Replaying Japan 201820-22 August 2018
The National Videogame Arcade
www.thenva.com

REPLAYING JAPAN 2018
LOCAL ORGANISERS
Alice Roberts, Iain Simons, James Newman and the team at The National Videogame Arcade

CONFERENCE CO-ORGANISERS
Ritsumeikan Center for Game Studies, Ritsumeikan University
Philosophy and Humanities Computing, University of Alberta
Institute of East Asian Studies / Japanese Studies, Leipzig University
Digital Games Research Association (DiGRA) Japan

CONFERENCE CHAIRS
Geoffrey ROCKWELL, Philosophy and Humanities Computing, University of Alberta
Akinori NAKAMURA, College of Image Arts and Sciences, Ritsumeikan University
Jérémie PELLETIER-GAGNON, Comparative Literature and Humanities Computing, University ofAlberta
Martin PICARD, Institute of East Asian Studies / Japanese Studies, Leipzig University
Martin ROTH, Institute of East Asian Studies / Japanese Studies, Leipzig University

PROGRAMME COMMITTEE
Koichi HOSOI, College of Image Arts and Sciences, Ritsumeikan University
Kazufumi FUKUDA, Ritsumeikan Global Innovation Research Organization,
Ritsumeikan University
Rachel HUTCHINSON, Department of Languages, Literatures and Cultures, University of
Delaware
Akito INOUE, Graduate School of Core Ethics and Frontier Sciences, Ritsumeikan University
Shuji WATANABE, College of Image Arts and Sciences, Ritsumeikan University
Tsugumi OKABE, Comparative Literature, University of Alberta
Mitsuyuki INABA, College of Policy Science, Ritsumeikan University
Hiroshi YOSHIDA, Graduate School of Core Ethics and Frontier Science, Ritsumeikan University

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THE NATIONAL VIDEOGAME ARCADEThe National Videogame Arcade is a not-for-profit organisation that exists to develop the role ofvideogames in culture, education and society. It is funded by revenue generated by visitors,
hospitality and events as well as generous patrons.
The National Videogame Arcade opened in March 2015 and welcomes tens of thousands ofvisitors a year. As well as the core visitor attraction, we also deliver education programmes toschool visits and informal learners.
Our extensive exhibition programme has covered games including Sega/Sports Interactive’s
Football Manager series, UsTwo’s Monument Valley, the pioneering work of the UK’s Oliver Twins.
We have staged exhibitions on aspects of gameplay and game design such as Jump! which
focused on the design and experience of the jumping mechanic; and on the material cultures ofgaming through our object collections. We recently published our first book A History Of
Videogames In 14 Consoles, 5 Computers, 2 Arcade Cabinets… And An Ocarina Of Time (Carlton
Books, 2018) which draws on our collection.
In recognition of our leading work in the field, we worked with the British Academy and Leverhulme
Trust throughout 2017 to produce a White Paper on videogame preservation, curation andexhibition. The repot is available at https://thebgi.uk/gameoverwhitepaper/
The NVA exists to showcase and interpret videogames for as many audiences as possible. We
think that everyone should be able to play videogames, but more importantly everyone should be
able to make them.
We think that the future of videogames is in new people, making new kinds of games, for new
players.
For more information, visit www.thenva.com

3 of 56SCHEDULE
DAY ONE: 20 AUGUST 2018
9.00

Welcome9.30-11:00

PANEL: MUSIC 1
Alex Wade Accelerate Your Mind: The Soundscapes of Pac-Man
Timothy Summers The Music of Mother (1989) and the Powerful Aesthetic of
NaivetéMartin Picard The media ecology of video game music in Japan(Moderator: James Newman)

11:00-12:30

PANEL: COMPARATIVE STUDIES
Aki Nakamura Comparative Case Studies on China’s Pan-Entertainment
practices and its adaptation of Japanese entertainment companies
Stefan Bruckner Examining Differences in German and Japanese Player
Experience: A Grounded Theory Approach
Tomás Grau Mukokuseki and ludic traditions: a problematization of theinterpretation processes of Japanese videogames(Moderator: Geoffrey Rockwell)

12:30-14:00

LUNCH

14:00-15:30

PANEL: DEVELOPMENT
Shuji Watanabe The Design technique to misunderstand as self-creation andself-growth for questions
Juhyung Shin, Yehang Jiang, Mitsuyuki Inaba Constructing Multicultural
Learning Environment and Collaborative Serious Games in Metaverse(Moderator: Aki Nakamura)

15:30-17:00

PANEL: PLATFORMS
Kieran Nolan JAMMA Arcade Platform: Interface Constraints and Aesthetic
Affordances
Mikhail Fiadotau Digging into the Game Engine: A Selective Archaeology of
Hobbyist Game Development in Japan(Moderator: Martin Roth)

17:00

Keynote: Masaya Matsuura

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DAY TWO: 21 AUGUST 2018
9:00-10:30

PANEL: MUSIC 2
Jason Bradshaw The Golden Age of JRPG Music: MIDI Masterpieces
Hiroshi Yoshida Early History of Epistemic Sounds in Digital Games
Konstantin Freybe The Singing Chat Of “OuterHeaven”

10.30-12:00

PANEL: WAYS OF PLAYING
Nathan Altice Four Ways to Play in Hell: Makaimura Board Games inTranslation
Keiji Amano, Geoffrey Rockwell Gambling as Play: the Case of Pachinko
Fanny Barnabe Twitch Plays Pokémon: Reappropriation as a Fictional andPlayful Matrix(Moderator: Martin Picard)

12:00-13:30

PANEL: GAME HISTORIESPeter Mühleder, Tracy Hoffmann, Konstantin Freybe, André
Lahmann, Florian Rämisch, Martin Roth and Leander Seige Tales of doing
Research with Video Game Fan Databases: A data-driven Approach
Yuhsuke Koyama The birth of JRPG and its own evolution
Martin Roth The spatiality of videogame production in Japan
Akito Inoue Making Local video game history index(Moderator: Kazufumi Fukuda)

13:30-14:30

LUNCH

14:30…

Tour of The National Videogame Arcade

16:00

Keynote: David Wise

18:00

Conference Dinner
Note: Please ensure you have booked your place on the conference dinnerwhen you register your attendance at the conference.
Please contact alice@thenva.com for further details, late booking arrangements
or any dietary needs.

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DAY THREE: 22 AUGUST 2018
9:30-11:00

GAME EDUCATION AND RESOURCES
Akinori Ito, Koji Mikami, Ken-ichiro Ito A Practice Report on Development ofGame Audio Research Method at Tokyo University of Technology
Hitomi Mohri, Kazufumi Fukuda, Koichi Hosoi Research on User’s
Information Needs of Video Game Resources for Subject Access(Moderator: Mitsuyuki Inaba)

11:00-13:00

NARRATIVE AND CHARACTER
Laura Iseut L. St-Martin Dark Souls: Narrative, players, interpretations
Philipp Klueglein The Design and Reception of Characters in Japanese Freeto-Play Games
Rachael Hutchinson From Karate Champ to Tekken: Nation and Narration inFighting Games(Moderator: Aki Nakamura)

13:00

LUNCH

14:00

Demos and Posters
Sayaka Yoshida, Shuji Watanabe Proposal of gamification to make tidy uphappily
Shosaku Takeda Level design learning by the story
Takahiro Tsuda, Shuji Watanabe Game Play Middleware “Park Computer” forcreate a new experience of playing digital games integrating inputs
Shinya Saito, Shuji Watanabe, Shosaku Takeda, Kazutoshi Iida, Seiki
Okude Development on the Authoring and Playable Platform Based on
Omnidirectional Image Data
Yutaka Makabe A Practice of Creative Music Making Education Using
Synthesizer Software on Handheld Game Console

15:00

Closing remarks and thank you!

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KEYNOTE SPEAKERS

MASAYA MATSUURA Through Music and Words, legendary composer Masaya Matsuura will
explore his work as one of the pioneers of the rhythm action genre (creating works such as
Parappa the Rapper, Vib Ribbon and others.) This will build upon the fantastically successful andinspirational sessions he gave at the All Your Bass Music Festival in January 2018 and the
GameCity festival in 2009.

DAVID WISE Donkey Kong Country and The Snake Pass composer David Wise provides acomposer commentary on these titles, featuring Yamaha Electronic Toms, EWI and a range ofother electronic instruments. David Wise is famous for his association with Nintendo, via Rare, The
Donkey Kong Country Series, Diddy Kong Racing and Starfox Adventures. David Wise Sound
Studios and Music Publishing is David’s latest venture, allowing him to continue to compose music
and create sound design, primarily for videogames and Digital Media.

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ABSTRACTSDAY ONE: 20 AUGUST 2018
9:30-11:00 Panel: MUSIC 1

Alex Wade
Accelerate Your Mind: The Soundscapes of Pac-Man
In her study of the use sound in early home computers, Karen Collins (2008) finds that it is a lackof technology which is key to the creative process in initial videogame music. This technicalsparseness leads to Space Invaders simple four note bass-line being widely perceived as one of
the first examples of in-game music and certainly the first to evidence a dynamic soundtrack: as
the alien invasion comes ever closer, the music speeds up, panicking the player into more frantic
and less accurate blasting.
This propensity to panic is given further urgency by the source of the soundtrack. As Gary
Western (2011) writes, both Space Invaders and Asteroids used heartbeat-like rhythms as theirinspiration. Both soundtracks start slowly, more languid than the player’s own biorhythms, coaxing
and relaxing. As the game progresses the rhythmic thrumming increases: fewer enemies onscreen mean the game should become easier, but the inverse occurs, the game – and the music –speeds up. With less processing power required, the sparseness of technology and enemies
accelerates through the medium of music.
Taking the legacy of Asteroids and Space Invaders as its start button, this paper brings thebiorhythms and manic panic button thrills to bear on the pills, fruit and dots of Iwatani’s 21st
century iteration of Pac-Man: Championship Edition, where the similarities are striking andrevealing in equal measure. The soundtrack to Pac-Man CE’s ‘Highway II’ course starts at the fiveminute marker of time attack mode, a slow heartbeat permeated by echoes of water dropping
through a cavern, or a Game Centre, or an arcade.
As the music increases in tempo a counter kicks up the speed of the game while a timer ticks
down; as more points are amassed, the potential amount of points available increases in an
acceleration of the present/future risk and reward schedule (Loftus and Loftus 1982). Note theplayer of Pac-Man. Their face an anguished mirror to the zero-hour of the timer: they do not lookat where Pac is on the screen, but are focussed somewhere ahead and beyond it, in a future
space and time that Pac-Man will occupy.
Through the use of audio and visual examples, this paper unfolds the accelerated mind of the title.
From the caverns of Highway II back to Power Pill’s 1992 music single ‘Pac-Man’, where the player
is encouraged to ‘Insert Coin’, buy pills from the dealer and ‘Eat them up yum yum’, synthetic drugs
and music place the body in throes of speed and ecstasy meaning it can operate beyond its natural
boundaries. With the body adapted to the rhythm of the machine the race face is on and eyes areon the prize. The mind and body’s constant focus on the imminent is the hallmark of capital
accumulation, the music of and around Pac-Man the soundtrack to these increased demands.
This paper takes a trip through these soundscapes beyond the sparse tech biorhythms of theheartbeats of Space Invaders and Asteroids, and into the caverns, game centres and arcades ofthe past, present and future of videogame music.
References
Collins, K. (2008) Game Sound: An Introduction to the History, Theory, and Practice of Video GameMusic and Sound Design, Massachusetts: MIT Press
Loftus, G.R. and Loftus E.F. Mind at Play: Psychology of Video Games, New York: Basic Books
Western, G. (2011) ‘Top Score: The evolution and significance of videogame music’ Paper
presented at CSU Montery Bay, 26th February 2011, available at https://garywestern.files.wordpress.com/2011/04/garywestern_topscore.pdf accessed 1st February 20178 of 56

Tim Summers
The Music of Mother (1989) and the Powerful Aesthetic of Naiveté
This paper discusses a JRPG released by Nintendo for the Famicom during the first blossoming of
the genre in the mid-to-late 1980s. Mother (1989) was the brainchild of Shigesato Itoi, a wellknown media personality. While the game replicates the game mechanics from its genre kin of the
Dragon Quest (Chunsoft/Enix, 1986+) and Final Fantasy (Square, 1987+) series, Mother sets the
gameplay in a radically different environment: modern day America. More than anything else, Itoi
wanted the experience of playing Mother to be an emotionally significant one. Mother’s appeal lies
not in its gameplay mechanics, which represent no great development from the Dragon Quest
model, but instead in the striking and unusual aesthetics of the game. Foremost among Itoi’s
arsenal for achieving this affecting style is the game’s music, composed by Keiichi Suzuki and
Hirokazu Tanaka.
This paper argues that Mother uses music, and particular musical stylistic qualities, to exert
emotional-affective influence over the player. The game’s plot is centred around music and its
power; one of the central conceits involves collecting musical fragments to assemble a melody that
ultimately holds the secret to defeating the final boss. The game also foregrounds music in the
numerous sequences that approach a staged performance. Mother explicitly depicts music as
extraordinarily potent. In a world of psychokinetic abilities, giant robots and Earth-threatening
aliens, it is music that is shown to be the ultimate source of power. Beyond the narrative, the gamealso wields this same force over its players, using music (in tandem with other aspects of thegame’s style) to induce the kind of affecting experience Itoi sought to generate. Analytical
discussion will explore how the game’s music achieves these goals by departing from genre
precedent to forge a ‘naïve’ style that deploys signifiers of childhood and simplicity.
The paper additionally draws upon two paratextual sources. The paper will discuss the 1989
soundtrack album of the game, which includes an arrangement of the game’s standout cue as achoral-orchestral piece, arranged by Michael Nyman for St Paul’s Cathedral Choir and a small
orchestra. It also investigates the same piece’s appearance in a Japanese school textbook, where
it is presented for a flexible children’s ensemble.
Mother is placed within broader musical trends of the JRPG by drawing on video game histories
and, in particular, the scholarship of William Gibbons (2017), Jessica Kizzire (2014) and William
Cheng (2014). It is argued that many of the modern musical traditions central to the JRPG genre
are evident in Mother, in a more pronounced fashion than in preceding games.
Mother is a testament to the power of music, within and outside games. The game also argues thatmusical profundity is not tied to specific notions of musical complexity. By developing thearguments of Ben Winters (2014), originally made with respect to film music, the paper suggeststhat Mother uses music to enrapture players and provide them with a way of sharing subjectivity
with the characters, which is central to the project of a JRPG.

