メディア芸術カレントコンテンツ - マンガ・アニメ・ゲーム・メディアアートをもっと知るための情報サイト
マンガ・アニメ・ゲーム・メディアアートをもっと知るための情報サイト
令和5年度文化芸術振興費補助金メディア芸術アーカイブ推進支援事業について
文化庁広報誌「ぶんかる」キャラクター「ぶんちゃん」 1．目的 我が国の優れたメディア芸術作品や散逸、劣化などの危険性が高いメディア芸術作品の保存及びその活用・公開等［1］を支援することにより、我が国のメディア芸術の振興に […]
<img fetchpriority="high" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan.jpg" alt="" width="1000" height="750" class="alignnone size-full wp-image-17440" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan-300x225.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan-768x576.jpg 768w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan-320x240.jpg 320w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/02/cus_bunchan-640x480.jpg 640w" sizes="(max-width: 1000px) 100vw, 1000px" />文化庁広報誌「ぶんかる」キャラクター「ぶんちゃん」 1．目的 我が国の優れたメディア芸術作品や散逸、劣化などの危険性が高いメディア芸術作品の保存及びその活用・公開等［1］を支援することにより、我が国のメディア芸術の振興に資することを目的とします。なお、<spun style="text-decoration: underline;">本事業で対象とする「メディア芸術」とは、デジタル技術を用いて作られたアート（インタラクティブアート、インスタレーション、映像等）、アニメーション・特撮、マンガ及びデジタルゲームとします。</spun>また、<spun style="text-decoration: underline;">本事業で対象とする「メディア芸術作品」とは、マンガ単行本・雑誌、アニメーションフィルム・DVD、ゲームソフト、アーケードゲーム、メディアアート作品等とします。</spun> 2．補助の対象となる者 メディア芸術作品の制作・編集・保存・展示や当該分野の教育・研究等を行うことを主たる目的とする我が国の団体で、次の（1）又は（2）のいずれか［2］に該当するとともに、当該分野において相当の実績を有し［3］、かつ、本補助金で行った事業の成果を年度内に広く一般に公開する予定を有するものとします。 （1）法人格を有する団体 （2）法人格を有しないが、次の要件を全て満たしている団体 ア．定款に類する規約等を有し、次のイ～エについて明記されていること イ．団体の意思を決定し、執行する組織が確立されていること ウ．自ら経理し、監査する等会計組織を有すること エ．団体活動の本拠としての事務所を有すること なお、採択された際には、実施内容に関するヒアリングや採択団体で行う情報交換会への参加等をお願いします。また、メディア芸術データベースへの登録対象となるデータを作成している団体には、データ提供をお願いする場合があります。加えて、本補助金で行った事業の成果としてメディア芸術データベースへの登録対象となるデータを作成する場合かつメディア芸術データベース提供のIDとの紐付けが可能なものについては、資料種別を記述の上、メディア芸術データベース提供のIDの活用やメディア芸術データベース提供IDとの対応表の作成等を検討してください［4］。 本補助金で行った事業の成果は国内外で広く活用されることが望まれます。成果のうち、公開可能なデータについては、当該団体のウェブサイト等を通じた公開に努めるとともに、ジャパンサーチ、メディア芸術データベース及び国立国会図書館未収かつ入手困難資料のデータ収集事業（https://www.ndl.go.jp/jp/preservation/digitization/data-acceptance.html）をはじめとする政府の取組へのご協力をお願いします。 ［1］ 保存及びその活用・公開等とは、何らかの方針に基づき、有体物及び無体物を選択、収集、組織化、蓄積し、長期にわたって保存するとともに利用に供することを想定しています。また、専門家・非専門家を問わず誰もが簡単にアクセス・利活用できることが望ましいです。なお、無体物については、コンテンツデータとメタデータのいずれをも含みます。 ［2］ 実行委員会を組織している場合は、実行委員会名義での申請はできません。ただし、その委員会の中核となる団体（事業費を管理し、事業の実施に係る経理事務や活動を統括する等）が、上記の（1）～（2）のいずれかに該当すれば、その団体の名義をもって申請することができます。申請時に実行委員会の中核団体である旨を証明する書類（実行委員会組織に当たり、団体の担当する業務内容が明示された契約書等）の写しを提出していただきます。また、中核となる団体は事業の終了後も帳簿等を保管するものとし、後日、正当な理由がなく、中核となる団体に帳簿等が保管されていないことが判明した場合には、交付された助成金の返還を求めることがあります。 ［3］ 当該分野における相当の実績とは、メディア芸術作品の制作・編集・保存・展示や当該分野の教育・研究等を一定期間（3年以上）継続して実施するとともに、その成果を当該団体のウェブサイト等を通じて、広く公開しているものとします。 ［4］ メディア芸術データベースへの登録対象ではないデータを作成する場合も、資料種別の記述及び外部IDの活用を推奨します。 3．補助対象事業 次の（1）又は（2）いずれかを対象とします。なお、メディア芸術作品や関連資料の複製・公衆送信等を実施する事業については、著作権者からデジタル化等の実施許諾を得ている、又は得られることが確実な事業に限ります。 （1）我が国の優れたメディア芸術作品や関連資料（原稿、アニメーション原画・絵コンテ、アニメーション・ゲーム設定資料、参考文献、機材・設計図等の作品保全に必要なデータ等）の整理、保存、修復、デジタル化、メタデータ作成、メタデータ及びコンテンツデータ利活用、調査研究等に係る事業。 （2）メディア芸術データベース（https://mediaarts-db.bunka.go.jp/）を利活用し、潜在的ニーズを具現化する事業。 【事業提案例】 ・メディア芸術作品及び関連資料の整理、保存、修復、デジタル化、公開等に係る作業 ・メディア芸術作品及び関連資料のデータベース化とその公開に係る作業（翻訳、調査等含む） ・メディア芸術作品の制作過程、保存、修復、アーカイブ化等についての調査（マニュアル整備等含む）とその公開等に係る作業 ・メディア芸術作品の保持に係る作業（システムの保全、アップデート等含む）、調査（マニュアル整備等含む）とその公開等に係る作業 4．募集案内及び提出書類 以下、文化庁HPをご参照ください。 https://www.bunka.go.jp/shinsei_boshu/kobo/93827901.html 5．提出先・お問合せ先 メディア芸術コンソーシアムJV事務局 京都事務所 藤本・佐原 〒604-8241京都市中京区三条通新町西入ル釜座町22 ストークビル三条烏丸407号室 電話：075-211-6760（平日10時～17時） メール：m-archive@aspectcore.com ※お問い合わせは令和5年3月1日（水）17時まで
「ゲームアーカイブ推進連絡協議会カンファレンス：日本のゲームアーカイブの現在と未来」を2023年1月21日（土）に開催
2023年1月21日（土）、「文化庁 令和4年度 メディア芸術連携基盤等整備推進事業分野別強化事業」の一環として「ゲームアーカイブ推進連絡協議会カンファレンス：日本のゲームアーカイブの現在と未来」を開催いたします。 ゲー […]
<img decoding="async" class="alignnone size-full wp-image-20845" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/12/FUKU110.jpg" alt="" width="1000" height="563" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/12/FUKU110.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/12/FUKU110-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/12/FUKU110-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /> 2023年1月21日（土）、「文化庁 令和4年度 メディア芸術連携基盤等整備推進事業分野別強化事業」の一環として「ゲームアーカイブ推進連絡協議会カンファレンス：日本のゲームアーカイブの現在と未来」を開催いたします。 ゲームアーカイブ推進連絡協議会では、ゲーム所蔵館の連携の必要性を認識したうえで、各所蔵館が認識する問題点やノウハウの相互学習を図ることで、ゲームの保存活動を社会的により確固たるものとして成長させること、またそのための取り組みを協働して進めていくための窓口機能の環境構築を目指して活動を行ってまいりました。 今回のカンファレンスは、これまでの協議会の活動について、そして、我が国におけるゲームアーカイブおよびその利活用に関する展望を多くの方々と共有することを目的としています。 ［STAGE1］では、我が国のゲーム文化に関わる様々な催事や事業の窓口となるべく活動してきた「ゲームアーカイブ推進連絡協議会」の多岐にわたる活動の一部をご報告します。 ［STAGE2］では、海外におけるゲームアーカイブの状況や、ゲームアーカイブ利活用の可能性についてご報告します。 ［STAGE3］では、近隣分野であるマンガやアニメーションとの連携に関する展望について考えていきます。 【開催概要】 正式名称：文化庁令和4年度メディア芸術連携基盤等整備推進事業 「ゲームアーカイブ推進連絡協議会カンファレンス：日本のゲームアーカイブの現在と未来」 会場：オンライン 言語：日本語 https://consortiumforgamearchive.blogspot.com/2022/11/blog-post.html ◆日時・場所 2023年1月21日（土） 13:00〜18:30（予定） ◆参加費 無料 ◆プログラム ●ゲームアーカイブ推進連絡協議会について（13:00～） ●STAGE1 ゲームアーカイブ推進連絡協議会団体の活動（13:10～） ○「ゲーム保存協会」ルドン・ジョゼフ ○「ナツゲーミュージアム」徳田直人 ○「立命館大学ゲーム研究センター」毛利仁美 ○「日本PBMアーカイブス」中津宗一郎 ●STAGE2 国内外のゲームアーカイブの射程（15:30～） ○「海外におけるゲームアーカイブの取り組み」井上明人（立命館大学） ○「国内ゲームアーカイブと、合法的に取れそうな手筋」松田真（松田特許事務所） ○「ゲーム展示からみるアーカイブの課題と展望」小出治都子（大阪樟蔭女子大学） ●STAGE3 アニメーション・マンガ分野におけるアーカイブの諸相（分野横断企画）（17:15～） ○辻壮一（アニメ特撮アーカイブ機構） ○大石卓（横手市増田まんが美術館） ○司会 細井浩一（立命館大学） ◆参加方法 下記より2023年1月14日までにご登録ください。締切後、セミナー当日までに参加方法を記載したメールを当方よりお送りします。 先着300名までとなっておりますので、定員に達し次第受付を終了いたします。 https://forms.gle/TYtr7yyzW7XTW5x29 ◆当日の取材について お手数ですが上記フォームよりお申し込みいただき、取材である旨を明記ください。当方より折り返しご連絡させていただきます。 本件への質問・お問い合わせは以下にご連絡ください。 立命館大学ゲーム研究センター 担当：尾鼻（bana@fc.ritsumei.ac.jp）
令和4年度メディア芸術連携基盤等整備推進事業 中間報告会
令和4年度メディア芸術連携基盤等整備推進事業 中間報告会が、2022年10月13日（木）にウェブ会議システムZoomにて開催された。メディア芸術連携基盤等整備推進事業では、産・学・館（官）の連携・協力により、メディア芸術 […]
令和4年度メディア芸術連携基盤等整備推進事業 中間報告会が、2022年10月13日（木）にウェブ会議システムZoomにて開催された。メディア芸術連携基盤等整備推進事業では、産・学・館（官）の連携・協力により、メディア芸術の分野・領域を横断して一体的に課題解決に取り組むとともに、所蔵情報等の整備及び各研究機関等におけるメディア芸術作品のアーカイブ化を支援している。また、アーカイブ化した作品・資料等を活用した展示の実施に係る手法等を開発・検討することにより、貴重な作品・資料等の鑑賞機会の創出を図っている。本事業の実施を通じて、アーカイブ及びキュレーションの実践の場の提供や今後のメディア芸術の作品等の収集・保存・活用を担う専門人材の育成に寄与することを企図している。中間報告会では、本事業の一環として実施した5つの分野別強化事業の取り組みの主旨や進捗状況の報告、メディア芸術連携基盤等整備推進事業の事務局調査研究およびメディア芸術データベース等に係る調査研究事業に関する報告がなされ、有識者検討委員からの質疑や助言が加えられた。 <img decoding="async" class="alignnone size-full wp-image-20638" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-1_top_IMG_5954.jpg" alt="" width="1000" height="556" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-1_top_IMG_5954.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-1_top_IMG_5954-300x167.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-1_top_IMG_5954-768x427.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /> 事業報告 ［マンガ分野］ マンガ原画アーカイブセンターの実装と所蔵館連携ネットワークの構築に向けた調査研究 マンガ刊本アーカイブセンターの実装化と所蔵館ネットワークに関する調査研究 ［アニメーション分野］ クレジット情報テキスト識別の更なる高精度化とメタデータ処理の汎用化 ［ゲーム分野］ ゲームアーカイブ所蔵館の連携強化に関する調査研究2022 ［メディアアート分野］ メディアアート作品の調査とメディア芸術データベースのデータ整備他 調査事業報告 メディア芸術連携基盤等整備推進事業 メディア芸術データベース等に係る調査研究事業 有識者検討委員会主査による全体総括 マンガ原画アーカイブセンターの実装と所蔵館連携ネットワークの構築に向けた調査研究 一般財団法人 横手市増田まんが美術財団 報告者：一般財団法人 横手市増田まんが美術財団 横手市増田まんが美術館 館長 大石卓 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-2.jpg" alt="" width="1000" height="361" class="alignnone size-full wp-image-20639" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-2.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-2-300x108.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-2-768x277.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />大石卓 【概要】 2022年10月、マンガ原画アーカイブセンター（MGAC）の活動拠点を、横手市増田まんが美術館から横手市増田重要伝統的建造物群保存地区内の漆蔵資料館へ移設することにより、MGACの活動の周知、また原画の保存集積能力の強化といったセンター機能の強化を図った。引き続き、MGACの実装の継続、所蔵館ネットワークの構築・専門人材の育成、収益事業および支援体制構築の調査を実施。将来的に、刊本事業と合流した「マンガアーカイブ機構（仮称）」を設立すべく、原画・刊本事業の課題や進捗状況を共有し、議論を重ねていく。 【中間報告】 原画保存の相談と原画プールについて、31件中6件の案件を対処。4〜9月までに7万1,000点の原稿を石ノ森萬画館と横手市増田まんが美術館にてプールした。一方で、整理作業までは手が回っておらず、緊急保護を目的としたプールの増大を見据え、予算や人員を含めた整理作業体制の整備は急務である。本事業は、マンガ家やその遺族、編集者から高い評価と理解を得ており、関係者による情報の拡散により、MGACの活動について認知度が高まった。関連して、出版社の支援も含めた産官学連携のアーカイブ推進事業「MGAC+」の動きも出ている。原画・刊本との相関性を判断するには、本アーカイブがマンガ分野のみならず幅広い分野の研究機関・教育機関に開かれる必要がある。今後は、専門的な知見を持った有識者により保存資料を精査する組織体制を構築したい。 マンガ刊本アーカイブセンターの実装化と所蔵館ネットワークに関する調査研究 国立大学法人 熊本大学 報告者：熊本大学 文学部 准教授 鈴木寛之 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-3.jpg" alt="" width="1000" height="362" class="alignnone size-full wp-image-20640" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-3.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-3-300x109.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-3-768x278.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />鈴木寛之 【概要】 令和4年度は、「マンガ刊本アーカイブセンター」の実装化に向けた調査研究のほか、刊本ネットワーク所蔵リストの構築事業、刊本プール資料の仕分けと移送に関する作業実験、「マンガアーカイブ機構（仮称）」設立に向けての原画・刊本、両事業の合同会議を行う。 【中間報告】 マンガ刊本アーカイブセンターは、施設間連携による全国規模での刊本アーカイブ構築を目的に、刊本寄贈の全国的な相談窓口として2023年の実装を目指す。そして、メディア芸術データベース（MADB）と連携可能な刊本データ収集に関する調査検討を行い、デジタルアーカイブ化の準備を進めていく。刊本プール事業では、雑誌用・単行本用等の利活用BOXを作成。これをもとに資料整理を進め、展示やワークショップを開催する。原画との親和性の高い雑誌資料を優先した刊本寄贈の受付により、時代性を反映する資料性の高いアーカイブを構築するとともに、広く市民に開かれたものとして提供したい。プール機能の外部化を目的とした作業実験では、NPO法人熊本マンガミュージアムプロジェクトが県内に設置したマンガ関連施設等の利用者・管理者へのヒアリングと資料の入れ替え、そして再配分を計画。自治体との連携により、小規模なプール機能を備えたマンガ関連施設の企画協力も行っている。将来構想を明確にし、持続可能な刊本プールを構成するための施設維持・人材確保、ビジネス展開や自立したマネジメント手法を確立していきたい。 クレジット情報テキスト識別の更なる高精度化とメタデータ処理の汎用化 一般社団法人 日本アニメーター・演出協会 報告者：一般社団法人 日本アニメーター・演出協会 事務局長 大坪英之 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-4.jpg" alt="" width="1000" height="361" class="alignnone size-full wp-image-20641" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-4.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-4-300x108.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-4-768x277.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />大坪英之 【概要】 現状のアニメに関する調査では、作品本数や総制作分数の記述はあるが、制作に関与した全スタジオ、全スタッフまでは把握できず、正確な調査・研究が難しい。そこで、放映されている全アニメ作品から画像認識サービス（OCR）を用いてクレジット情報を抽出すべく取り組んでいる。令和4年度は、テキストの識別の高精度化、メタデータ処理の汎用化を試行、一定の専門性を要したうえで再頒布可能なシステムとしての公開を目指す。また事前の情報集約を目的としてアニメ業界全体の連絡網の形成を目標とする。 【中間報告】 現段階で、現実的な作業負荷でのデータ集約が可能な運用状況であり、データを串刺し検索できる形になっている。将来の本格的なデータベースの利活用に向けた課題として、有識者による集約データの整形手続きや、技術進展に応じてクラウドOCRサービスの入れ替えが容易なシステム設計、同サービス利用料を軽減する処理の開発などがある。アニメに関わる情報を作品主体ではなく人を主体に記録する本事業は、アニメーターの詳細な業績の証明を可能にするものとして、企画立案時やセカンドキャリア形成、労働環境の安定化に役立てられる。そうした制作側のメリットを周知することで本事業への理解を促し、放送局、製作会社、ビデオ編集スタジオ、ウェブ・雑誌社等のメディア、配信会社等へ連絡調整会の参加を呼びかけたい。 ゲームアーカイブ所蔵館の連携強化に関する調査研究2022 学校法人立命館 立命館大学ゲーム研究センター 報告者：学校法人立命館 立命館大学ゲーム研究センター 尾鼻崇 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-5.jpg" alt="" width="1000" height="362" class="alignnone size-full wp-image-20642" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-5.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-5-300x109.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-5-768x278.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />尾鼻崇 【概要】 ゲームアーカイブの持続的な実現のための体制づくりとして、諸施策の効率化や他機関との連携強化を行う。他大学と共同で、ゲーム機の保守・アーカイブ状況の調査、外部の公開情報のマッピング、もしくは非リスト化資料の整備を実施。産学官連携として、CEDiLの情報を中心とした展示を準備。そして、国内外の所蔵館との連携を図る。令和4年度は、ゲームアーカイブのさらなる連携強化と情報発信、メディア芸術データベース（MADB）の登録データと外部データベースのマッピング推進、さらに、ゲームアーカイブ利活用のための各種調査の3点を中心的に進める。 【中間報告】 カンファレンスでは、ほかのメディア芸術分野との連携として、特に中間制作物のアーカイブに関する状況について意見を交わし、相互の情報交換を図りたい。また、幅広い層に協議会の存在や活動を広く周知するため、オンラインでの開催を予定している。協議会をゲームアーカイブの利活用の窓口として機能すべく準備を整える。マッピングでは、2018年以降のデータの充実、将来的には国立国会図書館（NDL）の所蔵資料、ゲーム開発者向けカンファレンスCEDECの講演資料データベースのマッピングも考えている。さらに、CEDiLの報告資料をもとに、ゲーム音楽に焦点を当てたオンライン展示「Ludo-Musica」の第3弾を予定している。今後は、協議会の持続可能な運営体制、外部アクセスに対するオペレーションの整備などが課題である。加えて、オンラインゲームなどの先進的なゲームシステム、メタバースやNFTが内包するゲーム要素も視野に入れつつ、段階的に保存・利活用していく可能性も考えられる。 メディアアート作品の調査とメディア芸術データベースのデータ整備他 特定非営利活動法人 コミュニティデザイン協議会 報告者：特定非営利活動法人 コミュニティデザイン協議会 理事長 野間穣 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-6.jpg" alt="" width="1000" height="361" class="alignnone size-full wp-image-20643" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-6.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-6-300x108.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FUKU102-6-768x277.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />野間穣 【概要】 昨年度に引き続き、ウェブ版メディアアート史の運用・改修作業および充実化、メディア芸術データベース（MADB）登録情報の整備、ネットワーク構築のための準備作業を実施する。ウェブ版メディアアート史に関しては、各項目の詳細情報をブラッシュアップして再登録を行う。データベース登録情報の整備では、データを時系列で表示するだけでなく、データの編集・精査システムの開発を目指す。ネットワーク構築のための準備作業では、メディアアート作品の制作研究のための総合的なプラットフォーム「Platform for Media Art Production（PMA）」の実現に向けて、データ項目の設定やシステム開発を行う。 【中間報告】 90年代の典型としてインタラクティブなメディアインスタレーションに関するデータの充実化を図るため、三上晴子《Eye-Tracking Informatics》《欲望のコード》の展示について関係者にヒアリングを行う。2021年よりデータ項目の再設計を実施。その有効性を検証するため、テストデータを実装するアプリケーションのアップデート、テストサイトの公開を目指す。PMAは、メディアアート作品の研究および再制作・再展示に必要な情報を提示するためのデータベースシステムである。令和4年度は、項目の設定と記述、データを入力・閲覧するためのアプリケーションとサイトの開発・実装の2点を実施する。年表で俯瞰してデータベース化するマクロな視点、PMAで研究・制作・展示を支えるミクロな視点で、メディアアートに関するモノ（作品）とコト（イベント・催事）を定義および記録・整理していく。 メディア芸術連携基盤等整備推進事業 報告者：メディア芸術コンソーシアムJV事務局 森由紀 コミュニティの形成として、自治体連携会議と「MAGMA sessions」の企画を進行中である。メディア芸術データベース（MADB）の利活用促進に向けて、情報発信を行うとともに活用事例の創出に取り組む。具体的には、データサイエンス教育に活用すべく教材やPRツールを作成、MADB活用コンテストも引き続き開催する。また、次なるターゲットとして「地域」を設定しており、新潟市・札幌市でメディア芸術に関わる人物への調査・ヒアリングを進めている。また、MADBの登録データの活用とデータ拡充を目指し、分野別強化事業およびアーカイブ推進支援事業とMADBの連携について検討する。パイロットモデルの試行では、メディア芸術やMADBと地域の連携をテーマに、熊本県の人吉球磨地域でワークショップを開催した。メディア芸術アーカイブ推進支援事業では、採択された18件の団体同士の横のつながりの構築を目的とした合同情報交換会の開催準備を進めている。 メディア芸術データベース等に係る調査研究事業 報告者：メディア芸術コンソーシアムJV事務局 水野歌子 メディア芸術データベース（MADB）の開発・運用に関しては、SPARQLクエリサービスの機能強化や新公開GUIプロトタイプの公開を通じて、一般ユーザーが扱いやすいインターフェースを試行する。データ登録における課題の抽出、データの新規登録の検討、登録データの洗練、外部データ連携の検討を通じて、データの運用フローを構築していく。利活用の促進については、MADBのデータ登録や利用時に必要なドキュメント類を整備する。さらに、総合的な広報用ウェブサイトとして「メディア芸術カレントコンテンツ」に「MADB Lab」「MAGMA sessions」を統合。愛称を「MACC」として、研究者や専門家だけでなく一般に向けて、文化庁事業の周知を目指す。 有識者検討委員会主査による全体総括 報告者：立命館大学 映像学部 教授 細井浩一 各分野とも必然性や歴史的意義を踏まえ、精緻なプロセスでアーカイブ事業が進行している。日本はハイコンテキストで分厚いカルチャーを特徴として、特に海外からの視点では、マンガ・アニメーション・ゲーム・メディアアートといった区別なくひとつの文化として捉える傾向が強い。今後はインバウンド需要の増加に備え、各分野の領域横断的な活用および一体的な発信が求められ、分野全体の内的なリレーションを構築する時期に来ている。また、メディア芸術の制作・消費・活用の現場においてデジタル化の傾向にあり、各分野の状況に合わせた対応が必要である。 ※URLは2022年12月16日にリンクを確認済み ※すべて敬称略
