This leads us to consider the effectiveness and necessity of the term gêmu (Picard, 2013) as a separate category for the critique of Japanese video games. (Nintendo, 1985)-very little has been published on the production of Japanese video games destined for the domestic market, where genres unpopular in the West, such as visual novels or dating sims, are the staples. However, beyond titles of overwhelming international repercussion-from Space Invaders (Taito, 1978) to Silent Hills (2015). There is little doubt, for many scholars, that the Japanese video game industry has helped establish the standard procedures of production, distribution and localization for the global sector. The popularity and influence enjoyed by Japanese video games is irrefutable.

The article concludes with suggestions for rethinking U.S. Their local, national, and transnational communities. Examples of underground anime literature illustrate how fan's envisioned The construction of transnational cultural identities. Locally in fan clubs, connected nationally at conventions and through networks of science-fiction fans, and participated in The second half of the articleĭiscusses the creation of local anime fan communities throughout the United States beginning in 1977.

It also reproduced Western racial and gender hierarchies, allowing it to cross borders easily.

Anime exhibited characteristics that made it both Japanese and global, yet Of several representative texts from the period. It introduces historians to the medium of anime, describing the transpacific appeal The United States in the 1970s and 1980s. reception of Japanese animation, or anime, to explore the impact of cultural globalization within

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