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Keitai Monsters:Re-creating Yōkai Characters in the Onmyōji Game

BALGIMBAYEVA, Nargiz 筑波大学 DOI:10.15068/00162515

2021.02.04

概要

The following research is an attempt to analyze the yōkai characters re-created in one of the most popular mobile games referring to the yōkai culture – the Onmyōji game. The images of Japanese “monsters” also known as yōkai (they are usually found in folk tales and kaidan stories) inspire the producers of mobile games to create new dimensions of popular yōkai content for entertainment. Therefore, the main objectives of this study are to explain the connection between the present and past yōkai images using the concept of intertextuality and to find out why keitai monsters of Onmyōji are re-created this way. Another crucial objective of the study is to reflect on how social transformations of postmodern Japan influence on practices of yōkai character re- creation.

Before proceeding to the core of the research, it is necessary to clarify that the usage of the word yōkai was initiated and popularized by the Japanese scholar Inoue Enryō (here Foster emphasized Meiji-period works), who was seeking for an umbrella term for mysterious and supernatural phenomena; his endeavors were known as yokaigaku – “yōkai-ology” (Foster, 2009, p. 5). A more detailed description of the role of Inoue Enryō in the yōkai research will follow in the Literature review and methodology chapter.

In my research, I imply yōkai as products (mainly images) created in the past and further re-created by the postmodern Japanese society.

Lastly, I would like to reflect on the problem statement of this thesis. During the coffee break of one of the workshops dedicated to imaginaries of Japanese popular culture, I was approached by a more experienced Japanese scholar, who told me that there was no point in researching yōkai in the twenty-first century because of how many works have already been written on the topic. At first, I was unpleasantly surprised, but later understood that the colleague probably perceived yōkai as a precious stone that should be solely approached by folklorists. This precious thing was once buried somewhere in the Japanese village and then carefully retrieved to be put in a museum. I understood that yōkai for me are not relics – they are living entities, constantly changing and adapting to the society that created them. As was investigated later, many of yōkai scholars were on par with the named colleague at the workshop (see Literature review and methodology chapter). Therefore, the challenge for this project is to bring into question, if not disturb the very idea of yōkai purity in the postmodern perspective.

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