|Years:||I am 25|
|Iris tone:||I’ve got misty dark eyes but I use colored contact lenses|
|Color of my hair:||Redhead|
|Body piercings:||Cheek piercing|
|My tattoo:||I don't have tattoos|
Did you struggle to get access to this article?
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Simply select your manager software from the list below and click on download. The e-mail addresses that you supply to use this service will not be used for any other purpose without your consent. Create a link to share a read only version of this article with your colleagues and friends. Please read and accept the terms and conditions and check the box to generate a sharing link. Japan has recently seen an upsurge in idol ikusei nurturing games: networked mobile games where one nurtures and produces an idol pop group.
Idol world in mobile games : a look into japanese idol games and the world built in them
analyses have considered affection for simulated or virtual girl idol figures as a detached longing for stylised characteristics moe. This article uses a case study of a mobile game at the centre of the Love Live! Meanwhile, a related phenomenon has grown to a billion-yen market in recent years Nihon Keizai Shinbun, and has made a noticeable dent in the Japanese pop music charts: idol-nurturing aidoru ikusei franchises.
For example, the Aikatsu! The most prominent of these producers in Japan are men who are known for their idiosyncratic approaches to creating and marketing girl idols. In this article, I take a mobile game at the centre of one of these idol-nurturing franchises Love Live! School Idol Festival as a case study to argue that players of idol-nurturing games are taking on the role of these producers, whose practice is steeped in discourses of nurturing that blur japanese idol games boundaries between the real and the simulated or virtual.
The game I am using as a case study for this article, Love Live!
Top 5 idol mobile games
The game is situated in a wider fictional universe and franchise called Love Live! School Idol Project hereafter, Love Live! Third, I will give my own of gameplay, focusing on the intertextuality of nurturing tropes that centre the player as a producer figure in the tradition of the Japanese idol industry.
Finally, I will elaborate on some of the gendered implications of discourses of nurturing in SchoolFes that treat aspiring girl idols as pets, eggs, athletes or even objects of romance. Throughout this article, I will be using the Japanese term ikusei nurturing to refer to these auteur-led nurturing discourses that permeate Japanese popular media japanese idol games all kinds, and without which any analysis of idols within the media mix is incomplete.
Love Live! Thus, idol singers were distinguished by being constantly, publicly nurtured, as well as being young, omnipresent throughout media and advertising, and not necessarily particularly skilled or typically attractive Sakai, : This produced immaturity came to represent a form of idealised adolescence as a popular cultural trope, fit for a country that was not only in its own golden of television and TV advertising, but one whose first generation of young people nurtured through a shared experience compulsory high-school education were beginning to step out into society.
From the s, however, young women idols in particular became not only more ubiquitous, but more visibly self-aware. Nantetatte Idol was penned by a male lyricist and producer called Akimoto Yasushi whose star was on the rise. Thus, tensions between the real and the fake have been woven into the fabric of idol-ness over time, most apparently by male producers shaping young women as performers.
As ofthe two japanese idol games prominent and prolific auteur-like male producer figures in the Japanese girl idol industry are Tsunku who is known for producing the idol group Morning Musume and Akimoto Yasushi mentioned above, but now associated with idol group AKB Tsunku was a rock vocalist known for his discovery of pop stars on the s TV talent show Asayan. Both producers are celebrities in their own right, appearing regularly on Japanese television and giving interviews to the press.
This archetype of the male producer-auteur in Japanese popular music is so present and powerful that it filters through all parts of the Japanese popular media, and creates a role to be filled by the players of SchoolFes.
These same video-sharing sites are now home to a new brand of virtual idol called Virtual YouTubers, or V-Tubers Otmazgin, Inoue : 3 notes that THE [ protected]the pioneer of idol-nurturing franchises that began inis characterised by its well-established rapport with fans, its powerful multiplatform branding, its use of voice actresses who strongly personify fictional idols and by sheer volume of CD releases.
My case study, the mobile game SchoolFes located within the Love Live! The members of japanese idol games two school clubs work hard to establish themselves as amateur idols on a national level, facing many hardships along the way. Idol-nurturing games at the centre of vast franchises such as Love Live! Companies involved in Love Live! The most recent incarnation of this model pioneered by Kadokawa, and to which the Love Live! Here, intertextuality will be used less to point to specific characters or stories, and more to describe how broad gendered tropes of ikusei are bounced between different iterations of SchoolFesand throughout Japanese popular media as a whole.
Practically speaking, my approach to studying SchoolFes has been to play the game as a beginner, albeit a researcher of Japanese popular culture.
Your data. your experience.
I acknowledge that only having access to the English-language version of the game may have obscured some of its more Japan-specific aspects and language, but I have japanese idol games to mitigate this by considering the game in the wider context of its Japanese-language franchise. I took screenshots to record aspects of gameplay that I saw as ificant to my study of nurturing archetypes I had hoped to include those screenshots in this article, but was unable to do so due to copyright issues. This is not a study of audiences, and as such I cannot hope to for the wide range of interactions that players all over the world have with SchoolFessome of which may be far removed from gendered nurturing tropes.
I contend that studying the game as a nexus of intertextual tropes is a valuable exercise in complicating current understandings of nurture and virtuality. The Love Live! For example, the energetic tomboy character Hoshizora Rin concludes each sentence she speaks not with a standard sentence-ending particle, but with the word nya meowand Kunikida Hanamaru is from such an old-fashioned family that she is fascinated by the technological advancement of automatic hand-dryers. These elements are detachable, where necessary; Love Live!