Case study: ‘Game scenario archive’ project
Archiving Japanese electronic games is underway. Currently, the target is early types of video games alone, an […]
Archiving Japanese electronic games is underway. Currently, the target is early types of video games alone, and there is no prospect for archiving more recent online games and mobile games, which have been widespread since the late 1990s. The Japan Game ScenarioWriters Association (JAGSA), a general incorporated association, has started a project to archive scenarios for smartphone games for public use. This article will focus on the project and its significance. <img loading="lazy" decoding="async" class="alignnone size-full wp-image-17637" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_1_Layered_key_Comp_04.jpg" alt="" width="1000" height="805" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_1_Layered_key_Comp_04.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_1_Layered_key_Comp_04-300x242.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_1_Layered_key_Comp_04-768x618.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />LayereD Stories 0 key visual © BANDAI NAMCO Entertainment Inc. Online games: An unexplored repository hard to archive Efforts to archive video games released in various formats have been continuing not only overseas but also in Japan to use them as a resource for academic research and cultural activities. For example, pioneering examples in Japan include the Game Archive Project (in Japanese) by Ritsumeikan University that started in 1998, and collection and preservation of video games by the Game Preservation Society, a nonprofit organization established in 2011. Those projects mainly target works distributed on packaged media such as ROM cassettes and magnetic/optical media for home video game consoles and PCs after the 1980s. Such works are also possessed by private collectors and public institutions such as the National Diet Library. Thus, the methodology for archiving those types of works has already been established, even though it has many issues to be addressed. On the other hand, it is still difficult to have a realistic prospect for archiving online games and mobile games, whose markets were formed after the Internet emerged in the latter half of the 1990s. In these types of games, for early titles for PC, sales packages of client software exist as physical media, but the main body of each game program is stored in the game host’s server. That is, if the game service is terminated and its program is deleted from the server, the environment for playing the game is lost forever. In fact, when conducting research on the history of video games, it is much more difficult to find out, for example, what kind of app games and network games for feature phones were released in the early 2000s, than to find out what kind of standalone titles were released in older years. Considering those characteristics of online games provided under the games as a service (GaaS) continuing revenue model, it is doubtful whether they are compatible with the archival concept for packaged media that includes “preserving” and “collecting” game titles, in the first place. In order to archive them, the only way would be to give some kind of incentive to cause game business operators to directly provide their developed assets for the sake of the public, unlike building up collections of products, such as home video games and arcade games, that were provided to the users. Methodology and background of achieving ‘game scenarios’ As a move to tackle the structural difficulty of the methodology for preserving online games, in September 2019, the general incorporated association Japan Game ScenarioWriters Association (JAGSA) announced launching the “Game Scenario Archive” project (in Japanese). This project was initiated by the scenario writers’ industry organization with the aim of preserving game scenarios for future generations in a form enabling them to be viewed even after their playable environments are lost because their services are terminated or for other reasons. Game scenarios have become an important creative element, especially for online RPGs for smartphones in recent years. As the project’s first archived work, the entire scenario text of LayereD Stories 0 is now available on the Internet in pdf format. LayereD Stories 0 is a smartphone game distributed by BANDAI NAMCO Entertainment Inc. from December 2017 to January 2019. The game was produced as part of the “Minna de game wo tsukuro” (Let’s make a game together) project. For the project, character designers, voice actors, theme song vocalists and other artists were recruited through auditions based on its cross-media development plan involving its anime and manga versions. The objective contributed to more appropriately preparing the framework and rules regarding the participation of outside creators from the production stage. Scenario writers involved in the work, driven by the idea that it’s a shame to lose the opportunity to have their work better known, asked the operator of this game business, BANDAI NAMCO Entertainment Inc., to archive the scenario text for public use. The request was realized, in the unusual form for an online game. <img loading="lazy" decoding="async" class="alignnone size-full wp-image-17638" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_2_Yuto_bg01_r01.jpg" alt="" width="1000" height="574" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_2_Yuto_bg01_r01.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_2_Yuto_bg01_r01-300x172.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/06/cus_2_Yuto_bg01_r01-768x441.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Characters from LayereD Stories 0 © BANDAI NAMCO Entertainment Inc. Lying behind the request of this type of scenario archiving project is the popularity of Japanese mobile games, especially for smartphones and the type that develops as a grand saga, such as Chain Chronicle (2013–) and Fate/Grand Order (2015–). The popularity resulted in producing a growing amount of game scenarios for long-running games provided under the GaaS model. In response to the consequent growing demand for game scenarios, scenario writers, usually freelancers or small businesses, established JAGSA as an incorporated association to support their work by dealing with such matters as social insurance coverage. Ever since, the association has carried out various activities in the public’s interest within a nonprofit framework, such as handling copyright and tax-related paperwork, and giving lectures to young members to share the scenario production know-how. Under the circumstances, there was a growing sense of danger that, with the exception of a handful of successful titles, online titles, which do not have a package to remain, could easily be lost for their publishers’ reasons, which means works by scenario writers may become inaccessible and sink into oblivion. They put their heart and soul into creating those works, usually despite insufficient backing by employment. In some cases, finished and delivered scenarios are not used and never given a chance of release, either. Thus, the archiving project has been conceived and proposed, particularly for scenarios of online games, also for the purpose of protecting the careers and achievements of scenario writers. It should be noted that as stated in the project’s gist on its website, game scenarios are not meant to function on their own, but are created on the premise that they are appreciated in game playable environments, which also involve visuals, audio, interfaces on devices, and mechanics of playing the games. In this respect, making game scenarios alone accessible to the public is similar to the documentation of game development materials, such as the Namco Development Document Archive Project, rather than the ongoing library-type archiving of finished products, which are standalone games. Unlike scripts for movies or TV dramas that are meant to be performed, game scenarios, similar to novels, are characterized in that their written texts themselves usually can also be presented to the user as finished products, even though they are often read aloud by voice actors as supplementary performance. Archiving game scenarios has other values, too. For example, it takes a great deal of time to read a game’s whole story in its playable environment, especially for online games under the GaaS model. If it is made possible by an official project to extract and easily view only the scenario of a certain game, it will provide a useful material for critics and researchers to analyze its story. In addition, its value as a pure end-user content can also be expected. In this sense, game scenarios have two contrasting, almost equally remarkable characteristics: they are merely an element of video game development materials, while having an independent value almost of a finished product. Current issues and future prospects Ironically, having the value can be an obstacle to archive game scenarios for public use. In other words, game scenarios themselves have potential as profitable content, having a different type of business chance from selling games. In fact, in some of the games that used to be available and are not provided now, fan items themed on their scenarios were produced after providing the games were terminated, resulting in a profitable business. A successful example is Aniplex Inc.’s Band Yarouze! of which service ended in March 2019. Considering the potential, in order to make the archiving of game scenarios a universal practice, it will be necessary to include an option of stopping free publication of game scenarios at the request of their intellectual property right holders want to stop it, for the purpose of facilitating their use of the scenarios for commercial benefits. Here, let’s look at this matter from the opposite side. Suppose archiving scenarios of terminated games becomes an established practice in the industry with the initiative of scenario creators, as the number of game titles increases, there are more possibilities that these games may be popular again through their fanfiction works by viewers of archived game scenarios, leading to, for example, their commercial publication. It can be incentives hard to overlook for game developers and publishers to cause them make at least a minimum amount of investment in the archiving. JAGSA representative SHIGEMA Kei, who originated the idea of the Game Scenario Archive project and a game scenario writer himself, says that game scenarios should be experienced through playing games, so it would be ideal to pave the way for ultimately making a playable archive. Of course, preserving, in a playable state, archived epic online game titles that require long time to play their entirety will be a much more difficult project regarding cost and methodology. Take a game with full voice acting, for example. A contract is usually concluded with each voice actor for using their performance only in the game. Releasing an archived version is categorized as secondary use in terms of contract management, and as a consequence, cost for negotiation with each voice actor would be incurred. It would be difficult to realize such a project without substantial support by public money or game companies’ out-of-pocket payments. As a first major step to help realize such a playable archive project, it is expected to cultivate and spread, through educating game business operators, the culture of preparing at least game scenarios in a format suited for archiving when providing their games is terminated. Game scenarios need little cost for archiving and can be released basically by simply formatting their text data. Game scenario writers require game developing staff to store the fixed version of a scenario text in a released game’s program with always extracting and reflecting relevant data on ordinary spreadsheet, etc., so that the fixed version can be appropriately retrieved later. They simply wish that the staff would not forget to do this “small step” to properly manage their business assets before the game production team dissolves. As described above, the Game Scenario Archive project is a step toward such a highly cost-effective archiving in the age of online games, quietly raising an important issue to improve the current situation. It is hoped that the initiative, which is based on the unique characteristics of Japanese mobile games, will be earnestly accepted by many game business operators and people concerned, and will spread as widely as possible. *URL links were confirmed on April 5, 2021.