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Martin Picard
The media ecology of video game music in Japan
This paper seeks to examine the manifestation and significance of video game music in Japan,
not only in games, but in popular culture in general. As such, to understand the functions andpleasures of video game music in Japan, we need to situate the phenomenon in a larger context ofcultural and media ecologies.
In video games developed in Japan, music is not only used for diegetic or gameplay purposes, but
it is also linked to larger consumption and cultural practices that have helped video games to be
culturally significant and reached groups larger than only gamers, such as music lovers, televisionviewers, underground musicians (via chiptunes), and so on.
For this presentation, the author will investigate the cultural, industrial, technological and genericfactors that explain the significance of video game music in Japan. After introducing the importanceof music in Japanese (popular) culture in general, the author will contextualize the development ofvideo game music from the end of the 1970s to the 1990s, when it became an important popular
cultural genre in itself in Japan. This popularization is strongly linked to the close relationshipbetween the music industry and other contents industry in Japan (radio, television, anime) as wellas to the transmedial nature of video games and its place in the youth subcultures at the time.
Moreover, some major music companies, such as Pony Canyon, Victor, and Sony decided to enterthe video game industry during the 1980s and 1990s, pushing further the strong affinities between
media that will developed into a (sub)culture of its own. Technology was also a defining factor as
the 1980s saw the popularization of synthesized and electronic music in which video gamecomposers participated strongly in its development due to the technical limitations of the gaming
hardware. This resulted in mutual influences, from 1970’s music emphasizing the use of keyboards
and synthesizers (progressive rock, the birth of electronic music) that had a big impact on video
game composers to the emergence of the techno-pop in the 1980s, sampling video game music
and sounds (such as in the most popular group of the time, Yellow Magic Orchestra). Therefore,
many musical genres, such as rock, metal, electronica, jazz, classical or even world music (Celtic
or Irish music for example) became the artistic base for video game composers to experiment with.
All these factors participated in the development of a strong industry in itself, the geemu ongaku,
which can be observed today as much in its dedicated sections in record stores as in its grandiose
concerts in famous Japanese concert halls or on the most viewed television channels.

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DAY ONE: 20 AUGUST 2018
11:00-12:30 PANEL: Comparative Studies
Aki Nakamura
Comparative Case Studies on China’s Pan-Entertainment practices and its adaptation ofJapanese entertainment companies
The present studies attempt to describe recent development of media mix efforts taking place in
the Chinese regions, called “Pan-Entertainment” and the efforts of Japanese companies in placing
their works in the Chinese market.
The studies shows the conceptual development of ‘pan-entertainment’ in China and can be
categorized roughly into four phases. As comparative case studies, each phase is described,
using specific examples. The chaotic phases is represented by the modern martial arts novels by
Jinyong and following related works expanding to other medium including digital games. This caseshow how the Chinese people embraced the works of Jinyong and how various producers acrossvarious media attempted to adapt Jinyong’s works with passion but uncoordinated efforts, often
neglecting the nature of licensing business. The next case is from the Chinese Paladin, theintellectual property created in Taiwan. The case is expounded to show how the management of
this IP is attempting to closely follow the media mix strategy often used by the Japanesecompanies, thus can be categorized into the media mix imitation phase. The case of the Qin’s
moon, can be considered as the early phase of pan-entertainment as in spite of the fact that theworld was first created by Taiwanese author, it was then reinterpreted and expanded by the
Chinese creative entrepreneur and producer. Then finally, Ghost Blows Out the Light’s case is
expounded to show today’s China’s pan-entertainment as it was initiated from online novels andstrategically expanded to multiple works across various media.
The studies then show how Japanese companies operating in China try to adapt panentertainment like strategy by working in collaboration with Chinese companies. Three cases isshown, one if BandaiNamco Shanghai and its work on Naruto series, next one is Square-Enix andits work on Million Arthur series, and then final cases of that of SNK and its strategically with theKing of Fighters series. Each of company had been taking their intellectually properties for theirways of media mix strategy; but through this cases, the study attempt to show how each of the firm
attempt to adapt into pan-entertainment strategy currently practices in China.
Various limitations apply to the present studies. First, so called pan-entetainment strategies taken
by various firms in China is still at formation stages and thus are subjects of conceptual testing andchanges, thus very definition of pan-entertainment may change over time. Thus, for the present
studies, the definition based on the practices up until 2017 is examined. The purpose of thepresent studies is to scrutinize the practices of both Chinese companies and Japanese companies
based in China and not determining the effectiveness of such practices; the effectives of how panentertainment should be designed would be another subject of research for the future endeavors.
With limitation aside, the studies attempt to unravel the recent trend of Chinese company’s attemptin taking their IPs across media as well as how Japanese digital game publishers are attempting tocoop with such ongoing trend.

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Chart : Typology on pan-entertainment in the Chinese region

References
蘇宇庭 (2016)「網路路⽂文學IP⼤大爆發：泛娛樂樂樂樂⽣生態戰略略全⾯面啟動」『数位時代Busness Nex』<https://www.bnext.com.tw/article/40546/BN-2016-08-09-175143-178> (2018/02/26 Access)中村彰憲（2005）「中国オリジナルコンテンツを研究する」『中国ゲームビジネス徹底研究
2006』pp. 65-90_____ (2015)「2014年年中国ゲーム産業成功の法則キーマンに聞く」『ファミ通ゲーム⽩白書2015』
pp. 394-395_____ (2015)「中国-海海外動向」『デジタルコンテンツ⽩白書2015』pp. 191-200_____ (2016)「3 中国:第6章海海外動向」『デジタルコンテンツ⽩白書2016』pp. 199-210
冷泉弘隆隆（2016）「中国市場に切り込む⽇日本のゲーム産業」『ファミ通ゲーム⽩白書2016』pp.
400-401
⼭山⽥田⼤大輔 (2017)「中国で花開く⽇日系エンターテインメント企業」『ファミ通ゲーム⽩白書2017』pp.
400-401

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Stefan Bruckner
Examining Differences in German and Japanese Player Experience: A Grounded Theory
Approach
The way players interpret and experience video games is inextricably linked to their cultural
backgrounds (Consalvo 2006, 127). In broader gaming discourses, this is often linked to aperceived dichotomy of Japan, and “the West”, with emphasis being put on supposed differences
between Japanese and Western games, as well as Japanese and Western players. This “binary
perspective” (Pelletier-Gagnon 2011, 84), based on a notion of the uniqueness (i.e.
“Japaneseness”) of Japanese games has repeatedly been objected to scholarly scrutiny (e.g.
Consalvo 2006, Navarro-Remesal and Loriguillo-López 2015). Mia Consalvo (2016, 178), while
admitting that “player expectations and preferences can differ from one culture or region toanother”, criticizes such a discourse of “Japaneseness” as being used as a rhetoric mechanism,
enabling game developers to shift the blame of an unsuccessful release on unbridgeable culturaldifferences. However, it is still deeply ingrained in many players and deeply affects the way
Western players interact with Japanese games.
This paper aims to contribute to a better understanding of how player experience differs, based on
the players cultural background, by examining and comparing the German and Japanese user
reception of a diverse range of Japanese video games published since 2012. Focusing on
Japanese games (i.e. developed by a Japanese company) we also wish to examine the German
perception of what constitutes “Japaneseness” and contrast it with the Japanese views on thesame game titles. Our dataset includes user reviews (amazon.de/co.jp, Steam, Famitsu), German
and Japanese gaming related YouTube videos and Twitch.TV streams, as well as user comments
to online gaming media articles. Contrary to Zagal and Tomuro, (2013) we proceed with aqualitative analysis of the content, combining a grounded theory approach with a qualitative
content analysis aided by QDA software (Schreier 2014, Strübing 2014).
References
Consalvo, Mia. 2006. "Console video games and global corporations: Creating a hybrid culture."
New Media & Society 8 (1):117-137.
Consalvo, Mia. 2016. Atari to Zelda: Japan's videogames in global contexts: MIT Press.
Navarro-Remesal, Victor, and Antonio Loriguillo-López. 2015. "What Makes Gêmu Different? A
Look at the Distinctive Design Traits of Japanese Video Games and Their Place in the JapaneseMedia Mix." Journal of Games Criticism 2 (1):1-18.
Pelletier-Gagnon, Jérémie. 2011. Video Games and Japaneseness: An analysis of localization andcirculation of Japanese video games in North America: McGill University (Canada).
Schreier, Margrit. 2014. "Varianten qualitativer Inhaltsanalyse: Ein Wegweiser im Dickicht derBegrifflichkeiten." Forum Qualitative Sozialforschung/Forum: Qualitative Social Research.
Strübing, Jörg. 2014. Grounded Theory: Zur sozialtheoretischen und epistemologischen
Fundierung eines pragmatistischen Forschungsstils: Springer-Verlag.
Zagal, José Pablo, and Noriko Tomuro. 2013. "Cultural differences in game appreciation: A study ofplayer game reviews." FDG, Chania, Greece.

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Tomás Grau
mukokuseki and ludic traditions: a problematization of the interpretation processes ofJapanese videogames
In recent years, a huge amount of research has been undertaken to properly assess thedevelopment of the videogame medium on both a global and a local scale, with works that attempt
to frame its history as a transnational process first and as a set of locally distinct frameworks ofproduction and consumption second. A huge portion of that work has been dedicated to assessing
the proper impact of Japanese videogames in the world, both as culturally neutral (or mukokuseki)products and as pieces of a particular media environment that is unique to Japanese pop culture.
With this goal in mind, authors like Picard (2013), Pelletier-Gagnon (2015) and Navarro-Remesal
and Loriguillo-López (2015) propose the usage of local terminologies to describe the elements that
set apart Japanese gēmu from the rest of their counterparts. These works are useful to approach
Japanese videogames as multi-faceted commodities, but also open new questions pertaining totheir behavior and reception depending on the context that they operate on. Moreover, it highlights
the importance that interpretation has whenever Japaneseness is brought up as a significant
component of a videogame’s character.
This proposal will tackle these new enquiries by suggesting that interpretation from both players
and producers alike is highly influenced by the segmentation of gameplay preferences as well as
the sociological hierarchization that it’s at play in the medium. These forces (which are determinedby both market pressures as well as sociocultural and political expectations) determine the senseof foreignness that certain Japanese games develop when they begin to circulate. From this
distinguishing process, a sense of belonging to a ludic tradition emerge within communities andbecomes the main instrument through which certain elements (from tiny design factors to entire
game genres) get to be assigned as part of a specific culture or media environment. Throughout
this presentation, I will outline the way in which this sense of tradition is brought upon in
discussions around the medium, and attempt to identify its roots in the story of the industry and in
the unequal dialectic existing between the Japanese design scene and the supposedly allencompassing Western scene.
References:
Allison, Anne (2006) Millennial Monsters: Japanese Toys and the Global Imagination. Berkeley:
University of California Press.
Aoyama, Yuko & Izushi, Hiro (2006) “Industry evolution and cross-sectoral skill transfers: acomparative analysis of the video game industry in Japan, the United States, and the United
Kingdom.” Environment and Planning A 2006, Volume 38, pp. 1843-1861.
Consalvo, Mia (2006) “Console video games and global corporations: Creating a hybrid culture”.
New Media Society, 8(1), pp. 117-137.
Genette, Gérard (1997) Paratexts: Thresholds of interpretation. Cambridge: Cambridge University
Press. Kline, Stephen; Dyer-Whiteford, Nick & de Peuter, Greig (2003) Digital Play: the interactiveof technology, culture and marketing. Montreal & Kingston: McGill-Queen’s University Press.
Loriguillo-López, Antonio & Navarro-Remesal, Víctor (2015) “What makes Gêmu different? A lookat the distinctive design traits of Japanese video games and their place in the Japanese mediamix.” Journal of Games Criticism, Volume 2, Issue 1. URL: http://gamescriticism.org/articles/
navarro-remesalloriguillo- lopez-2-1/
Picard, Martin (2013) “The Foundation of Geemu: A Brief History of Early Japanese video games.”
Game studies 13:02. URL: http://gamestudies.org/1302/articles/picard
Wolf, Mark J. P. (2015) Video Games around the World. Cambridge: MIT Press.

