Tokimeki Memorial Girls Side 3 / Characters - TV Tropes
In Tokimeki Memorial Girl's Side the suitor options include seven fellow high school The player must create a relationship and maintain it till the game ends. There are implied lesbian relationships in the Tokimeki Memorial Girl's Side series, provided affection remains balanced, can have a happy ending as a trio . For Tokimeki Memorial Girl's Side: 1st Love on the DS, FAQ/Walkthrough You can have a normal (ideal) ending, and two others, which will be This new relationship status allows you explore a different aspect of getting a.
Wears one if he comes to the Culture Festival in the heroine's 3rd year. He seems completely convinced that his outfit has managed to fool the people around him, and the heroine doesn't have the heart to tell him otherwise. Red String of Fate: The fandom seems to associate him with it, even though it is only mentioned in a 3P conversation on top of being brought up by Tamao, not Seiji.
Seiji makes up the other half of the 'senpai' duo consisting of himself and Tamao. There is an event where Seiji is shown teaching Tamao how to play.
Tokimeki Memorial Girl's Side: 3rd Story Playtest: Heading Back To Habataki - Siliconera
If he shows up earlier than the agreed time on a date, he will insist that he definitely did not go out of his way to arrive early. Seiji's family is rich enough to have their own personal chauffeur.
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Against Tamao if the heroine triggers their PvP mode. With Tamao as a result of their completely opposite personalities. Unsurprisingly, Seiji does most of the insulting. Has an extreme fear of dandelion seeds because he'd been tricked as a child into believing that they'd make him go deaf if they got into his ears.
As a musician, Seiji considers losing his hearing to be a Fate Worse than Deaththus his panic when the heroine unknowingly blows the seeds at him. You Gotta Have Silver Hair: Chikara Oosako Voiced by: Mitsuhiro Ichiki The heroine's homeroom teacher for all three years. Always full of energy and popular with the students. Unlike the previous two teachers in the series, he is not dateable although you can get an ending for him.
Against the Setting Sun: Occurs in several of his events, including the heroine's confession, due to his love of taking sunset runs along the beach. Cool Teacher Cute, but Cacophonic: Let's just say that it's difficult to tell the difference between his indoor and outdoor voice.
Distracted by the Sexy: During the last event on his route, where he congratulates the heroine on becoming Rose Queen, he gets very tongue tied. In contrast to the subdued kiss endings of other characters, the heroine enthusiastically tackles Oosako if he accepts her feelings.
Except, it's the often Oblivious to Love heroine who realizes she's in love with him. She's even the one who confesses, unlike every other romantic route in the game. Love You and Everybody: Oosako's words of encouragement frequently include "You're amazing!
The player has to be very careful not to miss any of his events, or he will reject the heroine. Older Than They Look: Oosako actually looks younger than this game's kohai, despite being at least nine years his senior.
According to Iwaorecent trends indicate that young Japanese women are currently living at home longer with their parents rather than getting married straight away. Once a woman wants to marry, or is expected to become a wife, she loses freedom and gains responsibility and expectations.
This game introduces these apparently inevitable sacrifices at a young age as if to prepare female players for their unavoidable destinies as women. In Japan, unmarried women are often referred to as Christmas Cakes Japanese website Christmas cakes, as the name suggests, are special cakes that Japanese people eat traditionally at Christmas. They are not the fruit loaded, heavy textured, long lasting cakes of Western Christmases.
These are short-lived cakes — good for 25 December only. The analogy goes that women are like Christmas cakes, perfect at 25 and spoiled the next day: The Intricacies of Dating Most of the game mechanics revolve around the date event, which is, after all, the rationale for the play — all the routines of day to day life in one way or another converge in the narrative momentum and emotional engagement provided by the date.
When a player chooses to advance to a date, she must first choose her outfit. Her choices of available clothing and accessories are based on her previous player shopping patterns — an activity available on the weekends in the game calendar. An experienced player will learn to shop early and often so that she accumulates a wider choice of outfits in readiness for a date.
