4th Symposium on German Youth Culture and Lifestyle

異文化間における日本ゲームの受容
日・独プレイヤーの体験比較

Stefan Brückner
Graduate School of Media and Governance
Keio University, Shonan Fujisawa Campus

Yamaoka Memorial Foundation
February 19
Kyoto University

Today’s Presentation

Overview

What do you get?

1

Digital games and why they matter• A brief introduction of concepts
and methods to analyze “play”

2

Japanese games “across cultures”• A better understanding of how
the experience of playing games
is influenced by cultural factors

3

Experiencing games in Japan and Germany• Information on the current
status of games within society

The Global Games Market
160• More than 2.9 billion
frequent users in2019 (Statista 2019)

121,7

120
Billion USD• Digital Games, thedominantentertainment mediaof our time?

137,9

140

100

106,5
93,1

84,8

80
60
40
20
0

36,4
14,3
2014

38,4

16,2

14,8
2015
Games

40,5

38,8

2016
Film

17,4

2017

41,1
19,1

2018

Music

(Source: International Federation of the Phonographic Industry 2019, League of Professional Esports
2018, Newzoo 2018, The Motion Picture Association of America 2018)

How much time do we spent on games?
Average h/week spent playing video games• Global average:
7.11h/week• Average time spentplaying per weekpeaks between 26
and 35 at
8.21h/week• We spend almost
3bn hours playing
games per day

Germany

9,98Singapore

7,44

U.S.

7,11

France

6,97

India

6,92

Japan

6,88

Italy

6,79

U.K.

6,76

South Korea

6,69
0,00

2,00

4,00

6,00

(Source: Limelight Networks 2019)

8,00

10,00

Games Today• Escaping vs. improving reality
through games(Source:https://www.foxsportsasia.com/sea-games/1201714/sea-games-2019-esports-dota-2-full-schedule-livestream-when-and-where-to-watch-squad-timing-in-pdf-hearthstone-tekken-indonesia-malaysia-philippines/)• Games are becoming sports: Esports

Games are (mostly) global

Source: https://www.gamedevmap.com/index.php?location=TokyoOr are they?

Top 10 highest grossing game franchises
1. Mario
2. Sonic the Hedgehog
3. Pokémon
4. Call of Duty
5. Grand Theft Auto
6. Wii Series
7. The Sims
8. Need for Speed
9. Tetris
10. Final Fantasy

Credit: Nintendo

Source: https://www.thegamer.com/top-15-highest-grossingvideo-game-franchises-of-all-time/
Credit: Sega

Credit:
The Pokémon
Company

The “bipolar” system (Pelletier-Gagnon 2011)• Dichotomy between “East” and“West” and debates on the“Japaneseness” of Japanese games
and consumers (cf. Consalvo 2006,
2016; Schules 2015; NavarroRemesal/Loriguillo-López 2015)• Differences in selection andevaluation of games across countries(cf. Zagal/Tomuro 2011)• Lack of transcultural analyses ofgame cultures/players(Elmezeny/Wimmer 2018)

Play: The interaction between player and game system

Cultural Context

Cultural Context

Cultural “filter”?

Research Questions

RQ1: Are there cultural differences in how digital games are experienced and evaluated?

RQ2: If yes, of what kind and in relation to which elements of a game?

RQ3: How can these differences be explained?

Selected Previous Studies
Selected Research into Cultural Differences of Players• Zagal/Tomuro (2013): Cultural Differences in Game Appreciation: A Study ofPlayer Game Reviews→ Low granularity• Lee/Wohn (2012): Are There Cultural Differences in How We Play? Examining
Cultural Effects on Playing Social Network Games→ Deductive approach, problematic sampling (only Americans)• O’Hagan (2009): Towards a Cross-Cultural Game Design: An Explorative Studyin Understanding the Player Experience of a Localised Japanese Video Game
→ Small sample (1 game, 1 player)

Play within broader contexts

Macro level

Accessibility

Micro level

Selection

Reception

Experience

ReportCf. The “game as played” vs. The “game as reported” (Howell and Stevens 2019, 3)