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DAY ONE: 20 AUGUST 2018
14:00-15:30 PANEL: DEVELOPMENT

Development on the Authoring and Playable Platform Based on Omnidirectional Image Data
Shinya SAITO

Shuji WATANABE

saito.shinya@gmail.com

wash@im.ritsumei.ac.jp

Kazutoshi IIDA
Professor, College of image artsand sciences, Ritsumeikan
University, Kyoto, Japan

Seiki OKUDE
Professor, College of image artsand sciences, Ritsumeikan
University, Kyoto, Japaniida.kazutoshi@gmail.com

sokude@fc.ritsumei.ac.jp

Associate professor, College of image Associate professor, College of image
arts and sciences, Ritsumeikanarts and sciences, Ritsumeikan
University, Kyoto, Japan
University, Kyoto, Japan

Shosaku TAKEDA

Professor, College of image arts andsciences, Ritsumeikan University,
Kyoto, Japan
str14032@fc.ritsumei.ac.jp

Keywords
Visualization, Game engine, VR, Serious game
ABSTRACTIn recent years, the integration methods of geographical information system and 3D-CG/
VR / AR technologies has been generalized. By using such method, the real-life spatiotemporal
information can be innovated into digital games or other entertainment contents. Based on thistrend, we are developing a VR system can make a certain area “playable” as a kind ofentertainment digital contents by authoring of omnidirectional image data.
Omnidirectional camera typed by “RICHO THETA” capable of shooting 360-degree
panoramic images are widely spread. By using a combination of these cameras and our system,
users can interactively visualize their homes, schools, buildings, historical sites and the like.
Moreover, it makes it possible for players to experience content (arbitrary "place") widely. We
brought out “ENGI KUKAN ver.1” (the characteristic function of “ENGI KUKAN ver.1” was VRtimeline) at Replaying Japan 2017. By upgrading that, we are developing “ENGI KUKAN ver.2
SPATIO KITCHEN”. In the presentation stage of last year, the system was implemented
emphasizing the aspect of "VR timeline", but this time we proceed with implementation thatreinforced the aspect of "spatio-temporal information authoring tool". And the time representationof 3D chronology using Unity more flexibly and also implemented a mechanism to annotate related
still images, audio data, text data, etc. Moreover, 360-degree images can be set as nesting
structure. For example, users are able to move the viewpoint from 【whole ground】to【building】, from【building】 to 【room】 in the VR space (see Figure 1). In addition to that,timelines that include time series information also can be annotated to 360-degree image (seeFigure 2). Furthermore, each time-lines are stored in a gourd on ENGI KUKAN ver.2 to add “playelements” to the system.
In actually, we made “VR-campus of Ritsumeikan University” with Engi Kukan. We willreport and demonstrate it on that day of this conference. At the present stage, it is suggested thatpossibility to effectively utilize various experiences at university and distribution of contents about
the history.

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Figure 1: Nesting structure of SPATIO KITCHEN

Figure 2: System configuration

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Constructing Multicultural Learning Environment
and Collaborative Serious Games in Metaverse
Juhyung SHIN

Yehang JIANG

Mitsuyuki INABA

Graduate School of Core Ethics &Frontier Sciences, Ritsumeikan
University56-1 Tojiin-kitamachi, Kita-ku,
Kyoto, Japan
gr0206xr@ed.ritsumei.ac.jp

Graduate School of Core Ethics &Frontier Sciences, Ritsumeikan
University56-1 Tojiin-kitamachi, Kita-ku,
Kyoto, Japan
gr0261ps@ed.ritsumei.ac.jp

College of Plicy Science,
Ritsumeikan University
2-150 Iwakuracho, Ibaraki,
Osaka, Japaninabam@sps.ritsumei.ac.jp

Keywords
Multicultural Learning, Collaborative Learning, Situated Learning. Serious Game, Metaverse

ABSTRACTThis research aims at implementing a "Collaborative Serious Game" that enables multicultural learning
among learners mediated by virtual space. First, this presentation introduces the 3D metaverse regarding“hidden Christians” heritages for multicultural values and religious where both Japanese and Western culture
are mixed. Next, it outlines a hypothetical mechanism of learning process among learners as the results ofqualitative analysis of learning experiment with the 3D metaverse. Finally, it discusses the advantages andlimitations of the multicultural learning environment based on the “Collaborative Serious Game" framework
mediated by virtual space from the perspective of social constructivism and situated learning paradigm.

Over the past decade, virtual worlds have been used to develop a platform for research and practiceof multicultural learning (Diehl, & Prins, 2008; Hasler, 2011; Coffey, Kamhawi, Fishwick, &Henderson, 2017). Those studies set specific targets for achievement in the learning, and used
quantitative methods to evaluate multicultural sensitivity and skills as a result of learning activities.
However, as Lev Vygotsky (1962;1978) and his followers in the circle of social constructivism
claimed, flexible social interactions in natural settings are important for learning. For example,
learners in the settings may raise questions that were not expected by other learners. They may also
expand their knowledge through dialogues about the questions with capable others. From thestandpoint of social constructivism, we consider that it is important to establish a methodology ofmulticultural learning that makes use of flexibility and interactivity on the learning in virtualworlds.
From this viewpoint, this research aims at implementing a "Collaborative Serious Game" (Inaba etal., 2015; Shin, Jiao, Jiang, & Inaba, 2016) that enables multicultural learning among learners
mediated by the virtual world, or 3D metaverse. This research also adopts qualitative approach indata collection and analysis to investigate the mechanism that learners find questions and build
knowledge during their learning process. As a result of the analysis, we are expecting to build an
effective framework and environment of collaborative serious games for multicultural learning in
the virtual world.
In this presentation, we will first introduce the multicultural learning environment that we havebeen working. It is the platform for learning multicultural values and religious views where both
Japanese and Western culture are mixed and converge. In particular, it is based on the culture of“hidden Christians (kakure kirishitan or senpuku kirishitan).” After the first introduction of

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Christianity by Francisco Xavier in 1549, “hidden Christians” inherited their beliefs for hundreds ofyears. These residents in some areas struggled to maintain their faith by themselves even after its
interdiction in 1614. Over the years, their version of Christianity transformed into a unique religious
culture intermingled with Buddhism, Shintoism, folk religions and beliefs. Thus, the culture of“hidden Christians” becomes valuable learning tool to understand the cultural exchange andconvergence of Japanese and Western culture and for developing a multicultural perspective.
We investigated the traditional heritages and ruins of the Christian culture located on the north sideof Osaka Prefecture. We also built a space inside the metaverse where we can learn about thevarious artifacts and customs that merge Christian culture with Japanese religion and values (Figure1). We are currently developing a serious game, not just for the hidden Christian culture, but also
including a variety of religions and values (Figure 2).
As our next step, we are planning to conduct experiments involving Japanese and international
students adapting this collaborative serious game environment. We analyze learner's interaction in
virtual space and virtual space using visual ethnography and distributed cognition method. We will
present the results of this experiments of the collaborative serious games which provides players to
introduce their own cultural and religious values and cooperate to answer quizzes.
At the end of the presentation, we discuss the advantages and limitations of our multiculturallearning environment based on the “Collaborative Serious Game" framework mediated by virtual
space from the perspective of social constructivism and situated learning paradigm.

!
Figure 1: Hidden Christian house and related web contents

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!
Figure 2: Quizzes on Hidden Christianity

REFERENCES
Coffey, A. J., Kamhawi, R., Fishwick, P., & Henderson, J. (2017). The efficacy of an immersive 3D virtual versus
2D web environment in intercultural sensitivity acquisition. Educational Technology Research andDevelopment, 65(2), 455–479.
Diehl, W. C., & Prins, E. (2008). Unintended outcomes in Second Life: Intercultural literacy and cultural identity
in a virtual world. Language and Intercultural Communication, 8(2), 101–118.
Hasler, B. S. (2011). Intercultural Collaborative Learning in Virtual Worlds. In R. Hinrichs & C. Wankel (Eds.),
Transforming Virtual World Learning (pp. 265–304).
Inaba, M., Tamai, M., Kitamura, K., Thawonmas, R., Hosoi, K., Nakamura, A., & Uemura, M. (2015).
Constructing Collaborative Serious Games for Cross-Cultural Learning in a 3D Metaverse. In Proceedingsof Replaying Japan Again: 3rd International Japan Game Studies Conference 2015 (pp. 84–85).
Shin, J., Jiao, Y., Jiang, Y., & Inaba, M. (2016). Research on Serious-Game Design for Inter-Cultural
Understanding mediated by 3D Metaverse. In Replaying Japan 2016 Conference Abstracts (pp. 81– 82).
Vygotsky, L. S. (1962). Thought and Language. Massachusetts Institute of Technology Press.
Vygotsky, L. S. (1978). Mind in society: the development of higher psychological processes. Harvard University
Press.

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DAY ONE: 20 AUGUST 2018
15:30-17:00 PANEL: PLATFORMS
Kieran Nolan
JAMMA Arcade Platform: Interface Constraints and Aesthetic Affordances.
This paper provides provides an overview of the JAMMA arcade hardware standard, while criticallyanalysing the audiovisual and gameplay aesthetics of game titles designed for JAMMA compliant
systems.
The JAMMA wiring interface standard for arcade cabinets was agreed by the Japanese Arcade
Amusement Manufacturers association in 1985 (Clair 2011, 476). JAMMA was originally set up as anindustry rights group in 1981, before expanding its role to a trade organisation in 1989 (Ashcraft 2008,139). The association includes videogame industry heavyweights including Sega, Namco, Sammy,
Bandai, and Taito.
JAMMA is a standard born out of financial necessity, and defines a common interface link among the
majority of arcade videogame hardware, insofar as connectivity from the game cabinet to the game
PCB is concerned. A JAMMA standard connection consists of a 56 pin edge connector with 28 double
sides spaced at 0.156 inches, male on the game board (Twine 1999). The spacing of these pins is
consistent across all JAMMA boards.
JAMMA standard arcade boards can be exchanged between machines conforming to the standard in asimilar manner to the swapping of game cartridges on home console systems. The uniformity in gamecabinet connectivity introduced by the JAMMA standard reduced running costs for arcade operators,
decoupling the mandatory purchase of a new physical cabinet for each new game title, instead allowing
the reuse of existing game machines with new boards.
Beyond the 56 pin interface, the platform specifications for videogame hardware using the JAMMA
connection vary greatly in terms of memory, processing power, GPU type and sound playback
technologies. JAMMA is not a singular computational platform, but rather a family of diverse andevolving hardware standards, all unified by a common edge connector interface. This range ofplatforms are unified in their aesthetic properties through the baseline JAMMA arcade cabinet
specification of a 15hz 240p monitor. This low resolution and low framerate visual viewfield alongside
two player joystick based controls (Tominak 1994) form the essential constraints that shape the player
experience of JAMMA platform hardware as introduced in the mid-1980s to its continued use present
day usage.

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Mikhail Fiadotau
Digging into the Game Engine: A Selective Archaeology of Hobbyist Game Development in1990s’ Japan
This paper explores the history of hobbyist videogame development in 1990s’ Japan through the prismof game creation tools. In doing so, the paper adopts a platform studies (Bogost & Montfort, 2007)
approach to game creation software, investigating how the affordances, conventions, and origins of atool affect games made with it. At the same time, the paper is driven by a media archaeological(Parikka, 2013) sensibility: it attempts to better understand the current state of hobbyist gamedevelopment in Japan through an analysis of older software.
The paper discusses three tools which, to varying degrees, were influential and representative ofJapan’s hobbyist game creation scene in the period.
The Dezaemon (絵描衛⾨門) series comprises six instalment, with the first one released in 1991 for the
Famicom by Athena. Dezaemon allowed the player to create their own vertically scrolling shooter bycustomizing existing levels, visuals, enemy formations, and the soundtrack. While the gameplay
remained the same, some players were able to put Dezaemon to very creative uses such as creating a
racing game and a Space Invaders parody. There was, however, no possibility of copying one’s creation
to another cartridge, although Athena shipped selected player games with subsequent instalments ofthe series.
RPG Maker (RPGツクール) is a line of Japanese-style RPG development toolkits available for various
platforms, with RPG Construction Tool Dante (ASCII, 1991) being the first instalment. Shipping withready-made assets and available for a wide range of platforms, RPG Maker has enabled game creators
across the globe to make their own role-playing games which, thanks to the terms of the license
agreement, they have been able to distribute, including commercially. At the same time, RPG Maker
retains some features of a customizable game found in Dezaemon, offering its users very little control
over the technical aspects of the game.
NScripter is an engine for visual novels, a genre that emerged in Japan’s PC game scene, which has
historically played second fiddle to console gaming in the country. The PC scene has also been a place
for content which could not pass the censorship associated with console publishers such as Nintendo(e.g. sex). Unlike the other two tools, NScripter has no interface or bundled assets, being instead aninterpreter for code written in a simple language. It has been used to develop many games, including
the successful dōjin (Hichibe & Tanaka, 2017) games Higurashi-no Naku Koro-ni (07th Expansion,2002) and Tsukihime (Type-Moon, 2000).
I chose to focus on these seemingly disparate tools because they highlight the diversity of hobbyist
game development of the period, covering different platforms, licensing models, degrees of creative
freedom, and spanning three separate genres, each of which has enjoyed immense popularity inJapan. The three tools also form a spectrum: from a customizable game to a pure game engine with nocontent of its own. However, an examination of the games produced with all three tools seems toconfirm Hurrel’s (2016) observation that hobbyist development often starts as an extension of gaming
itself.
References
Bogost, I. & Montfort, N. (2007). New media as material constraint. An introduction to platform studies.
In Electronic Techtonics: Thinking at the Interface. Proceedings of the First International HASTAC
Conference (pp. 176–193).
Hichibe, N. & Tanaka, E. (2016). Content Production Fields and Doujin Game Developers in Japan:
Non-economic Rewards as Drivers of Variety in Games. In Pulos, A. & Lee, S.A. (eds.) Transnational
Contexts of Culture, Gender, Class, and Colonialism in Play (pp. 43–80). London: Palgrave Macmillan.
Hurel, P.-Y. (2016). Playing RPG Maker? Amateur Game Design and Video Gaming. Presented at The
First Joint International Conference of DiGRA and FDG, Dundee, Scotland.
Parikka, J. (2013). What is Media Archaeology? New York: Wiley.