There is an obvious question here about why the player must go shopping rather than simply having all the options available on the selection screen. Nevertheless, the game assumes that the player will delight in shopping up a virtual storm, and clothing their avatar. It is, of course, the case that many women do enjoy shopping, and vast amounts of marketing are directed towards inviting them to continue to enjoy it as frequently as possible.
Research indicates that when it comes to online shopping women surpassed men well over a decade ago Girard et al. Publication of such data adds a factual air to the stereotype that women enjoy shopping — except that the stereotype relies also on an unspoken essentialist position that women enjoy shopping because they are women.
Thus, shopping is assumed to occupy a cultural role as a trivial, feminised pastime. The game mechanics reinforce this: The stereotype that women enjoy shopping is built into the game mechanics along with the equally gendered assumption that women dress to please men.
For the young female player this enactment of shopping behaviours as an aspect of gender performativity is likely to reinforce a range of pre-existing social and cultural assumptions about women and shopping that she has already learned or is currently learning. The latter is more likely to be the case among young Japanese women than among young Australians due to the constant affirmation of the Japanese cultural setting through school hierarchies, cultural activities, language use, etc.
Although this may be less likely to affect Australians, some young Australian players may be encouraged to form particular attitudes. In selecting what to wear, the player has the opportunity to obtain bonus points based on demonstrating an awareness of styles.
For example, a particular blouse and skirt may attract points because it is considered to be elegant, but the same skirt with a t-shirt may be regarded as nothing special. There are a number of pre-determined styles categorised as: Sexy, Elegant, Pure and Sport. Each style involves an array of accessories. Many Japanese fashion magazines are constructed with the sole purpose of reaching one specific audience — for example: She is rewarded for being willing to change her personal choices in order to attempt to please a man.
The choices and behaviours that are rewarded or likely to be rewarded are never those that might involve resistance to conventional gender performance or rejection of accepted social and cultural values. Having chosen her clothing and accessories, the player advances to the date meeting spot. After an exchange of polite pleasantries when first meeting with her date, if she has chosen to align with a particular style, her date will comment on liking or disliking it, clearly indicating his approval or disapproval.
This is followed by an inner monologue in which the protagonist expresses her own happiness or how upset she is with the outcome of her choice. If the protagonist wears a certain outfit on the first date and receives great praise for her choices and therefore decides to wear the same outfit on the second date, she will not be praised, rather her date will comment negatively.
In this way she also learns that men like you to change your outfits from date to date, but always with a view to pleasing them. As Monden observed in Japanese Fashion Cultures: Dress and Gender in Contemporary Japan, because of its ability to immediately identify a gendered body as either masculine of feminine, clothing is a fundamental component of gender performance.
The player and her date advance to the main date component. If the date involves going to see a movie, for example, the player will then watch a cutscene of the movie theatre and a small part of the movie. It is interesting to note that this main component of the date allows no option for game play even though most players probably consider it the most significant part of the date.
Although the date invitation was to see a movie together, the seeing of the movie contributes nothing to the outcome of the date in terms of points allocated.
The removal of player control during the main date event thus puts further emphasis on the events either side of it — the choice of clothing, and, as outlined below, the choice of response to the movie or other date type. Both of these player choices rely heavily on pleasing the male.
Tokimeki Memorial Girl’s Side 1 [Review] | Gaming Goddesses
With the main date component complete, the date asks the player to respond to a question about the component: The question and response are designed to enable her date to make another judgement about her. If she chooses the answer that aligns with how her date felt about the movie, he will express happiness. Having pleased her date, the protagonist will also be pleased.
Here we can see that the female protagonist needs to express views that accord with the character she is dating or he will make his displeasure clear. This feature is so central, and also so frustrating, that it is common practice for players to save their games just before dates, in order to reload their previous saves if a date is not pleased with the answers given.
