IT'S GOOD TO HAVE FUN

GAME CULTURE AND JAPANESE MEDIA ART

 

Machiko Kusahara

Faculty of Art, Tokyo Institute of Polytechnics

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Simulating your life through games

Electronic game is a big business in Japan. In fact, the most distinctive application of computer graphic in Japan today may be in games, while it may be in film making in US and experimental art in France or German. People play games at home and at game centres. Getting a job in one of the companies such as Sega, Nintendo or Namco is a dream for many Japanese tiung generation. They grew up with Ninetendo's "FAMICON" (family computer), and game centres with high-tech arcade games are their favourite places to get together. Children learn about life and love from roll players games. The world of dragon and dungeon, occidental fantasies which had never been popular among Japanese, is now natural setting for children to virtually live in for hours and days.

This is an interesting phenomenon considering the fact that Japanese traditionally regarded amusement rather immoral under the influence of Confucism. It is well know that diligence was the major reason of Japan's success after the War. And this success finally freed Japanese from the idea that they should work without spending idle time. Ever growing economy that lasted for so many years changed Japanese way of living. even the long lasting Japanese motto "Diligence above all" failed to meet the new paradigm of economy when Japan is being asked from other countries to balance its world trade.

Japanese have started to feel that they should enjoy their life. Amusement is no longer immoral. Game centre, which used to be a place for idle boys, is just a normal place now that girls or businessmen might visit.

From Text to Image

Playing games is already a part of life as well reading comics and enjoying karaoke. To simplify the history, it can be said that comics and animation films attracted young people during the 70s, and this tradition opened the way for the game culture in the 80s. Japanese culture changed to be more audio-visual than ever before, needless to talk about the great influence of television. Japanese have been know for high literacy standard and 'love for types'. But now Japanese have 'love for images'. Comic, animation and games are no longer a part of subculture, they became a mainstream substituting traditional passtime such as enjoying literature or cinema. Enthusiasts formed their own world of (OTAKU), the connoisseurs, frustrated with the popularisation of what they regard as something special for them

Certainly Japanese culture is changing rapidly. Transition in form of representation reflects the tradition in a deeper level of culture. Culture is said to have turned into 'karu-cha' (it's a word play 'karu' means being light-weighted or less serious) with the younger generation, or 'shin-jinrui' (new species of mankind). Serious novels, films, or TV programs are no longer welcome.

Playful Touch

In fact, 'playfulness', which used to be missing in Japanese art since early 18th century, became a key feature in may of the recent works done by young artists in different fields, such as literature and theatre, as well as visual art. This can be seen particulary in media art such as computer animations, installations and performances were young artists have more chances to be shown, compared to traditional artforms. Even video art and experimental films, which shared the tradition of being very serious, seems to be changing to accept more comical or playful taste. 'De-Sign 2, 5076-5 HiCook' by Sei Kazama and Hatsune Otsu is an example of new generation of video art. Takahiko Limura, one of the pioneers in video art in Japan who had been making rather conceptual video works in persuit of "self and self image" made his latest work 'AIEUO-NN Six Features' in a quite different style.

It is interesting to see that even the fine art society, which used to be (and is still is) quite conservative, is now opening its door to this type of artists. Of course it is a part of the movement in art and international exhibition such as DOCUMENTA played an important role in influencing Japanese artists, curators and critics. Curators is public museums have been replaced by younger generation during these years mainly due to Japanese employment system, and this certainly has changed the nature of exhibitions in different museums, giving more chances to young artists.

Technology as an Environment

Technology is already the second nature for Japanese. Flooding technology is everyday life (see Akihabara!) gives both inspirations and access to the equipment to artists. While the first generation of media artists had to start from finding the technology and proving that it works, the second generation artists have more relaxed attitude toward technology. Game culture have taught them they can just enjoy technology instead of learning technology for some practical purpose.

Today, with the advent of low-cost, high performance personal computers and better human interfaces (both in hardware and software) making interactive work is a new within the reach of artists. Having been immersed in game culture, some artists choose the style of games in creating their works, thus adding a playful touch to them.