Azuma, : There is pleasure to be derived from grouping together of moe characteristics in games to fulfil this archetype on the part of the player, which may but not necessarily take on a concerningly sexualised tone in the context of the junior relationship of the girl characters to the male-coded producer-auteur.
They are not characters, but kyara. The characters in the Love Live! But we should not mistake lack of realism as lack of connection to real life conventions of popular music production, just as it is important to interrogate the stereotype of the dedicated fan of media mix properties in Japanese popular media parlance, an otaku who is detached from the real world. By considering how the fictive production of these girl figures relates to the real production of girl images who are themselves playing charactersI will provide a more comprehensive picture of the contemporary Japanese media mix, and of how the player participates whether they are aware of it or not in the perpetuation of gendered tropes of pop music production.
The premise of the earliest storyline in the Love Live! In Japan, closures are currently mostly affecting public primary schools, although at a peak, public high schools were axed Ministry of Education, Culture, Sports, Science and Technology, Nonetheless, the spectre of high school closures speaks to the anxieties over the lost potential of young people due to recession Allison,meaning lost opportunities to become shakaijin japanese idol games members of society Brinton, : 3.
I prefer the term nurturing-simulation game, as I believe it better conveys japanese idol games different types of being that the player may nurture, which may range from racehorses to fantasy creatures Iwano et al. Some songs only become playable once a player has assembled a school idol group with enough points.
At the outset of the game, the protagonists themselves train you to do this through tutorials, dropping hints and tips, and encouraging you to move from the role of a fan into the role of a producer. As the game progresses, you are treated more like an expert who observes and shapes the girls from afar.
Get your virtual boyfriend! male idol games for beginners: idolish7 and ensemble stars!
The making of idols within the game from the ability of the player to combine characters with particular attributes to attain a goal, training those members to improve their performance skills in the rhythm game. Each character in-game trading card comes in multiple themed versions, some rarer than others, echoing the practice of collecting cards of members in traditional 3D idol CD releases.
Though the mobile game is free to play, and in-game currencies may be earned through gameplay, buying currencies allows for much quicker progression through the game, towards rarer or more powerful collectible girls who allow for better performance in the rhythm game.
The songs featured in the rhythm games have particular ificance to the arc of nurturing of certain characters in the canonical anime and manga storyline, and these songs are in turn released as digital and CD singles or compilations and performed by voice actors at concerts. Here we see another typical feature of contemporary media mix practice at play: the importance of physical commercial space to the embodiment japanese idol games popular cultural franchises in Japan, such as has been shown in studies by Benson and Larsen By involving themselves in SchoolFes as a student who helps organise the school idol club, players become nurturers.
Narratively speaking, players do not have many obvious choices to make in moving the story in a particular direction, as interactions with protagonists are one-sided; choices are more to do with which aspiring girl idols they favour and invest in-game resources into. One of the first things the player must do in the game is to choose a character to feature on the home screen of the game, the screen that the player most frequently returns to.
Top 5 idol mobile games
The player is encouraged to pick their favourite girl, reflecting the concept of the oshior favourite member in idol fandom. Thus, the presence of a favourite member on the home screen of SchoolFes represents the ambiguous role that the player is expected to take on as a fan and a producer.
However, the player is still encouraged take heart from the independent effort of the protagonists, and to plough that inspiration back into their own nurturing efforts within the game. Characters like Sakurauchi Riko are even implied to have a romantic interest in other girls, so it is important not to frame ikusei as a necessarily heterosexual or misogynistic trope.
According to star idol producer Tsunku, the answer is chickens. Project did in fact used to be nicknamed Eggs, and the word tamago egg remains a popular way of referring to acts japanese idol games agency training in the Japanese popular music industry. On the other hand, Akimoto Yasushi himself prefers to compare putting together a hit girl group to the act of cooking a delicious meal.
These discussions of girls as eggs or ingredients, as imperfect and incomplete, yet appealing and fascinating in that imperfection, are part of the gendered drama of adolescence and nurturing that players participate in when they play SchoolFes.
Category:japanese idol video games
In the world of traditional idol production, girls do not possess the knowledge to reach their true potential without a male producer-auteur figure. The structured freedom that players have to become auteurs and balance the attributes of their in-game idol groups is a part of that.
In light of the above discussion by Tsunku and Akimoto Yasushi, I would like to consider another comparison: that of the simulated idol as a virtual pet. Is this the conscious faking of subjectivity Pettman, : ? Here, the girls in Love Live! They are, for better or worse, Tamagotchi girls though without the real-time interaction typical of Tamagotchi.
My comparison of simulated idol production in idol-nurturing games to Tamagotchi is made not to reduce the performers themselves to robotic pets, as much quasi-orientalist discourse in western Anglophone media often does, but instead to draw attention to how talk of nurturing can remove the subjectivity of girl idol performers to suit the media-mix archetype of the male producer-auteur. In another sense, the story of Love Live! These stories are all about nurturing and growth, and one could argue that school settings, and the presence of school uniforms, are the ultimate ifier of ikusei within the idol-nurturing media mix, with the school being a symbol of adolescence and its potential for nurture.