While in a game such tactics are deployed in order to accumulate more points, in achieving those points female players are reminded that they are rewarded for pleasing a man, and that they will please a man by responding to experiences in ways that accord with his views, rather than according to their own taste or feelings.
Laura Mulvey was among those who, early in the history of feminist media studies, explained how the operation of the male gaze means that women may never escape the patriarchal culture in which they exist and so their identity and worth remain determined by how they are viewed by men. The player who might, for example, enjoy wearing jeans and going to horror movies now, in the game, chooses to wear summer dresses and watch action movies in order to please her date.
Both appearance and preferences are moulded by what is considered desirable by her date. Dating simulator games are prime sites for consideration of issues of techno-intimacy Allisonor the ways in which actual people form relationships with electronic objects and beings.
Allison highlights a particularly striking degree of techno-intimacy in Japanese culture, including in the attitudes of Japanese culture towards machinery, and the habit of referring to it as if it were alive. She illustrates this with reference to products designed for physical as well as virtual techno-intimacy: Being touched by another, albeit a machine, is soothing: In dating simulators the player can form an intense emotional engagement despite the fact that the relationship is with a digital date and potential partner.
The formation of techno-intimacy is an expected outcome when the player engages with this game, however while the game can evoke positive and affectionate feelings between a player and character, it can just as readily cause feelings that are potentially harmful. Even players who are not heavily invested in the game may come to start associating their own self-worth with in-game stats: Many women across differing ethnicities, cultures and countries already believe that their perceived physical appearance is an indicator of their self-worth Horn et al.
The game is reinforcing pre-existing and culturally instilled gender-oriented anxieties for a new generation of Japanese girls — as well as others who might play it. It invites them to attach their self-worth to the perceived opinions of others, and particularly, to the perceived opinions of men. The extent to which the game evokes emotions within the player may see that same player bring constructed emotional perceptions shaped in the game into her actual life.
This, in turn, means that many players could come to understand their self-worth and participation in intimate situations even more strongly than ever in terms of whether or not they measure up to ideals dictated by the male gaze. Some Western players who engage with the game in Japanese might have their still-forming gender performance influenced while others might find aspects of the game play difficult to negotiate because they are unfamiliar with the social and cultural norms on which it so strongly relies.
At the same time, it is clear that if this game is translated and distributed for Western audiences, its gendered assumptions and aspects of its broader social context are likely to present major difficulties for cross-cultural interpretation. For the time being, it is important for us to consider the game as a consumable text in its original form, to think carefully about its popularity among young women in its culture of origin and to come to terms with the range of potential effects among non-Japanese-speaking gamers many of whom are dedicated fans of Japanese popular culture.
The Other Girls in Your Social Circle In the game, there are four feminine friend characters in addition to the nine possible masculine suitors. Each of the girls has distinctly different personalities, likes, and abilities. Sometimes, in the game, just spending time with friends can be fulfilling. The game mechanics of friendship: This relationship formed is later called upon if the friend becomes a rival. The game would be more inclusive if the girls were not all confined to being your friends.
It would have been nice if one of the female characters was a dateable option. Instead, the friends get to be rivals when it comes to their love interests in the potential suitors. Some fans of the series have even commented on community sites that they are more interested in their friends. For instance, on Tumblr there are remarks such as: However, such discussion has had no apparent influence on successive versions of the game.
The girl friends are: Annery flower shop; Club: None; Rival in Love: Tennis Club; Rival in love: Cheerleading club; Rival in love: O; Part time Job: Basketball manager; Rival in love: However, if the player decides to date the same male character that her friend is interested in, then the friendship quickly deteriorates. Thus, the only relationships between women made possible by the game scenarios very quickly and easily deteriorate into conflict. The game mechanics and narrative pathways invite female players to share the view that female friends are only friends while convenient, and that jealousy over men can easily destroy a relationship between women.
When playing through the game for the first time, I dated Morimura Sayaka.