「第25回文化庁メディア芸術祭受賞作品展」レポート（2）エンターテインメント部門
「第25回文化庁メディア芸術祭受賞作品展」が2022年9月16日（金）から9月26日（月）にかけて、日本科学未来館を中心に開催された。本稿では、開幕前日の15日（木）に行われた日本科学未来館での報道関係者向けの内覧会をも […]
「第25回文化庁メディア芸術祭受賞作品展」が2022年9月16日（金）から9月26日（月）にかけて、日本科学未来館を中心に開催された。本稿では、開幕前日の15日（木）に行われた日本科学未来館での報道関係者向けの内覧会をもとに、展示の様子をレポートする。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-1_A9A0065.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20666" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-1_A9A0065.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-1_A9A0065-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-1_A9A0065-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />エンターテインメント部門エリア入り口。左に見えるのは大賞作品『浦沢直樹の漫勉neo 〜安彦良和〜』の展示 以下の会場写真すべて、撮影：小野博史 「第25回文化庁メディア芸術祭受賞作品展」レポート（1）アート部門 「第25回文化庁メディア芸術祭受賞作品展」レポート（3）アニメーション部門 「第25回文化庁メディア芸術祭受賞作品展」レポート（4）マンガ部門 「第25回文化庁メディア芸術祭受賞作品展」レポート（5）フェスティバル・プラットフォーム賞、功労賞、関連事業紹介 非接触、遠隔が生む迫力 続いて、エンターテインメント部門エリアに移る。大賞はテレビ番組『浦沢直樹の漫勉neo〜安彦良和〜』（上田勝巳／倉本美津留／内田愛美／塚田努／丸山恵美）。自身も言わずと知れたマンガ家・浦沢直樹が、マンガ家の制作プロセスを、記録映像を元に紐解いていく。同作はなかでも際立って、その制作プロセスが浦沢の度胆を抜いた回だという。映像のほか、直筆原画や描画道具が置かれた。加えて興味深いのは、本作の特徴と言える、至近距離でレジェンドたちの手元を写す、無人のカメラワークが再現された一角だ。鑑賞者はそこで原稿用紙に絵を描き、自身の手元が大写しになったモニターを見ることができた。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-2_A9A0068.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20667" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-2_A9A0068.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-2_A9A0068-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-2_A9A0068-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /><img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-3_A9A0073.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20668" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-3_A9A0073.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-3_A9A0073-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-3_A9A0073-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『浦沢直樹の漫勉neo 〜安彦良和〜』。安彦の筆入れをカメラが捉えた直筆原画に、愛用の面相筆。番組独特のカメラワークを体験できる一角も その隣、避難民の仮設テントをイメージした展示は、優秀賞の『Dislocation』（Veljko POPOVIC / Milivoj POPOVIC）だ。鑑賞者は一人ずつテントに入り、ヘッドマウントディスプレイを装着。強制的に故郷から引き離され、たどり着いた先でも命の危険に脅かされ続ける、極限状態に置かれた人間の状況や内面をVRで体験する。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-4_A9A0144.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20669" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-4_A9A0144.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-4_A9A0144-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-4_A9A0144-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /><img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-5_A9A0165.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20670" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-5_A9A0165.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-5_A9A0165-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-5_A9A0165-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『Dislocation』は仮設テントをイメージした空間内で体験 向かいには、新人賞を受賞した『20歳の花』制作チーム（代表：根本宗子）による、スマートフォンやタブレットでの視聴を前提とした縦型映像コンテンツ『20歳の花』が。作中を彷彿とさせる赤と青で彩られた空間に10台のタブレットが並び、全10回すべてが視聴可能となった。主人公が着用した衣装や小道具も並び、細部に至るこだわりを間近で見ることができた。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-6_A9A0080.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20671" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-6_A9A0080.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-6_A9A0080-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-6_A9A0080-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /><img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-7_A9A0082.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20672" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-7_A9A0082.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-7_A9A0082-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-7_A9A0082-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />作中を思わせる青と赤が印象的な『20歳の花』展示風景 鮮やかな色彩のパネルが並ぶのは、優秀賞を受賞したアクションアドベンチャーゲーム『サイバーパンク2077』（『サイバーパンク2077』開発チーム）。近未来の都市を舞台に、人物や武器をカスタマイズしながら物語を追う本作。CGで描かれた各場面をパネルや映像で展示した。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-8_A9A0100.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20673" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-8_A9A0100.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-8_A9A0100-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-8_A9A0100-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『サイバーパンク2077』展示風景。ケース内にはコレクターズエディションボックスの品々が 新人賞の小林洋介／針谷大吾による映像作品『viewers:1』は、人間の文明が滅んだ後の世界をさまよいながら、まだ誰かしら視聴者がいるかもしれないということをよすがにライブ配信を続ける男性による配信映像という形式をとったショートフィルム。本編映像と合わせ、ほぼフルリモートで行われた撮影の設定資料や、CG制作の細かな指示書、作中に登場した小道具なども展示した。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-9_A9A0107.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20674" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-9_A9A0107.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-9_A9A0107-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-9_A9A0107-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /><img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-10_A9A0102.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20675" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-10_A9A0102.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-10_A9A0102-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-10_A9A0102-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『viewers:1』展示風景。上映されたのは、オンラインでは見られない4分33秒のフルバージョン 優秀賞を受賞した「Google Project Guideline」チーム（代表：湯河テッド）『Project Guideline』は、視覚障害のある人が一人で走ることを可能にするためのプロジェクト。スマートフォンのカメラとアプリ、骨伝導ヘッドホンを連動させ、床面のガイドラインに沿って走ることをサポートする本作は、映像とプロダクト展示のほか、同フロアコミュニケーションロビーで体験が可能となった。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-11_A9A0112.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20676" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-11_A9A0112.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-11_A9A0112-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-11_A9A0112-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『Project Guideline』展示風景 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-12_A9A0399.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20677" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-12_A9A0399.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-12_A9A0399-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-12_A9A0399-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『Project Guideline』はコミュニケーションロビーで体験が可能。ガイドラインは当初別の色だったが、カメラ検知のため、ほかにあまり使われていない紫が採用されたという 1階のエンターテインメント部門エリアを締めくくったのは、ソーシャル・インパクト賞を受賞した『新宿東口の猫』制作チーム（代表：山本信一／青山寛和／大野哲二／加賀美正和）による『新宿東口の猫』。錯視3D技術を用いた、新宿駅東口で私たちを見下ろす（かのように見える）巨大な猫で、SNSを通して話題となった。映像展示のほか、猫と一緒に記念写真が撮れる顔はめ看板が設置された。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-13_A9A0118.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20678" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-13_A9A0118.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-13_A9A0118-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-13_A9A0118-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『新宿東口の猫』。現地さながら、展示会場でも巨大な猫が鑑賞者を見下ろす 加えて、エンターテインメント部門の展示は7階にも続き、3作品が展示された。コンファレンスルーム火星ではVRを用いた2作品が並んだ。手前には、U-18賞を受賞した森谷頼安によるアプリケーション作品『VR Sandbox』。両手で絵を描くように直感的に、仮想空間上の空間や素材を自由にコントロールできる3DモデリングVRソフトだ。仮想空間内での自由な創造活動を通して、体感的に3D空間に馴染むことができ、実際にVR空間でのモデリングが体験できた。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-14_A9A0363.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20679" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-14_A9A0363.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-14_A9A0363-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-14_A9A0363-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />『VR Sandbox』。仮想空間での直感的な立体造形が体験できる 奥で椅子に座り視聴するのは、新人賞に選出された『ミヅキ討魔伝〜五芒を継ぐもの〜』開発チーム（代表：田中和治／西沢学）の『ミヅキ討魔伝〜五芒を継ぐもの〜』。実写とCGを融合した、自由視点の劇場型エンターテインメントである本作は、目前で臨場感たっぷりに繰り広げられるアクションを多視点で楽しめるほか、一部に演者と関わるインタラクティブな仕掛けも盛り込まれた。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-15_A9A0359.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20680" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-15_A9A0359.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-15_A9A0359-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-15_A9A0359-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />劇場体験に、多視点とインタラクティブ性を付加した『ミヅキ討魔伝〜五芒を継ぐもの〜』 屋久島の原生林でのライブパフォーマンスをスキャンカメラで撮影、ウェブブラウザでインタラクティブに視聴可能にした、優秀賞『YAKUSHIMA TREASURE ANOTHER LIVE from YAKUSHIMA』（YAKUSHIMA TREASURE ANOTHER LIVE 制作チーム）は、本展では大スクリーン・立体音響での映像上映となった。メイキングと本編をスタジオで上映したほか、1日1回、6階ドームシアターでも本編を上映した。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-16_A9A0366.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-20681" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-16_A9A0366.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-16_A9A0366-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/11/FU103-2-16_A9A0366-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />ウェブブラウザでの視聴を想定した『YAKUSHIMA TREASURE ANOTHER LIVE from YAKUSHIMA』は、大スクリーンでの映像上映で一味違う体験に （information） 第25回文化庁メディア芸術祭受賞作品展 会期：2022年9月16日（金）～26日（月）10:00～17:00 ※9月20日（火）は休館 会場：日本科学未来館 サテライト会場：CINEMA Chupki TABATA、池袋HUMAXシネマズ、クロス新宿ビジョン、不均質な自然と人の美術館 入場料：無料 主催：第25回文化庁メディア芸術祭実行委員会 https://j-mediaarts.jp/ ※URLは2022年11月30日にリンクを確認済み ◀（1）アート部門 （3）アニメーション部門▶
日本のゲーム文化を加速する「国産インディーゲーム」の潮流第2回 国内インディー開発者コミュニティ
2000年代後半から勃興した、ゲーム文化の新たな潮流「インディーゲーム」。日本では80年代から豊かな個人制作ゲーム文化として「同人ゲーム」「フリーゲーム」といった基盤があり、この十数年は個人や小規模チームでのゲーム開発に […]
2000年代後半から勃興した、ゲーム文化の新たな潮流「インディーゲーム」。日本では80年代から豊かな個人制作ゲーム文化として「同人ゲーム」「フリーゲーム」といった基盤があり、この十数年は個人や小規模チームでのゲーム開発にまつわる環境は激変した。日本国内のインディーシーンは、年々その規模を拡大しつつも、国内外からのプレゼンス確保に苦戦している。作品群は日本ならではの表現力を持ちながらも、風土的な制限により活躍の芽が出にくい状況のままだ。本連載は、そんな日本国内のインディーシーンを紹介し、現在の苦境と、それを打破するに必要な要素について解説する。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1.jpg" alt="" width="1000" height="750" class="alignnone size-full wp-image-20450" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1-300x225.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1-768x576.jpg 768w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1-320x240.jpg 320w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-1-640x480.jpg 640w" sizes="(max-width: 1000px) 100vw, 1000px" /> 2017年3月に行われた開発者交流会Tokyo Indiesのイベントの模様。公式サイトより 開発者コミュニティとその意義 インディーゲーム開発者は、基本的にとても「孤独」である。個人または小規模チームが何年もかけてゲームを開発していくなか、ずっと自分の作品に向き合い続ける必要がある。少人数ゆえ、数十名からなる一般的なゲーム開発の企業と異なり「気さくに話せる同僚」というものがいない。作品制作に集中する環境としては最適かもしれないが、困ったことを相談できる相手がいないと、壁にぶつかったときなどはそれを一人で抱えることになり、心理的な負担が高まりやすい。 作品の進捗具合をSNSで公開したとしても、ゲーム開発の序盤ではあまり知名度はないため、応援してくれる人は多くないかもしれない。ゲームファンは時に開発者に対して心ない言葉を投げかけることもある。ゲームのリリースが近づく頃にはパブリッシャー、プラットフォーマー、メディアといった外部との繋がりが生まれるものの、そこに利害関係がある以上、腹を割って対等に話すことは難しい。なおかつ、Nintendo Switchなどの家庭用ゲーム機向けの技術情報は厳重な機密保持の下にあり、むやみに開発機材の映像を見せたり、誰かに技術的な内容を話したりすることはプラットフォーマーの規約に違反する行為になってしまう。 こうした状況において昨今筆者が重要に感じているのが、「安心して開発者が情報交換できる」インディーゲーム開発者コミュニティの存在だ。ゲームを開発している技術者同士が集い、日々直面している困難について悩みを相談し、プラットフォーマーの機密保持契約を結んでいる開発者同士で安全に情報を交換できる場所が大切だ。他の創作分野において、例えば絵画や映像の作家は、同じ作家同士が集うコミュニティや支援施設などを利用することがあるだろう。これと同様の仕組みがインディーゲーム開発者のなかでも形成されつつある。 なお、コミュニティという言葉で今後は紹介していくが、筆者はなにも開発者に「社交的な人物になれ」と言いたいわけではない。無理に人間と仲良くしようということではなく、対等な技術者同士として、「職場の同僚」のような温度感で交流ができることが望ましい。 インディーゲーム開発者のコミュニティで交換される情報は、主に技術情報である。何よりもまずゲームがつくれなくては始まらないため、プログラミングやゲーム開発ツールの使い方の情報が活発に交換されている。また、マーケティングに関する情報も多い。例えばインディーゲーム開発者が対象のコンテストの情報や、アワードの申し込み、ゲームのリリースタイミングにやるべきことなど、多岐にわたる。 そして、危険な事業者と距離をとるための情報も必要だ。近年は日本でも「インディーゲーム」分野の注目度が上がったことから、さまざまな企業やインフルエンサーなどが開発者のことを金づると見なして接近するようになった。海外においては、ゲームの販売契約を結びながらも支払いを踏み倒したり、高額な手数料や権利の譲渡などを迫ったり、不利な契約条件を強いるなどの被害も起きている。こうした情報を共有し、ほかの開発者が同じ罠に陥らないようにすることも目的のひとつである。 開発者コミュニティに望ましい要件は「参加者に利害関係がないこと」「開発者なら誰でも参加できること」「コミュニティを運営管理している人物がいること」が挙げられる。 まず、コミュニティの参加者は、純粋に開発に取り組む同志としてコミュニケーションをとれる間柄であることが肝要だ。ひとたびビジネスの場になればライバルであるし、雇い雇われの主従関係や金銭関係が発生した場合、心理的な安全性が確保できなくなってしまう。 そして、コミュニティは一定のルールを守れば開発者は誰でも自由に参加できるものが望ましい。かつ、オープンでありながらも、コミュニティのマネジメント体制が構築されたコミュニティのあり方が大切だ。コミュニティそれぞれにルールが存在する。「インディーゲームに興味がある人はだれでも参加可能」といった比較的間口が広い場所もあるが、基本的にはゲームを開発している人たちのためのコミュニティだ。以降でさまざまコミュニティを紹介していくが、基本的に「自分で作品をつくっている人」のためであることは念頭においていただきたい。 国内のさまざまなコミュニティ形態 日本における開発者コミュニティの変遷を見ていこう。まず、歴史の長い日本の個人・小規模ゲーム開発の文化として、コミックマーケットは外せない。会期中の開発者同士の交流に加えて、大小さまざまな規模で参加ゲーム開発者による打ち上げが行われていたそうだ。筆者は直接こうした場に参加したことは少ないが、そこでは技術的な情報共有などが盛んに行われ、開発者同士を繋ぐコミュニティとして機能しているようだ。 また、かつては「全日本学生ゲーム開発者連合（全ゲ連）」という勉強会シリーズが存在した。これはゲーム開発を実際に行っている学生が集う勉強会で、100名を超す参加者がいることもあった。有志で運営されていたゲーム関連の勉強会では最も人数が大きかったのではないかと思われる。残念ながら2016年に終了したが、個人・小規模の開発者がゲーム開発に関する情報を手に入れる機会であったことは間違いない。 ここ数年においては、「インディーゲーム」のスタイルが輸入されてきた影響もあり、付随したさまざまなコミュニティが生まれている。まず、「Tokyo Indies」が2014年7月にスタートした。Tokyo Indiesは毎月開催されていた、開発者交流会だ。初回はバーで、2回目以降はアートスペースで、しばらくしてカフェのフロアを借り切っての開催とその規模を増し、ピーク時には100名程度が参加していた。 Tokyo Indiesの特徴は、国際色豊かな参加者と、毎回ゲームの紹介を行うプレゼンテーションの時間があることだ。会場内のプロジェクターを使い、毎回5チーム程度が自分の作品の紹介を行った。筆者も何度か作品発表の場をいたただいた。 開催地は東京・渋谷だったが、全国からさまざまなインディーゲーム開発者が集い、開発に関する情報や、技術的な話などが活発に交換された。この形式を基に、大阪では同様の取り組みである「Ichi Pixel」がスタートするなど、コミュニティムーブメントの先駆けになった。筆者は、この勢いで全国にコミュニティができたらと当時は考えていた。しかし、場所が手狭になってきた矢先、新型コロナウイルスの流行によって世界は一変した。オフラインで集まるイベントが事実上開催できなくなったため、Tokyo Indiesは2022年10月の復活まで一時休止となり、Ichi Pixelは年内での活動終了を予告している。 近年の新たなインディーゲーム開発者コミュニティの形態に、集英社が手掛ける「集英社ゲームクリエイターズCAMP」のウェブサイトがある。これはDiscordやSlackなどのチャットツールベースではなく専用に制作されており、自分のプロフィールページで作品やスキルをアピールできることが特徴である。また、ほかの開発者をフォローする機能があり、フォーラムによって開発者同士の交流も可能となっている。以下は、筆者のページだ。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-2.jpg" alt="" width="1000" height="850" class="alignnone size-full wp-image-20451" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-2.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-2-300x255.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-2-768x653.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /> 「集英社ゲームクリエイターズCAMP」のプロフィールページ ゲーム開発者のほか、ゲームプロジェクトに参加したいと考えているイラストレーターや作曲家なども登録できる。ゲーム開発者が自作のクオリティアップのためのパートナーを見つけられる場所にしていくことを目指しているそうだ。 海外のインディーコミュニティのハブとなるasobu いくつかスタートしたコミュニティのうち、常駐の物理的な場所が用意されたコミュニティも始まった。「asobu」は2019年に複数の業界関係者によって立ち上げられた、日本のインディーゲーム開発者のためのコミュニティである。コワーキングスペースとして利用できる拠点を渋谷に構え、開発者同士の交流会やテストプレイを目的としたゲーム試遊イベントなどが行われている。筆者はコアメンバーとして設立当初から運営をサポートしている。asobuのスポンサーはPlayStation®（ソニー・インタラクティブエンタテインメント）、ID@Xbox（マイクロソフト）、集英社ゲームズ、Kowloon Nights、前回の記事で紹介したiGi indie Game incubatorも加わっている。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-3.jpg" alt="" width="1000" height="570" class="alignnone size-full wp-image-20452" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-3.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-3-300x171.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-3-768x438.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /> 「asobu」ロゴ asobuの特徴は、海外のインディー開発者との交流促進を目指していることである。海外では、それぞれの地域で開発者コミュニティが存在している。例えばアメリカ・ブルックリンのGUMBOや、韓国のSeoul Indiesなどがある。asobuはこれらのコミュニティをモデルとして設計されており、海外コミュニティのメンバーを動画番組に招待するなどで、開発者同士の繋がりづくりを目指している。開発者の悩みの多くは言語を超えて共通していることが多い。技術的な壁、ゲームデザインの迷い、プロジェクト進行の難しさなど、言葉は違えど悩みと知見の共有は大きな意味がある。もしかすると、あなたが目指すゲームの理想や境遇に近い開発者は地球の裏側にいるかもしれない。全世界で開発者交流が進むことで、同じゲームジャンルの開発者を見つけ、お互い切磋琢磨できる可能性もある。 海外コミュニティとの交流にはほかの利点もある。インディーゲーム開発者は自らの作品をさまざまな言語に翻訳し、ウェブを通じて世界中に販売している。各地域のゲームファンに見つけてもらうためには地域ごとの適切なマーケティング活動が望ましいが、通常規模のゲーム開発会社と異なり、インディーゲーム開発者にはマーケティングの予算が少ないことが多い。そこで各地域のメディアにコンタクトを取ったり、インディーゲームのためのイベントに出展したりするのだが、その「良し悪し」の判断がつかないことがある。 そのようなケースにおいて信頼できる情報元が、「当該地域の地元のインディーゲーム開発者」である。一見素晴らしそうに見えたコンテストが、実際は自分の作風にそぐわないものであったり、自らの作品のアピールに繋がりにくいものであったりするかもしれない。ウェブ上の情報だけではわからない、評判の悪い事業者についても情報を得られる可能性がある。こうしたコミュニティ同士の繋がりによって、信頼の輪が広がり、別の地域でのゲームのリリースや宣伝活動において良い選択肢を取れるだろう。 もちろん、日本の開発者から提供できる情報もある。海外の開発者もまた、日本から生まれた数々のゲームタイトルに影響された作品も多い（本サイトの連載「海を渡った日本のゲームの子孫たち」に詳しい）。そうした開発者は日本の市場に自分たちのゲームを伝えたいと考えるものの、どのように紹介するべきかわからないことがある。そこはまさに日本の開発者が助けられる部分だ。 しかしながら、asobuもまたコロナ禍による影響を大きく受けた。渋谷のコワーキングスペースは、設立当初の構想ではasobuに所属するメンバーがゲーム開発を行うオフィスとして利用し、それぞれのゲームを開発しながら意見を交換する場として機能するはずであった。また、海外から渡航してきたインディーゲーム開発者の滞在拠点として使ってもらい、国内開発者とのリレーションをつくるハブになることを目指していた。 現在では、そうした交流の機能はオンラインでの実施に切り替わっている。asobuは公式Discordを開設して開発者の交流を行っているほか、さまざまな動画配信番組を実施している。 具体的には、asobuに所属するインディーゲーム開発者の生高橋氏（Nintendo Switchでも開発された『ElecHead』〔2021年〕を開発）が司会となって、多様なインディーゲーム開発者とトークを行うポッドキャスト的な「Indie Brains」、ゲームの開発技術やリリースに関するノウハウを講師を呼んで実践するセミナー形式の「asobu talks」、年に一度の大型ゲーム紹介番組である「asobu INDIE SHOWCASE」、そして前述のTokyo Indiesの企画と合体した「インディーコレクションJAPAN」がある。 「インディーコレクションJAPAN」は、月に1回のペースで配信されるインディーゲーム紹介番組である。配信プラットフォームのTwitchで配信されており、毎回5〜6タイトルのゲーム紹介を開発者自ら行ってもらう。プレゼンには英語通訳がつき、2022年8月現在までに23回目を配信している。多くの会では海外のコミュニティからも開発者を招き、英語でプレゼンしたものを日本語通訳を介して紹介するものもある。 <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-4.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-20453" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-4.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-4-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/10/GAM47-4-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" /> 「インディーコレクションJAPAN」ロゴ asobuは、開発者同士のコミュニケーションの促進だけではなく、運営チームが開発者のサポートを行うことも特徴だ。日本の開発者が海外のコンテストやオンラインイベントに申し込む際の要項記入のアドバイスを行ったり、海外メディアにコンタクトする際のノウハウなどを発信したりしている。 その活動の成果が顕著に現れたのは、『ElecHead』の発売におけるサポートである。asobuのサポートによって、積極的に海外のゲーム開発者へ『ElecHead』の魅力を伝えることができ、多くの著名開発者からSNSでのお墨付きを得た形でローンチを迎えることができたそうだ。 ほかにも、asobuの名義でBitSummitなどの大型ゲーム展示イベントにブースを構えることもある。小規模な開発者であっても、コミュニティに所属することでゲームをアピールできる機会を手に入れることができるわけだ。立ち上げ直後のコロナ禍で苦戦を強いられたasobuだが、グローバルな活動を目指すインディーゲーム開発者のハブとなるべく活動を続けている。 海外においては、こうしたインディーゲーム開発者コミュニティは関連企業のスポンサードだけではなく、地域の商工会や地元行政などからサポートを受けていることが多い。それはゲームがIT産業の一部であり、産業振興の一環として輸出産業を強化したい行政の目的と合致するからである。前回の記事でも触れたが、日本においてはインディーゲーム開発者に対する動きがあまり見られていない。日本の大きなコンテンツ産業である「ゲーム」の振興について、業界団体や行政にもぜひ興味を持ってもらいたいと考えている。 開発技術ごとのコミュニティ インディーゲーム開発者は、技術的な知見を日々取り入れていくことが強く求められる。ゲームを開発するための開発環境やソフトウェアを「ゲームエンジン」と呼ぶが、その代表的なものとしては「Unity」「Unreal Engine」「GameMaker」「RPG Maker」「ティラノビルダー」などがある。そして、これらのゲームエンジン利用者ごとにもコミュニティがある。 例えば、Unityを利用しているゲーム開発者向けには「Unityゲーム開発者ギルド」というコミュニティが存在する。Unityゲーム開発者ギルドは有志によって設立されたコミュニティで、Slackを用いた比較的緩やかな交流の場として利用されている。 Unreal Engine向けには、提供元のEpic Gamesが公式のコミュニティサイトである「Epic Developer Community」を開始している。Unreal Engineで使用する設定ファイルを投稿できるなど、技術的な情報が共有しやすい設計となっていることが特徴だ。 前述したasobu所属の生高橋氏は、『ElecHead』が使用しているゲームエンジン「GameMaker」に関するコミュニティスペースをDiscordで立ち上げている。近年国内でのユーザーが少しずつ増えており、最新のバージョンに関する情報を日本語で発信している。 また、ゲームエンジンは独自に技術カンファレンスを開き、そのタイミングでコミュニティが生まれることもある。Unityが主催する「Unite」や「SYNC 2022」、ならびにEpic Gamesが主催する「UNREAL FEST」については、次回記事にて詳しく紹介する。 小さなコミュニティで仲間をつくり、安全な情報共有を これまでさまざまなインディーゲーム開発者向けコミュニティを紹介してきたが、筆者はゲーム開発者のすべてにオフィシャルなコミュニティへ属してほしいと考えているわけではない。 コミュニティに加わるメリットは大きいが、開発しているゲームの趣向や、技術的に求めていることなどが期待と異なる場合においては、無理にとどまる必要はない。コミュニティは生き物であり、途中で運営体制や構成メンバーが変わることで居心地が悪くなることもあるだろう。そうなったら去ればよい。当たり前だが、コミュニティのルールに違反する人物はその場を追われるだろう。コミュニティに所属するということは、自らがその利を得るだけではなく「助け合い」の場である。開発者が持つプログラミング技術、マーケティングに関する経験などを積極的に提供していくことが大切だ。 ただ、人数が多いコミュニティは、誰に見られているかわからない不安もある。オープンなコミュニティであるがゆえ、悪意のある人物がどうしても紛れ込んでしまうリスクはある。そこで筆者がおすすめしたいのは、「10数人の名もなき小規模コミュニティ」をつくっておくことである。 その小さなコミュニティは、大層な名前や意義が必要なものではない。例えばゲーム展示イベントの出展で隣になった開発者や、懇親会で仲良くなった開発者など、素性のわかる者同士で、ごく小さなコミュニティをSlackやDiscordなどのツールで情報交換場所をつくるだけのものだ。こうした場所で、開発と関係があることないことをチャットでやり取りするとよいだろう。自分の目の届く範囲、信頼できる仲間のなかで愚痴や悩みを共有したり、逆に相談に乗ったりできる小さな集まりとして活用していけると理想的だ。実際に解決に繋がらなくてもよく、重要なのは「孤立していない」ということを認識できる場を持つことだと考えている。 インディーゲーム開発者は立場が弱いゆえ、横の繋がりが重要だ。コミュニティには幅広い開発者の裾野をカバーし、活動を支える機能がある。日本のゲーム産業が盛り上がっていくためには、単一の企業やプロジェクトに投資するだけでは不十分で、大小さまざまなインディーゲーム開発者コミュニティの支援こそが重要だと考えている。 ※URLは2022年10月12日にリンクを確認済み ◀︎第1回
Pursuing new sounds: Creators of music as media artsNo. 4: KOSAKI Satoru, composer (Part 2)
Composer KOSAKI Satoru has led the world of animation songs and animation incidental music in the 2000s and 20 […]
