Indie and dōjin games: a cross-cultural comparison

The following abstract is aimed to put into question how both the Japanese and Western gaming industries have differentiated themselves so much today, offering game systems and narratives that vary widely from each other. In the history of the medium, this differentiation was initially established because some semiotic and mechanic elements were identified to identifiable Japanese or American market tastes. Most of the time, the reasons that have been made to explain this difference within the medium have relied on either essential cultural differences or market determinism based on historical preferences. However, this paper argues that these differences aren't just formed due to specific cultural images or economic reasons, but mainly because of the formation of an identity discourse on the industry that has ghettoized specific formulas of player engagement to some cultural regions or supposedly minority groups. In the case of Japanese video games, we argue that several design conventions on the part of Japanese game designers have led to a paradigm that is unique to their cultural context. This paradigm can be distinguished from the one prevalent in the West because it has usually favored games that rely more heavily on the use of what we call “explicit narratives” to contextualize their rules, which have been solidified into several known “game genres” like the JRPG (Japanese Role Playing Game), the “Visual Novel” and others. This paradigm was also highly influential in creating other genres that are ubiquitous in the medium today, specially during the era of the Japanese industrial dominance of the 80's and 90's. This model also encompass semiotic elements that are either textually related to other forms of Japanese media or have been used almost exclusively on Japanese video games. However, its presence has been reduced significantly today, to the point that it has become representative of games developed exclusively by the Japanese video game industry, even though it might be found outside that region. More so than that, it has been integrated within a bigger cultural discourse that identifies several forms of cultural artifacts as extensions of Japan into Western popular culture. Throughout this paper, we will explore the main elements that characterize this paradigm, including the concept of explicit narratives, and their manifestation on specific games. Finally, we will analyze its current influence on the development of the modern image of Japan, both in gamer consumer culture and the overall gaming industry today.

2016

The commercial emergence of “indie games” since 2008 represents a fundamental challenge for contemporary game studies. As we still do not have a clear definition of the indie game, its popularity and commercial success have made the conceptualization of this type of game even more complex. Far from being a pure videogame model, completely separated from the mainstream sphere, indie games often involve hybridizations and ambiguities between the alternative and the mainstream. Thus this article aims to problematize the neat conceptualizations of indie games as an opposing “genre” to mainstream games by exploring the many tensions and nuances between the alternative and mainstream dimensions that can be identified within indie game production, culture and design. The first part of the article focuses on the production and distribution issues, as well as on the cultural construction and artistic legitimation of indie games. The article then posits a design-centered analytical approach to indie games inspired by Kellner (1995) and based on “procedural rhetorics” (Bogost, 2006; Flanagan and Nissenbaum, 2014). This approach is used to look at commercially successful indie games, which we consider to be an especially suitable object of study for exploring and understanding contemporary culture through the frictions between hegemonic culture and counter-culture, progressivism and conservatism, capitalism and anti-capitalism, as well as the way we conceive these notions.

New Media & Society, 2018

This article considers the history, practices and impact of the Indie Megabooth and its founders in terms of their role as a ‘cultural intermediary’ in promoting and supporting independent or ‘indie’ game development. The Megabooth is a crucial broker, gatekeeper and orchestrator of not only perceptions of and markets for indie games but also the socio-material possibility of indie game making itself. In its highly publicized outward-facing role, the Megabooth ascribes legitimacy and value to specific games and developers, but its behind-the-scenes logistical and brokerage activities are of equal if not greater importance. The Megabooth mediates between a diverse set of actors and stakeholders with multiple (often conflicting) needs and goals and in doing so helps constitute the field of production, distribution, reception and consumption for indie games. ‘Indie-ness’ and independence are actively performed in and through intermediaries such as the Megabooth.

Research Policy, 2003

This paper examines the role of creative resources in the emergence of the Japanese video game industry. We argue that creative resources nurtured by popular cartoons and animation sector, combined with technological knowledge accumulated in the consumer electronics industry, facilitated the emergence of successful video game industry in Japan. First we trace the development of the industry from its origin to the rise of platform developers and software publishers. Then, knowledge and creative foundations that influenced the developmental trajectory of this industry are analyzed, with links to consumer electronics and in regards to cartoons and animation industry.

