The frog will eventually leave home, why do we have to raise it?

Somehow, a non-Chineseized frog game has swept the circle of friends. I don’t know how many people, on the one hand, I am surprised at the inexplicable popularity of this game, on the other hand, I am addicted to it. I am trying to explore the cause of this incident with a different perspective: in the frog game, we are in the process of Looking forward to an escape, but eventually did not rush out of the cage. But does the life of a dream frog really exist?


Author: Wuhang

Edit: silently

US editing: Huangshan


Recently popular frog game, Yamato is called “かえる”. This actually played a lovely pun: “かえる” means frog, and one is returning. The two meanings are mixed, I don’t know how many frogs and daddy frogs are hanging on their stomachs…

It can be said that it is a very simple story: a green frog, carrying a big green hat with it. The operation is of course easy to be almost boring to rogue: the only thing the player needs to do is prepare food for the frog, lucky charm, travel props – such as tents, lights, and small bowls, harvesting the clover in the garden – that is Game currency (yes, you will have money in the yard of your frog), from time to time to feed the snails that come to the door, and then you can linger with a hot mother. “I hope your road is long.” , full of miracles, full of discoveries, while waiting for the frog to send postcards from afar.

Of course, closely related to the story, there are beautiful butterfly sisters on the frog’s postcard, orange crabs (cooked, may be steamed), little mice from poetry songs to life philosophy, and just want to kiss themselves. Listening to the frog said that it has a butterfly crab outside, and the snails come to the door every day. “You have the ability to open the door, I know you are at home.” What should not be forgotten is that a group of neon national programs that write all the code about crabs as clabs because they don’t roll their tongues. The most important thing is, as well as the emptiness and loneliness of the frogs who are tired of frogs (I) – here should be the Spring Festival Evening Edition “often go home to see.” After all, we love frogs and frogs make us happy.


Postcard for travel frogs and (cooked) crabs


So half a month ago, another empty, lonely and cold partner downloaded my Japanese mobile game called “Travel Frog” (“Travel”) in my shackles. It was unloaded in less than two minutes. People don’t understand Japanese!” This reason is very necessary. However, one week later, in view of the travel postcard of the whole circle of friends, she can say that it is very shameless to download again. According to the Asahi Weekly report, “Travel Frog” in the App Store’s more than 10 million downloads, Chinese players contributed 95% of the downloads, most of which comes from the iOS client, this is not What is the true love of the mainstay?

Although the game is not officially finished.

So where is a boring, travel frog that is completely inferior to the finest production, even the Chinese version, does it attract us?

It is an imagination about exteriority.

This externality is rooted in the modern history of the globalization of our totality. In the textbooks of world history, we know the occurrence of civilization, the Maya and the two rivers; we know the beginning of modernity, the maritime era, the history of technology development, and the globalization of capitalism. History first implies a holistic gaze. It is the history of the world. The world is gradually connected. Then there is the colonization and world war. It is the emergence of anti-colonial and different nation-state regions, and finally becomes the whole history through modern technology media. . We are placed in the overall perspective of the development of capitalism. Under this omnipresentity, an external transcendental point of view seems to be no longer possible. In other words, the imagination of externality stems from the pursuit of a capitalist production system external to globalization, which calls for an imagination of a world other than commodities, circulation, production, consumption, and exchange.

Japanese artists seem to have never given up on the pursuit of an external perspective. “Super-flat” artists, such as Murakami Takashi and Nara Michi, tried to find the externality different from the European perspective of modern painting tradition from the ukiyo-e paintings of the Edo period, and turned to a multi-plane combination, Gechuan Guangzhong and Katsushika Kita. Zhai et al. became an important source of inspiration. In “Traveling Frogs”, Hill Dasheng also pointed out that this game is for the Japanese Sen “box” space, gardening tradition and “the travel frog”: boxing space, meditation and technical consumption. The reference of dry mountains and rivers. For the pre-modern spirit, it is the desire to construct an alternative point of view and modernity. In the context of China, outside of tradition, the resources of external imagination may also come from the history of “social modernity” in the 1950s and 1970s.



In Travel Frog, It first summons a society that is different from the current production relationship. We see that the world is at the touch of lush green. Through the postcards that the frog sent home, we saw the frog and the butterfly building a tent together, seeing the rain and the woods and the ocean, seeing the moth carrying its true joy in flying in the sky and flying. There are no subways, antennas, signal towers, and there are no 24-hour reminder WeChat work groups, no mail, postcards are slow. Unlike us, the connection between frogs and friends is not via electronic media. The circulation of postcards is especially important. If we are connected to the frogs in mobile games, it is achieved through the circulation of postcards. The question is, at what level is this circulation? Postcards, mailboxes in front of the door, frog’s quills, not mail, computers, mobile phones, media in games all point to a pre-modern, or electronic, communication and communication, and corresponding to capital The mode of production, circulation, and exchange.

