The Japanese video game industry used to be a leading force in the world. During the 90’s and the early 2000’s, Japanese video games dominated the international market. Recently, however, during...Show moreThe Japanese video game industry used to be a leading force in the world. During the 90’s and the early 2000’s, Japanese video games dominated the international market. Recently, however, during the end of the last decade and the start of the current decade, Japanese video games experienced a huge dip in their sales. Japan has been attempting to use the ‘Soft Power’, the concept of influence generated by its popular culture overseas, to its advantage. The link between the Japanese video game industry and the concept of Soft Power have not been sufficiently examined as of now, hence why it was the focus of this study. The aim of this study was to come to an understanding of why these fluctuations in the market occurred, as well as look for the potential influence of Japanese video games and their popularity overseas on Japan’s Soft Power. By asking questions, in the form of a survey, to experts from the Dutch video game industry, the objective was to come to new insights on the matter and open up possibilities for further research. Results from the survey showed that previously underrepresented factors contributed to the fall in popularity of Japanese video games in the West. Elements like ease of use, lingual nuances, as well as intrinsic differences in preferences of the Japanese domestic audience and the Western audience, were identified. The link between the performance of Japanese video games overseas and Japan’s Soft Power was also confirmed. Respondents acknowledge the capability of Japanese video games to influence the consumer’s image of Japan, albeit not always in a purely positive way. Arguments were also raised that the Japan portrayed in video games is often not the real Japan. This holds true, but in order to make a target audience think more positively about Japan, the ‘real’ Japan does not need to be represented accurately. Thus, it can be argued that popularity of Japanese video games overseas does indeed correlate to an increase in Japan’s Soft Power.Show less
Over the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic...Show moreOver the recent years Japanese animation has seen the rise of a new form of the science fiction genre, namely technoludic anime, or anime that involves video game elements. Commentative technoludic anime, the main focus of this research, are part of a critical discourse on techno- culture and its future. This genre of anime taps into themes such as gender identity, nationalism, societies of control and the disintegration of ontological boundaries while using video game portrayal and video game play as the main focus of their narrative. It also either tends to smear or beautify video games through technophobic or technophilic themes which are supported by binary opposition such as lived experience and fantasy, and the real and the virtual. Considering the popularity of video games, it is no surprise that commentative technoludic anime have not only gained recognition in "digitally native" Japan, but also resonate with viewers on a global scale. Kawahara Reki's Sword Art Online has gained massive attention and can be seen as one of the icons of this commentative technoludic anime genre. Through its technophilic-tinted themes the series stimulates philosophical thinking by proposing a different understanding of virtual worlds and ontological boundaries. Throughout its story a young otaku recluse heightens the intensity of his life by moving into a new virtual exterior, finding its beauty along the way. The story's proposition, one that accentuates the merits, beauty, and realness of the virtual, is strengthened through the addition of life-like AI characters, exciting adventure, a beautiful environment and most surprisingly, death. Furthermore, even though Sword Art Online represents its virtual world as a video game, its world lacks the characteristics of play, showing that the virtual world Sword Art Online revolves around isultimately, not really a video game, but a sensational replacement for life in the real world.Show less
Bachelor thesis | Film- en literatuurwetenschap (BA)
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In this thesis, I will investigate whether it is possible to analyse music in video games through the terminologies of film narratology. For my research, I have used various studies on musical...Show moreIn this thesis, I will investigate whether it is possible to analyse music in video games through the terminologies of film narratology. For my research, I have used various studies on musical analysis in film and complemented this with musical analysis in video games specifically. My research focuses on music in relation to the diegetic world of video games and how musical focalisation is effectuated. To illustrate the relation between music and the diegetic world, and between music and focalisation, I have done case studies on respectively The Witcher III: Wild Hunt (CD PROJEKT RED, 2015), and The Path (Tale of Tales, 2009). By doing this research, I aim for a better understanding of the relation between a video game's music in regard to the narrative.Show less