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DAY TWO: 21 AUGUST 2018
9:30-11:00 PANEL: MUSIC 2
Jason Bradshaw
The Golden Age of JRPG Music: MIDI Masterpieces
Few who have had the pleasure of playing Chrono Trigger will forget that moment when
the cursed knight, Glenn, joined the party. The accompanying 16-bit track evokes a flood of
emotion. Contained within those bleeps and bloops there is a sense of hope, sadness, and fantasy
that (to me) stands unparalleled in any contemporary video game track. It was not only Glenn,each of the 7 party characters in Chrono Trigger had an associated musical track that was just as
moving. It is this attention to detail and obvious loving care that sets apart the NES/SNES era
JRPGS from any to date. This is an age where we were introduced to the iconic overworld themeof Zelda: A Link to the Past, the memorable tones of Secret of Mana, and the still standard
fanfare of Final Fantasy. Creating this music was no simple feat, as simplistic as the sounds
might seem. These composers needed a way to cross that barrier between the digital and thepurely artistic, and they found it in Musical Interface Digital Music (MIDI). It allowed video
game composers to communicate between the two instruments, the computer and the musicaldevice (Richard, 2006). MIDI tracks were as foundational to the JRPG genre as either graphics
or gameplay and most of these tracks are just as moving today as they were then. But why might
this be?
Something about composing music in this manner has staying power, and it can be
discovered through Critical Code Studies (CCS). In his article entitled Critical Code Studies,Mark Marino (2006) asks a question about computer code for programs that could just as easily
be applied to the code of a MIDI: “People like to project humanity onto the computer, but is it
possible that with regard to coding we do just the opposite and strip the code of its humansignificance”? Just like most programming languages, MIDI’s consist of strings of charactersthat are interpreted by a computer to produce those retro 8 and 16-bit tracks that we know andlove. Using CCS it will be shown that there is a lot more to a MIDI than just characters arranged
into header and track chunks (Richard, 2006). This musical coding standard can be compared tothe compositional techniques of famous classical composers.
Using the code for the 16-bit tracks from Chrono Trigger, it will be shown that there areseveral comparisons that can be made between MIDI’s and classical composition. There really is
no removing the human element from MIDI’s, maybe even more so than traditional programcode, and it is perhaps why some of the golden age JRPG music is still played in symphonies
around the world today.
Working Bibliography
Marino, Mark. “Critical Code Studies.” Electronic Book Review, 2006, http://
www.electronicbookreview.com/thread/electropoetics/codology. Accessed 10 February 2018.
Montfort, Nick, et al. 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. MIT Press, 2012.
Nicholson, G. Gordon. The Experience of Successful Contemporary Classical Musical Compositions for
Non-computer-assisted Performance: A Qualitative Study. 1997.
Richard, Stéphane. " MIDI Programming - A Complete Study." petesqbsite, 2006,
www.petesqbsite.com/sections/express/issue18/midifilespart1.html. Accessed 10 February 2018.

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Early History of Epistemic Sounds in Digital Games
Hiroshi YOSHIDA

Professor, Graduate School of Core
Ethics and Frontier Sciences,
Ritsumeikan University56-1 Toji-in Kitamachi, Kita-ku,
Kyoto, 603-8577, Japan
QYY02630@nifty.ne.jp

Keywords

Game sound, acoustic ecology, epistemic sound

ABSTRACT

Most previous studies on digital game sound have been taking their examples from FPS games played for
multiplayer and rendering 3D environments.
Analyzing the player experience of Half-Life 2 (2004), Morten Breinbjerg (2005) described how differently
visual perception and auditory perception are performed when we play 3D games. In the 3D environment,sounds inform us about the actions, events and things outside of and beyond our visual perspective and thus
help us to understand the environment more completely.
Also focusing on FPS games, Mark Grimshaw and Gareth Schott (2007) introduced a new term acoustic
ecology to conceptualize the intricate relationships between players and game sounds.
Adapting and developing their terms and perspectives, Kristine Jørgensen (2017) more recently distinguishedgame sound into two categories: ecological sounds and emphatic sounds, with an aim to provide a mediumspecific approach to sounds in digital games.
In order to develop this game-specific approach, this paper introduces the term epistemic, which was
originally proposed in David Kirsh and Paul Maglio’s (1994) study on actions of game player in order todesignate those actions “performed to uncover information that is hidden or hard to compute mentally.”
Epistemic sounds are thus defined as those uncover hidden or unspecified information and thereby afford theplayers rich clues for perceiving, thinking and acting in the ecology of game world.
This paper also sketches the origin and development of epistemic sounds by analyzing examples from theearly history of digital games. We can trace their origin in early 1980s and point out some archetypes along
their development: sounds referring to off-screen events, sounds informing invisible status or change of theenvironment and sounds acoustically complementing the lack of visual information.

WORK CITED

Breinbjerg, Morten. “The Aesthetic Experience of Sound: Staging of Auditory Spaces in 3D Computer
Games.” Paper presented at the Aesthetics of Play conference in Bergen, Norway, 14-15 October
2005.
Grimshaw, Mark, and Gareth Schott. “Situating Gaming as as Sonic Experience: The Acoustic Ecology ofFirst-Person Shooters.” In Situated Play: Proceedings of DiGRA 2007 Conference, pp. 474-481.
Jørgensen, Kristine. “Emphatic and Ecological Sounds in Gameworld Interfaces.” In The Routledge
Companion to Screen Music and Sound edited by Miguel Mera, Ronald Sadoff, and Ben Winters, pp.
72-84. New York & London: Routledge 2017.
Kirsh, David, and Paul Maglio (1994). “On Distinguishing Epistemic from Pragmatic Action.” In Cognitive
Science, vol. 18, no. 4, 1994: 513-549.

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Konstantin Freybe
The Singing Chat Of “OuterHeaven”
What does it take to turn broadcasting gameplay into a career? And which skills are required inorder to do so? The gaming oriented social live-streaming service Twitch.tv is a good place to look
for answers, as it offers monetization based on donations, subscriptions, microtransactions, oradvertising partnerships. Streamers must comply with the terms and conditions of the platform andits (not legally binding) community guidelines. Aside from that, each channel may also design its
own customized rules, e.g. refrain from spoiling plot developments, hateful comments, spam,
posting URLs in the chat, or writing comments in all capitals. Thus, one could argue thatmaintaining a channel is a highly structured/regulated practice.
In my paper, I will discuss the case of the singing chat of Outerheaven. The analysis will show thatmaintaining this successful Metal Gear Solid themed team channel on Twitch.tv requires more thancomplying with the aforementioned sets of rules. The streamers have to not only show profoundskill in playing the respective games and interacting with the audience, but also need to showtechnical an organizational skill in order to run the channel (e.g. working in shifts without
interrupting the broadcast and handling increased marketing efforts). While the latter is moreclosely related to conventional practices of media professionals, this paper focuses on the former
to discuss the relevance of knowledge-based community practices.
The singing chat can be encountered when OuterHeaven broadcasts gameplay of Metal Gear
Solid 3: Snake Eater. During the final boss fight, a variation of the title theme Snake Eater starts toplay. When the vocals begin, viewers will contribute the respective lines of text to the chat, timed tothe audio/video feed. The player artificially prolongs the boss fight in order to allow the complete
title theme to be played and the chat to sing along with the whole piece. This is risky for the player
because the fight ends with the music. If the last hit is not registered in time the game will be over.
From this perspective, conducting and performing OuterHeaven have to be viewed as community
efforts. The singing chat exemplifies the involvement of the audience in the broadcast. In this case,the roles of chat participants shift from spectators to active (co-)performers which is often
accompanied by transgressions of some established rules. In conclusion, the musical coperformance of game, streamer and chat-participants has strong implications for the importance ofcommunity building and management for professional gaming. A channel’s success in terms ofviewer commitment and willingness to spend money depends on the applied strategies of audience
involvement. Careers on Twitch.tv rely strongly – not exclusively – on various skills, applying theseflexibly and in coordination with the community of viewers.

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DAY TWO: 21 AUGUST 2018

11:30-13:00 PANEL: WAYS OF PLAYING
Nathan Altice
Four Ways to Play in Hell: Makaimura Board Games in Translation
Makaimura (魔界村)—or Ghosts 'n' Goblins in the West—has long been notorious in videogame
history for its devilish difficulty and cartoon take on Hell's denizens. Capcom first lured players to
the depths of the Great Demon King's castle in the arcades, but the game's popularity spawned ahost of ports to many computing platforms, from the Nintendo Famicom to the ZX Spectrum. While
several of these ports live on in infamy through masochistic Twitch streamers, YouTube microcelebrities, and speedrun aficionados, one conspicuous absence in its porting history is board
games.
Capcom lent Makaimura's boxer-clad knight and cartoon devils to every imaginable merchandising
opportunity: mini-figures, pencil cases, candy, dioramas, t-shirts, notebooks, and more. But board
games offered more than mere brand affinity. With cardboard and plastic pawns, board game
adaptations were meant to replicate not only Makaimura's visual appeal, but its notable mechanicalhooks. Weapon upgrades, distinct stages, boss battles, the game's cruel looping structure, andyes, even Arthur's underwear, all made the leap from screen to board.
Drawing on new translations and archival research in the history of Japanese games, thispresentation examines four distinct adaptations of Makaimura in board game form, including
Bandai's tiny "Famous Scene" (カセット名場⾯面ゲーム) game that folds into a faux Famicom"cassette," Bandai's deluxe adaptation of the game in their Joy Family (ジョイファミリー) series,
Hanayama's rare adaptation that included in-game screenshots and strategy guides, and an odd
Korean bootleg that cribbed elements from both Bandai and Hanayama. Each adaptation is aunique window into how board games functioned (and failed) as platforms, how resonant culturalforms—like Japanese sugoroku すごろく—informed these games' design, and how board games
had to contend and compete with their ultimate usurper—videogames.

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Keiji Amano and Geoffrey Rockwell
Gambling as Play: the Case of Pachinko
When is it gambling and when is it play? As Torres (2013) points out there are ludic dimensions toelectronic gaming machines which make it hard to distinguish clearly what is a game and what isgambling. This issue has come to a head in Japan which is moving to allow integrated casino
resorts for the first time. The government is now developing regulations for these new integrated
resorts in the face of reports about the prevalence of gambling addiction in Japan. These
regulations are affecting the most popular form of play in Japan, pachinko and that is what thispaper is about, the shift in negotiated balance between gaming and gambling as it changes inJapan. In the presentation we will:
Briefly introduce the game of Pachinko and its extraordinary importance in Japan. We will explain
the legal regimen under which Pachinko operates that keeps gaming and gambling in balance.
Discuss the coming changes as gambling is legalized, albeit only in integrated resorts, and theeffects that is having on the regulation of Pachinko.
Discuss a survey of Pachinko players and their attitudes towards the game and gambling.
Conclude with some comments on the family resemblance of gaming and gambling.
Japan has over 50% of the electronic gaming machines in the world and most of them are
Pachinko machines (Ziolkowski 2017). Pachinko and its companion game Pachislot are notconsidered gambling in Japan because one feeds the vertical pinball-like game with steel balls andwins steel balls in return. While you rent the balls with money, you can’t redeem the balls formoney. Instead you get merchandise of various sorts, some of which can be exchanged for cash indiscreet shops in the neighborhood of the pachinko parlour; shops that are supposedly notconnected to the parlour. Thus part of the understanding that makes pachinko legally not gamblingis the playing for stuff not money, but another aspect is the relationship between the cost of balls
and the maximum odds for winning balls. As long as the cost of balls is low and the odds are low,
the money lost can be considered the steady cost of playing, much like the cost of feeding anarcade machine with coins to keep playing. But, when the odds change and one can either lose or
win dramatically, Pachinko is perceived as shifting from being a way of “killing time” with anentertaining game of chance (and a minute amount of skill) and becomes gambling. Hence theimportance of shifts in attitudes and regulation that are changing the informal contract in Japanaround Pachinko as a game. This makes the current changes due to the coming of casinos inJapan an interesting case study in the differences between gaming and gambling.
So far, the government introduced many regulations to reduce gambling elements from Pachinko.
In addition, they discussed the Anti-gambling Addiction Bill in accordance with the IR Promotion
Law that is different from the Amusement Business Law although both of them are under thecontrol of Ministerial Conference on Promotion of Countermeasures for Gambling Addiction. Last
year, the Ministry of Health, Labor and Welfare reported that there are 3.2 million gambling
addictions that is 3.6% of the Japanese population and average amount of money they spent onpachinko was 58,000 yen/month. Players still play relatively larger amounts of money on Pachinko
than other leisure activities while the probability of a phone call to the addiction counselling
institutions is 0.0003%. Obviously, there is a gap between self-recognition of players as addicts
and what they are spending. That means players who think they are casual players are actually notcasual. This is why the government wants to control the gambling element in Pachinko.
In 2017, we conducted interviews (n=103) with pachinko players in Nagoya. From these interviews,
we found that there is a difference of recognition in cohort, in other words, there is a generation
effect. It is obvious that younger generations are interested in chasing money from pachinko, butpeople over 50 years old have different tendency. They prefer to kill time or just want to have a funwith low rate Pachinko. Thus, gambling may be the more appropriate word for the habits of theyounger generation and gaming is a better description for the present older generations.