Composer KOSAKI Satoru has led the world of animation songs and animation incidental music in the 2000s and 2010s. The first part of this interview features his experiences with music in his childhood and school days, and his work as a composer for a game maker. This second part focuses on his activities after he became freelance, including his music for great hit animation series such as Suzumiya Haruhi no Yuutsu (The Melancholy of Haruhi Suzumiya) and Laki☆Suta (Lucky Star), and his thoughts on and ideas for his music creation and the future of the industry. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-1_Q5A3473.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17933" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-1_Q5A3473.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-1_Q5A3473-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-1_Q5A3473-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />In commemoration of the 20th anniversary of his debut as a composer, KOSAKI SATORU 20th Anniversary Selected Works DAWN was released. Photos: HATAKENAKA Aya (all photos in this article) Creation of popular theme songs and their backgroaund stories Following the TV animation Suzumiya Haruhi no Yuutsu (The Melancholy of Haruhi Suzumiya) (2006), Laki☆Suta (Lucky Star) (2007) also became a big hit. KOSAKI: Laki☆Suta (Lucky Star) was the next work of Kyoto Animation Co., Ltd., and the staff was almost the same as for Haruhi, so I was asked to join again. Unlike in the previous work, I was assigned to make the theme song, too, and I became more responsible. To my surprise, the requirements for the theme song were relatively vague. I was told to “make a song that has not been heard before,” “incorporate rap,” and “set the tempo at 150 bpm to meet the number of frames depicting dance scenes.” I remember they showed me a Glico Pocky’s advertisement with actress ARAGAKI Yui as reference material. The bottleneck was the request for “a song that has not been heard before.” We made a lot of discussions when making a demo. In the beginning, I made it in British rock style like The Who or Blur, or in rock crossover (called “mixture rock” in Japan) style like YKZ. In the end, I got a little desperate and sent them a demo with many phrases with cut-up and loops evoking the feeling of much edited with dubs. Then, they told me, “Interesting!” Combining HATA Aki’s moe rap lyrics with the music caused metamorphosis like a sudden chemical reaction to create an explosively powerful song. The metamorphosis was so drastic that I feel there have been very few works that could follow this song so far, by my own creation or in other animation. I also feel all people involved in this work became playful and even a little mischievous all together to gain momentum of creating something interesting..., including myself, HATA Aki, voice actors singing it, and the drawing staff of Kyoto Animation. That environment was the source of creating the extraordinary, unique song, Motteke! Sailor Fuku (Take it! sailor suit-style school uniform for girls). Around the time was the dawn of online video sharing sites. The release of the song coincided with the explosively growing popularity of posting Odottemita (We/I danced) videos. As with Hare Hare Yukai (Haruhi dance) of Haruhi, it was YAMAMOTO Yutaka’s idea to combine a dance with a theme song, I think. He is a very talented trend-setter, with prompting secondary creations like this. In 2009, your life’s work, the animation series Monogatari, started. KOSAKI: In the first work, Bakemonogatari (Ghostory) (2009), I was in charge of everything except the ending theme, which was done by supercell. The story is structured with blocks, each focusing on each of the five heroines. I was asked to create a different opening theme for each heroine to sing. Thinking calmly, I felt it a little outrageous as it means to frequently change theme songs during the course of one season (13 episodes) (laughs). In fact, the schedule was quite tight, both for creating the music and the opening animation, but we managed to overcome. I think the animation production studio Shaft in charge had a hard time to make the high-quality animation. One of the opening themes, Ren-ai Circulation, was sung by voice actress HANAZAWA Kana. It was used again later in the NHK E-TV child-rearing program Sukusuku Kosodate, and more recently ranked first on the weekly ranking on the short-form video site TikTok. I’m pleased this song is loved by so many people for such a long period of time. When making its music, I thought it must be very interesting if HANAZAWA, with her cute voice, sings a non-aggressive, artistic and cultural, Japanese-language rap song, as artist Kaseki Cider did in the 1990s’ Shibuya-kei music. In this respect, I created this work as if reviving a good, old song. Later, it was accepted as a new song by a generation who did not know the animation when it was broadcast. I feel the phenomenon is very interesting. I’ve experienced such a thing for the first time in my career over more than 20 years. About the incidental music to accompany the animation, the music selector did an excellent job such that the music sounds as if I composed each piece to meet each scene of the finished animation. But in reality, for the first season of the animation, I composed and stored all pieces in advance [to be selected appropriately for various scenes by a music selector]. The latter method is common in TV animation. From the sequel second season, I also used the former method. There is no series other than the Monogatari series that I have been involved in so deeply for such a long period of time. How has the Shibuya-kei pop music in the early 1990s, which you just talked about, influenced your music creation and style? KOSAKI: It’s very important for me. I’m a little younger than the generation who listened to the music just in real time, and I listened to it later when I was in university. I was astonished by its musicians’ outstanding sense of sound. I was also able to experience various types of Western pop music that they used as their source material, so I was greatly influenced by them. Even now, when I listen to their music, I feel that its quality is really high. It was very enjoyable to find out what types of pop music they listened to and where and how they used elements of the music in their music. It was just like the creators and the listeners playing a fun game together. I also think this is a very smart music education method. It was quite natural that creators of a slightly younger generation, such as myself and KITAGAWA Katsutoshi, were greatly influenced and incorporate its essence into our works. But at the same time, I am always worried that using styles of senior musicians in my works may be perceived as a professional composer’s typical attention-getting, unabashed approach. For me, it is very natural that my favorite music that I listened to a lot when I was an adolescent is deeply embedded in me and comes out from time to time (laughs). Is there any difference between the composition process for theme songs, insert songs and character songs, and the composition process for incidental music, that is, BGM? KOSAKI: Unlike theme songs, incidental music should be positioned as a part of animation, similar to its background art, I think. Having a different touch, for example, whether its background art is realistic like a photo or attractively deformed, makes a great difference in the animation’s overall atmosphere. I believe that incidental music plays a role in determining the colors of the work in a way. I have the mindset of working on the music part of the overall animation production, rather than concentrating on creating incidental music. On the other hand, a theme song is the face of each work. It is required to be powerful, melodious, assertive, and easy to remember. Incidental music should not be too assertive, and in some works, I need to make it less melodious and carefully limit the number of melodies to use. I think it’s cool if I can attract the audience to the texture of my incidental music by carefully selecting its musical instruments and tones. These days, theme songs are often decided by auditions or competitions led by record companies. Thankfully, more often than before, I’ve been asked to in charge of both theme songs and incidental music for the same work. It means the composer needs to bear really heavy responsibility. For example, if the theme song and the incidental music share the same melody, when one of them is not as good as expected, there is no way to replace it. I understand well that the production side wants to use different composers for the theme song and the incidental music as a risk management measure. Nevertheless, my ideal is to contribute to each work by producing the best results in both of them. I’m very happy if they are aware of my ideal and entrust me with their works. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-2_Q5A3457.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17934" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-2_Q5A3457.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-2_Q5A3457-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-2_Q5A3457-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />KOSAKI said: “A theme song is the face of each work. I think it is the reason why every theme song is required to be powerful, melodious, assertive, and easy to remember.” The 2017 animation film Uchiage Hanabi, Shita Kara Miru ka? Yoko Kara Miru ka? (Fireworks, Should We See It from the Side or the Bottom?) also attracted a lot of attention. KOSAKI: The film is based on the live-action TV drama by director IWAI Shunji, Uchiage Hanabi, Shita Kara Miru ka? Yoko Kara Miru ka? (Fireworks, Should We See It from the Side or the Bottom?) (1993). I liked the drama very much. I watched it in real time during a depressing summer vacation when I was a ronin student (preparing for university entrance exams after failing them). I have fond memories of the drama. When I was asked to write the music for the animation film version, I wanted to create something that could be as good as film music, by taking a cinematic, Japanese film-like approach, rather than animation music. I like slightly “moist” music of many Japanese films, so I wanted to pay homage to those films as well. I used many piano sounds throughout the work. I also used a lot of string and wind instruments. Shortly before I became in charge of this animation, I took a break from work due to health problems. During that time, I studied music theory from the basics, such as harmony and counterpoint, under a teacher at a music college. I’d always had an inferiority complex about not having a formal musical education. After studying, I felt much more positive about myself. I think I was able to put the results of my study into the music of the animation film Kizumonogatari (Wound story) (2016–2017) and Uchiage Hanabi, Shita Kara Miru ka? Yoko Kara Miru ka? (Fireworks, Should We See It from the Side or the Bottom?). At the same time, once that I became able to take a classical music-like approach a little, I more clearly acknowledged the high level of skills of orchestrators (orchestral music arrangers), who are specialists in the field. I’d dedicated my time to studying the music for songs and melodies over the past 20 years, while they’d dedicated almost the same amount of time to studying and doing orchestration. I’m no match for them in the field. So I did not hesitate to ask orchestrators to work on some of the pieces. In a word, I became able to ask for their cooperation candidly. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-3_Q5A3484.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17935" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-3_Q5A3484.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-3_Q5A3484-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-3_Q5A3484-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Various CDs of theme songs and soundtracks KOSAKI created for video games and animation works Composing music while keeping an objective point of view Are there any music creators you look up to or who are a source of inspiration for you? KOSAKI: TANAKA Kohei, who created music for Top wo Nerae! (Gunbuster! aka Aim for the Top!) (1988), SAGISU Shiro (*1) of Fushigi no Umi no Nadia (Nadia: The Secret of Blue Water) (1990), and KANNO Yoko (*2) of Macross Plus (1994). I have been greatly inspired by these works and these creators. When I was a child or a student, I was enthralled by the music by various creators, with the three at the top of them. It’s amazing that those creators are still active now, and even remain on the front lines. I want to be like them, but they are actually a high wall I can never climb over (laughs). When I wrote the music for a theme song for the animation Sekirei (2008), I made it sound like paying homage to TANAKA Kohei’s compositional style. Right after that, he gave me a phone call, even though we hadn’t been acquainted with each other. I went to see him with anxiety, being certain I would be scolded by him. To my surprise, he liked it and said, “Your music is very good!” (laughs). I made my debut as a composer later than composers of my age, such as YAMASHITA Kosuke (*3) and IZUTSU Akio (*4). Their careers are longer than mine and advanced by one rank or even two. Incidental music composers with similar careers to mine are, for example, SAWANO Hiroyuki (*5), YOKOYAMA Masaru (*6), KANNO Yugo (*7), SUEHIRO Kenichiro (*8), and HAYASHI Yuki (*9). Incidental music composers of the generation are many and diverse. Composers of the music for songs include OISHI Masayoshi (*10) and TABUCHI Tomoya (*11). We are all good friends with each other and drink together. I am a fan of them and stimulated by them. Also, they are my rivals. When I hear their good music, I feel I’m defeated. How do you feel about the younger generation of music creators? KOSAKI: The vocaloid generation is already at the forefront of the music industry, such as YONEZU Kenshi as a leading artist among them, and the bands liked by the so-called “yakosei” listeners (night-loving listeners, deriving from the fact that those bands are associated with the word night). About animation song-oriented musicians, ryo of supercell (*12) and kz of livetune (*13) are already veterans. When including Official Hige Dandism and FUJII Kaze, I’ve never seen such a rich lineup of Japanese pop music artists since the Shibuya-kei music in the early 1990s. I think that the era of strategic Japanese pop music led by big-name producers has taken a break, and a wide array of characteristic individual artists has started to emerge instead. With the spread of the Internet, the opportunities to present and see creative works have increased dramatically. In a good sense, the barrier between professionals and amateurs has become much lower. I have roots in a dojin music/DTM. I feel that the vocaloid generation uses a different creation method from mine. Typical is using vocaloid. They view vocals as a kind of music instrument. Their melody lines are complex, and their approach to chords and tones is really free. When we make music, even with the uchikomi method, we are always asking ourselves, “Is it possible for human to actually sing/perform this melody?” We are bound with that way of thinking. In contrast, they are free from the limiter and many other things that may block their activities. The situation in the world of incidental music is a little different. It’s not easy for young composers to get work right away. Having a reliable relationship is essential to entrust a composer with the work of making dozens of music pieces with no anxiety. I think the long-time collaboration between, for example, ANNO Hideaki and SAGISU Shiro, or OSHII Mamoru and KAWAI Kenji (*14), cannot be realized without an established teamwork system and a strong relationship of trust. What is important for you, that is, you work policy, when you compose music? KOSAKI: I always want to keep an objective perspective of how the listener will feel about my music. Composer’s work tends to be very self-centered, and when it happens, it will not be successful as business. Of course, as I mentioned earlier, I add my own color to my work and I also want to do what I want to do, but it is still important to see things from the client’s point of view. It is not interesting if I just follow the order and make and deliver what the client expects me to do, so I make efforts to go a little off their assumption..., especially when I make the music for songs. About the music for songs, I usually use the “tune-first” method, in which I create a melody first and then have a lyricist add lyrics to it appropriately. As long as I remember, I have written only a few songs using the “lyrics-first” method. But I’m actually better at the lyrics-first method (laughs). It’s easier for me to create a melody after appreciating the sounds of the lyrics and the world view of the story depicted in the lyrics. Unfortunately, in the current animation industry, tunes are made first for most songs. I heard that TANAKA Kohei writes much of his music with the “lyrics-first” method. I have no idea why he can do so (laughs). Thoughts on the future of music for animation and video games Do you have any suggestions for the future of the animation and video game industries as a watcher of the industries for the last 20 years? KOSAKI: Several very talented young composers have emerged in the field of the music for songs. I think that more and more will emerge from the digital native generation. This has something to do with what I said earlier, but when I look at the array of characteristic Japanese pop music artists, the world of animation songs is not allowed to sit back and remain unchanged, I think. I also feel that music media will continue shifting from CDs to distribution and subscription. In fact, distributed music has already become much easier to listen to. What’s more, it is possible for listeners to access subscribed music sites with their smartphones and create their own playlists to enjoy music more. If you hear a music piece on the street and feel it interesting, you can use a music recognition app to catch and listen to it right away... It is absolutely right for listeners to be exposed to unknown music in that way. As a music creator, I want to continue the culture of packaging objects such as CDs. I also feel the biggest problem with music distribution and subscription is that credits are not listed properly. We should know who made the music and who is playing, and it can lead you to have an interest in more music. Actually, I often buy CDs just to know that. Neglecting that matter and distributing only sound sources are not a welcome trend for the future of music. It’s really strange that we can get less information than we did in the analog record era, even though we live in the society where so many advanced information devices are present. Let us hear some advice for the next generation of animation and game music creators who will follow in your footsteps. KOSAKI: The most important thing is to listen to music. Regardless of whether or not you are a creator or aim to be a creator, you should aim to be a top-notch listener first. If you don’t have a good sense of listening, you won’t be able to have drawers in your mind to store various music and knowledge, and you won’t be able to judge the quality of your own work. As I just said, we live in an age where we can listen to any kind of music in the world with just a single smartphone, so I suggest you listen to as much music as you can and develop a solid ear. I have one more thing. Although the advent of DTM and vocaloid has lowered the hurdles to creating music, the traditional academic field, including music theory, still means a lot. It is a discipline that systematically clarifies the human senses and their functions in relation to sound and music, and I think music creators should have the knowledge. Many creators naturally acquire the knowledge, but I strongly believe that you can acquire it faster by studying it. If you have any doubts about your music creation, I recommend you study it first. It doesn’t take so long. I say so based on my own experience. My point is, the hurdles to making music have been lowered, but the music world is as wide and deep as it used to be. In order to find and secure your place in the music world, you should listen to music and study properly. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-4_Q5A3432.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17936" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-4_Q5A3432.