Convergence and Globalization in the Japanese Videogame Industry

Abstract

For contemporary media scholars, means more than technologies or content coming together in one box.' It instead alludes to the of content across media platforms, and the joining together of media producers and consumers in the production and negotiation of that content through user-generated content, greater feedback mechanisms for consumers, or fan-driven media campaigns. Yet apart from a sidebar mentioning the impor tance that both Western and Japanese fans have played in the global popularity of Japanese anime, most examples that HenryJenkins cites in Convergence Culture, and the majority of work done by other media scholars, focuses on Western media products and companies.2 This essay addresses that omission and advocates further inves tigation regarding the Japanese game industry by studying three companies successful in developing and publishing games, along with a range of other activities. Those companies are Bandai Namco, Square Enix, and Konami. I chose these three for several reasons. First, all released annual reports for 2007, which formed the starting point of analysis. Second, the companies have had long histories and have all weathered multiple console releases, as well as evolving cul tural, technological, social, and political developments. None of the three are principally console manufacturers, like Sony and Nintendo. Those companies would make comparisons more difficult, as hard ware and software production are different undertakings. And finally, I chose companies that acted as both developers and publishers and who had diversified holdings. Not allJapanese videogame companies are this diverse in their ownership and business strategies; it is exactly their diversity that makes these three companies particularly interest ing and important.3 This essay investigates how these companies are negotiating the convergence culture thatJenkins writes about. Next, it examines how