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As a part of the interview, we also asked interviewees about monthly income and monthly
expenses on pachinko. Younger people tend to spend much more of their income than older
people. For example, 18-29 years old players spend 20% of their income. Players older than 60
years old spend 14% of their income. Both are higher than the average recreational expenses of
the Japanese (9.9%, 25,000 yen/month).
According to a 2015 survey of pachinko fans implemented by an industrial association Nichiyukyo,
players' needs are focused on features there have never been. In this report, the most desired newfeature for Pachinko is strangely dementia prevention although the age distribution of respondents
is not biased. It is also interesting to see elderly people playing Pachinko outside the parlours(nursing homes, arcade game centres in shopping malls etc.) where older machines expired fromparlours are installed. Younger generations (both male and female) want other features likecompetition in real time with other players just like online video games.
References
Chantal, Y. and Vallerand, R.J.(1996), “Skill versus luck: A motivational analysis of gambling
involvement”, Journal of Gambling Studies. 12:4. 407-418.
Japan Productivity Center (2015), White Paper on Leisure 2015, Japan Productivity Center.
MHLW (2017), Basic Survey on Wage Structure 2016, MHLW.
National Police Agency (2017), Current Circumstances of Amusement Business Environment andCriminal Investigation 2016, NPA.
Nichiyukyo (2015), Nichiyukyo Fan Questionnaire Survey 2015, Nichiyukyo.
Statistical Bureau of Japan (2017), Survey on Time Use and Leisure Activities 2016, SBJ.
Torres, C. A. (2013). “Gamblingmachines and the Automation of Desire.” PLATFORM: Journal ofMedia and Communication. 5:1 (October): 34–51.
Ziolkowski, S. (2017). The World count of Gaming Machines 2016, Report from the Gaming
Technologies Association.

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Fanny Barnabe
Twitch Plays Pokémon: Reappropriation as a Fictional and Playful Matrix
This paper (based on a chapter of my PhD dissertation) will explore, with the tools of rhetoric andnarratology, a specific case of video game reappropriation by players: the Twitch Plays Pokémon
phenomenon.
Launched in 2014 by an anonymous Australian programmer, this experiment consisted in making
Internet users play the game Pokémon Red (originally developed for the Game Boy) on the video
streaming platform Twitch (with the help of a bot retrieving the messages written in Twitch’s chatand converting them into commands). Concretely, while Pokémon Red was broadcast live online,
any user could enter in the chat the name of one of the Game Boy’s keys (“A”, “B”, “up”, “down”,“Left”, “right”, “select” or “start”) and see this message be transposed into the corresponding actionin the game. The principle was, in other words, to share the control of a single avatar (theprotagonist of Pokémon Red) between tens of thousands of players whose objectives could bevery different, even contradictory.
Noteworthy in many respects, the phenomenon will be considered here as a way to apprehend theprocess of reappropriation (or “détournement”) of video games by players. Specifically, Twitch
Plays Pokémon allows us to examine the alternation between two constituent processes of gameappropriation, which are always in tension: the deconstruction of codes and the codification.
Indeed, not only Twitch Plays Pokémon is a transposition of Pokémon Red (in a new media space)which redefines the original game’s meaning and functioning (including by sabotaging its
gameplay, since the very control of the avatar becomes tedious), but the new device built in thisway quickly became itself raw material for many other appropriations or détournements (creation of
fanarts, fanfictions and memes by players; or even invention of a pseudo-mythology giving
meaning to this chaotic gaming activity).
Twitch Plays Pokémon thus illustrates a double movement which is characteristic of video games
reappropriations: by reversing, revealing or reconfiguring pre-existing games’ structures, players’
creations deconstruct them as much as they establish them as models (worthy of being rewritten)
or as norms (codified enough to be the support of new reappropriations). The derivative work can,moreover, stabilize itself in a new code, in a shared language which is also a system of rules andconstraints for future creations. Twitch Plays Pokémon is no exception to this “lexicalization”
process (through which the reappropriation mechanisms gradually enter the “gaming vocabulary”):
on the almost anti-playful basis provided by this device have actually emerged a viable game, afictional universe and even almost a gaming genre. Through the analysis of several “figures ofappropriation” and their evolution throughout the game, I will expose this formalization process.
Indicative Bibliography
Bonenfant Maude (2015), Le libre jeu. Réflexion sur l’appropriation de l’activité ludique [trans.:
Free Play. Reflection on the Appropriation of the Playing Activity], Montréal, Liber
Bonhomme Marc (2014) [2005], Pragmatique des figures du discours [trans.: A Pragmatics ofFigures of Speech], Paris, Honoré Champion
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Genette Gérard (1982), Palimpsestes. La littérature au second degré [trans. : Palimpsests.
Literature in the Second Degree], Paris, Seuil
Pruijt Daan (2014), The game about the game: Metagaming in Twitchplayspokémon, Master’s
thesis in Science, University of Amsterdam [online]. URL: http://dare.uva.nl/cgi/arno/show.cgi?
fid=55 0381 (saw on 05/02/2018)
Ramirez Dennis, Saucerman Jenny and Dietmeier Jeremy (2014), “Twitch Plays Pokemon: A Case
Study in Big G Games”, in Proceedings of DiGRA 2014: <Verb that ends in ‘ing’> the <noun> ofGame <plural noun>, Snowbird [online]. URL: http://library.med.utah.edu/e-channel/wp-content/
uploads/ 2016/04/digra2014_submission_127.pdf (saw on 05/02/2018)
Triclot Mathieu (2011), Philosophie des jeux vidéo [trans.: Philosophy of Video Games], Paris,
Éditions La Découverte

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DAY TWO: 21 AUGUST 2018

14:30-16:00 PANEL: GAME HISTORIESPeter Mühleder, Tracy Hoffmann, Konstantin Freybe, André Lahmann, Florian
Rämisch, Martin Roth and Leander Seige
Tales of doing Research with Video Game Fan Databases: A data-driven Approach
In our paper, we present a data-driven, quantitative approach to video game culture based on
online resources. In recent years, the collection, categorization and publishing of metadata incommunity-driven online databases has become an integral part of fandom activities. This form of
media consumption/production was first described by the Japanese media critic Azuma Hiroki inthe field of Japanese subculture as “database consumption” . But recently, 1 such a behaviour canalso be observed on a global scale (e.g. on websites such as tvtropes.org, anidb.net,
mobygames.com). While Azuma primarily focuses on content-specific information (such asgraphical elements), the database-creating activities of fandoms often goes beyond that, resulting
in large collections of metadata about various media products. On the one hand, this offers an
exciting opportunity for researchers on these topics, on the other hand, this information cannot be
regarded as “raw” (meta-)data : It 2 is the result of informal fan activities, often lacks defined quality
standards, unique identifiers and does not uses a standardized vocabulary for describing products,
concepts and categories. They are all located in the same domain but were developed for different
purposes and with different precisions.
We will present possible solutions and strategies for working with these kinds of online data
resources, focusing on the following three parts:
1. Accessing data: We will discuss technical and legal aspects of of using private/commercial
online databases.
2. Evaluating data: We propose ways of assessing data quality and completeness, as well as
address the challenges that arise when heterogeneous datasets of the game domain showsdifferences in granularity (data formats and structures) and in perspective (conceptual
heterogeneity) 3. Integrating data: In order to be able to combine information in different data
resources, we need to identify corresponding entries (e.g. the same game) in each research. We
will show how we were able to match video game entries in datasets from different institutional andlingual (English and Japanese) contexts by using a rule based linking algorithm.
Moreover, we would like to discuss how this approach can lead to a data-driven research
infrastructure, offering a fresh perspective on Japanese video games based on the integration oflarge datasets and online resources:. The result is a (quantitative) macro-level view that allows us
to investigate fields of video game production, distribution and consumption, and provides animportant addition to other, well established (qualitative), forms of research on video games/video
game cultures.
1 Azuma, Hiroki (2009), Otaku: Japan’s Database Animals. Minneapolis: Univ. of Minnesota Press
2 Gitelman Lisa (2013), Raw Data Is an Oxymoron. Cambridge & London: MIT Press.

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Yuhsuke Koyama
The birth of JRPG and its own evolution
RPG developed in Japan is called JRPG in Western countries, it is sometimes set as a category
different from RPG developed in the West. In this paper, we discuss the evolution history of JRPG
by confirming its development history from the birth of JRPG.
RPG was introduced to Japan from the late 1970s to the early 1980s. Some enthusiastic fans got
Wizardry and Ultima which are sold only in very few shops in Japan and played with Apple II.
However, most people 's reactions to RPG were cold. An arcade game established market in
Japan and most of the games being played were action games. In the home game console market,
most of the games sold were also action games. For most players, RPG was hard to stick. It isbecause the system is complicated and players do not know what to do. In addition, for theJapanese at the time, the world of Western fantasy novels was almost unfamiliar.
Japan 's RPG acceptance is to advance in the form of 1) adding RPG - like elements to action
games, 2) independently developing RPG that made the system simple and easy to understand.
Examples of the first case are The Tower od Druaga (Namco, 1984) in arcade game and The
Legend of Zelda (Nintendo,1986) in home game console. Example of the second case are The
Black Onyx (BPS, 1984) and Mugen no Shinzou (Crystal Soft, 1984) in PC games. The Black
Onyx is a 3D dungeon-crawling RPG in which there is only one job “warrior”. Mugen no Shinzou
adopts 2D map from Ultima and command battle system from Wizardry, it is advanced to Dragon
Quest.
The first piece of the series Dragon Quest (Enix, 1986) appeared in the middle of RPG acceptanceprocess in Japan and decided to form "standard grammar" on RPG in Japan in terms of adventuresystem. Later JRPG has been formed as the differentiation from Dragon Quest early series(Dragon Quest I,II and III). The main feature of Dragon Quest was that it had been released on
Family Computer with many elementary and junior high school students to the user, while RPG
was released on PC. At that time, there were few people in the elementary and junior high school
students who had PCs, so RPG was not popular for them. Enix tied up with the comic magazine
Weekly Shonen Jump and made a corner named "Famicom Shinken(NES Fist)". Yuji Horii of thegame designer wrote a game introduction / capture article with a pen name called Yu Emperor.
Enix also positively hit CM on TV. The result will be fruit at the first shipment number of over
700,000.
From the current point of view, the number of 700,000 seems rather conservative, but old record by
Xanadu (Nihon Falcom, 1985) was only 400,000. From the beginning, the Dragon Quest was "thebest-selling RPG in Japan”.

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Martin RothThe spatiality of videogame production in Japan
Since early hits like Space Invaders (Taito, 1979), videogame production in Japan has changed
significantly. Several scholars have pointed out that videogames are increasingly produced
networks of companies located in different places across Japan and globally (1). A comparison, forexample, between the first and the most recent title developed by FromSoftware, King‘s Field(1994) and Dark Souls III (2016), reveals this trend, from what was once a local development ofapproximately 15-20 colleagues mostly employed by one company in Tokyo, to a large-scale
project to which more than 700 people from different companies in various places havecontributed.
With the exception of the empirical study done by Hanzawa, this trend has so far been observed inlarge parts based on individual cases of specific companies, data provided by think tanks andcommercial research organizations, or common sense. In my paper, I trace the changing spatial
spread of videogame production in Japan by analyzing the companies involved in the production ofa representative sample of 500 games published in Japan between 1985 and 2015. The paper
discusses the methodology and several outcomes of the analysis of the sample. Firstly, I provide
an overview of some of the trends discernible in the last 30 years of videogame production in
Japan (see Illustration 1 & 2). Secondly, taking a closer look at the data, I identify dominant
strategies of producing games, as well as existing networks of companies working in the field.
Finally, the analysis will provide a perspective on the ways in which videogame production has
developed within Japan, looking at the diversification of places and actors over the years. Doingso, I hope to update Hanzawa‘s important analysis and draw attention to the spatial complexity ofvideogame production and its connection to the development of cities and regions in postwar
Japan. Finally, I aim to provide an outlook on future tasks and questions.
(1) Seiji [誠司] Hanzawa [半澤], „家庭⽤用ビデオゲーム産業の分業形態と地理理的特性“, 地理理学評論
78, Nr. 10 (2005): 607–33; Mark J. P. Wolf, „Introduction“, in Videogames around the World, hg.
von Mark Wolf (Cambridge (Mass): MIT Press, 2015), 1–16; Mia Consalvo, Atari to Zelda: Japan’sVideogames in Global Contexts (Cambridge (Mass): The MIT Press, 2016).

Illustration 1: Location of Headquarters of all companies involved in the development ofvideogames in the sample, which were published in Japan included between 1990-1994.

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Illustration 2: Location of Headquarters of all companies involved in the development ofvideogames in the sample, which were published in Japan included between 2010-2014.

