Call for Papers for Replaying Japan Journal, Issue 3

The Replaying Japan Journal has issued a call for papers for Issue 3 with a deadline of September 30th, 2020. See the Current Call for Papers – Replaying Japan. The RJJ publishes original research papers on Japanese videogames, game culture and related media. We also publish translations, research notes, and reviews.

The RJJ is available online and in print, published by the Ritsumeikan (University) Center for Game Studies (See the RCGS English Pamphlet too). Inaba, Mitsuyuki is the Editor in Chief and Fukuda, Kazafumi is the Associate Editor. I and Jérémie Pelletier-Gagnon are the English Editors.

Articles in either Japanese or English are accepted. The Japanese Call for Papers is here.

Finland accepts the Demoscene on its national UNESCO list of intangible cultural heritage of humanity

“Demoskene is an international community focused on demos, programming, graphics and sound creatively real-time audiovisual performances. [..] Subculture is an empowering and important part of identity for its members.”

The Art of Coding has gotten Demoscene listed by Finland in the National Inventory of Living Heritage, Breakthrough of Digital Culture: Finland accepts the Demoscene on its national UNESCO list of intangible cultural heritage of humanity. This means that Demoscene may be the first form of digital culture put forward to UNESCO as a candidate intangible cultural heritage (ICH).

In a previous blog post I argued that ICH is a form of culture that would be hard to digitize by definition. I could be proved wrong with Demoscene. Or it could be that what makes Demoscene ICH is not the digital demos, but the intangible cultural scene, which is not digital.

Either way, it is interesting to see how digital practices are also becoming intangible culture that could disappear.

You can learn more about Demoscene from these links:

Digital Synergies Launch Event

Today I gave a short talk at the Digital Synergies Launch Event. The launch included neat talks by colleagues including:

I showed and talked about – The Dictionary of Worlds in the Wild. This is a social site where people can upload pictures of text outside of books and documents and tag the words – text like tatoos, graffiti, store signs and other forms of public textuality.

HyperCard at the Internet Archive

Screen Shot of Internet Archive HyperCard Collection

The Internet Archive is now collecting HyperCard Stacks and has an emulator so they can be run in the browser. If you have old ones to contribute you can upload them to (which has a nerdy HyperCard like interface.)

Like many, I learned to program multimedia in HyperCard. I even ended up teaching it to faculty and teachers at the University of Toronto. It was a great starting development environment with a mix of graphical tools, hypertext tools and a verbose programming language. It’s only (and major) flaw was that it wasn’t designed to create networked information. HyperCard Stacks has to be passed around on disks. The web made possible a networked hypertext environment that solved the distribution problems of the 1980s. One wonders why Apple (or someone else) doesn’t bring it back in an updated and networked form. I guess that is what the Internet Archive is doing.

For more on the history of HyperCard see the Ars Technica article by Matthew Lasar, 30-plus years of HyperCard, the missing link to the Web.

What is cool is that artists are using HyperCard to make art like Formality* discussed in the previous post.


Formality* Screen Shot

Formality* is an interactive in browser art work about filling out forms to apply to “The Neighbourhood”. Formality* was developed in HyperCard by Ewan Atkinson and plays with the retro development environment. Having spent a lot of time on HyperCard I loved Atkinson’s use of the environment – he even has agents that can advise you (reminiscent of Brenda Laurel’s work). Formality* is part of a larger work called The Neighbourhood Project – it makes you wonder about how one becomes part of communities and the processes of applying to belong.

Di GRA 2019 And Replaying Japan 2019

Read my conference notes on Di GRA 2019 And Replaying Japan 2019 here. The two conferences were held back to back (with a shared keynote) in Kyoto at Ritsumeikan.

Kieji Amano deserves a lot of credit for putting together the largest Replaying Japan programme ever. The folks at the Ritsumeikan Center for Games Studies should also be thanked for organizing the facilities for both conferences. They have established themselves as leaders in Japan in the field.

I gave two papers:

  • “The End of Pachinko” (given with Amano) looked at the decline of pachinko and traditional forms of gambling in the face of the legalization of casinos. It looked at different types of ends, like the ends of machines.
  • “Work Culture in Early Japanese Game Development” (with Amano, Okabe, Ly and Whistance-Smith) used text analysis of Szczepaniak’ series of interviews, the Untold History of Japanese Game Developers, as a starting point to look at themes like stress and gender.

The quality of the papers in both conferences was very high. I expect this of DiGRA, but it was great to see that Replaying Japan, which is more inclusive, it getting better and better. I was particularly impressed by some of the papers by our Japanese colleagues like a paper delivered by Kobayashi on the “Early History of Hobbyist Production Filed of Video Games and its Effect on Game Industries in Japan.” This was rich with historical evidence. Another great one was “Researching AI technologies in 80’s Japanese Game Industry” delivered by Miyake who is involved in some very interesting preservation projects.

$432 000 painting “by AI” sold at Christie’s

A painting created using GANs (generative adversarial networks) sold for $432 000 at Christies today.

Last year a $432 000 painting “by AI” sold at Christie’s. The painting was created by a collective called Obvious. They used a Generative Adversarial Network. In an essay titled, A naive yet educated perspective on Art and Artificial Intelligence, they talk about how they created the work.

Generative Adversarial Networks (GANs) analyze tens of thousands of images, learn from their features, and are trained with the aim to create new images that are undistinguishable from the original data source.

They also point out that many of the same concerns people have about AI art today were voiced about photography in the 19th century. Photography automated the image making business much as AIs are automating other tasks.

Can we use these GANs for other generative scholarship?

The Body in Question(s)

Isabelle Van Grimde gave the opening talk at Dyscorpia on her work, including projects like The Body in Question(s). In another project Les Gestes, she collaborated with the McGill IDMIL lab who developed digital musical instruments for the dancers to wear and dance/play.

Van Grimde’s company Corps Secrets has the challenge of creating dances that can travel which means that the technologies/instruments have to . They use intergenerational casts (the elderly or children.) They are now working with sensors more than instruments so the dancers are free of equipment.

Home – DIGRA 2018 Conference

Last week I was at the DIGRA 2018 Conference in Turin, Italy. The conference was well organized and the quality of papers was high. As always, I kept conference notes here.

I was struck how game studies is less and less about games. Of course, games are the subject of research, but game studies is less about the appreciation of games and more and more about what we can learn about other things through games. Games, like literature, have become a lens for looking at other things making the field richer and better aligned with other fields like media studies or literary criticism.

Next year the conference will be held in Japan and linked up with Replaying Japan. I look forward to the encounter between these different game studies cultures.

Dan Hett’s game “c ya laterrrr”

c ya laterrrr is text “game” by Dan Hett to document his experience after the Manchester terror attack when he lost his brother. “c ya laterrrr” was the last message he got from his brother. I found the game through an interview with the Guardian that talks about the games he is making. Another games that is less narration and more 8-bit graphics is the Loss Levels made with Pico-8.

As both games deal with the same event they make an interesting comparison of genres. I find the text adventure game much more effective for this subject as you feel the event unfold and the decisions give you a feeling for the experience.