2018/10/31

2018年度 第5回定例研究会「ゲーム資料の書誌記述枠組みに関する検討」

下記の通り、本学の福田一史氏による,今年度の第5回定例研究会を11月9日に開催いたします.みなさまふるってご参加ください。
日時
2018年11月9日(金)16:00~
場所
立命館大学 衣笠キャンパス 学而館 研究会室1
発表者
福田一史(立命館大学大学院 先端総合学術研究科
発表タイトル
ゲーム資料の書誌記述枠組みに関する検討
概要
立命館大学ゲーム研究センターは、11,000件のビデオゲーム、4,000件の冊子などで構成されるゲーム及びゲーム関連資料を所蔵している。発表者は、これらを主たるサンプルとして、書誌記述枠組みに関する研究に取り組んでいる。同枠組みは、IFLA LRMの応用モデルとして開発を進めるものであり、RCGS-OPAC(立命館大学ゲーム研究センター所蔵品オンライン目録)やメディア芸術データベース(ゲーム分野)などといった、オンライン目録のゲーム資料記述枠組みとしての活用を検討している。本発表では、その開発の背景及び目的ならびに、そのクラス図と記述要素リストといった仕様を示す資料と、目録作成状況などについて報告する。さらに実装にあたり、マンガやアニメーションといった他分野の書誌データとの統合化を目的とするコアモデル策定や、これら資料の所蔵館の書誌データの集約といった展望について議論したい。

RCGS-OPAC. http://www.dh-jac.net/db/rcgs/search.php
メディア芸術データベース. https://mediaarts-db.bunka.go.jp/gm/



2018/10/17

2018年度 第4回定例研究会 Cäcilia Sauer & Luca Paolo Bruno

下記の通り、ライプツィヒ大学のCäcilia Sauer氏と、Luca Paolo Bruno氏による,今年度の第4回定例研究会を10月26日に開催いたします.みなさまふるってご参加ください。
Title:
Playing by Ear: Audio Games(Cäcilia Sauer)
Visual Novel Game Characters: Conventionality and Re-performance.(Luca Bruno)
Date and Time
2018/10/26 16:00-
Place
Gakujikan 2F Reserch Room3(研究会室3), Ritsumeikan Kinugasa campus in kyoto
http://en.ritsumei.ac.jp/access/
Speaker:
Cäcilia Sauer, Ph.D. Student at Leipzig University, [j]Games: Japan Videogame Research Initiative
Luca Paolo Bruno, Ph.D. student at Leipzig University
Abstract:
(Cäcilia Sauer)
This paper aims to present the status of the forthcoming Ph.D. Dissertation: „Playing by Ear: Audio Games“ (Working title). The topic of this dissertation is the aesthetics of audio-only games, the particularity of their gaming experience and their social impact on both visually-impaired and sighted players. In the recent years, video games have increasingly focused on visuals. Mainstream games are using graphics to attract their audience, with games like “Assassins Creed Origins” or “Final Fantasy XV” even implementing photo modes for players to take their time to enjoy the “beautiful landscapes”. Yet in Audio Games those “selling arguments” are missing. Audio Games are Games that, rather than graphics, use sound to build up gaming worlds and thus are far more accessible so people with all levels of sight. Up until now, Audio Games have always been more of a marginal phenomenon in video game industry with only smaller indie game companies or fans developing their own acoustical equivalent to visual video games (although in all kind of genres, including racing games, fighting games, RPGs, adventures and so on). In this presentation, I will present the results of the first fieldwork I have done up until now – both in Germany and Japan. Being a rather unknown phenomenon, not much is known about the audio game market in general. So currently I try to collect different data from both audio game players and developers, in order to create some kind of overview about audio game industry and its audience: Why do people play and create games which are rather restricted in their form of expression? Are they even considered as being “restricted”? And are only blind and visually-impaired players interested in this kind of audio-only games?

(Luca Bruno)
This paper seeks to propose visual novel game characters as the fixed point from which the game-ic culture of Akihabara originates. Whenever it’s the male-oriented bishōjo or the female-oriented bishōnen, Akihabara characters serve not only as vital component of a media-mix, but in fact encompass the rules and the procedures by which conventions internal to the Akihabara cultural domain are reproduced at different points in time. While the cultural domain’s current state of development is in continuous flux (see Suan 2017), the procedures encompassed within the character remain constant, stabilizing the cultural domain on a game-ic framework in which characters and their constitutive elements become the baseline by they are recognized as belonging to that particular cultural domain. Furthermore, the presence of such a character within media activates the connections with the system of conventions, turning other media forms (such as animation, games, printed matter, etc.) into media forms proper to Akihabara, generating a meta-game of expectations and their confirmation/subversion. The character in itself, as an entity composed of conventional elements, acts as a separate category of intersubjective communicative construct (cf. Thon 2016), connected but distinct from media and story specificities. Once the character is present as an intersubjective communicative construct, no matter the state of the cultural domain or its elements at that specific point in time, the perspective shifts in function of the character. In other words, characters within the Akihabara cultural domain are the focal point in a system of procedures which allows the re-performance and the continuous development of conventions within the cultural domain. Visual novel games and their characters, by virtue of exposing these processes, are the most promising window into the game-ic tendencies of Akihabara’s culture.