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Akito Inoue

Making Local video game history index
1.PurposeGame history of each language area is different. In order to explain this difference, I suggest andcreates two indices of the following. The first index is "an important index of the history of Japanese
video game", The second index is an important index of the history of English of the video game
2. Approach
In this study, I inherit the approach of Inoue,Fukuda[2016],[2017]. We picked up video game titles fromvideo game books, awards, exhibitions about video games, and sales data. If the same video game title
was found from several resources, the video game title gets a high score. Some video game gets points
from only Japanese resources, some other get points from only English resources. However, thismethod does not guarantee the validity. The previous studies on the indicators developing for the
subject with complex aspects, there is research in the field of psychology and policy evaluation.
In these papers, Comparability, Reliability, Validity, Referring Bias are presented as the criteria. The
controlled quantitative approach can correspond to the criteria of Comparability and Reliability. Next is
Referring Bias problem. Collected data have a bias (Inoue, Fukuda [2015]).Therefore, when we show
the index, we visualize the features and bias of each data. This is not a perfect way, but this is a betterway. Finally, there are a variety of techniques to examine Validity. Inoue, Fukuda [2017], studied The
characteristics of the evaluation cluster formation of the English and Japanese game, using the EFA
and SEM has been carried out.
In this study, we calculated according to these discussions. Then, I will present a Japanese-speaking
and English-speaking countries of the index value for the important video game titles.
3. Achievements and Future studies
I have published data that was created in this study as "Ver0.1" on the web (1).
I'm asking game researchers of each language area for checking this data.
Currently, known facts are, the data of several years latest is not enough reliable, because these data
are insufficient.
In future research, through the evaluation of the experts, the data is necessary to be moresophisticated.

Kalimo, E. (2005). OECD Social Indicators for 2001: a critical appraisal. Social Indicators Research,
70(2), 185-229.)
向井信⼀一 (2004). 「⽣生活の質」 評価に関する⼀一考察. 同志社政策科学研究, 6(1), 203-222.
内藤正明. (1988). " 環境指標" の歴史と今後の展開. 環境科学会誌, 1(2), 135-139.
Akito Inoue, Kazufumi Fukuda(2017) ”How was local game history made?” Replaying Japan
2017,Proceedings
Akito Inoue, Kazufumi Fukuda(2016) ”Distinctive difference game titles between Japanese context andEnglish context”,Replaying Japan 2016 Proceedings
Akito Inoue,Kazufumi Fukuda (2015) "Game Reviewers can’t notice innovation",Replaying Japan 2015
Proceedings,pp.112～114(1) http://www.critiqueofgames.net/local_index/

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DAY THREE: 22 AUGUST 2018
9:30-11:00 PANEL: GAME EDUCATION AND RESOURCES

A Practice Report on Development ofGame Audio Research Method
at Tokyo University of Technology
Akinori Ito

School of Media Science, Tokyo
University of Technology,Katakuramachi 1404-1, Hachiouji-shi, Tokyo,
Japanakinori @ edu.teu.ac.jp

Koji Mikami

School of Media Science, Tokyo
University of Technology,Katakuramachi 1404-1, Hachiouji-shi, Tokyo,Japanmikami @ stf.teu.ac.jp

Ken'ichiro Ito

School of Media Science, Tokyo
University of Technology,Katakuramachi 1404-1, Hachiouji-shi, Tokyo,
Japanitoken @ stf.teu.ac.jp

At the School of Media Science at Tokyo University of Technology, the music theory, game mechanics, andsound design researchers worked together to develop production method analysis by making full use of theinterdisciplinary department's strengths. As a laboratory activity, starting full-scale game audio research from2012. Researches of Collins (2008), Jørgensen (2009) as international research base, our game sound study is
ongoing to study domestic game music from the structural and pleasure aspects by using the analysis
method. The main research objective is to facilitate structural design criteria for music and sound at the preproduction/game design stage of game production, keeping in mind the algorithms/data design and the
management of music/sound imparting parts indispensable for digital games to contribute to clarification.
The titles that have been subjected to song and structure analysis so far are the popular titles of Japaneseyoung people in the 2000s such as Monster Hunter Series, Atelier Series, Tales Series, Dark Souls and Saga
Frontier Series.
In the Monster Hunter series, focusing only on composing technique, composition and arrangement
techniques close to Western action movies are confirmed. However, when we analyze from the gamestructure aspect that the music is arranged in which monster, it is confirmed the arranged according to theadjacent appearance pattern that is devised in the game where various kinds of enemy monsters such as
Pokémon appear. The change of the musical instruments can be heard remarkably for the state of the monster
alone or the difference expression of the strength of the monster appearing next to it.
Although Atelier series and Tales of series tend to think that a lot of Japanese animation audiovisualexpression is adopted, the opposite character is revealed by analyzing from the game structure. In the Atelier
series, the music given to the city and alchemy stage consisted of music inspired by Western European
Renaissance popular music like Terpsichore by M.Preatorius, whereas battle songs are various chord
progression and arrangement of Japanese popular music with no coherency. In the case of Tales Series, there
are various kinds of music according to the stage to be described, but music pieces of battle scene have clear
tendency; the Deep Purple style instrumentation's rock music. As for the chord progression, special chord
progression and transposition frequently occurred at the time popular music of Japan at that time. Although
this chord progression can hardly be confirmed in Western game music, in Japan it gains popularity as one of
the musical style of battle scene music in 00's J-RPG.
In the Dark Souls series, Motoi Sakuraba, who mainly played battle songs in the Tales Series, is in charge ofcomposition but the special nature of Japanese game music is difficult to hear quickly. As a result of themusic analysis, each chord constitutes with some dissonance by minor 2nd, major 7th, and diminished 5th, asseen in Western horror movies. Whereas on the progress of tonal center, such as J-RPG battle scene music
are frequently used. It fulfills both to hold the characteristics of composition technique as Motoi Sakuraba
individual and to be closer the sonority of international horror movies.
In research focusing on sound effects and game mechanics including the aspect of HCI, due to analyzing theaction game titles such as The Legend of Zelda series, Dynasty Warriors series, etc., we have tried to develop
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some analysis method, a collation analysis with objective data by image analysis and impressions of soundduring playing them, exploring the design patterning through implementation using by game engines. In
recent years, the research subjects have also been spread to sound design for gesture interaction and soundeffects in smartphone games, and structural analysis research of dialogue and narration in audio dramas
derived from games.
In Japan, research on game audio from the viewpoint of structural analysis and production method has been
continuing on its own method development and its research results are limited to Japanese, so it was rarely
introduced in international places. In this report, we will report on the improvement of knowledge obtained
through the practice of Tokyo University of Technology for several years and the prospect of future researchpromotion.

WORK CITED

Collins, K. (2008) Sound Design, MIT Press.
Jørgensen, K., (2009). A Comprehensive Study of Sound in Computer Games: How Audio Affects Player
Action, The Edwin Mellen Press.

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Research on the User's Demands on Information of Video
Game Resources for Subject Access
Hitomi MOHRI

Kazufumi FUKUDA

Koichi HOSOI

Master’s Degree Student, Graduate
Visiting Researcher, Kinugasa
Professor, College of Image andSchool of Letters, Ritsumeikan
Research Organiation, Ritsumeikan
Sciences, Ritsumeikan Uniersity
University
University603-8577 Kitamachi, Toji-in, Kita-ku,
603-8577 Kitamachi, Toji-in, Kita-ku, 603-8577 Kitamachi, Toji-in, Kita-ku,
Kyotoshi, Japan
Kyotoshi, Japan
Kyotoshi, Japanhosoik@im.ritsumei.ac.jp
lt0568fk@ed.ritsumei.ac.jp
fukudakz@gmail.com

Keywords
Video games, Information Demands, Qualitative Data Analysis, Library and Information
Science, Subject Access
ABSTRACTThis presentation aims at analyzing queries that the user makes in order to search for newgames to play, through a Q & A website, Yahoo!Chiebukuro to reveal how users understandgames. We collected queries which were posted between April 1, 2017 and March 31, 2018,
and conducted qualitative data analysis of 7018 queries with KHCoder. My analysis reveals
that the user who plays a game of the series for the first time demands on how stories in theseries are related to each other, and the demands of information vary, depending on gamegenres.
1 INTRODUCTION
Members of the Ritsumeikan Center for Game Studies (RCGS), Ritsumeikan University, including
ourselves, have been engaged in cataloging video games and examining its conceptual models1 , a part ofwhich resulted in the RCGS-OPAC2, open to the public. However, at this stage of the research, we see
description about the subject that indicates the game’s content insufficient, as Groat (2015, p.143-146) points
out that the existing subject terms need to be reconsidered since they lack both appropriate terms and policy
for assigning them. Since the catalog is a tool for users to satisfy user tasks such as finding, identifying,
selecting, obtaining, and exploring resources3, the description of the subject needs to give consideration tothese tasks. Therefore, in this presentation, in order to reveal the user's demanded information of video gameresources, We analyze queries that the user make to search for new games to play.

2 RESEARCH METHOD
While some previous researches were done by Kanai (2015) and Lee (2015), this research takes a new
method in which, through a Q & A website, the questioner describes the game and its conditions that hewishes to play in free form, and the responder proposes a possible game to meet the description. For thisresearch, we used Yahoo!Chiebukuro4 , a Q & A website well known to the Japanese, and collected queries
which were posted between April 1, 2017 and March 31, 2018. In order to analyze what kind of information
users demand when they search for new games to play, first, we excluded queries which did not conform to

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my analysis’ purpose, and conducted qualitative data analysis of 7018 queries with KHCoder (Higuchi2004).

3 RESULTS

3.1 Analysis of Most Frequent 150 Words
My analysis reveals that the most frequent 150 words include many names of game genres, platforms,
and game titles. Besides these, we noticed that the word “初⼼心者(beginner)” appeared frequently, which led
me to examine how it is used. It seems that the user who plays a game of the series, such as Final Fantasy forthe first time does not know how this story to play is related to its previous works. In the game industry,
better selling titles tend to be made series, and some “beginners” make queries on how works in the series
are related to each other.
3.2 Analshis of a co-occurrence network
Using KHCoder, we created a co-occurrence network which recognized adjectives and nouns up to the
top 170 as nodes, and treated those with co-occurrence relationships of vocabulary up to the top 100 asedges. This treatment distinguishes RPG, FPS, and Otome games as communities of game genres, which led
me to compare related terms of each of these three communities. This comparative study demonstrates thatthe demands vary, depending on game genres.

4 FUTURE PROSPECTS ON THE RESEARCH

We will analyse further details for some demands, such as what kind of information is requested aboutcharacters. With this research, we hope to reveal how users understand games, which surely helps solving
some subject-related issues of video game resources.

END NOTES
1. Fukuda, K. and Mihara, T. (2018), pp. 88-91.
2. Ritsumeikan Center for Game Studies. “RCGS-OPAC”. http://www.dh-jac.net/db/rcgs/
search.php (Accessed May 05, 2018.)
3. Riva, P. et al. (2017), pp. 15-16. (Accessed May 05, 2018.)
4. Yahoo Japan. “Yahoo! Chiebukuro”. https://chiebukuro.yahoo.co.jp/ (Accessed May 05, 2018.)
WORKS CITED
Fukuda, K. and Mihara, T. “A Development of the Metadata Model for Video Game Cataloging －Focusing
on Bibliographic Relationships－.” Digital Games Research Association JAPAN Proceedings of 8th
Conference, (2018): 88-91.
Groat, G. D. “A History of Video Game Cataloging in U.S. Libraries.” Cataloging & Classification
Quarterly 53, no. 2 (2015): 135-56.
Higuchi, K. “Quantitative Analysis of Textual Data : Differentiaiton and Coordination of
TwoApproches” Sociological Theory and Methods 19, no. 1 (2004): 101-115.
Lee, J. H, et al. “Video Game Information Needs and Game Organization: Differences by Sex and Age.”
Information Research 20, no. 3 (2015): 1-24.
Kanai, K. “Metadata that Satisfies end Users' Search Requests for Music Material : FromtheCharacteristics of Music Material to the Application of FRBR” Journal of Japan
Society of Library andInformation Science 62, no.2 (2016): 120-130.
Riva, P., P. L. Boeuf, and M. Žumer. "IFLA Library Reference Model : A Conceptual Model for
Bibliographic Information." IFLA. August 2017. https://www.ifla.org/files/assets/cataloguing/frbr-lrm/iflalrm-august-2017_rev201712.pdf (Accessed May 05, 2018.)