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-4_Q5A3432-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/2-4_Q5A3432-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />“I suggest that young creators aim to become top-notch listeners of music, first of all,” KOSAKI said. Thank you very much for your time today. Lastly, tell us about your plan for music creation in the future. KOSAKI: It’s been almost 20 years since I worked on video game music. The situation of video games and their music has changed a lot. But I feel the change interesting. Recently, I worked on a Chinese app game. If I have a chance, I want to work on video game music once again. As another goal, I want to work on the music for live-action movies. Its world is deep and involves different approaches from animation music. I also want to create the music for an NHK serial morning drama and further an NHK taiga serial historical drama. This is the path that many senior and rival composers have taken, and I want to do it myself. I’m aware I must bear great responsibility. I also must overcome gastric perforation [to be caused by the resulting mental stress] (laughs). (notes) *1 SAGISU Shiro is a composer, arranger, and producer, born in 1957. SAGISU has been active in a wide range of musical fields since the 1970s, including fusion, pop, idol star songs, animation songs, and incidental music. His representative works include songs for such singers as KOIZUMI Kyoko, KAWAI Naoko, NAKAMORI Akina, and Misia; and music for the animation Fushigi no Umi no Nadia (Nadia: The Secret of Blue Water) (1990 –1991), and the animation series Evangelion Shin-Gekijoban (Rebuild of Evangelion). *2 KANNO Yoko is a composer, arranger, and producer, born in 1963. KANNO made her debut as a professional composer in 1985 with music for the PC game Sangokushi (Romance of the Three Kingdoms). Around the same time, she also played keyboard as a member of the rock band Tetsu 100%. Her representative works include the animation Cowboy Bebop (1998), the animation Kokaku Kidotai: Stand Alone Complex (Ghost in the Shell: Stand Alone Complex) (2002 –2003), and the animation Macross F (Macross Frontier) (2008). *3 YAMASHITA Kosuke is a composer and arranger, born in 1974. YAMASHITA studied under HANEDA Kentaro at Tokyo College of Music. He has created music for a variety of video works, including live-action films, video games, animation, and tokusatsu (special effects) works. His representative works include the movie Tenkosei: Sayonara, Anata (Switching: Goodbye Me) (2007), the video game series Nobunaga no Yabo (Nobunaga’s Ambition), the tokusatsu work Kaizoku Sentai Gokaiger the Movie: Soratobu Yureisen (Kaizoku Sentai Gokaiger the Movie: The Flying Ghost Ship) (2011), and the animation series Chihayafuru. *4 IZUTSU Akio is a composer and musician, born in 1977. While working as a solo overdubbing unit Fab Cushion, IZUTSU has also composed music for advertisements and incidental music. His representative works include the drama Kaibutsu-kun (2010), the drama Tokusatsu Gagaga (2019), and the animation series Phi Brain: Kami no Puzzle (Phi Brain: Puzzle of God). *5 SAWANO Hiroyuki is a composer, arranger, and lyricist, born in 1980. SAWANO mainly composes incidental music for dramas, animation, and movies, and also creates music for artists. His representative works include the drama series Iryu: Team Medical Dragon, the film and animation series Shingeki no Kyojin (Attack on Titan), the animation Kill la Kill (2013–2014), and the movie Mobile Suit Gundam: Senko no Hathaway (Mobile Suit Gundam: Hathaway’s Flash) (2021). *6 YOKOYAMA Masaru is a composer and arranger, born in 1982. YOKOYAMA began to be active as a professional composer while still a student at Kunitachi College of Music. His representative works include the movie series Chihayafuru, the movie AI Hokai (AI Amok) (2020), the animation series Arakawa Under the Bridge, the animation series Mobile Suit Gundam: Tekketsu no Orphans (Mobile Suit Gundam: Iron-Blooded Orphans) (2015–2017), and the drama Warotenka (Laugh It Up!) (2017). *7 KANNO Yugo is a composer and producer, born in 1977. KANNO has created music for movies, advertisements, and artists since he was a student at Tokyo College of Music. His representative works include the drama series Nazotoki wa Dinner no Ato de (The After-Dinner Mysteries) (2011), the taiga serial historical drama Gunshi Kanbei (Strategist Kanbei (2014), the serial morning drama Hanbun, Aoi. (Half blue) (2018), and the animation Gundam: G no Reconguista (Gundam Reconguista in G) (2014–2015), and the animation JoJo no Kimyo na Boken: Diamond wa Kudakenai (JoJo’s Bizarre Adventure Part 4: Diamond is Unbreakable) (2016). *8 SUEHIRO Kenichiro is a composer and arranger, born in 1980. SUEHIRO has been active in bands since he was in his teens. He studied compositional techniques and orchestration under IWASHIRO Taro and OSAWA Akinori. His representative works include the drama series Yamikin Ushijima-kun (Ushijima the Loan Shark), the drama Nigeru wa Haji daga Yaku ni Tatsu (The Full-Time Wife Escapist) (2016), the animation series Golden Kamuy and the animation series En En no Shobotai (Fire Force). He often collaborates with MAYUKO and KAMISAKA Kyosuke. *9 HAYASHI Yuki is a composer and arranger, born in 1980. HAYASHI is a former athlete for Men’s Rhythmic Gymnastics. He started his composer’s career by creating accompanying music for rhythmic gymnastics. His representative works include the drama series Doctors: Saikyo no Meii (Doctors: The Ultimate Surgeon), the serial morning drama Asa ga Kita (Asa has come) (2015), the movie Boku dake ga Inai Machi (Erased) (2016), the animation Kirakira☆Precure a la Mode (Kirakira Pretty Cure a la Mode) (2017) and the animation Boku no Hero Academia (My Hero Academia) (2016–2017). *10 OISHI Masayoshi is a singer-songwriter and composer, born in 1980. OISHI made his major label debut with the band Sound Schedule in 2001. After it disbanded, he has been active under the names OISHI Masayoshi as a solo artist, and OISHIMASAYOSHI as an artist for animation and video games. His representative works include the opening theme song Yokoso Japari Park e (Welcome to Japari Park) (lyrics, composition, and arrangement) for the animation Kemono Friends (2017), and the opening theme song Union (lyrics, composition, and singing) for the animation SSSS.Gridman (2018). *11 TABUCHI Tomoya is a lyricist, composer, and bassist, born in 1985. TABUCHI made his major label debut in 2008 with the band Unison Square Garden and has also created music for many animation and voice actors. TABUCHI has worked on many opening theme songs of animation as the band’s activities, including Orion wo Nazoru (Tracing Orion) (lyrics and composition) for Tiger & Bunny (2011), Sakura no Ato (all quartets lead to the?) (lyrics and composition) for Yozakura Quartet: Hananouta (Yozakura Quartet) (2013), and fake town baby (lyrics and composition) for Kekkai Sensen (Blood Blockade Battlefront) (2015). *12 The group of creators, supercell, is led by ryo who has been releasing music on video sharing sites since around 2007. The group’s representative works include the ending theme song Kimi no Shiranai Monogatari (The story you don’t know) for the animation Bakemonogatari (Ghostory) (2009), the ending theme song Utakata Hanabi (Fleeting firework) for the animation Naruto: Shippuden (2010), and the opening theme song Giniro Hikosen (Silver airship) for the movie Nerawareta Gakuen (The Aimed School) (2012) (all lyrics, composition, and arrangement by ryo). *13 The music unit, livetune, is led by kz who has been releasing music using the vocaloid Hatsune Miku on video sharing sites since around 2007. In 2008, the unit made its major label debut with Re:package from Victor Entertainment. The unit’s representative works include the opening theme song irony for Ore no Imoto ga Konnani Kawaii Wake ga Nai (aka Oreimo; My younger sister cannot be so pretty) (2010), the opening theme songs FLAT and Sen no Tsubasa (One thousand wings) for the animation Hamatora (2014), and the opening theme song All Over for the animation Maho Shojo Taisen (Magica Wars) (2014) (all lyrics, composition, and arrangement by kz). *14 KAWAI Kenji is a composer and arranger. After playing in the fusion band Muse, KAWAI made his debut as an incidental music composer based at his home recording studio. His representative works include Mobile Police Patlabor the Movie (1989), Ghost in The Shell: Kokaku Kidotai (Ghost in The Shell) (1995), the video game Nobunaga no Yabo Online (Nobunaga’s Ambition Online) (2003), and Kamen Rider Build (2017). KOSAKI Satoru Composer, arranger, and producer, born in Osaka Prefecture. After graduating from the School of Information Science, Faculty of Engineering, Kyoto University, he worked for Namco Limited (currently Bandai Namco Studios Inc.), before joining MONACA Inc. in the fall of 2005. http://www.monaca.jp/member/ <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469.jpg" alt="" width="1000" height="666" class="alignnone size-full wp-image-17928" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469-768x511.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />In March 2020, in commemoration of the 20th anniversary of his debut as a composer, KOSAKI SATORU 20th Anniversary Selected Works DAWN was released. The photo shows the limited edition (¥7,000 plus tax), which consists of a total of five discs of songs and incidental music. The standard edition (¥3,900 plus tax) consists of three discs of songs. https://kosakisatoru-20th-anniversary.com/ *URL links were confirmed on June 16, 2021. ◀ No. 2 No. 4▶
Pursuing new sounds: Creators of music as media artsNo. 3: KOSAKI Satoru, composer (Part 1)
This is a series of interviews with artists who have pioneered the expression of sounds in the world of media […]
This is a series of interviews with artists who have pioneered the expression of sounds in the world of media arts, including the fields of animation, tokusatsu (special effects), and video games. This time, we interviewed KOSAKI Satoru, who marked the 20th anniversary of his debut in 2020. KOSAKI started his career as a sound creator for a game maker, and later became a composer. Since then, he has created music for blockbuster animation one after another, becoming one of the leading composers of animation songs and incidental music in the 2000s and 2010s. He spoke in detail in an informative manner about various topics, such as secret episodes about creating great hit animation songs and his composition techniques using sounds by music programming (called desktop music or DTM in Japan), a characteristic method used by his generation. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-1_Q5A3369.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17925" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-1_Q5A3369.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-1_Q5A3369-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-1_Q5A3369-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />KOSAKI Satoru Photos: HATAKENAKA Aya (all photos in this article) Encounters with music, animation and video games Please tell us about your first encounter with music when you were a child. KOSAKI: First of all, I started attending an infant course at Yamaha Music School when I was three. I took lessons in rhythm expression, music pitch training and playing the piano and electric organ. I don’t remember much, but I hear that I myself said I wanted to go there. I was only three, so I don’t know why I wanted to go to a music school. It’s probably because I was influenced by TV animation and puppet plays. I especially liked NHK’s Purin Monogatari (Story of Princess Purin Purin) (1979–1982). My parents were not music professionals, but they played the classical guitar. Records of the famous classical guitarist Narciso YEPES, for example, were played on a daily basis at home. My parents played music themselves, too. They also seemed to like baroque music. Of course, Japanese pop songs were also played. My mother liked The Checkers and Anzen Chitai. She often sang their songs while doing housework. So I was already able to play the piano when I was a child, but I didn’t have an idea of becoming a musician. I stopped taking lessons once when I was in the fifth grade. First of all, I hated practicing. Each time I went to class, I was always scolded (laughs). What kind of animation or video games did watch or play as a child? KOSAKI: About animation, I was very impressed by NHK’s early evening programs such as Spoon Obasan (Mrs. Pepper Pot) (1983–1984). I also liked Dr. Slump Arale-chan (1981–1986), Meitantei Holmes (Sherlock Hound) (1984–1985), and other programs that many children would usually watch. About video games, my father had an NEC PC-9801 (released in 1982), so I started playing simple PC games such as pinball when I was still very young. I also played golf games and flight simulation games on my own, even though I didn’t understand them well. I further played role-playing games somehow, such as Xanadu (1985), even though the menu screen was in English and I didn’t understand any of it. At friends’ homes, I naturally played Pyuta (Tomy Tutor) by Tomy Company, Ltd. (currently known as Takara Tomy in Japan) and Family Computer by Nintendo Co., Ltd. I think the first Family Computer software my parents bought for me was probably Dragon Quest II: Akuryo no Kamigami (Dragon Quest II: Luminaries of the Legendary Line) (1987). Did you do any musical activities in junior high and senior high schools? KOSAKI: I stopped taking piano lessons, but my interest in music did not fade. I joined the brass band club in junior high school and senior high school and played the trumpet. I don’t really remember why I chose to play the trumpet... It is maybe because it was flashy and I liked it, or maybe an older club member told me to do so. When I joined the club, I even didn’t know well what kind of instruments are used in a brass band. Two years later, I finally realized that the trumpet’s C is different from the piano’s C (laughs). By that time, I had started to listen to the types of music I like, but my choices were diverse. First, I was attracted to fusion music such as Casiopea (currently Casiopea 3rd) and The Square (currently T-Square). As I played musical instruments, I liked bands that played technically sophisticated, instrumental music. I also listened to Japanese pop music such as TM Network and Kome Kome Club, which were popular at the time. Also, I loved MINAMINO Yoko since I was in elementary school, admiring her powerful but melancholic songs. I especially liked their music arranged by HAGITA Mitsuo. That was probably the first time I became aware of the job of arranging music. I often listened to Hikaru Genji, which boys do not listen to very much, as I noticed they had great arrangements with a lot of synthesizer sounds. I think I was more attracted to the systematic, well-constructed sounds rather than songs by singer-songwriters playing accompanying music by themselves. I was also interested in music for video games. As I said earlier, there was a PC-9801 at home, and I was interested in the way of creating music by programming. My father subscribed to a monthly computer magazine Mycom BASIC Magazine. As each issue featured a game music program, I would input the program to let it play. I even put my ears on the casing of a speaker at a game center to hear more clearly (laughs). But actually, I rarely thought of myself becoming a creator up until I finished high school. Starts composing music in a dojin composition circle So, when did you start thinking about creating music? KOSAKI: I was good at math and not good at classical Japanese and Chinese literature. What’s more, I was very interested in cognitive science related to human vision and hearing, so I entered Kyoto University to study at the Faculty of Engineering’s School of Information Science. I joined a brass band at the university as I wanted to continue playing music. When looking around to find how other circles are like, I got interested in a circle called Yoshida Ongaku Seisakujo (Yoshida Music Works), which was a kind of light music club for original music only. It was similar to what we would call a dojin composition circle today. I went to their welcome concert for new students, which featured a wide variety of music there, including a band playing my favorite fusion, a techno unit like P-Model, and a performance incorporating theatrical elements. I experienced so many types of music that I had never heard before all at once. I was very surprised that they were created by people who were about my age. So I cancelled joining the brass band and joined that club instead, even though I had never made music on my own. At that time, at most of the light music clubs, new members started with cover bands with members playing together and placing greatest importance on the Western pop music. On the other hand, the circle was limited to self-composed music, and its members were science-oriented people who liked making things fanatically. In a word, the circle suited me very much. When I entered university, I was given a Roland JV-1000 synthesizer (released in 1993) combining a sound source with a sequencer (a programming device that automatically plays music). For the first time, I had an environment for making music by “uchikomi” (programming for automatic performance). I added a four-channel multi-track recorder (MTR) for cassette tapes before joining the activities of the composition circle. It was around at the dawn of consumer products that are capable of creating what is now called DTM (or desktop music) at reasonable quality. But as I mentioned earlier, the circle did a wide variety of music genres. So I formed a band and did all genres of music, such as songs for idol stars, heavy metal, noise music, jazz, funk, and so on systematically, not specializing in uchikomi-type synthesized music. When we decided to do jazz next, for example, we would listen to a lot of jazz CDs to learn from them and then put their essence into our work. We intended to have people enjoy our ideas and arrangements as producer-musicians as a band, rather than showing off our singing or playing skills. I listened to every genre of music and arranged music following its style. I think I trained a lot through those activities during this period. But I did not delve deeply into a single interest. Because of this, I had a hard time in later years (laughs). I’ve heard that you made music for an independent film when in university. KOSAKI: YAMAMOTO Yutaka, who is currently active as a film and animation director, is an old friend of mine. We were classmates at high school and went to the same university. When the animation circle he belonged to made an independent film, I was asked to make music for it. It’s Onnen Sentai Ressentiment (Grudge squadron Ressentiment) (1997, planned, directed, and edited by YAMAMOTO Yutaka). For some reason, they even made me play the role of an evil leader. I’m really embarrassed about it now (laughs). The film has a complicated nature. It is a parody of Aikoku Sentai Dai Nippon (Patriot squadron Great Japan) (1982, director: AKAI Takami, mechanical design: ANNO Hideaki, and production: DAICON FILM), which is an amateur tokusatsu film and itself a parody of the Super Sentai tokusatsu series by Toei Company, Ltd. I think that was my first incidental music for a video work. Around that time, to make music, I each time listened to existing music pieces first and imitated their styles. I decided on a music genre and then incorporated its characteristic expressions, such as tones and chords. As I had no formal music education, my ability to imitate was not so high. I rarely use music paper. I just write part scores to convey to the band members how and what to play before playing live. In fact, I’ve never composed music on music paper. When I was in university, I worked part-time to get more and more equipment, such as Roland’s XP-50 synthesizer (released in 1995), AKAI’s S3000XL sampler (released in 1996), and Roland’s VS-880 digital MTR (released in 1996). In particular, having the S3000XL expanded the genres available for my music. When I joined the composition circle, it already had senior and alumni members who had joined it in the last decade or so. Circle members published a demo tape of their works once a month, and alumni members also participated in it, so I was able to interact with those members. I was inspired by some works of former members having full-time work, which were beyond the level of university students. We also published a newsletter that included our own reviews on the works in the demo tape. I learned a lot from reviews on my works. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-2_Q5A3441.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17926" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-2_Q5A3441.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-2_Q5A3441-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-2_Q5A3441-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />KOSAKI says that he started composing music in a university circle. Giving full attention to music as work After graduating from university, you had a job at a game maker. KOSAKI: I vaguely wanted to have a job related to music. In my job-hunting activities, I took employment exams at record companies and musical instrument manufacturers such as Yamaha Corporation and Roland Corporation. At job interviews, I gave a presentation on my idea for an automatic mastering function using artificial intelligence. At the time, they just laughed and said, “We don’t need such a thing.” In recent years, it has been becoming a hot new technology in the music industry. After 20 years, I say, in my mind, “I told you at that time!” (laughs). I eventually received a job offer from the game maker Namco Limited. I had submitted to the company a demo tape of my compositions from my university days. I had always liked the music of sound creator SANO Nobuyoshi (*1), who was in charge of the Ridge Racer series and the Tekken series of Namco, so I decided to work for Namco, hoping to work with him. At Namco at that time, music composition was not separated from sound effects (SE) production, so I did everything related to sound in video games, including voice recording by voice actors and overall post production audio work (called multi-audio or MA in Japan). I was first assigned to creating the BGM for a puzzle game Aqua Rush (2000) as an on-the-job training. It was completely different from the music creation method that I knew. I had my hands full learning about development environments and how to incorporate music into video games. It was the period of transition from the conventional system of generating sounds by programming to the new system of streaming playback of recorded audio. The video game music industry was experiencing a great change. Since Aqua Rush still played sounds by the programming method, I composed its music by making a huge table of numbers using Excel spreadsheet. I had done similar work on the PC-9801 when I was in junior and senior high school, so the task itself was not so difficult for me. The biggest difference in composing music at a university club and at a job is that music composed as a job needs to meet orders. I need to make sounds and music to meet specifications and requirements and deliver each work by the deadline. If it doesn’t meet the idea of the client, they will ask you to modify or simply reject it. How much you are confident in your proposal, it may be easily overturned by any perception gap between you and the client. I take it for granted now, but I experienced it for the first time at the time. I was also surprised by overwhelmingly high-quality works by my senior colleagues. For example, when making a techno-style song, the work by a senior colleague who knew better about techno was much cooler than mine. With my experience at university, I was confident of cleverly handling a variety of genres, but I realized again that I lacked sufficiently deep understanding for each genre and it was an obstacle for me. As I said earlier, the problem was caused by that I had not delved deeply into a single interest, that is, I had been involved in various genres of music widely but shallowly. From that point on, I started listening to all genres of music and studied them from scratch all over again. I’m ashamed to say this, but I listened to The Beatles very seriously for the first time at that time. I had thought that their music is a part of the artistic culture and is not on the same ground as my music. But as I listened to it more, I realized more that many things have their roots in the group’s music. I finally became aware of the historical connection of music around that time. What are particularly memorable works with Namco for you? KOSAKI: The most memorable work is the puzzle game Kotoba no Puzzle: Mojipittan (Word puzzle) (2001) as it is the first video game, I was responsible for everything. Although it is a puzzle game, I incorporated a lot of songs and Shibuya-kei (Shibuya-style) sounds into the work. When I listen to it again now, I feel I did what I wanted to do as I just wanted to do. As I just told you, I made the work during my intensive study period, I feel a naked part in my core was exposed in the work. I also meant that work to pay tribute to the good, old Namco sounds by reproducing the sounds of early Namco titles I had loved as a child, such as Pac-Man (1980), Mappy (1983), and Druaga no To (The Tower of Druaga) (1984), by tracing back to their waveforms by programmable sound generators (PSG, or electronic circuits for creating video game sounds) used around their time. Another memorable project was the music for the Tekken fighting game series. I first participated in the series from the Tekken Tag Tournament (1999), then worked on Tekken 4 (2001), Tekken 5 (2004), and up to Tekken Dark Resurrection (2006). I was involved in the series for a long period of time. The series much used relatively hard techno, breakbeats, and rock crossover (called “mixture rock” in Japan). They were not my fortes, to be honest. But I learned from SANO Nobuyoshi and other experienced colleagues how to create music in such genres while maintaining their qualities. I’m not the type of composer who creates melodies as if suddenly falling down from the heaven into their mind. I start with conceiving a comprehensive framework, such as an overall sound image, genre, and scenes to express and matching sounds. I am also very particular about melodies, so even if I feel a certain melody is not special and boring at first, I improve it through trials and errors spending time. First, I create a melody by humming while playing the piano, record it as data in the sequencer, and then tweak it note by note, while asking to myself, “Should I raise or lower here?” until eliminating any odd parts and modifying mediocre parts. I spend much time doing the process. So I think I could not have become a professional composer without DTM, the tool that can create music while simulating various possibilities. I’m envious of people who are able to suddenly come up with melodies and compose music on music paper. I think I’m an opposite type of composer to TANAKA Kohei (*2), who was featured in this series in the previous time (laughs). <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-3_Q5A3409.