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Which clippings match 'WarioWare' keyword pg.1 of 1
04 DECEMBER 2008

The Cultural Economy of Ludic Superflatness

"Murakami's subsequent conceptualisation of superflatness links the flat picture planes of traditional Japanese paintings and present–day manga and anime, to the perceived lack of historical distinction between high and low cultures at this locale. At the same time, he believes that post–war conditions in Japan acted as key determinants for the subsequent use and symbolic function of pictorial superflatness in Japanese cultural production. Specific to his concerns are the infantilising effects of Japan's Constitution that has kept it a pacifist country. Superflat may indeed be read as one index of post–war kawaii (cute) culture. Anne Allison traces the rise and fetishisation of cute goods and consumptive pleasures in the 1970s and 80s. She argues that: 'Cuteness became not only a commodity but also equated with consumption itself – the pursuit of something that dislodges the heaviness and constraints of (productive) life. In consuming cuteness, one has the yearning to be comforted and soothed: a yearning that many researchers and designers of play in Japan trace to a nostalgia for experiences in a child's past' (Allison, A. 'Portable Monsters and Commodity Cuteness: Pokemon as Japan's New Global Power,' in Postcolonial Studies, vol. 6, no. 3 (2003), pp. 381–395.)."
(Dean Chan, Australia)



animeAustraliacomputer games and digital cultures • cultural economy • cultural productioncute • Dean Chan • designflat picture planeflat spacegameshigh cultureJapanlow culturemanganostalgia • post-war conditions • superflatness • Takashi Murakami • technologyWarioWare


Simon Perkins
21 FEBRUARY 2006

WarioWare: video game pastiche

"Wario Ware is a game about games. Some of its micro games are straight re–implementations of earlier Nintendo classics, but WarioWare also parodies older games such as Super Mario Bros[7]. and The Legend of Zelda[8]. WarioWare exhibits and distorts many game design conventions we take for granted.
WarioWare's most obvious departure from conventional game design is its discontinuities, which illustrate the effects of continuity on game experience. Wario Ware's ultra–compressed games contain only a minimum number of ingredients. These miniature games illustrate how complex games are generally built out of simpler ones. WarioWare?s nonsense and absurdities also explore the relationship between fiction and rules.

In a sense, WarioWare is an Understanding Comics[4] of video games: a text that uses the representational strategies of a medium to reflect upon that same medium. But where Understanding Comics is discourse on comics, written in the language of comics, Wario Ware is more like Chuck Jones's meta–cartoon Duck Amuck[2]. WarioWare and Duck Amuck violate convention, and in doing so draw attention to how cartoons and games are both constructed and interpreted."
(Chaim Gingold)

[2] Duck Amuck. Director: Chuck M. Jones. Warner Bros, 1953. 7 minutes.
[4] McCloud, Scott. Understanding Comics. New York: HarperPerennial, 1994.
[7] Nintendo, Super Mario Bros. Sept. 1985. NES game.
[8] Nintendo, The Legend Of Zelda. 1987. NES game.

[Gingold talks about the Nintendo (Gameboy Advance) game called WarioWare. He reveals it to be a pastiche of earlier video games, clustered together and played as a single master game.]



cartoonconstructionconventionDuck AmuckgameGameboygenre • Gingold • hommageNintendoparodypasticheself-referentialself-reflexivetributevideo gameWarioWare

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