Dekade 2010-an menjadi awal era perangkat seluler; terdiri dari ponsel pintar dan komputer tablet (Otmazgin, 2008; Richardson, 2011; Jin, 2017), pengembangan agar lebih sesuai dengan permainan digital (Juul, 2009; Richardson, 2011; Jin, 2017). Permainan digital pada perangkat seluler terus mendapatkan popularitas seiring dengan berlalunya dekade; khususnya di Asia Timur (Jin, 2017). Ini didukung oleh budaya teknologi seluler yang kuat di kawasan ini (de Lange, 2015; Jin, 2017) yang menciptakan lingkungan sosioteknik yang subur secara proverbial untuk produksi, distribusi, dan keterlibatan permainan digital seluler di kawasan ini hingga tingkat tinggi (de Lange, 2015; Jin, 2017). Kemudian, sebuah tren baru meningkat di Indonesia karena semakin banyak atlet olahraga elektronik berpartisipasi dalam kompetisi Mobile Legends: Bang Bang yang semakin menguntungkan (Widhana, 2018). Lintasan budaya ini menunjukkan fenomena menarik dari pergeseran perangkat game digital yang kompetitif dari komputer desktop atau laptop dan konsol game digital ke perangkat seluler. Hal tersebut unik karena, bahkan dengan lebih dari 200 juta pelanggan telepon seluler pada awal dasawarsa 2010-an di samping budaya telepon seluler yang kaya (de Lange, 2015), permainan digital seluler yang kompetitif belum pernah mencapai tingkat organisasi dan kepentingan publik yang sama dibandingkan dengan mereka yang dari Mobile Legends: Bang Bang di Indonesia. Selain itu, penelitian sebelumnya tentang game digital mobile (Otmazgin, 2008; Hjorth, 2009; Richardson, 2011; Jin, 2017) belum memberikan diskusi yang signifikan tentang aspek kompetitif game digital seluler.

Abstract This article tries to analyse the representation of postcolonialism in Indonesian children's literary works in the form of a novel entitled Komponis Kecil by Soesilo Toer. Komponis Kecil tells a story about the friendship of two figures namely Henki and Meneer Kleber. Meneer Kleber taught Henki to play a violin which at that time was considered as a musical instrument of the European or upper-class society, which later influenced Henki in the process of finding his true identity. This article uses qualitative social research methods with Komponis Kecil novel as the main research object. This article analyses the postcolonial concepts of otherness, mimicry and hybridity under the concept of orientalism. This article will use inductive analysis as data analysis method and hermeneutics as a methodology for interpreting texts; with the main narrative theme of Henki's hybridity which makes it unable to separate his European influences. This article also examines the expression of postcolonialism which also signifies the emergence of the social realism genre in Komponis Kecil.

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Digital game preservation is a key element in framing the historical importance of digital game culture. Digital game preservation processes in the global north, particularly in countries such as the United States and the United Kingdom, is well documented because of a well-established game culture. By contrast, digital game preservation in the global south is not as well documented because of the peripheral nature of game culture in those societies. This article seeks to correct this imbalance by asserting the importance of digital game preservation in two ways. First, digital game culture is situated in local practices and culture while acknowledging its near-global presence. Second, we argue that digital games need to be understood as localized formative elements of culture. Our discussion focuses on the Doki-Doki Station Museum located in Bandung, West Java, Indonesia.