Toshio Iwai has been working keenly on interactivity, investigating how technology represents our perception. He created his work 'Music Insects' as an enjoyable piece for everyone. Here, several 'insects' represented by simple colored figures, move around on an Amiga screen while the player would draw lines in different colors to block their way. Insects would be either bounced by the lines, or they get through. Every time an insect hits a line it will make a different sound according to the color combination. By finding rules the player can make insects play music. This is a well designed game: any player enjoy both the sound and the graphic.

But above all, this piece satisfies a simple, but natural curiosity we all have. Like children putting their hands or stones on small stream to see how water flows, or placing a piece of wood on the ground to see the ants make a detour, we all have a natural curiosity toward interactivity, and how things work. Iwai's works always refer to such fundamental curiosities we have, making it possible with rather simple technology.

Self Multiplication

Artists do not necessarily make fun pieces. Cynical sense 'of humor' can be sometimes observed. Uneasiness from being surrounded by technology as a second nature is another feature to be seen in some works by young artists.

Shiegeyuki Handa's work is an allegory of game culture where game players are taken into the virtual space inside the computer and struggle there. What is different form Alice in Wonderland or the 'progress' in the film "TRON" is that the 'real' player outside the computer should fight AGAINST 'virtual' clones himself who now reside in the computer. His work, " Game Centre "Self Conclusion'" consists of a series of parodies of well know computer games such as Pacman, Space Invaders and Tetris.

A video camera that sits on the top of the console captures the player's face and digitizes it into each game. The player would either eat oneself or would be eaten (Pacman), or shoot the flocks of oneself in order not to be shot (Invaders), or pack oneself without leaving any space on the screen (Tetris), like Japanese men packed in extremely crowded trains every morning. The cynical taste of the work reflects the self image of the artist. Being a student is a moratorium for him, as for many other students in Japan; time given before he should face the real world. Instead of stepping into the reality, he is trapped in games where his self image multiples and he deals only with his clones.

In a CM of well know discount shop for mass production suits for businessmen, an endless formation of men wearing similar suits march along with Beethoven's Song of Joy. These men are actually only one man with his multiple copies. A vulgar, almost terrifying taste, but it is it the self image of Japanese businessmen?

Multiplication is a typical easy job for computer. With a couple of clicks on your mouse button you can copy whatever you have on your screen. Even life is no longer an irreplaceable entity. Children learn that a character has several 'lives' to spare in the game.

Self multiplication and self conclusion is also seen in Yasumasa Mirimura's works. He is known for making parodies of classic paintings using digital technology. In his work the apples of Cezanne wear his faces: the anatomist, observers and the dead share the same face (i.e. The artist's face); and in a parody of a well known news photography from Viet Nam War he is executed (as a Viet Com) by himself as a government officer).

here again, the artist is trapped in a self-conclusive situation.

Playing with Conceptual Games

In his works Yoshinori Tsuda submits a question on what we trust in daily life without thinking much of their credibility. Credit cards are icons of modern society, Tsuda says. In the same manner as Christianity put and guaranteed a specific meaning to icons, our capitalist society gives a credibility on a piece of plastic. Credibility is supported by the digital data on a piece of magnetic tape. But it is the local system that guarantees the credibility. His work is a system which is made in order to reveal the incredibility of such social system

Al the player physically slides a mouse along a rail, the image on the small LED monitor goes through transformation. The system behind the icon slides into transition according to the historical of social history of the subject matter, bringing the whole system of credibility into a deformation. In one of his earlier versions player would apply for a credit card, bur will be accepted or refusing by the machine without any reason. unreasonableness of machine, which we do not usually expect. By using a rather simple system that consist of digital gadgets, the artists tries to degrade a huge system (which is supported by sophisticated digital technology in today's society) that we usually believe in without much questioning. It's a paradoxical approach which is not meant to bring us anywhere. But this is also a self conclusive game on concepts.