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-17927" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-3_Q5A3409.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-3_Q5A3409-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-3_Q5A3409-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />KOSAKI said: “I’m not the type of composer who creates melodies as if suddenly falling down from the heaven in their mind.” First animation involved as a freelance became a big hit You left Namco in 2005 and became freelance. Why did you make the decision? KOSAKI: I more and more wanted to do something challenging outside my workplace and seeking other possibilities for myself. To tell the truth, while still working for Namco, I had entered competitions for works for Japanese pop music artists, and failed in all of them (laughs). Eventually, YAMAMOTO Yutaka, who was with Kyoto Animation Co., Ltd. at the time, asked me to make the music for the original video animation (OVA) work MUNTO Toki no Kabe wo Koete (Munto: Beyond the Walls of Time) (2005). Around the time, OKABE Keiichi (*3), who was my boss at Namco, established the music production company MONACA Inc., and asked me to work with him. So I left Namco and joined MONACA to start working freelance. Right afterward, you worked on the great hit TV animation Suzumiya Haruhi no Yuutsu (The Melancholy of Haruhi Suzumiya) (2006). KOSAKI: Right. I was very surprised that I had such a big hit as soon as I became freelance. Even though I’d had worked with YAMAMOTO and Kyoto Animation before, I was still a new face with little experience. I’m still grateful they chose me. I think this work was a great leap for Kyoto Animation, too. I was very pleased to be able to join the work. At the time, I just simply worked hard to do what I was able to do. I was basically in charge of the incidental music. As there would be several insert songs, I naturally worked on them. One of them, God knows..., became a big hit unexpectedly, ranking fifth on the Oricon weekly singles chart. I appreciate Kyoto Animation people’s careful drawing of the band’s performance scene. It was also amazing that the record company in charge decided and prepared to release its CD as soon as the episode with the song was broadcast on TV. As I said, this kind of band sound was totally an unfamiliar genre for me. I needed to study very hard to write God knows.... What is more, it was the first experience for me to ask musicians to come to the studio to record in a band format. I even didn’t know much about how to write the parts for the recording. Honestly, I was very nervous (laughs). About God knows..., many people may feel its guitar performance is impressive. I can’t play the guitar, and guitar sound is the most difficult to express by uchikomi programming as it doesn’t have a good affinity with DTM. I often have no idea about how the finished work will be like until I hear the guitarist play it in the studio. For God knows..., I employed the guitarist, NISHIKAWA Susumu, and said to him: “It’s for an alien high school girl named NAGATO to play, so make it a cool, very technically demanding phrase.” He understood my brief explanation and quickly created and played the intro phrase on the spot. It was amazing. We had only three musicians, NISHIKAWA with the bassist TANEDA Takeshi and the drummer ODAWARA Yutaka. Their performances stood out to each other and there was no surplus sound. An ideal balance required for good band sounds was achieved instantly. I was speechless in the corner of the studio, while watching their prompt work and enormous power (laughs). It is important for players of the wind and string instruments to play exactly as written on the sheet music. On the other hand, we expect the rhythm section, such as electric guitar, electric bass and drums, to exert their unique musical characteristics as much as possible. They know how to do it. I’d never experienced drastically enhancing the perfection level of a work of mine in the studio with the help of musicians that much. So the recording was really exciting for me. This work changed my life in every sense. (notes) *1 SANO Nobuyoshi is a game music composer and former sound creator for Namco. He is current president of DETUNE Ltd. He is also active under the names SANO Denji and sanodg. *2 TANAKA Kohei is a composer who has created music for many animation and video games. His representative works include music for the video game Sakura Taisen (Sakura Wars) (1996), the animation ONE PIECE (1999 –), and the opening theme song JoJo: Sono Chi no Sadame (JoJo: His Blood Destiny) for the animation JoJo no Kimyo na Boken (JoJo’s Bizarre Adventure) (2012). For details, please refer to Pursuing new sounds: Creators of music as media arts No. 1: TANAKA Kohei, composer (Part 1). https://mediag.bunka.go.jp/article/article-18563/ *3 OKABE Keiichi is a composer, producer, and former sound creator at Namco. He established MONACA Inc. in 2004. His representative works include the video game series Tekken, the video game series Taiko no Tatsujin, the animation series Working!! and the animation series Yuki Yuna wa Yusha de Aru (Yuki Yuna is a Hero), and the video game series NieR. KOSAKI Satoru Composer, arranger, and producer, born in Osaka Prefecture. After graduating from the School of Information Science, Faculty of Engineering, Kyoto University, he worked for Namco Limited (currently Bandai Namco Studios Inc.), before joining MONACA Inc. in the fall of 2005. http://www.monaca.jp/member/ <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469.jpg" alt="" width="1000" height="666" class="alignnone size-full wp-image-17928" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/08/1-42-5_Q5A3469-768x511.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />In March 2020, in commemoration of the 20th anniversary of his debut as a composer, KOSAKI SATORU 20th Anniversary Selected Works DAWN was released. The photo shows the limited edition (¥7,000 plus tax), which consists of a total of five discs of songs and incidental music. The standard edition (¥3,900 plus tax) consists of three discs of songs. https://kosakisatoru-20th-anniversary.com/ *URL links were confirmed on June 16, 2021. ◀ No. 2 No. 4▶
Report on the 24th Japan Media Arts Festival Exhibition of Award-winning Works
The 24th Japan Media Arts Festival Exhibition of Award-winning Works was held from Thursday (a national holida […]
The 24th Japan Media Arts Festival Exhibition of Award-winning Works was held from Thursday (a national holiday), September 23, to Sunday, October 3, 2021, in and around the National Museum of Emerging Science and Innovation (Miraikan). This article reports on the exhibition based on a press preview held at the Miraikan on Wednesday, September 22, the day before the event. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-0_iriguchi.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18488" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-0_iriguchi.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-0_iriguchi-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-0_iriguchi-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />At the preview, visitors were greeted at the entrance of the main venue by an avatar robot of the AVATAR ROBOT CAFE Photos: HATAKENAKA Aya (all photos of the exhibition venues) The exhibition was held in the Special Exhibition Zone, chiefly on the Miraikan’s first floor. In the zone, 37 award-winning works from the Art, Entertainment, Animation, and Manga divisions were displayed. Also, four Special Achievement Award winners were presented in individual booths. Some of the award-winning works and related projects were introduced on the 7th floor. The Festival Platform Award is given to works that take advantage of the characteristics of the Miraikan’s facilities. One winning work was screened on the Geo-Cosmos, a spherical display made using organic electroluminescent (EL) panels. The other winner was screened at Dome Theater Gaia on the 6th floor, images are projected on a dome-shaped screen with a high-intensity RGB laser 4K projector. Grand Prize in Art Division goes an experiential theater play using VR/AR technology The first work shown in the Special Exhibition Zone was Prometheus Bound, an experiential theater play by KOIZUMI Meiro, which won the Grand Prize in the Art Division. Taking the Greek tragedy of the same title as its starting point, the work features MUTO Masatane, an ALS patient, as the “contemporary Prometheus,” and uses VR/AR technology to bring a new theatrical experience to the audience. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-1_prometheus.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18489" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-1_prometheus.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-1_prometheus-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-1_prometheus-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />A video documenting the performance of Prometheus Bound at Theater Commons ’20 was shown at the venue. At the Panasonic Center Tokyo, the performance was held with the audience wearing head-mounted displays. In the Art Division, four works received Excellence Awards, including Adrien M & Claire B’s Acqua Alta - Crossing the mirror, a story of a man and a woman and a storm surge phenomenon that unfolds on a pop-up book drawing through a special AR app. Bricolage by Guy BEN-ARY / Nathan THOMPSON / Sebastian DIECKE is a bio art work, in which cardiac muscle cells are grown on silk. Sea, See, She - To you, who is yet to come by See by Your Ears (evala Representative) stimulates the audience’s imagination by sound emitted from a 3D sound system in a dark area. In Stefan TIEFENGRABER’s TH-42PH10EK x 5, five suspended displays move like a pendulum to create sound. The audio signal is converted to an analog video signal, resulting in flickering images on the display. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-2_AcquaAlta.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18448" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-2_AcquaAlta.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-2_AcquaAlta-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-2_AcquaAlta-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Acqua Alta - Crossing the mirror shows an image when the viewer holds up a tablet device. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-3_Bricolage.jpg" alt="" width="1000" height="666" class="alignnone size-full wp-image-18449" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-3_Bricolage.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-3_Bricolage-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-3_Bricolage-768x511.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Bricolage was displayed in a petri dish with a silk container for culturing cells, and scenes from past exhibitions were also presented. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-4_Q5A2423.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18450" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-4_Q5A2423.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-4_Q5A2423-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-4_Q5A2423-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />A key visual of Sea, See, She - To you, who is yet to come displayed at the exhibition. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-5_Q5A2646.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18451" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-5_Q5A2646.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-5_Q5A2646-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-5_Q5A2646-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />TH-42PH10EK in TH-42PH10EK x 5 indicates the model number of the hanging display. Simon WECKERT’s Google Maps Hacks, which won the Social Impact Award, is a media performance in which 99 second-hand smartphones are transported in a handcart to intentionally generate virtual traffic jam on Google Maps. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-6_Q5A2447.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18452" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-6_Q5A2447.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-6_Q5A2447-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-6_Q5A2447-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />A handcart and a video of it moving along city streets are shown at the exhibition venue. The New Face Award went to KOBAYASHI Hayate for The reluming apparatus, in which two robots carrying small projectors move to project images on the surrounding walls; Kaito SAKUMA for Ether - liquid mirror, which produces sound by vibrating a mirror surface with data of the audience’s heartbeat; and KOMIYA Chiku for VOX-AUTOPOIESIS V -Mutual-, which creates a piece of new music with repetitive performances of a musician who sings scores generated based on the musician’s voice. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-7_Q5A2744.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18453" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-7_Q5A2744.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-7_Q5A2744-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-7_Q5A2744-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />The reluming apparatus was screened in the 7th floor Conference Room Venus, in addition to its introduction on the first floor. In the darkness, images based on the artist’s personal memories are projected on the four walls. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-8_Q5A2664.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18454" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-8_Q5A2664.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-8_Q5A2664-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-8_Q5A2664-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />The outdoor Ether - liquid mirror was on display as an interactive work that measures the audience’s heartbeat and reflects it on the mirror. In the Special Exhibition Zone, a box-shaped work was displayed, and the heartbeats of past experiencers were heard as their mirrors vibrated. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-9_Q5A2453.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18455" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-9_Q5A2453.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-9_Q5A2453-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-9_Q5A2453-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Sheet music transcribed from VOX-AUTOPOIESIS V -Mutual-. This work was also performed live during the exhibition period. Entertainment Division covers a wide range of expression methods, from analog to the latest technology In the Entertainment Division, IWASAWA Kenji’s ON-GAKU: OUR SOUND was awarded the Grand Prize. This is an animated feature film based on Ongaku to Manga (Music and Manga) by OHASHI Hiroyuki (Ota Publishing, 2009). The film depicts a group of delinquent students who form a band and spend their days playing music, using the rotoscoping technique of drawing based on live-action footage. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-10_Q5A2471.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18456" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-10_Q5A2471.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-10_Q5A2471-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-10_Q5A2471-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />ON-GAKU: OUR SOUND took seven and a half years to create. For the scene in the film, they held an actual outdoor festival. While ON-GAKU: OUR SOUND was created using analog methods, the work selected for the Excellence Award was created using technology. GEKIDAN NOMEETS (HIROYA Yuki, Representative) is a theater company formed in the wake of the new coronavirus pandemic that completes plays by full remote control. Replacements by Jonathan HAGARD / Nova Dewi SETIABUDI / Andreas HARTMANN / Dewi HAGARD / KIDA Kaori / Paul BOUCHARD presents Jakarta’s urban transition from the 1980s to 2020 in VR animation. RakugakiAR application by the “RakugakiAR” Production Team (SO Yoshihiro, Representative) allows users to scan illustrations and have them move on the screen and communicate with each other. KONDO Hiroshi’s 0107 - b moll is a work that stitches together images of trains running at night, setting them to minimalist music. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-11_Q5A2488.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18457" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-11_Q5A2488.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-11_Q5A2488-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-11_Q5A2488-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Past works were shown on multiple displays and posters covering the walls at the booth of GEKIDAN NOMEETS <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-12_Q5A2733.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18458" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-12_Q5A2733.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-12_Q5A2733-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-12_Q5A2733-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Audience members were able to watch the VR animation work Replacements with head-mounted displays in the 7th floor Conference Room Mercury. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-13_Q5A2491.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18459" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-13_Q5A2491.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-13_Q5A2491-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-13_Q5A2491-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />RakugakiAR could be experienced with a tablet device at the Special Exhibition Zone on the first floor. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-14_Q5A2680.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18460" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-14_Q5A2680.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-14_Q5A2680-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-14_Q5A2680-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />0107 - b moll exhibited in the 7th floor Conference Room Mars. Mirrors are laid out on both sides, giving the impression that the train goes on forever. The Social Impact Award was given to AVATAR ROBOT CAFE by the “AVATAR ROBOT CAFE” Production Team (YOSHIFUJI Kentaro, Representative). This is a project in which disabled people and those who have difficulty going out of their homes serve customers (at a café restaurant) through OriHime, an alter-ego robot that can be operated easily by people with physical disabilities. This alter-ego robot café opened in Tokyo’s Otemachi for limited three weeks in October 2019. A permanent experimental venue opened in Nihonbashi (Tokyo) in 2021. