In this sense, the emergence of the video game industry in Japan is a “development that is informed by a unique set of historical and material circumstances” (Steinberg, 2012, p.
xiii) that cannot be reduced uniquely to a model of globalization.
Actually what happens is he just goes off there, off-camera, and just waits there so it looks as though he's gone down to the basement.
Martin Picard is a postdoctoral scholar and recipient of a Japan Foundation Research Fellowship on Japanese video game culture at Wako University in Tokyo.
The Japanese video game industry is both a global and local phenomenon, and the two aspects must be distinguished in order to avoid misinterpretations and omissions in histories of video games.
To better understand the complex development of the industry, we must reintroduce local considerations into global perspectives by examining the economic and cultural development of the video game industry in Japan in order to nuance and add new insights about global and transnational discourses.
Then, the examination focus on the implementation of these three sectors in the Japanese video game industry, which have, each in their own way, deeply affected the evolution of video games, not only in Japan, but also in international markets.
Used this way, it's Lampshade Hanging as applied to Paratext. Compare with other metafictional devices, particularly Painting the Medium, which uses Paratext and artifacts to tell the story, and Reading Ahead in the Script which is exactly what it sounds like.Unfortunately, these assumptions tend to neglect the complex geopolitical and socioeconomic negotiations taking place on Japanese territory -- before, during, and even after the creation of a global media complex -- forming tangible distinctions between the Japanese and the North American (or European) market as each tries to divert and capture these flows.