“When you’re not thinking about game development based off of specific audience buckets and user trends, the entire world becomes your potential audience.”ĭoujin’s positive can-do approach has led to games like Fight Crab, an arena fighter where crustaceans with swords and guns duel to the death, and the playable nightmare that is Corpse Party and its strangely appealing combination of bloodsoaked halls and cute pixel schoolkids. “The reason can be ‘just because,’ which I think is what makes some of these developers come up with fascinating ideas,” Hosoi says. XSEED Games’ executive vice president Kenji Hosoi describes doujin games as the “Why not?” response to the wider gaming industry’s “Why?”, explaining that for these maverick developers the usual rules need not apply.
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A perfect example is Densha de D, which combines Taito’s train simulator Densha de Go! with the famous manga Initial D, letting you drift race trains through Tokyo at 160 km/h.
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They may be wholly original works-ZUN’s ever-expanding series of Touhou shmups and the aquatic warfare of Ace of Seafood-or they may be fan games that, ahem, “borrow” existing intellectual property. Sometimes manually burned at home onto unbranded CD-Rs, sometimes professionally pressed onto DVDs with slick colour labels, doujin games have always been charmingly unpredictable. Or to put it another way: Doujin games aren’t a genre, they’re an attitude.īut has that attitude changed now that doujin games have gone from being homemade media physically handed over to fellow fans to something available worldwide to virtually anyone at the click of a mouse? By fans, for fans “While ‘indie games’ are classified by the scale of production as works that do not belong to a major label, ‘doujin games’ are classified by the purpose of production as works for people with the same tastes.” “There are many opinions on the definition of doujin, but I believe… 同人(doujin) means individuals or groups who share the same interests and preferences,” says Piro, representative director of small Japanese publisher Henteko Doujin.
Long before the indie game boom of the last decade, Japan’s doujin games served as its own sort of indie scene.
For anyone who followed Japan’s doujin game scene in the early 2000s, it’s still surreal to see some of the most underground games built for tiny, insular communities now a button click away on Steam. Today, you, sat in your comfy desk chair-or perhaps curled up on the sofa with your Steam Deck-bought and downloaded Subterranean Animism in under a minute after casually browsing the hundreds of other doujin games available on Valve’s store and then carried on with your day. Braving the crowd and heat in person is the only sure way to get one.ĭoujin games are the ‘Why not?’ response to the wider gaming industry’s ‘Why?’ XSEED executive VP Kenji Hosoi Finding Touhou creator ZUN’s table amongst this flood before his stock runs out is a feat in itself, but it’s worth the sweat and exhaustion for the reward: a freshly pressed CD containing a great shmup that. Hundreds of thousands of people will flock here over the next few days, every one of them hot, bothered, and thoroughly dehydrated. People queue in the hot sun for hours before being crammed into the Tokyo exhibition hall’s cacophony of stalls.
The 11th Touhou game, Subterranean Animism, releases today at Comiket, trying to buy a copy is an intense one.
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