Regan L. M, Carl, G, Scott, B. (2014) The
effectiveness (or lack thereof) of aim-assist techniques in First
Person Shooter games. Proceedings of the 2014 CHI international
conference on Human factors in computing systems. pp.937-946.

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A study on the difference between games for women and games for men
in the same genre
Yuzuka SUZUKIi

Koji MIKAMIii

i,ii

School of Media Science, Tokyo University of Technologyim01171538c@edu.teu.ac.jp, iimikami@stf.teu.ac.jp

Abstract Currently, social games that are easy to do with smartphone are prevalent. Basically they can be played for free,
but players need to use “Gacha (Gasha)” when strong characters or cards are needed. In order to use Gacha players need toprepare in-game currency. In-game currencies are sometimes distributed free of charge, but they usually need to be charged.
From various investigations, there is no gender difference in the percentage of people who are charging, but it is known that
there is a gender difference in the amount of charge. Therefore, the authors thought that there might be some difference
between the game for men and the game for women. As a survey method, men's game and women's game were prepared foreach of the four genres and compared and verified. As a result, it was found that there is no big difference between the gamefor men and the game for women, even if there is a gender difference in billing amount.
Keyword the game for women, the game for men, charges, difference, social games

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Procedure generation of undulating footprints considering the nature of the groundand the shape of the footTaichi MORINAKAi
i ii iii

Yoshihisa KANEMATSU

Koji MIKAMIiii

Faculty of Media, Tokyo University of Technologyim011534042@edu.teu.ac.jp,iikanematsuyh@stf.teu.ac.jpiii

mikami@stf.teu.ac.jp

Abstract In recent years, due to the improvement of graphic capability, detailed expressions that could not be expressed inreal time have become possible. In this research, we aim to generate the footprints procedurally by the nature of the groundto be bonded. We analyzed footprints expressed by existing games and devised a method to automatically generate footprints
considering the nature of the ground and lamination.
Keyword procedural, lamination, footprints

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MEJMVision: Proposal of experience sharing method for location-based VR
Genta MAEJIMAi

Yoshihisa KANEMATSUii

Koji MIKAMIiii

i

Tokyo University of Technology
M011530845ǁedu.teu.ac.jp, iikanematsuyh@stf.teu.ac.jp, iiimikami@stf.teu.ac.jpiAbstract The modern virtual reality (hereinafter referred to as "VR") has been developed more and more and becamefamiliar to the public. Among them, the location-based VR allows the user to easily experience the VR without preparing
equipment. There is a problem in the location base VR that it is not known from the audience what the player doing in virtual
space. Therefore, in this research we aimed to share experiences between VR player and spectators to solve the problem. We
developed MEJMVision, an experiential sharing system that displays the VR space by stereoscopically displaying the player
character in field using reflection of light and using multiple flat panel displays as the background.
Keyword Location based VR, experience sharing, perspective gap, stereopsis

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œŷŏŠŊşŋŷŠóŇŷŀ

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Automatic setting of ability value in consideration of physical characteristics inprocedural generation of game character
Mika INOMAKIi

Yoshihisa KANEMATUii

Koji MIKAMIiii

i ii iii

i

Faculty of Media, Tokyo Univercity of Technology
m0115047de@edu.teu.ac.jp, ii kanematsuyh @stf.teu.ac.jp, iii mikami @stf.teu.ac.jp

Abstract In recent years, most of computer games use 3DCG model. Among them, many players and enemies are produced.
In particular, enemy's 3D model often requires many numbers and types. In order to create a 3D model of enemy massive,
there is a method of preparing a 3D model for each part such as head, limbs, and the like, and combining it freely and giving
the ability value at random. However, with this method, the problem arises that the physical characteristics do not match theability value of the automatically generated enemy. Therefore, in this study, we created an algorithm to make physicalcharacteristics and ability values match when generating enemy automatically. We compare the proposed system with thisalgorithm and a conventional questionnaire to 20 people. As a result, all respondents said that the proposed system felt theindividual differences of Enemy more strongly.
Keyword Automatic generation, ability value, moving speed, 3DCG
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[3] `.  (2009), ŐƦǕǅŽ CGŎ ǜǁǑƪǕƫǈǏĊǜ,ő !
QǆƶƙƘ]Ę, 63 i 8 > p. 1107-1112.
[4] Thomas Funkhouser, Michael Kazhdan, Philip Shilane, Patrick Min,
William Kiefer, Ayellet Tal, Szymon Rusinkiewicz & David Dobkin(2004) “Modeling by example,” ACM Transactions on Graphics,[5] Evangelos Kalogerakis, Siddhartha Chaudhuri, Daphne Koller, &Vladlen Koltun (2012)“A probabilistic model for component-based
shape synthesis,” ACM Transactions on Graphics (TOG) Volume 31
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Digital Games Research Association JAPANƸ ƸĮƦProceedings of 9th Annual ConferenceºƉǹǵȆȉȍŻǚǪșȲȷȨȗɂȜȹɀǶ!ƇÈÅȍĝěǲǤǪ
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Wang Xiaotongi