Examining the Player Experience: From UX to PX
User Experience (UX): “a person’s perceptions and responses that result fromthe use or anticipated use of a product, system or service”(ISO 9241-210)“[Player experience] denotes the individual and personal experience of playing
games. Player experience describes the qualities of the player-gameinteractions and is typically investigated during and after the interaction with
games.” (Wiemeyer et al. 2016: 246)

“Player experience is located at three interacting levels: the (socio-)
psychological, behavioral, and physiological level” (Ibid.: 266)

Player Experience (PX) - Concepts
What

When

Anticipated UX

Before Usage

Momentary UX

During Usage

Episodic UX

After Usage

How
Imagining
experience
Experiencing
Reflecting on
experience
Recollecting

Remembered UXThree layers of PX, based on Nacke
and Drachen (2011, 5-6)

Over time

multiple periods ofuse

Cf. Wiemeyer et al. 2018; Marti and
Iacono 2016

How to measure PX

Data Sources
User Reviews

Amazon User Reviews

Think-Aloud Protocol

MAXQDA

Mixed-Method computer assisted analysis of
German and Japanese user reviews from Amazon
21,307 reviews in the corpus

Recorded play sessions with
10 German and 10 Japanese players (á 10h)=> More than 200h of recorded footage of 4 games

Methods - Selection of Games and Participants• 18 story-centric Japanese games
released between 2016 and2019 in Germany and Japan(“Most Similar Case Design”)• 4 games for TAP-Sessions,chosen based on theoreticalconsiderations and need for“tissue players”• 10 German and 10 Japaneseplayers (max. 30 years)

Clockwise from upper-left: Kingdom Hearts 3, Ni no Kuni 2, Dragon‘s
Dogma, Tales of Berseria

Most-different (players) and most-similar(games) case design

Data Analysis: Grounded Theory
Coding Examples(Translated by the author)(Cf. Glaser/Strauss 1976; Corbin/Strauss 1990;
Strübing 2014)

Results – Brief Overview and Selected Findings
Code System (highest level)
Positive
Negative
Meta/Context
Gameplay/Rules/Mechanics
Story/Narrative
Aesthetics
Technology
Structure• Differences in evaluation of core and shell elements• Core: e.g. pacing, difficulty, linearity;• Shell: e.g. evaluation of story (e.g. stereotypical vs. 王道),
characters, visual style• Differences in shell elements are more salient, but notnecessarily more influential on overall experience (cf.
Zagal/Tomuro 2013)• Two patterns in reception of Japanese elements:
positive (exoticism, virtual tourism, source of nostalgia) or
negative (barrier to immersion)Example
Selected differences in German and Japanese descriptions ofTrails of Cold Steel I and II (Nihon Falcom 2018/2019)
Credit: Nihon Falcom
Sub-Category

Japan

Germany

Story

Repetitive,
stereotypical,
naively presented

Interesting,
intriguing, grandscope

Characters

Lacking depth,
unnecessary to thestory

Well developed

Combat system

One of the games‘
Great tactical depth,
better points, issues dynamic
with balancing andtempo

Compared topredecessor

Inferior story andcharacters

Advances intechnology, designand combat

Possible influences on PX
Influences PX
Localization
Media Environment/Context/Ecology(Sub-Cultural) Identity
Values and Norms… and the rest

Meta-level differences• Lexical Differences (e.g. Gameplay vs. shistemu)• Differences in reviewing practices• Different frames of reference• Different age groups represented in Amazon reviews?

Conclusions• While there is a strong indication for fundamental differences in PX between German
and Japanese players, a player’s (sub-cultural) identity and concrete preferences morestrongly influence PX• Cultural acclimatization can influence German players’ experience and evaluation ofJapanese games (e.g. Germans familiar with or living in Japan, Japanophile subcultures)• This does not necessarily lead to the same evaluations as Japanese players,sometimes they “overcompensate”, e.g. by framing game elements in exceedingly
positive ways
• Culturally specific content in Japanese games can lead to positive (“virtual tourism”,
appreciation of the exotic, feelings of nostalgia) or negative (barrier to immersion,
inability to understand content) experiences in German players. This depends on theway such elements are implemented and localizedSelected References
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