2018/09/03

お知らせ:DiGRA 2019 Call for Paper

 翌2019年8月6日~10日かけて開催予定のDiGRA 2019でのCall for Paperが下記のとおりリリースされております。
 詳細は、http://www.digra2019.org/をご覧ください。

Call for Papers

‘Game, Play and the Emerging Ludo Mix’

Media mix (wasei-eigo, メディアミックス or ‘media mikkusu’) bears a particular meaning in Japanese popular culture originating from anime production and consumption in the 1960s. Similarly to cross-media, media convergence, and transmediality, it refers to ways of presenting, representing, and sharing content on different platforms and media allowing dynamic communication between them. Media mix is best seen as a commercial approach as it was conceived to improve advertising strategies through heavy reliance on characters. Of particular importance for media mix are Intellectual Properties that link together various media products and entertainment services across technologies and platforms from TV to toys and game arcades. Its anime origins also bring along a range of analogue formats and outlets as parts of media mix. Conventionally, digital games are seen as one of these possible outlets.
In DiGRA 2019, we invite contributors to consider the possibility of ‘ludo mix’ where games and play increasingly occupy the focal point of such a diversified distribution and consumption model. Ludo mixes may include several versions of a game or several different games together with other content thus resulting in novel media ecologies, business models, and development and consumption cultures.

Papers are invited to the following eight tracks

Games spectatorship

live events, LAN publics, esports spectatorship ecosystems, livestreaming and broadcasting practices, LetsPlays, player micro-celebrity cultures, research methods, non-player viewership, game design/platforms and audience, diversity and watching/playing, infrastructure and materialities of spectatorship, learning practices through watching

Games business

game production, development cultures, design practices, monetization, funding, marketing, brands, merchandise, ancillary products, co-production, creative industries)

Philosophy and critique

analyzing across platforms and formats, close readings, ontologies and frameworks, historical studies, philosophical explorations, literary analysis

IP, law and games

humanities-­informed approaches to legal aspects of making, selling, marketing, purchasing, consuming and co-creating games

Making sense of play and players

everyday play in the media mix, ethnography and microethnography, analytics, lived game cultures, ludic subjectivities, player-generated content, fans, virtual / actual domains of play, diverse players, demographics, humans and nonhumans in play

Computer games and artistic expression

ludo mix for art games and game art, computer games and playable media as means of artistic expression: case studies, theoretical and practical descriptions, designs, reflections, and evaluations

Serious games

applied games, learning in and around games, designing learning, knowledge gained through digital game play, serious game development and production

Doing games research

practices and methods of research, publication and teaching, regional practices and research cultures, institutional practices, games design research

Important Dates

Submission opens: December 5, 2018
Final submission deadline (Full Papers, Abstracts, Panels, and Doctoral Consortium): February 5, 2019
Acceptance/rejection notification (Full Papers, Abstracts, Panels, and Doctoral Consortium): March 18, 2019
Final submission deadline (Workshops): April 8, 2019
Acceptance/rejection notification (Workshops): April 22, 2019
Reviewed and rewritten full papers final deadline: May 28, 2019
Conference dates: August 6-10, 2019

2018/08/29

中村彰憲『中国ゲーム産業史』発刊のお知らせ

 本センターの中村彰憲教授が執筆した『中国ゲーム産業史』がGzブレインより発刊されました。
 同書は、中国への長年の取材をもとにして、1990年代からの中国ゲーム産業について詳しく解説したものです。

<目次>
中国ゲーム産業史 年表
序章 :中国ゲーム産業史で紐解 くチャイニーズ・イノベーションの真実
第 1 章 :世界最大のエンターテインメント大国―中国
第 2 章 :中国ゲーム産業の混沌 (~1997 年 )
第 3 章 :中国ゲーム産業の形成 (1998 年~2004 年 )
第 4 章 :中国ゲーム産業と中国政府の役割
第 5 章 :中国ゲーム産業黎明期における日本企業の動態
第 6 章 :中国ゲーム産業の発展 (2005 年~2009 年 )
第 7 章 :中国文化産業振興政策の形成と発展
第 8 章 :中国ゲーム産業の拡大 (2010 年~2014 年 )
第 9 章 :中国ゲーム産業拡大期における日系企業の動態
第 10 章 :中国ゲーム産業の現在、そして未来 (2015 年~)
第 11 章 :中国ゲーム産業進化論 (おわりに変えて)

 書籍版については「ebten」から、電子書籍版については各種電子書籍ストアにて、購入が可能となっております。

<ebten> 書籍版:http://ebten.jp/p/7015018071951/

2018/07/30

DIGRA 2019 、8月6日から10日まで京都の立命館大学にて開催。基調講演にゲームクリエイターの水口哲也氏とeスポーツの世界的権威、T.L. Taylor氏の登壇が決定



T.L. Taylor氏

水口哲也氏

 立命館大学ゲーム研究センター(RCGS) は、日本デジタルゲーム学会(DiGRA JAPAN)ならびにデジタルゲーム学会(DiGRA)とともに2019年8月6日から10日までの間、京都の立命館大学でDiGRA2019を開催することを発表します。
 テーマは「ゲーム、プレイ、そして台頭するルド・ミックス※」
 今後、本テーマに関連したサブテーマとともに研究発表の応募要領の詳細を公式ホームページ (http://www.digra2019.org/) にてリリースしていきます。
 また、基調講演にはゲームクリエーターで慶応大学教授の水口哲也氏とeスポーツの世界的権威でマサチューセッツ工科大学(MIT)教授のT.L. Taylor氏の登壇いたします。
 DiGRAはこれまで、ヨーロッパ、オセアニア、アメリカ、アジアならびに中東と世界中からデジタルゲームに関する研究者が集い、研究成果を発表してきました。これを機にぜひ世界中のゲーム研究者との交流を促進できればと考えております。日本デジタルゲーム学会の会員の皆様につきましてはふるって研究の応募をよろしくお願いします。


※ルドミックス(Ludomix)とはゲームを中心としたメディアミックス(Mediamix)が広がりつつある昨今の状況を反映して考案された造語です。