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-15_Q5A2630.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18461" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-15_Q5A2630.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-15_Q5A2630-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-15_Q5A2630-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />At the AVATAR ROBOT CAFE booth, visitors can communicate with a pilot who operates the OriHime alter-ego robot. The winners of the New Face Award in the Entertainment Division were HAGA Naoto for his pixel art game, UNREAL LIFE; Naphtali FAULKNER’s Umurangi Generation, in which the story unfolds through the taking of photographs; and Canaria, a hand-drawn VR animation by YUHARA Kazuki. The work was created as a music video of the same title by TOKUMARU Shugo. Flight Fit VR, a fitness VR application by MORIYA Anju, won the U-18 Award. As in the previous year, this award was given to the only work in the Entertainment Division among the four divisions. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-16_Q5A2737.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18462" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-16_Q5A2737.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-16_Q5A2737-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-16_Q5A2737-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />UNREAL LIFE, Umurangi Generation and Flight Fit VR can be played on the 7th floor. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/22f9173efdd15662b2ffca498a7e4e74.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18463" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/22f9173efdd15662b2ffca498a7e4e74.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/22f9173efdd15662b2ffca498a7e4e74-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/22f9173efdd15662b2ffca498a7e4e74-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Canaria could also be viewed in VR in the 7th floor Conference Room Mercury like Replacements Grand Prize in Animation Division goes to 12-episode TV series Following the Art and Entertainment divisions is the Animation Division. The Grand Prize winner was YUASA Masaaki’s Keep Your Hands Off Eizouken! an animated TV series. Based on the manga of the same title by OOWARA Sumito, the animation depicts the struggles of three high school girls who devote themselves to creating animation. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-18_Q5A2514.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18464" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-18_Q5A2514.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-18_Q5A2514-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-18_Q5A2514-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Reproductions of original drawings and setting materials, main visuals, and making-of videos were displayed along with screenings of the works at the exhibition venue. Of the four works selected for the Excellence Award, three were animated feature films. ISHIDATE Taichi’s Violet Evergarden: the Movie is a sequel to the TV anime series featuring Violet Evergarden, a girl with an artificial hand who works as a letter writer; A Whisker Away by SATO Junichi / SHIBAYAMA Tomotaka is a story about a junior high school boy and girl. Its key feature is how the girl uses a mask that can physically transform her appearance into a cat; MARONA’S FANTASTIC TALE by Anca DAMIAN is a story from the perspective of a dog who moves from one owner to another; and Grey to Green by Marcos SÁNCHEZ is a music video by Korean singer-songwriter Lydia LEE, featuring old-style images and animation overlaid with animation reminiscent of Disney films. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-19_Q5A2527.jpg" alt="" width="1000" height="666" class="alignnone size-full wp-image-18465" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-19_Q5A2527.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-19_Q5A2527-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-19_Q5A2527-768x511.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Exhibition space for Violet Evergarden: the Movie and MARONA’S FANTASTIC TALE. There were also panels showing clips from the film, in addition to the videos. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-20_Q5A2535.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18466" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-20_Q5A2535.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-20_Q5A2535-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-20_Q5A2535-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Reproduced original drawings from A Whisker Away <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-21_Q5A2559.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18467" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-21_Q5A2559.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-21_Q5A2559-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-21_Q5A2559-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Installation view of Grey to Green The winner of the Social Impact Award was the music video Haze Haseru Haterumade by the “music unit”–or musical collaboration–ZUTOMAYO. The music video, directed by Waboku, depicts a young girl who leaves her hometown to wander the universe. The scenes change one after another in time with the sound. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-22_Q5A2561.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18468" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-22_Q5A2561.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-22_Q5A2561-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-22_Q5A2561-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Haze Haseru Haterumade features videos, panels and production materials for its booth display. The New Face Award was given to three animated short films. The Man on the Shore by MORISHIGE Hikaru / OZASA Daisuke researches fictional creatures on an island, realistically depicted in 3DCG using a video game engine; The mark of Emi by FURUKAWAHARA Momoka visualizes personal memories of adolescence related to sex through rough pencil drawings; and Héloïse FERLAY’s stop-motion animation, À la mer poussière, which uses felt puppets to depict the tense relationship between a mother and her two children. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-23_Q5A2541.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18469" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-23_Q5A2541.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-23_Q5A2541-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-23_Q5A2541-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />The Man on the Shore’s production process was introduced its via four tablets, in addition to screening on monitors. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-24_Q5A2551.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18470" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-24_Q5A2551.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-24_Q5A2551-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-24_Q5A2551-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />The mark of Emi’s original drawings on 10x10cm paper were on display. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-25_Q5A2555.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18471" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-25_Q5A2555.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-25_Q5A2555-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-25_Q5A2555-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />A video recording of the production process using puppets was also introduced for À la mer poussière The award-winning films in the Animation and Entertainment divisions, as well as the films under the Jury Selections, were screened at the Innovation Hall and Miraikan Hall of the Miraikan, and at the satellite venues of CINEMA Chupki TABATA and Ikebukuro HUMAX Cinemas. Many works in Manga Division are set in contemporary society Last in line in the Special Exhibition Zone were works from the Manga Division. The Grand Prize winner, UMINO Chika’s March comes in like a lion, centers on a professional shogi player who is a high schooler living in downtown Tokyo. The story depicts various human events such as his relationship with three sisters who lost their mother and his matches against rival players. The Excellence Award went to four works. SAKAMOTO Shin-ichi’s Innocent Rouge beautifully depicts the way of life of a brother and sister born into a family of executioners during the French Revolution; a young couple awaiting the birth of their first child confronts the situation of children in the world after the attack on Malala YOUSAFZAI in Kashikokute yukiaru kodomo (A Wise and Brave Child) by YAMAMOTO Miki; HITORIDESHINITAI (I Want to Die Alone) by CURRYZAWA Kaoru is a comedy. A single woman who works as a curator ponders life and death after the lonely passing of her aunt; Hei no naka no biyoshitsu (The Depth of the Sky) by KOHINATA Marco depicts today’s women in the story set in a beauty parlor where inmates from a women’s prison cut the hair of regular customers. Its original author is SAKURAI Mina. Works that focused on today’s social issues and events stood out. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-26_Q5A2595.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18472" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-26_Q5A2595.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-26_Q5A2595-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-26_Q5A2595-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Delicate expressions were created by a digital drawing for Innocent Rouge. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-27_Q5A2591.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18473" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-27_Q5A2591.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-27_Q5A2591-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-27_Q5A2591-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Kashikokute yukiaru kodomo (A Wise and Brave Child) displays original color drawings and materials for paintings used by the artist. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-28_Q5A2585.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18474" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-28_Q5A2585.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-28_Q5A2585-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-28_Q5A2585-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />HITORIDESHINITAI (I Want to Die Alone) is a work done by digital drawing.Themes such as loneliness, marriage, and postretirement are depicted with laughter. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-29_Q5A2579.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18475" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-29_Q5A2579.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-29_Q5A2579-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-29_Q5A2579-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Hei no naka no biyoshitsu (The Depth of the Sky) presents original paintings with detailed handwriting. The winner of the Social Impact Award was NODA Satoru’s GOLDEN KAMUY. This is an adventure story about a military veteran and an Ainu girl in search of gold bars said to have been hidden by the Ainu people. It has drawn many readers into the story by incorporating Ainu culture and comedic elements. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-30_Q5A2572.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18476" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-30_Q5A2572.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-30_Q5A2572-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-30_Q5A2572-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Color panels, including cover illustration of GOLDEN KAMUY, are eye-catching. The New Face Award went to three works: Swingin’ Dragon Tiger Boogie, a music manga by HAIDA Koukou featuring a girl who enters the world of entertainment in postwar Japan; SORATOBU KUJIRA (A Flying Whale): SUZUKI, Suzuhiro Works, a collection of six short stories by Suzuki, depicting subtleties that arise in human relationships; and My Broken Mariko by HIRAKO Waka, whose protagonist takes bold action to steal the ashes of her close friend, Mariko, from her parents’ home. Mariko had committed suicide after being abused by her parents. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-31_Q5A2607.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18477" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-31_Q5A2607.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-31_Q5A2607-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-31_Q5A2607-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Swingin’ Dragon Tiger Boogie displays its panels, original drawings and materials. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-32_Q5A2604.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18478" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-32_Q5A2604.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-32_Q5A2604-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-32_Q5A2604-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />SORATOBU KUJIRA (A Flying Whale): SUZUKI, Suzuhiro Works’ original drawings indicate a production method that uses both analog and digital techniques. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-33_Q5A2614.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18479" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-33_Q5A2614.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-33_Q5A2614-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-33_Q5A2614-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Viewers can enjoy comparing original drawings and names at the display of My Broken Mariko. The above winning works of the Manga Division and Jury Selections were placed at the Manga Library in the 7th floor Conference Room Jupiter. Visitors were able to pick up books and browse through them. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-34_Q5A2777.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18480" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-34_Q5A2777.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-34_Q5A2777-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-34_Q5A2777-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />A scene from the Manga Library. Award-winning works and those of Jury Selections are displayed. Chigiri-e x Stop-motion Animation and 3DCG, the two works contrasting in their production methods win the Festival Platform Award The Festival Platform Award is set for works that utilize facilities in the Miraikan. The award’s Geo-Cosmos Category went to AKIYAMA Tomoya’s video work, Chigiru, in which the Earth is torn apart and then put back together again like a chigiri-e picture. The Dome Theater Category award went to L’alter-Monde by Sandrine DEUMIER / Myriam BLEAU. This is a 3DCG audiovisual work on the theme of humans and rediscovered nature. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-35_Q5A2705.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18481" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-35_Q5A2705.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-35_Q5A2705-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-35_Q5A2705-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Chigiru was created with a stop-motion animation method. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-36_Q5A2690.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18482" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-36_Q5A2690.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-36_Q5A2690-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-36_Q5A2690-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />L’alter-Monde, an immersive audiovisual project for a full-dome format Special Achievement Award presented in recognition of achievements in each category The four recipients of the Special Achievement Award were introduced in each awardee’s booth in the Special Exhibition Zone. The Art Division went to KUSAHARA Machiko, Media Art and Media Archaeology Researcher / Curator. The Entertainment Division was given to SAKUMA Akira, Game Creator. NOZAWA Masako, Voice Actor, took the Animation Division. And the Manga Division went to SAKATA Fumihiko, Representative of the Gataket Secretariat. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-37_Q5A2459.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18483" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-37_Q5A2459.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-37_Q5A2459-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-37_Q5A2459-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />In the space for Special Achievement Award recipients, related materials were displayed in accordance with their achievements. KUSAHARA Machiko’s glass showcase is lined with exhibition catalogs, papers and other writings she produced over the years. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-38_Q5A2597.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18484" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-38_Q5A2597.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-38_Q5A2597-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-38_Q5A2597-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />The history of Gataket, represented by SAKATA Fumihiko, was summarized in panels. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-39_Q5A2508.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18485" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-39_Q5A2508.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-39_Q5A2508-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-39_Q5A2508-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Packages and books of games created by SAKUMA Akira Support for creators and related projects for promotion of media arts The activities of creators in Japan with winning works or who were chosen for Jury Selections in the Japan Media Arts Festival are supported. Among creators receiving support, the following five works were exhibited in the 7th floor Conference Room Uranus: YAMADA Teppei’s Visualizing Heartbeat with Diversity and Universality as the Theme, MAKINO Takashi’s Echoed, ONISHI Takuto’s When the drone comes, the wind blows, ISHIKAWA Masaya’s Layers of Light, and Team Yuri Suzuki at Pentagram (SUZUKI Yuri, Representative)’s Music for Dyslexics: Synesthesia Toy Colour Chaser Mass Production Project. Near the above-mentioned Manga Library, panels and other information were presented on projects related to the Agency for Cultural Affairs, such as the Project for Overseas Development of Media Arts and the Project to Improve Networking and Archival Infrastructure of Media Arts. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-40_Q5A2756.jpg" alt="" width="1000" height="666" class="alignnone size-full wp-image-18486" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-40_Q5A2756.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-40_Q5A2756-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-40_Q5A2756-768x511.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Layers of Light is a video display device with a unique three-dimensional effect. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-41_Q5A2789.jpg" alt="" width="1000" height="667" class="alignnone size-full wp-image-18487" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-41_Q5A2789.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-41_Q5A2789-300x200.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/11/FUKU75-41_Q5A2789-768x512.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />Related Projects of Japan Media Arts Festival As a countermeasure to the novel coronavirus, the Award-winning Works Exhibition was open to the public by advance reservation. Visitors were asked to take their temperatures and disinfect their hands at the entrance. Although the number of participants was limited, workshops and talk sessions were held during the exhibition period. Archived videos of the talk sessions are available on the special website for a limited time (until 5:00 p.m. on Friday, December 24, 2021). (information) 24th Japan Media Arts Festival Exhibition of Award-winning Works Dates: Thursday, September 23–Sunday, October 3, 2021 Hours: 10:00–17:00 Venues: Miraikan–The National Museum of Emerging Science and Innovation, and others Admission: Free *Advance reservation required Organizer: 24th Japan Media Arts Festival Executive Committee https://j-mediaarts.jp/en/ *The e-book of the 24th Japan Media Arts Festival Award-winning Works can be browse via the link [Catalog] on the above website. It contains outlines of 24 Years of the Japan Media Arts Festival including the award-winning and jury selection works and reasons for the awards, a list of award-winning works and the jury’s comments. Printed versions are available for purchase in Japan. *URL links were confirmed on November 1, 2021.