Traditional Games and Literature

Intellectual game was a tradition in japan. One of the earliest games in Japan was 'Kai-awase', where pairs of sea shells were used in place of cards. Players were supposed to find a right pair of shell. Each shell was painted and decorated beautifully to make a piece of art. Inside each shell was written a part of verse; a right part will make a complete verse. Playing with cards with hundred old poems was a standard game for new until Gameboys and FAMICONs prevailed on Japanese families.

'RENGA' became popular in 17th Century. Poets got together, often outdoors, and enjoyed making a linked verse by adding lines in turn. It was a game of art and communication. It required a joint effort to make a collective piece of art, while it was also an intensive game, a competition of creativity among the poets. HAIKU developed out of RENGA. Recently two Japanese artists, Toshihiro Anzai and Reiko Nakamura have brought this idea into digital domain. A series of digital paintings were made by exchanging image files on computer network and modifying images created by the other artists. As in traditional RENGA, collaboration and tension between different personalities let emerge a new possibility of expression.

Recovery of Communication through Games, and Art?

Interactivity is the essential element in electronic games. Interestingly enough, interactivity used to be mainly between the player and the computer when electronic game became popular. It was a reason why the word 'game OTAKU' still bears as impression of a lonely guy who concentrates on playing games. Today, most popular games involve interaction between players. Today, most popular games involve interaction between players. People come to game centres with friends to play together. They might sit in cockpits next to each other, communication, is a medium of communication and collaboration now.

Japanese game culture has been influencing art by bringing in the ideas of interactivity and playfulness. It has been changing the paradigm of art. Art is no longer authoritative, not necessarily serious. It's a good to have fun, if you can enjoy the piece. But of course there remains a major question - what will be the content?

There are still many problems media artists should face. Lack of public support has been a major problem, thought recently there are increasing chances for artists to be discovered. There will be several public museums and art centres for media art that will open in coming years. Fifteen years have passed since people were fascinated by Space Invader installed in coffee tables at tea rooms and snack restaurant. Ten years have passed since Japanese were amazed by eye-popping ideas, simulators and large screen interactive games using computer graphic which were exhibited at Tsukuba Science Expo. Since then, games have undergone an incredible evolution. How about art? Are we going to find artists from the game generation, who would startle us with playful ideas and interesting concepts? Well, we will see.

 

'Dragon Quest" was the first legendary hit in roll playing games. Parents who hated aggressive shooting games with noisy beep sounds felt much happier with the world of fantasy, love and courage of 'Dragon Quest', with melodious music which soon was adopted in elementary school music education.

Edo Government orthorized Confucism to cope with highly developed culture among rich merchants including humorous literature, prints, theatre, music, costume, etc.. Confucism moral was succeeded by Government to strengthen the power of the Emperor.

Needless to say, Japan didn't share Occidental tradition of life style based on weeks until early 1870s, after is opened to other countries. naturally there existed no such idea that one should not work on Sundays. People had holidays only twice a year. The rest were working days.

OTAKU means connoisseurs or nerds in fields such as comics, animation, computer, games.

They are called the new scenes, as they don't share the same way of behaviour or thinking with the older generation.

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Using traditional rhythm of Japanese poems with a help of computer technology, the artists satirise Japanese way of life with a comical touch.

Artists such as Katsuhiro Yamagushi, Toshio Matsumoto, Fujiko Nakaya belong to the first generation of media artists. Though much younger, Yoichiro Kawaguchi should be also regarded as a first generation media artists. They had to start from discovering the new technology itself and proving to the public that it can be a medium of art.

 

Installation pieces by artists such as Seiko Mikami and Yanobe strongly reflect such feelings. Visitors would be physically trapped in Yanobe's strange 'vehicles'. In Mikami's works technology issued as an environment which works as an interface to realise to biological entity of human beings.

 

Basho was a well known RENGA poet.

It is not easy for artists to create innovative works with strong concepts when they have to find sponsors for exhibitions. Organisations such as Digital Image, Canon Art Lab, and Inter Communication Centre are offering chances for media artists to be exhibited. Art Artist Audition, a competition and artists-in-residence program organised by Sony Music Entertainment has opened in door for young artists to be recognised and supported. Most playful (and crazy) installations and performances were discovered through this program.

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