Brokers of “Japaneseness”: Bringing table-top J-RPGs to the “West”. Copenhagen, Denmark: Rollespilsakademiet. International Journal of Role-Playing, 1(1), 3- 21. Virtual ethnography: Modes, varieties, affordances. Riaru RPG wo Nihon de yaritai!! LARP Funtōki. Systemic perspectives on information in physically performed role-play (Doctoral dissertation). (Eds.), Role-playing game studies: Transmedia foundations (pp. Hammer, J., To, A., Schrier, K., Bowman, S. Debating otaku in contemporary Japan: Historical perspectives and new horizons. Chicago, IL: University of Chicago Press. Shared fantasy: Role-playing games as social worlds. Atari to Zelda: Japan’s videogames in global contexts. Cham, Switzerland: Palgrave Macmillan.ĬLOSS. Japanese horror and the transnational cinema of sensations. Bleed: The spillover between player and character. The functions of role-playing games: How participants create community, solve problems and explore identity. Copenhagen, Denmark: BookPartner.īowman, S. (Eds.), As larp grows up-Theory and methods in larp (pp.
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db: Vocaloid software as posthuman instrument. Amsterdam, The Netherlands: Swets & Zeitlinger.īell, S. (Eds.), Adult play: A reversal theory approach (pp.
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A history of the roleplaying game industry-The 70s. Furthermore, the emotional impact of horror larps, the affective interaction between players and their characters, allows for memorable experiences and so continues to draw in new players and organizers.Īisora, M. The dominant form of larps in Japan are one-room games, that work well with horror mysteries and function as a low threshold of accessibility. Creating a fertile ground for this genre, the first indigenous Japanese larp rulebook built on this interest and the ease of access, namely that players do not need elaborate costumes or equipment to participate in modern horror.ĭiscussion. With the advent of video sharing sites, replays moved from the book to audio-visual records and a focus on horror games. Replays, novelized transcripts of play sessions, have been an entry point into analog role-playing in Japan since the 1980s. Cyberethnographic fieldwork including participant observation at larps between 20 forms the data basis for this article, followed by qualitative interviews with larp organizers, larp writers, and designers of analog games as well as observations online in respective webforums. This article explores the development of non-digital role-playing games in the Japanese context in light of the online video platform niconico popularizing horror role-playing and practical considerations of adopting the genre to live-action play.
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Following trends of related forms of analog role-playing games, the horror genre functions as a motor of increasing popularity.Īim. The history of larp, live-action role-play, in Japan may be rather short but documents exponential growth in the entertainment sector as well as in educational gaming.