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DiGRA
The games are Mickey no Tokyo Disneyland Daibōken, Tokyo Disneyland: Mickey's Cinderella Castle Mystery Tour, and Tokyo Disneyland: Fantasy Tour. They were produced in Japan during the 1990s.
This paper examines three Tokyo Disneyland videogames produced in Japan during the 1990s: Mickey no Tokyo Disneyland Daibōken for the Super Famicom (1994), Tokyo Disneyland: Mickey's Cinderella Castle Mystery Tour for the Game Boy (1995), and Tokyo Disneyland: Fantasy Tour for the Game Boy (1998). Its central argument is that these games are "localized" theme park texts, adaptations of an American-designed park that was itself reshaped through negotiation between Japanese and American cultures. The games are read as a window into how the Japanese Disney parks were presented to domestic audiences, both in their operations and their promotional materials, and as case studies in how theme park attractions translate into interactive media.
The games were published by TOMY and developed by Graphic Research Co. (with TOSE credited for the 1998 title), and they appeared during the decade after Tokyo Disneyland opened in April 1983 and before the resort expanded with Tokyo DisneySea. The scope therefore centers on Japan and a specific window of roughly fifteen years, drawing on a broader archive that includes employee and visitor accounts, design plans, corporate documents, and paratextual materials such as maps, brochures, and concept art, which the author frames as "metaxextual" self-presentation.
The methodology is primarily textual and translational. The author and a student researcher translated the three Japanese-language games into English and conducted what is described as a scholarly localization of them. The analysis treats translation as a layered process: because the park was itself a localization of an American property, translating the games back into English requires considering how Disney was first rendered into Japanese. Because Tokyo Disneyland is operated by the Oriental Land Company, which licensed the intellectual property, the author argues that the choices embedded in the games reveal what that company valued in its own parks. The paper is presented as a contribution to the study of game localization, theme park adaptation, and transmedia storytelling.
DiGRA · 2019