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Óàs|Ďď|ƒÌČ¯i|ĪƸǕ275-8575Ƹ DŘğŌªƘøĔ 1-2-1
E-mail: cisa16081@g.nihon-u.ac.jp, furuichi.masakazu@nihon-u.ac.jpíŤɇyƴƷBǶƇŞǲǲȃǵȍŻǚǪșȲȷȨȗɂȜȹɀǶƗŤ¬Ƿ¢ÛǵƴǿȈɄºƉǹǷǩǶ¹õǲǤǰÞ>ǱǗȉǲōǚȇȊȉɅǩǶ ǱȃɄĩĳǘǷǩǶjǱņǵƉǺǵ=ǚǰɄťǰǘȉȃŒąǲĳƯǵǴȉǢǲǝĈƚǱǗȈɄūŘǶnȃŻǚǪc,ƄǱ6ĐOŐǴșȲȷȨȗɂȜȹɀ!Ƈ¹õǱǗȉǲ·ǐǷōǚȉɅÛǵɄĳƯǷ¨ŽǶú¬BǵȃŔǘ>æǝǗȉǲūȌȊǰǘȉǢǲǜȇɄ#ǻǶƔµȃVȂǰɄƝȍŻǚǪșȲȷȨȗɂȜȹɀ¹õǲǤǰß¡ǱǞȉǲōǚȇȊȉɅǤǜǤɄĩĳǘǱƉǺǪȂǵǷƉ-ȍ 9ǵĀ$Ǧȉ©ŤǝǗȉǲǲȃǵɄȄâĵȯȽȑǦȉčlǶĀ$ȃ©ŤǲǴȉɅǩǢ
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ȍƉǺǢǲǝǱǞȉǎĳǙƛǵǷĩĳǘ- FUKUWARAIǏȍŰǤǪɅȥȝȠȼBǦȉǢǲǵȆȈɄ¤ãǶĩĳǘǲǷƎǙƉǹÐȃǦ
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A Development of Digital FUKUWARAIa Traditional Japanese Game to Accelerate Intergenerational Communications
Saika Shioysi

Honami Iidai

Wang Xiaotongi Toya Saitoi Megumi Aibarai Masakazu Furuichii
i

Nihon University, College of Industrial Technology
1-2-1 Izumicho, Narashino, Chiba, Japan

E-mail: cisa16081@g.nihon-u.ac.jp, furuichi.masakazu@nihon-u.ac.jp
Abstract With the prolonged reality of Japan’s low birthrate and aging population, the importance of communication
among children but also between the different generations is becoming critical . In order to solve such problems, traditional
play or games are considered good tools to support them, and “Fukuwarai” (lucky face making game) is a typical such game.
Fukuwarai is known that all players get lough while they are playing, since it is difficult to make serious face. Moreover, notonly players but all audiences get lough. Therefore, we think that Fukuwarai is a good method to support communications
between different generations. In this study, we have developed a serious game named “Waraukadoniha FUKUWARAI”
which enable to play Fukuwarai at anywhere without preparing any special tools but only smartphones. In this paper, we
describe the outline of “Waraukadoniha FUKUWARAI” and the preliminary evaluation results.
Keyword

Serious Game, traditional play, Fukuwarai, elderly people, play and rehabilitation, communicationÛǵɄȍŻǚǰņǵºƉǹȍǦȉƴƷŎǶÐǵ

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Branching and scenario writers
Masaru NAGAKUii

National Institute of Informaticsi
mnagaku@nii.ac.jp

AbstractƁ Report on the results of the workshop type demonstration experiment conducted by a professional scenario writer
as an experiment collaborator, In "An Empirical Study on Game Production in Collaborative Environment of Cloud Era"
HAYAO NAKAYAMA Foundation for Science & Technology and Culture FY2018 grant research (A-2). In this experiment,
we provided real-time collaborative editing environment and Novell's game engine to the scenario writer of the three. And I
made software production support such as showing the flow of the scenario automatically. In this paper, I report the analysis
results of experimental scenario writers' pre / post interview.
Keyword game scenario, branchingƸĄāơƕƟƇƴƃŮþÉîƦǁǵǡǳǏǵǍƠ)ŮƗƴ

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)
)
)
(

)

9

2019

3

3

9
700-0005
Mail: conf9th@digrajapan.org

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