archives@tulane.edu / This study presents an analysis of otome, dating simulator games popularized throughout Japan and South Korea, specifically exploring how the fictive relationship formed between the female main character (MC) and various male non-player characters (NPCs) enables the user to adopt the role of sexual and emotional agent. By examining the degree to which player choice influences a game’s plot, character development, and the tenor of the romantic relationship formed between MC and NPC, this research will seek to contextualize otome games as a digital affinity space uniquely positioned to address female fantasy and respond to culturally informed demographic changes relating to dating, sex, and marriage in South Korea and Japan. Using examples of Korean and Japanese otome titles across multiple platforms and related trends in popular culture and media, this paper will conclude with an examination of the gendered, emotional labor necessitated by the typical otome game structure as a method of reframing the commodification of the shojo archetype from a female perspective. / 1 / Meredith Connelly

Otome game is a role-playing game targeted to female players, with immersive romance as the main game experience. Female players assume the role of a female character and engage in the romantic relationships with different outstanding male characters. However, these characters from different games share too many similarities, and they possess numerous "perfect" design details, such as slim bodies, beautiful appearance, wealthy family, low combat abilities, etc. These unrealistic character representations impact the player's experience, and most importantly, they create a stark contrast with the male character images, especially in terms of physique and social status. The purpose of this study is to analyse the similarities among female characters from 12 games in terms of appearance, profession, and characteristics. By combining player comments, the study aims to examine the influence of female stereotypes on these character images and their relationship with traditional gender norms.

Otome games are most simply described as Japanese games in which players play through a romance story as a female protagonist wooing a male love interest, the game equivalent of a romance novel. Indie otome games are otome games made in English, and the developers of these games have created a unique development community that is casually observed to be majority female, majority LGBTQ+, and is motivated to make games in part by the lack of romance games available and is only incidentally motivated by the possibility of earning money. After a background discussion on what otome games are, this unique community is examined through survey and interview answers to understand what they consider otome games to be and why they make otome games, while differences from the mainstream game development industry are highlighted. Survey results demonstrate that women make up the majority of developers in the space and that the majority of developers identify as LGBTQ+. The survey and subsequent follow-up interviews show that while a gap in the market of games is a motivating factor for these developers, for a large portion of developers it is not the primary factor, and they would still be making games regardless. The survey also provides insights into how the indie otome developer community defines itself and suggests that the community is still in the process of growing and defining itself.

Ce mémoire tente de mieux comprendre ce que sont les jeux otome japonais et le rapport entre le jeu et la culture. En effet, à travers l’interaction que le jeu permet, celui-ci offre au joueur la possibilité d’explorer de nouvelles identités et par la même occasion, devenir un outil de (re)négociation culturelle. Puisque les jeux otome sont principalement créés pour plaire à un marché féminin japonais, les idéaux culturels en ce qui concerne les performances de genre féminin seraient logiquement intégrés dans les diverses trames narratives qui sont présentées, bien que ce processus puisse être involontaire de la part de leurs créateurs. Puisque les jeux otome reposent principalement sur la réussite de la formation d’une relation amoureuse avec un personnage masculin, ceci semble faire écho à la critique nationale envers le célibat féminin; il est attendu des femmes qu’elles remplissent leur rôle en tant qu’épouse et mère sous l’institution du mariage. Malgré le fait que cet idéal ne puisse pas toujours être suivi en raison de situations socio-économiques tel l’éclatement de la bulle financière de 1990 et des nœuds de résistance de la part des plus jeunes générations au fil du temps, cette notion demeure imprégnée dans la culture japonaise. Cela ne veut pas dire que les femmes jouant à des jeux otome sont contraintes d’accepter ces rôles. Par le biais de la jouabilité et de leur alter-ego numérique qu’est leur avatar, elles peuvent prendre part à l’ordre social établi sans pour autant s’y conformer. En fait, cela peut même être perçu comme un moyen de subvertir l’intention originale puisque ces femmes alimentent une relation retranchée des attentes sociales de la maternité. / This thesis tries to shed light on Japanese otome games and how player agency through the video game medium can lend itself to the exploration of new identities by the player and become a tool for cultural (re)negotiation. As otome games have been mainly created for female customers in the insular Japanese market, cultural ideals regarding female gender performance would logically be embedded in the various narratives that are presented, albeit this process may be unintentional by their creators. Since otome games hinge mostly on obtaining a successful romantic relationship with a male character, this seems to echo national criticism of female celibacy; women should fulfill their roles as wives and mothers through marriage. Although this ideal may not be upheld due to socioeconomic happenstance such as the crash of 1990 and has found pockets of resistance throughout the younger generation as time went by, this notion still permeates Japanese culture. That is not to say women who play otome games are bound to accept these roles. Through the use of play and their digital proxy that is their avatar, they can take part in the social prescribed order without submitting to it. Moreover, it could be seen as a way to subvert the original intent in doing so, as they embrace a relationship that is withdrawn from the social expectation of childbirth.