Descendants of Japanese games that crossed the seaNo. 1: Metroidvania
Ever since the launch of Space Invaders (1978), Japanese video games have been taking the world by storm, but […]
Ever since the launch of Space Invaders (1978), Japanese video games have been taking the world by storm, but in addition to becoming hits, some of these games have also achieved the status of archetypes of styles or genres that have definitively affected to followers. A list of such games would include, among others, Super Mario Bros. (1985), Double Dragon (1987), Contra (1987), Raiden (1990), Street Fighter II (1991), and Final Fantasy VII (1997). Many of these Japanese archetypes, which occupy important places in the phylogenetic tree of video game evolution, were created in the 1980s and 1990s. In some cases, they were games that had already ceased to evolve or were neglected in their original homeland, but duting the expansion of the indie game market of 2000s and 2010s, they have been infused with new blood from overseas, and as a result they have developed in unique ways that their originators could never have imagined at the time. The aim of this series is to introduce these “descendants of Japanese games” that today are flourishing all over the world. Supervision: TANAKA Haruhisa (hally) Writing: Younasi, FURUSHIMA Takayuki, and CHIBA Yoshiki <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image017.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-17978" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image017.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image017-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image017-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Ori and the Blind Forest The formation process of Metroidvania Metroidvania is one of the video game subgenres that has shown remarkable development in its own right overseas. The name Metroidvania blends the names of two early game series, namely Metroid (since 1986) and Castlevania (the international name of the Akumajo Dorakyura series; 1986 in Japan/1987 in the United States), which are considered to be the founding games of this subgenre. However, in terms of content, it is generally understood that Metroidvania games are side-view platformer action games that combine “RPG-like growth elements” and “a vast field of action with the emphasis on questing” (although since there is no strict definition, ideas about what counts as Metroidvania differ from person to person). Side-view platformer action was a video game perspective that flourished during the heyday of the Nintendo Entertainment System (NES; known as “Famicon” in Japan), which was symbolized by Nintendo’s hit platform game Super Mario Bros. At the time, various new approaches were being explored to make such games even more popular, with one of the most common being “combining RPG elements,” or, in other words, introducing elements such as character’s growth and puzzle solving. An early example of this was Nintendo’s Metroid (1986). In this game, by collecting the power-up items scattered throughout the labyrinth, the player can expand the explorable area, and if they can obtain more items in the expanded area, the quest area will expand again. In the side view platformer action genre, which until that time had mainly consisted of stage clear based escape games, Metroid adopted a exploration-based style that allowed the player to go back and forth between the game’s stages. Metroid sold more than one million units in Japan and overseas in total and won a legion of fans. Despite this success, however, it could not become an archetype that would go on produce numerous “successor” games. A number of side-view platformer action games appeared subsequently, but only a handful of them, apart from the sequels to the original Metroid, could be said to be true descendants of Metroid—at least at that time. However, about a decade after Metroid, a notable successor game appeared. This was Akumajo Dorakyura X Gekka no Yasokyoku (Castlevania X: Symphony of the Night) (1997), a PlayStation title from Konami. Castlevania was another long-lasting series of side-scrolling platformer action games, the first of which was launched in the same year as Metroid, but basically it has evolved along a different axis. This game represented a major change of orientation, turning into a quest-type game similar to Metroid. In fact, the influence of the Super Nintendo game Zelda no Densetsu: Kamigami no Triforce (The Legend of Zelda: A Link to the Past) (1991 in Japan/1992 in Europe and the United States) is said to have been greater than that of Metroid, so while it may not be considered a Metroid successor in the strict sense, the fact remains that many players at the time noted its similarities to Metroid. It wasn’t only the Japanese who were concerned about these similarities. In 2001, the term Metroidvania was coined by someone in the Western player community to describe what the two games shared in common (*1). Initially, this term referred exclusively to the Castlevania series, but after a while, it came to be treated as a subgenre name and its interpretation was expanded to encompass all video games, both old and new and from all over the world, that shared certain similar elements. In the 2000s, the term Metroidvania was confined mainly to the realm of internet slang, and only rarely appeared in game media. But behind the scenes, the number of quest-type side-view platformer action games continued to increase little by little throughout the decade, and then in the 2010s, the number of such games skyrocketed as the indie game market expanded. As a result, Metroidvania became firmly established as the name of a subgenre. Now that the word Metroidvania has been imported back into Japan, the originators of the subgenre are continuing to release new titles on the market, but the leadership is no longer in Japan and both the supporters and the players are global. Even today, various new Metroidvania games continue to be produced around the world, ranging from orthodox and conventional titles to bizarre and unconventional games that Japanese creators would never have thought of. The subgenre has gained the freedom that comes from no longer being in the hands of its originators. In the following sections, we will examine four historic Metroidvania games that are still playable today and review them as titles deserving special attention from the standpoint of their unique development which took place overseas. Four featured Metroidvania games, each representing a unique and international take on ‘Made in Japan’ The latest game in a series still being cultivated by America’s first NES generation: Shantae and the Seven Sirens (2020) <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/05/GA39-1.jpg" alt="" width="1000" height="562" class="alignnone size-full wp-image-19693" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/05/GA39-1.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/05/GA39-1-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2022/05/GA39-1-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Shantae and the Seven Sirens Shantae, a series of comical Metroidvania games in which a half-genie girl plays an active role in a fantasy world with steampunk elements, is the signature title of the California-based video game developer WayForward Technologies. Five games in the series have been released so far. The first, launched in 2002 for the Game Boy Color handheld game console and entitled simply Shantae, appeared before the term Metroidvania was coined, but it was clearly influenced by the systems of Metroid and Castlevania games. In that sense, it was worthy of being called the first ever third-party Metroidvania game, although like Castlevania X: Symphony of the Night, it actually owed more to The Legend of Zelda: A Link to the Past than by Metroid. Overall, the first Shantae game followed the grammar and taste of Japanese games decently, adopting an attitude that was extremely unusual for Western games at the time. A lot of makers tried to develop games like those from Japan by imitating existing games, but the results usually ended up being either overwhelming or else lacking in taste. The first Shantae game was clearly different in this respect, although it was still rather rough. The reason why the almost unknown WayForward was able to create such a game is because Matt BOZON, who worked on Shantae, is a game designer of the NES generation. He is a member of the first generation of Americans to have grown up experiencing Japanese NES games. At the same time, he was also trained in Disney’s animation production style. The visual aspects of Shanti are a result of both of these types of know-how. I should add that it was also very unusual at the time to see an American-made game that incorporated Japanese anime patterns. There were many things to see in this game, but it was released at the tail end of the Game Boy era. This was after the new Game Boy Advance model had already been introduced, and it was not a commercial success (it was released only in the United States, with sales of around 20,000 to 25,000). Nevertheless, Shantae succeeded in gaining some dedicated fans, and WayForward was eager to produce a sequel. In 2010 came the release of a second title, Shantae: Risky’s Revenge (Japan 2016), which had evolved to be more user-friendly, and in 2014, the third game in the series, Shantae and the Pirate’s Curse (Japan 2015) appeared. The overall level of perfection of Shantae as a game reached its peak in this third incarnation. However, it is one of the most difficult games in the series to play, and the scenario situates it in the middle of what at the time was a trilogy, so it may be a little too challenging for first time players. In terms of ease of accessibility, the fifth and latest game in the series, Shantae and the Seven Sirens, is probably the best. Players can enjoy WayForward’s definitive vivid and detailed character animation together with modern visuals, and above all, the level of difficulty is extremely low, making it easy for beginners. In the Metroidvania subgenre, which tends to be associated with high difficulty, this game can be recommended as an introduction to the subgenre itself. The game’s system has not been renewed unnecessarily and it fully inherits the fun aspect of the earlier titles. On the other hand, the design is fairly classical for a present-day Metroidvanias, but this is understandable when you consider that it is backed by the dignity and stability of WayForward, a company that has supported the subgenre for twenty years. One unsatisfactory point is the noticeable lack of explanation about the story or the setting. This criticism is not limited to the latest title, but even though established knowledge and characters from the previous games appear here and there, no explanation of their presence is provided at all. Nevertheless, the scenario is independent of the rest of the series, so even if you don’t understand it, you won’t have any major problems playing it.... (By TANAKA Haruhisa (hally)) A brilliantly formed and absolutely fascinating take on another original Japanese video game subgenre—the Death Game: Salt and Sanctuary (2016) <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image003.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-17980" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image003.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image003-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image003-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Salt and Sanctuary Metroidvania is a video game subgenre that originated in Japan and later spread to the rest of the world, but Salt and Sanctuary, developed by Ska Studios of Seattle in the United States, added a “Death Game” element to this category of games. A Death Game is a single-player game that is extremely difficult and requires going through repeated “game overs” before the game can be completed. Naturally, there have been many of these Death Games over the long history of video games. However, a game by the Japanese creator King, Jinsei Owata no Daiboken (The Big Adventure of Owata’s Life) (2007), and Demon’s Souls (2009) followed by Dark Souls and its sequels (hereafter the Souls series), all developed by the major Japanese game developer FromSoftware, were the major triggers that led to the global awareness of Death Games as a category. The Souls series has become so popular that it has spawned such a multiplicity of successor games that a “Soul-like” game subgenre has been created. Salt and Sanctuary is an example of Soul-like Death Game Metroidvania in which players can probably sense a lot of Japanese influence. After his ship is wrecked and the hero is thrown overboard, he finds himself adrift on a foggy beach. He is marooned on a cursed island infested with scary monsters. The only thing he can rely on is himself and the God he believes in. Salt and Sanctuary is a Metroidvania game that takes the player on an adventure through this dangerous world. The vast map includes areas such as castles, marshes, and ancient ruins, and each of these areas is filled with dangerous enemies and even more powerful bosses. The player is able to enhance a variety of skills by leveling up each of the professions (classes) that they initially select, and they can also choose equipment that matches their tactics when confronting difficult enemies. The influence of the Souls series can be felt in many areas, including in the dark fantasy worldview, the recovery items that return to the player’s possession at checkpoints along the way, the system whereby items that have become experience points are lost when the player “dies” although they are given one chance to recover them, and the ability to leave messages for other players. Salt and Sanctuary combines the relatively new Death Game and Soul-like contexts with Metroidvania, which has been adored by fans ever since the retro era. As a video game subgenre, Metroidvania has always been a real challenge that demands a high degree of toughness from players and presents them with considerable difficulties. Salt and Sanctuary adds even more challenging elements for players who enjoy this kind of game. Naturally, Salt and Sanctuary, which presents players with even greater challenges, boasts an extremely high degree of difficulty. While playing techniques are required, a knowledge of the weaknesses of each boss, the hidden locations of powerful items, and the development of characters that can make full use of these items are also vitally important. Whether the player relies on their own sense of style, explores the areas thoroughly, or gathers information, the range of these strategies is what makes the game such a challenging one. In addition, this breadth of strategy is one of the main attractions of Metroidvania, which marks a starting point, and the fact that I was able to extract and incorporate this into my own work is what made this game a hit. Perhaps in response to the success of this game, a sequel called Salt and Sacrifice is currently under development (as of July 2021). If you’re curious, why not travel to this dangerous island and prepare for a further round of life-and-death battles? (By Younasi) An example of Mexican physical Metroidvania: The Guacamelee! Series (2013–) <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image005.jpg" alt="" width="602" height="339" class="alignnone size-full wp-image-17981" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image005.jpg 602w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image005-300x169.jpg 300w" sizes="(max-width: 602px) 100vw, 602px" /> From Guacamelee! 2 (2018) While the inaugural titles in this subgenre, whether science fiction or gothic, have a dark and serious atmosphere, the Guacamelee! series (known as Masked Warriors in Japan) is characterized by bright colors and comical touches. The main character is the masked El Luchador (“the wrestler”); his enemies are mainly skeletons like those associated with the traditional Mexican holiday, the Day of the Dead; and the music is also reminiscent of Mexican folk music, giving this game a very strong regional flavor. The title is also a play on the name of the Mexican dish guacamole. Surprisingly, this game was developed in Canada by the Tronto-based Drinkbox Studios, but the lead artist Augusto Quijano is from Mexico and his ideas provided the original inspiration for the series. As a Metroidvania game, Guacamelee! is unique in placing a strong emphasis on combat, and in addition to the platform section where jumping is combined with other actions to move forward, the combat section where the hero is trapped in a room and defeats all his enemies is adeptly mixed. While there are growth elements and the enjoyment in common with the rest of the subgenre that allows players to gradually expand their reach by acquiring new abilities, as in modern Metroidvania games, tempo is emphasized more than exploration by showing the players where they are heading to some extent. So even if a player happens to lose their life, they can immediately take up the challenge again from the same point. Since the main character is a wrestler, naturally he fights with punches, kicks, and throws, but the abilities he gains as the game progresses are centered on techniques such as jumping uppercuts and flying body presses. Not only are these powerful special moves, they are also tools to help the player traverse the map, and they can be used for climbing up to high places with a jumping uppercut or for destroying blocks on the ground with a flying body press. In addition, there are superhero actions, such as running up a cliff face. Many of these actions can be easily performed with combinations of the Up, Down, Left and Right buttons, and the source of the inspiration behind the successful integration of the combat and platforming actions was the Subspace Emissary mode in the Wii release of Super Smash Bros (2008) (*2). <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image007.jpg" alt="" width="602" height="339" class="alignnone size-full wp-image-17982" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image007.jpg 602w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image007-300x169.jpg 300w" sizes="(max-width: 602px) 100vw, 602px" /><img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image009.jpg" alt="" width="602" height="339" class="alignnone size-full wp-image-17983" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image009.jpg 602w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image009-300x169.jpg 300w" sizes="(max-width: 602px) 100vw, 602px" /> From Guacamelee! 2 One thing that makes Guacamelee! unique among Metroidvania games is that there are many scenes in which the hero fights lots of different enemies at the same time, and the repeated “tear and throw” combat is reminiscent of belt-scrolling action games such as Final Fight (1989) and Nekketsu Koha Kunio-kun (Hot Blooded Tough Guy Kunio) (1986). The highlight of the game is the “throw,” where the player grabs an enemy that has been weakened with a blow and throws it at a group of enemies, killing them all in one fell swoop. In addition, the game allows the player to chase after enemies that have been blown into the air by jumping after them, and it also boasts some of the features found on the more stylish action games, such as displaying a series of attacks connected in succession in terms of the number of combos. Guacamelee! is also unique in this subgenre in that it supports drop-in co-operative play by up to four players. Unfortunately, while a sequel, Guacamelee! 2, was released in 2018, only the original game, Guacamelee!, is available in a Japanese version. (By CHIBA Yoshiki) On the artistic front, there is also the influence of Studio Ghibli: The Austrian fantasy Ori Series (2015–) <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image011.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-17984" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image011.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image011-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image011-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Ori and the Blind Forest Ori and the Blind Forest, developed by Moon Studios in Austria, is built around a heroic tale about a small white guardian spirit named Ori who fights to protect the Forest of Nibel with a partner named Sein. The player can explore the vast, beautifully and carefully depicted fields, learn new abilities such as double jumping and wall jumping, and expand the range of their exploration. Items that increase their HP and energy are hidden along the way, and by defeating enemies and collecting experience, they can unlock a variety of abilities. The graphics are beautiful and the entire game is enjoyable and stress-free. With the PlayStation® 5/Xbox Series X|S generation, short load times have become even more essential, and this game is no exception, as it allows a vast field to be reproduced on the screen with virtually no loading. An even bigger feature is the emphasis on movement as a fun aspect of gameplay. Attacks in this game are based on automatic lock-on targeting. If the target is in range, the player can hit the Attack button repeatedly to hit the target. This means there is less need to aim at the enemy and so the player can concentrate on evading enemy attacks. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image013.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-17985" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image013.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image013-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image013-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Ori and the Blind Forest However, these things cannot be said to make Ori and the Blind Forest easy to play. Rather, this game falls into the “fairly hard” category. Nevertheless, the difficulty and fun of moving at high speed using double jumps, wall jumps, and “bashing,” where Ori flies off in the opposite direction after repelling enemies and various objects with a flick, is part of the reason why this game is such a masterpiece. The chase scenes using these elements are the highlights of the game, complete with a series of spectacular developments and breathless action sequences. Amid the high level of attention that Ori and the Blind Forest received both before and after its release, countless media outlets have published interviews with its creators. One of the most important influences on this game in terms of its art style and storytelling was the work of Studio Ghibli. In interviews with media in Japan such as Famitsu (*3) and overseas such as VentureBeat (*4) and Gameinformer (*5), the game’s senior producer Daniel Smith and others have stated that they aimed at “attractive character modeling like that of Studio Ghibli” and “a hand-drawn art style like that of Studio Ghibli.” The developers cited the influence of Kid Icarus - Light Mythology: Palutena’s Mirror (1986) on part of the stage designs, as well as the above-mentioned Metroid and Castlevania on the gameplay. I also thought it was a little unusual that the influence of Japanese games was mentioned with regard to this game’s art style. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image015.jpg" alt="" width="1000" height="564" class="alignnone size-full wp-image-17986" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image015.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image015-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image015-768x433.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Ori and the Blind Forest In 2020, the long-awaited sequel, Ori and the Will of the Wisps, was released. In this, Ori remains the main character, but the basic method of attack has been replaced with a melee attack known as a “Spirit Blade.” Also, long-range attacks have become “Spirit Arrows.” The biggest change is that for many of the attacks the player is now required to actively direct the direction of the attack and aim well. As for the story, the number of NPCs appearing in the game has increased substantially, and there are a lot more side quest. Regarding the addition of more RPG-like elements, Smith commented in an interview with Screen Rant (*6) that, “Blind Forest was much more, I’d say, Metroid-like. Whereas this game, to me, is much more Zelda-like.” At this point, it goes without saying that the influence of Metroid and Castlevania is obvious, but this game also strongly reflects the influence of The Legend of Zelda series. I would also like to write about the impact of this. In creating the sequel, the studio’s co-founder Thomas MAHLER gave the following answer in an interview with Freegame Tips (*7) concerning the influence of Japanese games on the overall design orientation of the sequel, “How will the next edition expand the game?” He was referring to the approach taken by Nintendo in creating The Legend of Zelda (1986) and its sequel The Legend of Zelda: A Link to the Past. While respecting the original The Legend of Zelda, the new title deepened the elements of the game in all aspects. There are more NPCs that can talk to the main character, Link, and a deeper history runs through the roots of the game. Every aspect has been polished and made more rounded. This was the direction in which MAHLER was aiming. <img loading="lazy" decoding="async" src="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image019.jpg" alt="" width="1000" height="563" class="alignnone size-full wp-image-17987" srcset="https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image019.jpg 1000w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image019-300x169.jpg 300w, https://mediag.bunka.go.jp/mediag_wp/wp-content/uploads/2021/09/image019-768x432.jpg 768w" sizes="(max-width: 1000px) 100vw, 1000px" />From Ori and the Blind Forest Consequently, the world of Ori and the Will of the Wisps is populated by countless NPCs, who give Ori quests to perform. I’m sure many players were surprised by the bustling world in which this game unfolds, but at the root of it was the impact of The Legend of Zelda. From the above-mentioned interviews with these creators, we can see that countless Japanese games have influenced the Ori series. (By FURUSHIMA Takayuki) In closing, we would like to emphasize that the above is only a small part of the fertile Metroidvania subgenre, and that there are countless other masterpieces out there. Well-known examples include Dokutsu Monogatari (Cave Story) (2004) from Japan, which set a new standard during the rise of the subgenre, and more recently, Hollow Knight (2017) from Australia, and Ender LILIES: Quietus of the Knights (2021) from Japan, which made the Soul-like line more accessible. All these have been making their presence felt. The last title, in particular, is the newest hot property in the subgenre and, along with Bloodstained: Ritual of the Night, released in 2019 as a spiritual successor from the producers of the Castlevania series, represents the re-emergence of Japan. From now on, the Metroidvania subgenre will continue to develop by consciously absorbing the influences of a diversity of old and new games, while juxtaposing the “leading edge” with “learning from the past.” (notes) *1 On June 15, 2001, the newsgroup Useet (rec.games.video.nintendo) included a thread on the subject “Metroidvania is great...,” from Google’s archives. https://groups.google.com/g/rec.games.video.nintendo/c/Iq7Q2fqdkIE/m/ hOLAJKzHR8QJ?pli=1 *2 Aaron R. BROWN, Aaron KALUSZKA, and Daan KOOPMAN. Guacamelee: Super Turbo Champion Edition — Interview with DrinkBox Studios. Nintendo World Report, March 28, 2014. https://www.nintendoworldreport.com/interview/36977/guacamelee-super-turbo-champion-edition-interview-with-drinkbox-studios *3 Editorial Dept./F. Interview with the Development Team of Ori and the Blind Forest: A Somewhat Soothing Game Developed with Japanese Influences [E3 2014]. Famitsu.com, June 14, 2014. https://www.famitsu.com/news/201406/14055221.html (in Japanese) *4 Mike MINOTTI. Ori and the Blind Forest’s producer wants his beautiful Xbox One exclusive to play as good as it looks (interview). VentureBeat, June 18, 2014. https://venturebeat.com/2014/06/18/ori-and-the-blind-forest-captures-the-style-of-studio-ghibli-in-a-seamless-xbox-one-exclusive/ *5 Ben REEVES. Ori and the Blind Forest: A Multinational Team Bands Together To Create Their Dream Project. Gameinformer, December 22, 2014. https://www.gameinformer.com/games/ori_and_the_blind_forest/b/ xboxone/archive/2014/12/22/a-multinational-team-bands-together-to-create-ori-and-the-blind-forest.aspx *6 Christopher J. TEUTON. Ori and the Will of the Wisps Developer Interview: Making Bambi A Metroidvania. Screen Rant, February 26, 2020. https://screenrant.com/ori-and-the-will-of-the-wisps-developer-interview/ *7 Chris WATSON. Thomas MAHLER: “We tried an approach similar to that of Nintendo with A Link to the Past.” Freegame Tips, March 5, 2020. https://freegametips.com/thomas-mahler-we-tried-an-approach-similar-to-that-of-nintendo-with-a-link-to-the-past/ Younasi Freelance writer. He writes mainly for Web media such as IGN Japan and Game*Spark. His dojin (coterie) activities led him to be scouted by a commercial writer, and he has been working as a writer ever since. FURUSHIMA Takayuki Video game buff and freelance writer. After experience as a field director and being unemployed and a backpacker, he turned to writing about video games. He mainly writes news for denfaminicogamer and reviews and feature articles for various media. CHIBA Yoshiki Editor writer. IGN Japan staff member. He writes game reviews and columns. His contributing articles for A Guide to Indie Games (P-Vine, 2021), SF Magazine (June 2018), among others. *URL links were confirmed on July 16, 2021.