Don’t forget the tree house of the frog. Roland Barthe talked about the materiality of wood in Mythology. He believes that wood represents a heterogeneous sociality that is different from commercial society. “It has an entity that is familiar with poetry. Let the child get close to the trees, the table, the floor. The wood is not hurt or disintegrated; it is not broken, it is just wear and tear. It exists for a long time, lives with the child, and because of the contact between the object and the hand The world changes. If it dies, it will only be reduced a little, not the industrial toys that are behind the suffocating springs that have disappeared in the broken spring. The wood makes an essential, permanent object.”

In other words, The tree house also summons externality. Even Japanese itself refers to the world of the other for Chinese players. We don’t really need to know what each Japanese word in the game means, they are just there. But at the same time, those words are not without words, they bring strangeness and point to another world, a world outside our daily language boundaries. It’s this strangeness that makes us feel like we’re following the fingertips’ frogs, going to the unknown and the possibilities – but that’s not really unknown. As the name of the game (帰る) implies, the end point of all departures is only home. Japanese is not completely unfamiliar to Chinese players. It is a kind of domesticated strangeness. The total unknown brings danger. We need to familiarize ourselves with strangers and expel the real danger. Imagine the travellers who returned from the safe stories, Sinbad, Odysseus, and He Zhizhang.


Netizens’ concerns and expectations about frogs and the outside world


The style of the game also implies a setting that is different from a game with high image quality, high configuration, and complicated system. “Travel Frog” continues the style of HIT-POINT’s other explosion game “Cat Backyard”: the lines are not detailed, the interface is simple to the limit, the operable space is very small, and the number of items is small. In addition to the budgetary reasons, the simple and limited style demonstrates the possibility of a large game production line that is different from high budget investment. This limited animation style has an important tradition in Japan. Since Tezuka Osamu made the TV anime “Astro Boy” in the 1960s, limited animation has not only originated from budgetary constraints, but has become a kind of Aesthetically deliberate. In our inoperable, still images, our imagination and re-creation have emerged.

however, Is “Travel Frog” really free from our current production and distribution system, is it an exception?

Of course not. The most obvious example is Clover can be purchased through real money. And we are the workers of the platform. At the moment we opened the game, we became the workers of the game platform. We harvested, collected, and fed food. It was the power from our fingers that circulation began. Even after closing the game, we share postcards, messages, likes, replies, and create value on various social platforms. “Traveling Frogs” does not really have an overall appearance, nor does it really provide an external perspective. It’s never been a healing game, the little animals we thought could cure our cuteness, only brought more anxiety, and our fingers slipped between the program and the program, uneasily expecting each A red dot reminds us that we work for the information industry, and the labor results are stripped from us. It is not our frog. The healing industry is characterized by the fact that it makes us think that we have autonomy forever. The frog is a characterized, individualized existence. However, the problem is that its existence is in fact highly centralized and commodity. Chemical. And we can’t alleviate the anxiety that production and consumption bring to us from the capitalist production and consumption (think about tourism, and the cat cafe).

In the journey of the frog, circulation, circulation of goods, and circulation of goods become the core part. For frogs, it is the circulation of home-destination-home. Our connection with frogs comes from the circulation of postcards in mobile games. The social relationship between players and players comes from the circulation of frog postcards in online social media. There must be circulation, and any blockage of the block will cause the game and the production industry to fail. I can imagine that the frogs will stay at home forever, read books, go to sleep, touch and write postcards, and do manual work, and your clover will receive soft hands and hoard the money that has been spent for eight lifetimes. The top-of-the-line amulet food and equipment can’t make your house’s otaku frog even out of the way, the game is over! egg! Now! Marx has long announced in Capital. The bourgeois capitalists never squander their food. It is important to invest their food in more rapid circulation and the reproduction of goods. If we look forward to more and better postcards, all clover and frogs need to enter circulation and exchange as soon as possible. Among them. Of course, you can imagine that the frog silently went home silently. Without a postcard, no handwriting, no distant story, you will never know how it used to come to the fire in the water. Frog, pills! More conceivable is that If it weren’t for your gang of friends who were full of frogs and postcards in the ring, there was something to play with.


All foods of the frog are clearly marked


In fact, here in Travel Frog, A world that is completely different from the current mode of production is unimaginable, even impossible. The external perspective we want may not exist, or we should rethink the external configuration. It may be imaginable that our world will become the Mobius ring, the Klein bottle – all their externalities become all intrinsic. Bart may be wrong – wood can’t be outside production and consumption, the practice of super-flat artists may be in vain, and “Traveling Frogs” can’t really save us. However, such pessimism may not be needed, because there is always a pursuit and expectation, a expectation of different social and different production and exchange relations. It is like a frog, looking forward to the unknown, and you never know how it will bring back potential changes, you don’t even know if it is dead, or you have found a real home, never return.


This article first appeared in Tujia commune

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