The article I have been working on for many years now has been published through the Journal of Gaming and Virtual Worlds. The paper grew out of an experimental project that I conducted for the completion of the field papers requirements as part of my PhD degree that the MLCS department had at the time at the University of Alberta. I essentially text mined hundreds of JRPG reviews in order to find meaningful discourses that would help scholars understand the formation of the JRPG genre as a discursive phenomenon. While not all the results introduced groundbreaking elements to the history of the circulation of JRPGs in the anglophone Western world, I believe that it provide enough new elements that could serve as a base for the emergence of renewed inquiries on the genre, as well as reaffirm previous claims backed with statistical evidence.
Perhaps the element that surprised me the most was that, starting from 2009 onward, JRPGs started to be written on in a much more negative fashion than in previous years. The contrast between these two generated topics covering both positive and negative language offered some paths worth investigating:
Negative connotations attached to the genre clearly outnumber positive ones with JRPGs becoming objects of harsh critique at a time of an important industry-changing technological shift in game production and marketing. Although JRPGs did have a generally positive reputation in the first few years of the twenty-first century, their image was tarnished by the end of the decade as their higher presence in the media exposed them to conflictual reinterpretations through a phenomenon compa-
rable to Appadurai’s ‘tournament of values’.
Overall, I think this is just the beginning between text mining and me. Having gone through all the steps to publish this sort of research (both to conduct and explain the project), I am now in a much stronger position to tackle more ambitious projects on gaming culture and digital humanities methods using my own tools. If you have any game-related text data sets that beg to be explored, don’t hesitate to reach out!
I am very proud to announce that a research article resulting from the collaboration between my University of Alberta colleague Axel Perez Trujillo and myself has recently been published by the Space and Culture journal. The paper entitled “Colonizing Pepe: Internet Memes as Cyberplaces” explores the phenomenon of the creation and circulation of internet memes through the notion of spatiality in cyberspace. The concepts developed are explored through the case study of the Pepe the Frog meme controversy around the election 2016 American presidential elections.
One of the takeaways of the paper is the idea of analyzing the spatiality of internet memes through three different layers that each provides different perspectives on the power struggle inherent to meme production and circulation.
We isolate three layers of spatiality in our analysis of Pepe the Frog: (1) the contours of the image-meme, (2) the spatial distribution of the platform it occupies, and (3) the spatial relations the meme-frame sustains in regard to netizens’ commentaries (Figure 1). The following figure is a representation of these differing spatial layers that the meme encompasses:
Figure 1. The three layers of the spatiality of Internet memes. Source: Jérémie Pelletier-Gagnon and Axel Pérez Trujillo Diniz (2018).
In the first layer, we represent three image-memes. For example, they could be three different iterations of Pepe the Frog, all of which incorporate significant alterations to the meme, except a particular contour, such as the face of Pepe the Frog. That defining contour is the cohesive component of the meme—what offers its unity and distinguishes from other memes. This first spatial layer is the basis of the meme. In the second layer, we represent the spatial distribution of those image-memes within a single forum. Our study is focused on how Pepe the Frog image-memes are distributed in Twitter under the #savepepe hashtag. Notice how the disposition of image-memes is vertical on the screen. This spatial aspect is central to understanding how Pepe the Frog is a contested site at all three layers. In the third layer, we represent the spatial frame of netizens’ comments and the image-meme within the platform.
While some of the ideas that make this paper were born as part of my Phd research on the spatiality of Japanese arcades, it is my position as primary instructor of the Cyberliterature class at the University of Alberta that truly brought me to look at internet memes as pieces of electronic texts worthy of scholarly attention. I want to express my sincerest thanks to Axel for his invaluable input during the whole writing process and for the great conversation we had on spatiality when thinking the core concepts of this paper. I also want to thanks the student journal The Gateway for reaching out to me for a conversation on the Pepe the Frog controversy in 2017 which truly kindled my curiosity on the matter.
I am proud to announce that the latest Kinephanos issue on Japanese video game theory and the media mix has been released this week. This concludes an almost three year-long editorial process that lasted as long as my career as a Phd student. Many thanks to me colleague Martin Picard for the chance to collaborate on this project.
All papers published in issue tackle a specific aspect of the broader discussion that animates the field of Japanese game studies. These range from a discussion on localization, on kawaii culture in video games and the history of music in Japanese game culture. Tsugumi Okabe and me provide a translation of one of the first articles written about a video game in Japan. The other notable part of this issue is the introduction itself which provide a brief overview of the state of research on video games in Japan, we hope that some of the texts mentioned will inspire scholars to look at this rich literature in future projects.