Christina M. Spiker

Christina M. Spiker

Art Historian | Professor | Digital Humanist

Presentation on Street Fighter II at Popular Culture Association

This really has been a crazy year for conferences/symposia. I will be giving a paper titled, “Chun-Li’s Qipao: Intersections of Gender, Race, and Fashion in Capcom’s Street Fighter II” on Friday, April 14th at the Popular Culture Association/American Culture Association (PCA/ACA). Our panel is Game Studies 8: Performing Identity. You can find us in Pacific Ballroom 14 from 9:45-11:15am at the Marriott Marquis Marina in San Diego, CA.

I’m very excited about this paper — it is the third paper in a series related to arcade fighting games, and a topic that I stumbled into after working on Ainu representations in the game Samurai Shodown. I began to realize that you can’t understand images of Ainu women in these games until you fully come to terms with one of the first successful female fighters in the arcade fighting genre. This paper adopts a slightly different approach than I have previously taken with an emphasis on fashion.

If you are planning to attend the conference, definitely be sure to register on the website. Once you make a profile, you will be able to add this panel to your schedule. Let me know if you are planning to be there so I can say hello! If you are from UC Irvine, there will also be presentations current and former people in Visual Studies (in order of appearance; if I’m missing people, please message me!):

Christina Spiker (graduated), “Chun-Li’s Qipao: Intersections of Gender, Race, and Fashion in Capcom’s Street Fighter II” (Friday, April 14, 9:45am — Pacific Ballroom 14)

Racquel M. Gonzales (current), “Policing Responsible Citizens: The Gamification of Crime Resistance in Children’s Table-Top Games” (Friday, April 14, 11:30am — Pacific Ballroom 14)

Kristen Galvin (graduated), “The New Music Television” (Saturday, April 15, 1:15pm — Pacific Ballroom 17)

Erik Watschke (graduated), “He Made the Whole World Laugh and Cry: Richard Attenborough’s Chaplin (1992) and the New Hollywood Mythologizing of the Early Film Artist” (Saturday, April 15, 1:15pm — La Costa)

Catherine L. Benamou (current professor), “From Joints to Jukeboxes’: Orson Welles and Afro-diasporic Culture as a Conduit for Inter-American Solidarity During World War II” (Saturday, April 15, 1:15pm — La Costa)

Gender and Race in Street Fighter II and Samurai Shodown: Presentation at Mechademia

I am continuing my journey down the rabbit hole of Japanese arcade fighting games with a presentation at Mechademia: Conference on Asian Popular Cultures at the Minneapolis College of Art and Design. The program is forthcoming, but I will be presenting “Fighting Stereotypes: Reimagining Gender and Race in Street Fighter II (1991) and Samurai Shodown (1993)” on September 25th. Our panel is on the Global and Local, and runs from 10-12pm.

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I have had a personal goal of participating in Mechademia in some way, shape, or form ever since I began teaching Japanese visual culture. My students at both UC Irvine and St. Olaf College took well to the myriad essays found in the Mechademia series, which I hear they are rebooting with Mechademia 2.0, Volume 1 of the Second Arc on “Childhood.” I find many of the readings to be accessible to undergraduates, and they went a long way in offering alternative interpretations of the works we were screening in class. I hope that I will have an opportunity to use the series as a resource here at St. Kate’s. Regardless, it scares me to think that I’ve been reading essays from Mechademia since just before I entered graduate school… How time flies… Has it really been that long?

While my paper at Console-ing Passions focused primarily on Ainu representation in Samurai Shodown and its relationship to indigenous activism through the 1990s, the work I am presenting at Mechademia explores a different avenue of inquiry (although Nakoruru, Rimururu, and Mamahaha will still make a significant appearance). My preliminary research on arcade fighting games in Japan taught me one important lesson: there isn’t too much work being done in that arena. But games like Street Fighter II have so much potential to explore as both domestic and international products. While playing at world-building (and, in some cases, destroying), they also negotiate notions of gender and race with combat strength and Cold War politics. My paper will take a look at the image of Chun-Li in Street Figher II and Nakoruru of Samurai Shodown in an effort to start a conversation about the aesthetics of race and gender in the genre. It is an invigorating break from editing this chapter on the 19th century. So for now, I leave you with this epic image of Chun-Li about to kick butt as only she knows how.

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Ainu and Video Games: Presentation at Console-ing Passions

This paper is a bit of a “break” from my recent research on visual and material culture in the late Meiji period. I will be chairing a panel at Console-ing Passions (International Conference on Television, Video, Audio, New Media and Feminism) on Japanese visual culture, with papers presented by Colleen Laird from Bates College (“Screened and Not Heard: The Transnational Treasure Text of Kikuchi Rinko”), and Sho Ogawa of the University of Kansas (“Internalizing Hybridity: Japan’s Gay Boom and Reconfiguring National Identity”). Our diverse panel will explore the convergence between media and gender studies in and out Japan.

Nakoruru’s stage background in the original Samurai Spirits (1993). Nothing like an Ainu man and woman surrounded by forest friends…

The paper I’m presenting is titled “Recasting the Indigenous: Virtual Ainu Ambassadors in Japan’s Samurai Spirits, 1993-2008.” This project has been on the back burner for a little while, but it is fun to get back into contemporary visual culture for a bit. I will be discussing the role of two female Ainu video game characters–Nakoruru and Rimaruru–from the video game Samurai Spirits (Samurai Shodown in the US). As the title hints, I have been trying to think through the role of these characters as cultural ambassadors in 1990s Japan. The topic feels timely with the impending creation of the new Ainu museum in Shiraoi in preparation for the 2020 Tokyo Olympics, where the marketing of Ainu culture will undoubtedly be important for Hokkaido tourism. In addition to investigating their domestic popularity, I’m also looking at the localization of these characters in the US. This is inspired by a class that I just finished teaching, Visual Culture in Modern Japan, where issues of localization kept creeping into our discussions. I’ve been thinking long and hard about the transformation of Ainu/indigenous visual signifiers when transported abroad to a culture with no framework to understand them.

楽しみにしています。

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