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DAY THREE: 22 AUGUST 2018

11:00-13:00
PANEL: NARRATIVE AND CHARACTER
Laura Iseut L. St-Martin
Dark Souls: Narrative, players, interpretations
Dark Souls (From Software, 2011) is a video game that has been studied from numerous
perspectives. Some scholars have analyzed its gameplay as a system coordinating player
behaviour (Van Nuenen, 2015) whereas others were interested in its cryptic narrative and thedebates that occurred regarding its plausible significations in a community of deeply invested
players (Ascher, 2015 ; Vella, 2015).
Having deliberately developed his games around the player’s possibility of engaging with anarrative, Hidetaka Miyazaki, the Japanese creator of the game, explained that this creative
process is inspired by his personal experience as a reader of English books that he couldn’t fullycomprehend: “Often he’d reach passages of text he couldn’t understand, and so would allow his
imagination to fill in the blanks, using the accompanying illustrations. In this way, he felt he was cowriting the fiction alongside its original author. The thrill of this process never left him” (Parkin,2015). Transposed to a video game context, this structure revolves around players’ appropriation(Bonenfant, 2015) and interpretation of narrative elements contained in the game. Of course, it
could be defended, as Eco (1985) did, that any text is incomplete and that it necessitates a reader(a gamer in this particular context) to finish it, but Dark Souls pushes this idea further than the
majority of other videogames by proposing to players an entire world to discover by actively
decrypting it. Curious of solving the mystery that is Dark Souls, players are gathering on out-ofgame platforms (such as YouTube) to talk and debate about their interpretations. Because of its
particular narrative structure, Dark Souls is a perfect example of how a gaming community can
engage with a narrative by actively creating its lore.
Following these observations, we propose that the narrative of Dark Souls is essentially created byits community. We argue that the creative work done by players should be considered more
importantly than the original intention of the author (Barthes, 1984). Even if Miyazaki has
responded to players who were proposing interpretations and sometimes made them change theirmind, we maintain that the construction of Dark Souls’ narrative is largely in the hands of theplayers.
The same observations stand for other video games created by Hidetaka Miyazaki (Demon’s
Souls, Bloodborne) but our presentation will focus solely on Dark Souls’ first entry. It will beoriented on three major debates that occurred in the community: 1) The identity of Gwyn’s firstborn 2) The value of both endings 3) the state of Humanity. Following every step of these debates,
we will show how players have been able to create meaning by “filling in the blanks” left open in
the narrative and how the players canonized one particular version to be the main one. By focusing
on players and their role in the community, we assert that Dark Souls’ narrative is a result of acollective and interpretative work done by the players.
Bibliography
Arsenault, D. (2006). Jeux et enjeux du récit vidéoludique: la narration dans le jeu vidéo (Thesis,
Université de Montréal).
Ascher, F. (2015). « Narration of Things », dans First Person Scholar, (Online) :http://www.firstpersonscholar.com/narration-of-things/ (Recover on January 20th 2018).
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Roland, B. (1984). « La mort de l’auteur » dans Le bruissement de la langue. Essais critiques IV,
Éditions du Seuil, 6369.
Bonenfant, M. (2015). Le libre jeu. Réflexions sur l’appropriation de l’activité ludique, Éditions
Liber.
Boellstorff, T., Nardi, B., Pearce, C., et Taylor, T. L. (2012). Ethnography and Virtual Worlds: a
Handbook of Method,
Princeton University Press.
Clément, F. (2013). « Demon’s Souls: L’esthétique de la répétition au cœur de la pratique hardcore
du jeu vidéo » dans Kinephanos : Média, fans et sacré: un sentiment néoreligieux à la recherched’une institution, (Online) : http://www.kinephanos.ca/2013/demon-s-souls/ (Recover on January
20th 2018).
Eco, U. (1985). Lector in fabula, trad. Myriem Bouzaher, Éditions Le livre de poche, coll. Biblio
essais.
Jenkins, H. (2006). Fans, bloggers, and gamers: Exploring participatory culture, New York
University Press.
Jérôme, D. (2015). « Dark Souls, journal d’un joueur » dans Métafiction, (Online) : http://
metafictions.fr/dark-soulsjournal-dun-joueur/ (Recover on January 20th 2018).
Juul, J. (2005). Half-real: Video Games Between Real Rules and Fictional Worlds, MIT Press.
Parkin, S. (March 2015). « Bloodborne creator Hidetaka Miyazaki: ‘I didn’t have a dream. I wasn’t
ambitious » dans The Guardian, International edition, (Online) : https://www.theguardian.com/
technology/2015/mar/31/bloodborne-dark- souls-creator-hidetaka-miyazaki-interview. (Recover on
January 20th 2018).
Ryan, Marie-Laure. (2011). Narrative across Media: The Languages of Storytelling, University of
Nebraska Press.
Stamatov, D. (2015). Murder & masochism: exploring violence as a mode of engaging with fiction
in From Software's
Dark souls, Master Macquarie University, Department of Media, Music, Communication andCultural Studies.
Van Nuenen, T. (2016). « Playing the panopticon: Procedural surveillance in dark souls » dansGames and Culture, 11(5),510-527.
Vella, D. (2015). « No mastery without mystery: Dark souls and the ludic sublime » dans Game
Studies, 15(1).
Wardrip-Fruin, N. et Harrigan, P. (2009). Third Person: Authoring and Exploring Vast Narratives.
MIT Press.

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Philipp Klueglein
The Design and Reception of Characters in Japanese Free-to-Play Games
Free-to-play games, played primarily on mobile devices, offer a unique perspective on the design
and reception of character content in Japan. In economic terms, the Japanese mobile market has
grown to three times the size of the domestic console game market, positioning it as the primary
space for the gamic interaction with characters. Further, the economic backbone of these games is
to be found in a largely shared approach to meta game design: a set of characters is obtained via
randomizing mechanics (gacha) and deployed according to a combinatorial logic. Throughmanifold synergies with the core gameplay, which may range from puzzle mechanics to music/
rhythm-based skill tests to turn-based RPGs, player motivation is structured along mostly single
player progress through level content that is in turn linked to the consumption of character content.
This paper aims to first lay a foundation for understanding the character-based game design
framework of Japanese F2P games, and then to extend this structural analysis theoreticallythrough the identification of three patterns in which character content is processed and played with.
1. Abstracting into collectable pieces of mechanics
Game example: Disney Tsum Tsum.
This puzzle game makes use of the stuffed toy versions of Disney characters called Tsum Tsum asboth puzzle pieces and collectable characters. A character from a wealth of entertainment contexts
is visually abstracted and commodified as a collectable artifact, which is in turn utilized as the
directly acted upon game asset (puzzle pieces, core gameplay) and a collectable, upgradeable ingame character (meta game), taking on the role of signifier and mechanical prop.
2. Anthropomorphizing into vessels for imaginationGame examples: Kantai Collection, Pashamon.
Browser game Kantai Collection is a popular example of the enduring trend to source charactersfrom gijinka: the practice of anthropomorphizing things, in this case warships as girl characters.
The player builds these characters using a mix of materials and randomizing mechanics, andforming a long-term bond to them is encouraged by the mechanics. A perma- death feature places
responsibility on the player to take care of his characters, and a wedding feature exists to further
tighten the bond. The game’s loosely defined characters ensure an openness to interpretation,
moving reception into the creative realm of user-generated content (UGC). Pashamon by Segashows a new intersection of technology, gijinka and UGC, using the smartphone’s camera tocreate characters based on photographs, further tying the player’s imagination into the process ofcharacter generation. 3. Absorbing into the media mix
Game examples: Shironeko Project, Puzzle & Dragons
Through collaborations, characters from other franchises and even other media enter the gameworld and become obtainable for the player. The game world is designed to absorb charactersfrom diverse backgrounds through low emphasis on story and sekaikan, while the character may
be transformed to match the game’s art style. In the reverse direction, a few examples of free-toplay titles entering the media mix via their characters have surfaced in recent years as well.

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Rachael Hutchinson
From Karate Champ to Tekken: Nation and Narration in Fighting Games
This paper examines Japanese national identity as constructed and expressed in the fighting
game genre, beginning with Data East’s Karate Champ (1984) and ending with Namco Bandai’s
Tekken 5 (2004). Primary evidence is used to show that Karate Champ established a template forthe normative Japanese ‘self’ expressed through character design, cut-scenes and backgroundsettings. This ‘self’ is constructed on both the level of the national identity of Japan, including
culture, architecture and history, as well as the individual identity of the normative Japanese male.
While much scholarship exists on the Street Fighter series (Surman 2007; Hendershot 2017), little
attention has been paid to Karate Champ in the literature to date. I argue that Karate Champestablished a template for using the P1 position to represent Japanese male identity, built uponby Street Fighter and Street Fighter II, which separated the named identity of P1 from the player
and created a distinct Japanese male identity for the ‘main character’ of the series.
Including Virtua Fighter and Tekken in the discussion, we can see that the normative Japanesemale characters Ryu, Akira and Kazuya are privileged as occupying the P1 position, often in
opposition to an American opponent, reflecting the Japan-US binary of the ‘long postwar’.
Moving from the interface to peripherals, we see these Japanese male characters featuringstrongly in cabinet art, home console cover art, game manuals and adaptations, which also
reinforce the Japan-US binary even in the context a wide range of national stereotypes andrepresentations. Opening cinematics and character placement in the game manuals further
emphasize the Japan-US rivalry, also seen in narrative arcs delivered through characterbackstories and gallery rewards.
Of all these games, Tekken uses the character select screen in new and interesting ways, not only
to construct normative ideas of Japanese identity, but also to convey narrative. As the P1 position
moves from Kazuya Mishima to other members of his family, the sweeping saga of the Mishima
Zaibatsu unfolds in surprising twists and turns. Tekken made innovative use of series progression,
character select, multiple endings and canon, to develop a rich storytelling structure with highnarrative tension. Although the fighting game genre is largely regarded as lacking both story andcharacter development (Atkins 2003; Murray 1997), it has been demonstrated that narrative andcharacterization merely take place at diﬀerent points in the gameplay sequence when comparedto linear structures of action-adventure or roleplaying games (Hutchinson 2007). The contributionof this paper to scholarship on the fighting game genre is thus to bring our attention to thecharacter select screen itself as an instrument of narrative.
REFERENCES
Atkins, Barry (2003) More than a game: The Computer Game as Fictional Form, Manchester, UK:
Manchester University Press.
Hendershot, Steve (2017) Undisputed Street Fighter: The Art and Innovation Behind the GameChanging Series, Mt. Laurel, NJ: Dynamite.
Hutchinson, Rachael (2007) ‘Performing the Self: Subverting the Binary in Combat Games’,Games and Culture 2:4 (Fall), pp.283-299.
Murray, Janet (1997) Hamlet on the Holodeck: The Future of Narrative in Cyberspace, New York:Free Press.
Surman, David (2007) ‘Pleasure, Spectacle and Reward in Capcom’s Street Fighter series,’ inVideogame, Player, Text, ed. Tanya Krzywinska and Barry Atkins, Manchester: Manchester
University Press, pp.204 - 221.

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The Design technique to misunderstand as selfcreation and self-growth for questions- Asobit-ize ShujiWatanabe
Ritsumeikan Univ. College of
Image Arts and Sciences
56-1 Toji-in Kitamachi, Kitaku, Kyoto Japan 603-8577
wash@im.ritsumei.ac.jp

Keywords

Game Design, Signifier, Intrinsic Difficulty, PlayABSTRACTAs per Albert Einstein, "The only source of knowledge is experience."
The present paper provides several lines of evidence how to make the player's experience (discovery andgrowth) misunderstand as though it is voluntary on the design.
In 2016, Our team tried after quantitative survey for intrinsic difficulty that was conducted using Reflection
Pac-man. This study was to explore the mechanisms involved in the intrinsic difficulty level (Fig 1). In thisresearch, the intrinsic difficulty level is reconsidered as "asobitai" that is the Creation and growing for
Question for the player,.

CHAPTERIn Japanese Tea ceremony, learning stage is 3 level that called “SHU-HA-LI” (Fig 2), In this study, toelucidate mechanisms by Game design, our team focus on “Creation and Growing for Question” that was bespontaneous, and be moved from “SHU” to “HA” and “LI” in a phased manner. We named this phenomenon“Asobitai” (Japanese “ASOBI” = “playing” + Japanese “TAI” = “to hope” )When we walk on a pedestrian crossing, we will create the question "If we can cross the cliff?"(Fig 3) Thisphenomenon is as intervenient “Signifier”. And In the point of view “the Creation and growing for Question”
it can be seen as assisted 1st “SHU” level“Asobitai”by Difficulty between our stride and Zebra Line.
This design is apparently simple, however in Digital Games It's difficult to assist players to create a similar
question. Even if a story helped the player's mind to "goal", it is not necessarily that the difficulty structure
can assist the player's mind "goal".
Case A: Difficulty is Too hard (or Too easy)
Player has a feature as “Asobitai” (Creation and growing for Question）. So Digital games misdirect out ofdigital games such as Real world “Play”

e.g.) Is this Playing funny? friends are smiling?
e.g.) Is Over there much nicer than over here?
By Asobitai, Player direct the real word from Digital game.
Case B: difficulty is appropriate within a certain range
Player has a feature as “Asobitai” (Creation and Growing for Question）. So Digital games keep to direct
player into digital games more long time. The possibility of inducing new 2nd level questions as “HA”
increases.
.But If there is no chain of growth that can assist the player's Asobitai, the learning curve will eventually is
too simple. We named this design technics by the difficulty that can assist Asobitai for player is “Asobita43 of 56

ize” ("asobitai" + suffix "ize").

e.g.) PAC-man
Asobitai: “How to get away?”-> Asobita-ize : By getting away, the dots are got naturally-> New Asobitai :“What happens if I keep getting dots?”
Asobitai: “How to get away?”-> Asobita-ize: By getting away, the Power Pellets are got naturally-> New Asobitai: “What happens if I catch up with the escaping enemy?”
Asobitai: “What happens if I keep getting dots?”+ “What happens if I catch up with the escaping enemy?”-> Asobita-ize : increase score naturally-> New Asobitai : “What happens if I keep getting score?”
As described above, "Asobita-ize" is a assistable design that the player himself finds naturally new"Asobitai”( Creation and Growing for Question ).
In the real world, the experience in the digital game is almost worthless, however a lot of players tend to
think there are worth in the digital game. Because Asobita-ize gives continuity to a little "Asobitai”(e.g. “If
we can cross the cliff?”, ”How to get away?”) , And It is Enable to expand player’s “Asobitai” step by step.
And “Asobit-ize” is also a technique for making players misunderstand that they made the Question
themselves.
Then, Basic question like “How to get away?” are never lost even after the player’s question grew.
In This time, the optimum solutions for player’s question dynamically change like SHU-JA-Li in learning
stage by Japanese Tea ceremony.
the optimum solutions for “How to get away?” in Pac-man
SHU(Lv1): A simple solution such as taking a distance from the enemy
HA (Lv2): In order to take a dot, sometimes Pac-man approaches the enemy
Li (Lv3): After pricking the enemy, make a battle with the Power Pellets.
Despite a simple nested difficulty structure, player himself creates intrinsic difficulty levels. And There aremechanics that can generate more complex optimal solutions.
At the end of the abstract, organize the bibliography alphabetically by last name of the first author. Pleaserefer to the bibliography at the end of the template for the further references.