This introduction to this special issue of Loading… considers the articles of the issue in the context of game studies' growing interest in, and implication with, the cultures of independent game development and the 'indie scene' in general. 'Indie' is the question not the answer for the authors of this issue. Together the articles herald a long term collaborative program of research that implicates concerns with the discrete and varied cultural contexts of game production, a recognition of the nuances and diversity in the tastes and values of players, and the place of digital games and game discourses in shaping and reshaping the public sphere. After this issue, we may argue about whether game studies has finally found its object but we can all agree that our engagement with the question of 'indie' has intriguing implications for the future of our work as games researchers, designers and cultural political actors. This Indie Thing What is this Indie thin...

Journal of Gaming & Virtual Worlds, 2019

The article examines three tools used for hobbyist game development in 1990s Japan: the Dezaemon series of user-customizable shoot 'em up games, the RPG Tsukūru (RPG Maker) series of tools for creating Japanese-style role-playing games and the NScripter scripting engine for visual novels. In doing so, it aims to highlight the diversity, but also to bring out the commonalities, of game 'produs-age': producing video games by using dedicated software. The focus on a non-western historical context is an attempt to challenge assumptions about the locales and platforms of game produsage prevalent in English-language scholarship. The article concludes with a two-axis typology of game produsage, based on the degree of expressive freedom their functionality enables and the limitations they impose on users' distributing their games.

2015

Despite frequent reference in academic and fan work to the video game genre known as JRPG (Japanese role-playing game), little critical scholarship has been dedicated to understanding how to conceptualize the genre. Frequently, JRPGs are framed as a cultural curiosity, with the “J” operating as a cultural appendix to established and well-defined genre of RPGs. The coordination between government and industry central to soft power, however, offers insight into the construction of the genre by highlighting the role the market plays in promoting culture. Drawing from representations of and discourse about gender in the MEXT’s Cool Japan campaign, this paper argues that JRPGs should be framed as one elemental part of a larger creative ecology that comes to define Japan and its culture overseas.

2015

This article attempts to explore the popularization of Japanese console games in China in the past two decades, which reveals the tripartite relationship of the nation- state, transnational cultural power, and local agents.1 This study focuses on the formation and development of the console game industry in a non-Western context, where the society has undergone dramatic transformations and has been largely influenced by the globalization process. Encountering social anti-gaming discourse and cultural protectionism, the importation and distribution of Japanese console games did not get support from the state. However, it found its way to the audience and gained popularity through piracy, the black market, and the local agents’ appropriation, becoming an integrated part of many Chinese early gamers’ lives. This article draws upon the intersection of cultural globalization with game studies, calling for an investigation into the complexity of the game industry through its socio- historical, political, and cultural environment.

Mutual Images Journal

Japanese pop culture has influenced Italy over the last thirty years. In the '70s anime started to fill the airtime of emerging private TV channels, marking the childhood of those Italians who grew up in those years and until the early '90s, when manga finally appeared in the Italian market. Globalization and the Internet have made other aspects of Japanese pop culture available to Italians and the rest of the world alike. It has resulted in a very active Italian fandom spanning different generations, and in a strong fascination with Japan.

Media Industries Journal, 2019

Based on empirical research, this article addresses the role of cultural intermediaries in the production, distribution, and reception of independent or "indie" digital games. Festival and showcase curators, local community organizers, co-working space managers, promoters, critics, funders, granting agencies, and other support actors are central to sustaining indie game cultures, but are often overlooked. Our research makes visible the diverse taskscapes of cultural intermediaries; the wide variety of brokering, translating, value-ascribing, connection-making, and care work involved; and the attendant tensions and challenges. We contend that cultural intermediary work in the game industry is characterized by precarity, extensive and largely invisible behind-the-scenes work, complex networks of interdependence and support, blurred boundaries between the personal and the professional, and a delicate balance between autonomy and integration.