Love and Producer as East Asian Transmedia: Otome Games, Sexless Polyamory, and Neoliberal Choice for Chinese and South Korean Young Career-Oriented Women

Wagner, Keith B.; Liang, Meng

doi:10.1007/978-981-15-7857-1_7

Cited by 5 publications

(3 citation statements)

References 20 publications

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“…For example, Voltage Inc. launched its own app, Lovestruck, with all its games in 2018 (Ganzon 2022). In many cases, these games are marketed under a free-to-play model, based on microtransactions to acquire characters in gacha systems, a predatory system where users can unlock characters, romance routes, and extra events through random rolls with a certain percentage of success, or for recharging energy/stamina to keep playing indefinitely (Sellier 2021) (Wagner & Liang 2021) (Ganzon 2022). This model utilizes the player's desire to acquire a character and/or more parts of their story through induced narrative tension and/or segmentation of the story for each possible route, which is only available for purchase in a system called "narrative gates".…”

Section: Expansion Of Otome Games In the Mobile Marketmentioning

confidence: 99%

Otome Games: globalization and glocalization processes, conceptualization and data analysis of Brazilian players

Diniz,

Regis,

Ferreira

2023

JIS

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This paper endeavors to examine the concept and features of Otome Games in a comprehensive way by conducting an exploratory narrative review and applying a e-survey to understand the Brazilian Otome Game market and player's culture. This article also discusses the globalization and glocalization process of Otome Games, covering the actors, market share, exportation process, social issues, indigenization, culture, and definition. Furthermore, this paper offers a historical definition of Otome Games and their relation to Japanese feminine culture. Additionally, a fitting definition for Otome Games and other types of games - known as Josei Muke - is introduced. The indigenization process of Otome Games in South Korea and Brazil is also explored, demonstrating how this process is improving tourism and animation markets via transmedia. Finally, this paper presents data analysis from an E-survey of the Brazil fan community of Otome Games, revealing specific cultural and market aspects unique to Brazil setting it apart from other countries where Otome Games have been studied.

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Section: Expansion Of Otome Games In the Mobile Marketmentioning

confidence: 99%

Otome Games: globalization and glocalization processes, conceptualization and data analysis of Brazilian players

Diniz,

Regis,

Ferreira

2023

JIS

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“…To fully exploit the female consumer market, more games have been developed for females. In China, drawing inspiration from Japan, the gaming industry has successfully created a market for Romantic Video Games (RVGs) for female gamers, also known as otome games (乙女ゲーム, meaning games for unmarried young girls), which are role-playing simulation games with a romance-themed storyline aimed at fulfilling women's romantic fantasies with fictitious game characters (Wagner & Liang, 2021). Following the release of a sensational hit Love and Producer in 2017, an increasing number of female-oriented RVGs have been developed in the past few years and have witnessed great success in China.…”

Section: Introductionmentioning

confidence: 99%

“We Found Love”: Romantic Video Game Involvement and Desire for Real-Life Romantic Relationships Among Female Gamers

Wu,

Cai,

Mensah

2023

Social Science Computer Review

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Despite the increasing popularity of female-oriented romantic video games (RVGs, also known as otome games) in Asia, research on this topic is scarce. Drawing upon social exchange theory and social cognitive theory, the current study examined the association of RVG involvement and desire for real-life romantic relationships (RLRRs), and tested a SEM path model delineating the possible pathways linking RVG involvement to RLRR desire. A survey method was adopted to collect data from female RVG players on an online otome games forum in China. Results from a valid sample of 353 respondents (aged 18 or older) showed the direct, indirect, and total effects of RVG involvement on players’ interest in real-life dating and marriage relationships were all negatively significant. It was found that gamers’ avatar identification and parasocial relationships with romantic targets significantly mediated the relationship between RVG involvement and RLRR desire. Adding to a comparatively under-explored line of inquiry on the role of computer games in shaping real-life romance, this study contributes to both game effects and romantic media consumption literature.

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“…Regarding Chinese otome game, it first gained large attention when Love and Producer released by Papergames company in 2017 and soon attracted a large number of female gamers, which became an overnight sensation. The game has 7 million downloads, 90 percent of which are women and 57% of which are players of 20-24 years old [1]. This has driven the development of female mobile game market.…”

Section: Introductionmentioning

confidence: 99%

Female Representation in Chinese Otome Games: Comparative Research on Three Famous Games from 2017 to 2021

Huan¹

2022

Advances in Social Science, Education and Humanities Research

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Otome games is a kind of love simulation role-playing games, which are originated in Japan. This genre first became widely popular throughout China in 2017 when Love and Producer was released by Papergames. Gender representation in otome games could have potential influence on female players, such as impact on their attitudes towards appearance and female role in gender relationship. This research does comparative research on female representation of the heroines in Love and Producer (2017), Tears of Themis ( 2020) and Light and Night (2021), which are three most popular Chinese otome games in recent years. This could help both the players and manufacturers to understand the construction of female characters in relation to their gender implication. The research finds that although female representation in Chinese otome games has improved a lot, there is still some gender stereotypes. There is an improvement on the representation of female characters in recent years regarding the increasing female images in academic and work fields. All three heroines are portrayed as well-educated white collars with their dream jobs, and the latter two games emphasize more on their occupational representation. This may because women engage more in the labor market and fight for their financial independence in China in the recent decades. Furthermore, it shows a growing trend of diverse female images. However, the overall style of their appearance and dressing tends to be sweet and innocent, which reflects traditional gender norms in patriarchal society that women are better to be sweet and obedient. Finally, the three heroines are most attractive for their nice and kind and lacks other personal traits and most of their personality are constructed simply through labeling.

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Love and Producer as East Asian Transmedia: Otome Games, Sexless Polyamory, and Neoliberal Choice for Chinese and South Korean Young Career-Oriented Women

Cited by 5 publications

References 20 publications

Otome Games: globalization and glocalization processes, conceptualization and data analysis of Brazilian players

Otome Games: globalization and glocalization processes, conceptualization and data analysis of Brazilian players

“We Found Love”: Romantic Video Game Involvement and Desire for Real-Life Romantic Relationships Among Female Gamers

Female Representation in Chinese Otome Games: Comparative Research on Three Famous Games from 2017 to 2021

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