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!
Figure 1: The difficulties structure and the intrinsic difficulty in Pac-Man!
Figure 2:

Shu-Ha-Li!

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Figure 3:

Cliff-nize on Zebra Line.

WORK CITED

Kousuke KAWAMOTO, Shuji WATANABE "Demonstration experiment of layering and structuring intrinsic
difficulty in Reflection Pac-Man" , Digra Japan Proceedings of summer Conference 2016
Shuji WATANABE,Akinori NAKAMURA “Why Do People Play Games? Game Essence from a Developer’s
Perspective”, Soft bank publishing,2014
Shuji WATANABE The Difficulty Engineering for Digital Game studies”, Digra Japan Proceedings of summer
Conference 2016
OKAMOTO Akira, YASUMURA Michiaki, IGA Soichiro, “From Affordance to Signifier-Don Norman's New
Proposition” ,Journal of Human Interface Society : human interface, 2012

GAME CITED

Namco, PAC-man,Namco, 1980.

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POSTERS AND DEMOS

Proposal of gamification to make tidy uphappily
Sayaka Yoshida

Ritsumeikan University graduate school of imageart,
56-1,Kyoto-shi,Kita-ku,Tojiinkita-machi,
Kyoto,Japan
gr0319kr@ed.ritsumei.ac.jp

Shuji Watanabe

Ritsumeikan University, 56-1,Kyoto-shi,Kitaku,Tojiinkita-machi, Kyoto,Japan
wash@im.ritsumei.ac.jp

Keywords
Gamification, tidy up, Affordance,

ABSTRACT
Many people have negative images about housework and cleaning. Recently, The game is enjoyed by many
people. In Japan, 44.46 million people are playing games.
Recently,Efforts to apply games to social activities are drawing attention. In my daily life, I thought that I
wanted to make a game that I think it was a burden, I made a work. This work uses elements of the game.
This work is a fun thing to clean up. By playing with this work, I think that They can be enjoying tidying up.

1.INTRODUCTION

Many people have negative images about housework and cleaning. Recently, The game is enjoyed by many
people. In Japan, 44.46 million people are playing games.
Recently,Efforts to apply games to social activities are drawing attention. As an example, there is #denkimeter and Fitbit. # denkimeter is a game that encourages energy saving. Fitbit is an application thatrecords sleep and exercise and sets goal. I wanted to make daily life a game, and produced contents. It is awork that you want to tidy up intrinsic. Gouko(2017) created a robot that urges people to clean up. However,this research is based on extrinsic motivation.The objective is to propose content that makes it fun to cleanup.

2. ABOUT THE WORK

I created what used affordance. I made two applications using smartphones.
First, I made contents that I wanted to match with the line. By urging the line to fit, I made content thatappears to be lined up. I was able to make them feel like I wanted to line them. However, I did not think it
was fun.
Second, when things and things collided, created content that displays onomatopoeic word. By arranging theobjects side by side, I created contents that I wanted to clean up.
I made them feel that onomatopoeic word are funny. However, they did not want to clean up.
Next, I made analog contents.
I made a stationery puzzle game. This is a content that combines writing instruments and puts it in thespecified form. In contents, the method of tidying up is decided. I could not make me want to make itendogenous.
Exhibited works exhibits works that let the experiencing person play, making it think that they have cleanedup.

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3. CONCLUSIONSIn this work, I made content that makes tidy up fun. However, I think that these works have room for
improvement.The results obtained will contribute to the field of Re-Playing Japan and Gamification. It will
also be useful in the future game industry.

Bibliography

Akito, I., Hideki, T.,#denkimeter[Web/iOS]. http://www.denkimeter.com/ (Accessed May 6, 2018)

Fitbit [iOS/Android] Fitbit https://www.fitbit.com/jp/app (Accessed May 6, 2018)“In the growing Asian market, the global game content market size in 2016 is 8 trillion 997.7 billion yen "Famitu Game
white book 2017" published on June 8”,https://www.famitsu.com/news/201706/06134624.html (Accessed May 6, 2018)

Manabu, G., Chyon hae, K.,”Study of Robot Behavior That Encourages Human to Tidy UP DisorderedThings on Table Top” v32, no5, 2017:pp.1–8

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Level design learning by the story
Shosaku TAKEDA
Postion, Professor

College of Image arts and Sciences
Ritsumeikan University56-1 Toji-in Kitamachi , Kita-ku, Kyoto,Japan

str14032@fc.ritsumei.ac.jp

Keywords
Picture-story show , Difficulty , Narrative , Level design.
ABSTRACT
It is important to think about two factors, difficulty and narrative, and their relation to the veryvague problem of what is a game. In this research, we aim at learning about the game nature of thestory derived from practicing approaches from especially stories in a game teaching.
1. ABOUT THE RESEARCH OF "STORY AND DIFFICULTY"

The relationship between games and narratives is now explained in terms of their interactions based on thecontext of narratology among the few books and papers. [1] However, there is little controversy on how thestory is involved in the difficulty structure in the game, and there is little discussion as a learning model forgame production.
This research aims at proposing a level design learning model that allows you to set the difficulty level using
the story's components by advancing the "learning model of game design" by "the awakening of gameelements lurking in stories" until the previous year.

2. LEVEL DESIGHN PRACTICE THROUGH PICTURE-STORY SHOW.

In this research, we consider the relationship between pictures and stories through the creation of picturestory show, digitize the completed picture-story show, set choices for each scene, add gimmicks etc. andmake it a game, for the purpose for learners to get some sort of "awakening" against game elements lurking
in stories We have continued the game production class for three years, and we have been examining theusefulness of the learning model focusing on knowledge derivation through a kind of action and research. In
the deliverables of the lesson a certain degree of completion as an interactive story was seen, but there were
few things that reached the stage where you can enjoy it as a game. (see Figure 1)

3. RELATIONSHIP BETWEEN GAMES AND STORIES.

Based on this result, once again, we guide learners to consider attraction of the story and its narration,
expectations for hidden scenes aware of the structure of the story from the stage of making picture-story
show. Furthermore, in digitization, the level design for gaming is imaged, and additional elements such as
gimmicks and scenes including the above considerations are listed up. We should pay attention to saying thenecessity of a game-like element in the story development rather than saying whether or not a specific gameelement such as an option is included in the story telling as a picture story show at this point. It is not aninteractive element such as simply choosing a choice or clicking on the screen, but implementing amechanism and directing that allows a player to act in a given game world to advance a story by himself as anarrator. Especially for directing, use simple animation and SE, and try to back up story creation by playerfrom the viewing side.
It can be said that these methods lead to the ability to understand what "game enjoys the story" is and tobuild the difficulty structure by the story. In this presentation I would like to report the deliverable in aplayable manner
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!
Figure.1 To digital game from picture-story show

[1] Shuji WATANABE, Akinori NAKAMURA “Why Do People Play Games? Game Essence from a
Developer’s Perspective”, Soft bank publishing,2014

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Game Play Middleware “Park Computer” for create a newexperience of playing digital games integrating inputs
Takahiro TSUDA

Ritsumeikan University Graduate
School of Image Arts, 56-1 Tojin-kitamachi, Kita-ku, Kyoto-shi, JAPAN
im0074hr@ed.ritsumei.ac.jp

Shuji WATANABE

Ritsumeikan University Graduate
School of Image Arts, 56-1 Tojin-kitamachi, Kita-ku, Kyoto-shi, JAPAN
wash@im.ritsumei.ac.jp

This researcher has published "Million" (Ritsumeikan Visual Exhibition, 2017) and "Colonized organism
Pito" (EIZO Junction, 2017) as digital game works using many wired controllers (see Figure 1, Figure 2).
This work gives new value to the "play" of past consumer game works by applying the methodology such as
many of these controllers.
The way of enjoying content has changed its form by advancement of technology. The digital game which
had been played at the game center has changed to a home game machine, and now it is being played withsmartphone, it turns out that the space is changing from the public place to the individual place. In terms ofplay, "park" can be said to be a representative example of public spaces. There is no example of trying tocreate play space like a park in a digital game.
"Park Computer" is a system that changes the manner of playing games, enabling multiple players to playgames in public places by enabling playing existing games in a number of people beyond the prescribed
number of players. Each player has a controller one by one, and operation characters assigned one to eachplayer are displayed in the screen. A space like a park spreads in the screen, and the play screen (hereinafterreferred to as the game screen) of the existing game is displayed on the television screen placed there. Byletting the operating character touch the controller connected to the game screen, you can play that gamewithin "Park Computer". The game screen allows display and play using commercially available game hardand game software. If more than one character touches the same controller, you can operate that controller
with multiple players.
"Park Computer" contains several different types of virtual controllers, and how you play games changes
depending on which controller you choose. For example, in "anarchy controller", a plurality of operation
characters can touch the controller, and all inputs made by each player are reflected on the game screen, but
after accepting each input for 10 seconds in the "majority decision controller", Only the most frequent input
is reflected.
As described above, "Park Computer" allows multiple players to play games in public places by integrating
player inputs into one, thereby creating new play while using existing games with the goal.

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Figure 1: "Million" Exhibition scenery

Figure 2: “Colonized organism Pito” Exhibition scenery

Figure 3: "Park Computer" play landscape image

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Figure 4: "Park Computer" system configuration

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A Practice of Creative Music Making Education
Using Synthesizer Software on Handheld Game
ConsoleYutaka MAKABE

Associate Professor, Tohoku Bunkyo
College, Yamagata, Yamagata, Japan
makabe@t-bunkyo.ac.jp

Keywords
Synthesizer, Music Making, Handheld Game Console, Elementary School.

ABSTRACTThis paper reports on the contents of the procedure for practicing music making education using "DS-10"
and the findings obtained there. This practice is to create "one-bar loop music" in a short time (about 1 hour)in each environment.
National curriculum "Music" guidelines of Elementary School in Japan, it consists of four sectors: singing,playing instruments, creative music making, and appraising music. In particular, "creative music making" isa field that has been avoided in Japanese school classes. This is cited as 'The application method of ICT inelementary school music classes shifts to learning activity using 'learning content' software which supports
learning of expression and appreciation area, instead of learning by melody and rhythm creation by
sequencer software' and 'the time required for music making activities' (Hatsuyama, 2014).
Since 2014, I have been practicing music making education using synthesizer software "KORG
DS-10" (hereinafter, this is called "DS-10") at elementary school. (Makabe, 2015)
In practice, the range to be composed song of one bar length by each student is "rhythm phrase (4 track)","phrase change" of 1 track monophonic synthesizer, and "change of sound tone”.
The teacher prepares the following in advance: bring the game machines and software for the number ofstudents, activate the software ("DS-10"), and load the model song data. Then, the teacher hands theworksheet and game machine to the students.
In the beginning 15 minutes, the teacher presents that the change of three elements (rhythm phrase, melody
phrase, melody tone) is this time's goal, and teaches the minimum operation method necessary for thesechanges. Then, students do creative activities freely for about 20 minutes. At this time, the teacher doesn't
use the headphones for the children, but sounds from the built-in speaker of each game machines. By doing
this, the space of the classroom can be filled with the sound of synths coming from many game machines,
and it is easier to announce the songs created by the children in the next step.
And in the second half of the lesson, the teacher carries the portable speaker (better than the one of thehandheld game console) and sounds each music created by the student.
As a result of the questionnaire, there seems to be a slight difficulty depending on the student, but it was
generally a good impression. Also, as the result of checking the collected song data, it seems that each
student can change rhythm, melody and melody tone from roughly the state of the model rhythm song, and it
was able to create wonderful songs.
However, there are some problems remaining in this practice. First of all, "DS-10" has not been marketedalready. Most of current music composition software for elementary school students is either multifunctional or whether the functions are excessively limited. Therefore, based on the findings from pastpractice, I would like to make prototype of music making software that elementary school students canhandle. In addition, we would like to advance the application of music composition software for game
consoles like "KORG DSN-12" or "KORG Gadget for Nintendo Switch" to elementary school.

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WORK CITED
Masahiro, H. “⼩小学校⾳音楽科教育におけるICTの関わりと活⽤用法” Japanese journal of music education
practice Vol.11 no.2. The Japan Music Education Society, 2014: pp. 27-33
Yutaka, M. “A practical report of “Creative Music Making” educationusing synthesizer software for
handheld game console” Bulletin of Tohoku Bunkyo College Vol.5. Tohoku Bunkyo College, 2015: pp.1-23
KORG DS-10
Cavia. KORG DS-10 [Nintendo DS]. AQ Interactive 2008.
KORG DSN-12
DETUNE. KORG DSN-12 [Nintendo 3DS]. DETUNE 2014.
KORG Gadget for Nintendo Switch
DETUNE. KORG Gadget for Nintendo Switch [Nintendo Switch]. DETUNE 2018.

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Replaying Japan 201820-22 August 2018
The National Videogame Arcade
www.thenva.com

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