二次元の人権意識は三次元とつながっている
Recognition of Virtual Characters' Human Rights Is Connected With That of Reality
あれから10年以上経ち、当時とは世界情勢も日本の政局も、そしてオタク（ここでは特にゲームやマンガ、アニメジャンルを指します）の置かれた状況も、かなり変化しました。中でも直近の数年、残念ながらあまり好ましくない方向の事象が顕著に表れている気がします。中高年オタクの一人として、私はここで一回、自分の考えを改めてまとめたいと思いました。そしてそれは、サージュコンチェルトという稀有なコンセプトを持ったゲームに出会ったからこそまた強く感じたことです。
Around the year 2000, I used to play gal-games and AO-rated games actively, and I was eager to work on fan fictions.
It's been more than ten years since then, the world situation and the political situation in Japan, and also the environment around otaku people (I especially mean manga, anime, and game category here) have been changed drastically now. Particularly during recent years, I feel a number of undesirable issues have risen up remarkably. As one of middle-aged otaku, I thought I had to write my opinion about that. In addition, I must say playing Surge Concerto video game series which has very unique concept definitely made me feel in that way strongly.
*I insert a space here since it's a long article.
私達が二次元キャラを広く好む理由とは何でしょうか？単純にかわいいとかかっこいいとか、いろんなニーズに応えてくれる属性の多さの他に、当たり前ですが彼らは架空の存在なので、何でもできるという点があると思います。だからこそ好きに妄想を膨らませることができるし、現実におけるストレスの解消もできます。18禁でない作品についてもいわゆる「薄い本」がたくさん作られているという事実は、そういうことなのでしょう。（同人による著作権の問題等は別の話になるのでここでは割愛します。）
What is the reason we are so fond of a wide range of virtual characters? Other than the reason that simply they are cute or cool, and they have a variety of traits which can correspond to anyone's taste, I think that's because we can do anything to them because they are imaginary existence (although it's a matter of course). Therefore, we are able to fantasize freely and get rid of stress in real world. I suppose that's why there are a lot of AO-rated fan fictions for even works which are not originally adult contents. (I don't mention about problems of fan fictions relating with copyrights here since it is another issue.)
それは同時に、ほとんどの二次元キャラは私達を傷つけないということでもあります。現実の自分がどんな人間であろうと、どんなひどいことを彼らにしようと、決して非難も抵抗もされない。つまり私達にとっては、とても心地よく、都合のいい存在であるわけです。
それが成り立つには、「彼らが私達の存在を認識しない」ことが重要になります。彼らが接しているのはあくまで作品世界の中の主人公キャラであって、私達自身ではない。だからこそ安心して心おきなく楽しめるともいえます。
At the same time, it can be said that most virtual characters never hurt us. No matter what kind of people we are, or how cruelly we treat them, we are never criticized or resisted. In short, they are so comfortable and convenient to us.
What is the reason we are so fond of a wide range of virtual characters? Other than the reason that simply they are cute or cool, and they have a variety of traits which can correspond to anyone's taste, I think that's because we can do anything to them because they are imaginary existence (although it's a matter of course). Therefore, we are able to fantasize freely and get rid of stress in real world. I suppose that's why there are a lot of AO-rated fan fictions for even works which are not originally adult contents. (I don't mention about problems of fan fictions relating with copyrights here since it is another issue.)
それは同時に、ほとんどの二次元キャラは私達を傷つけないということでもあります。現実の自分がどんな人間であろうと、どんなひどいことを彼らにしようと、決して非難も抵抗もされない。つまり私達にとっては、とても心地よく、都合のいい存在であるわけです。
それが成り立つには、「彼らが私達の存在を認識しない」ことが重要になります。彼らが接しているのはあくまで作品世界の中の主人公キャラであって、私達自身ではない。だからこそ安心して心おきなく楽しめるともいえます。
At the same time, it can be said that most virtual characters never hurt us. No matter what kind of people we are, or how cruelly we treat them, we are never criticized or resisted. In short, they are so comfortable and convenient to us.
To keep this condition possible, it is important that they don't recognize our existence. Usually they are supposed to communicate with a leading character in the fictional world, not ourselves. Because of that, we are able to enjoy those works without any worry.
私達と二次元との関わりにおけるその大前提に、サージュコンチェルトは一石を投じました。
以前の記事でも書きましたが、私が考えるサージュコンチェルトシリーズのもっとも傑出しているポイントは、ゲーム内のキャラクターが現実のプレイヤー自身の存在を認識し、対象としてコミュニケーションしている設定であることです。ギャルゲーに限らず、世の中の数多いゲームの中で、ほとんどの場合プレイヤーはゲーム世界の中の主人公キャラを動かしているにすぎません。
To such very first condition to enjoy fictions, Surge Concerto series had created a stir.
I have mentioned before that the most outstanding point of Surge Concerto series I thought was the setting that characters in the game recognize its player in reality, and they communicate with us directly. Not only gal-games, among enormous number of games in the world, a player just controls a hero character within the game in most cases.
以前の記事でも書きましたが、私が考えるサージュコンチェルトシリーズのもっとも傑出しているポイントは、ゲーム内のキャラクターが現実のプレイヤー自身の存在を認識し、対象としてコミュニケーションしている設定であることです。ギャルゲーに限らず、世の中の数多いゲームの中で、ほとんどの場合プレイヤーはゲーム世界の中の主人公キャラを動かしているにすぎません。
To such very first condition to enjoy fictions, Surge Concerto series had created a stir.
※私の知っている限り、他にはガンパレードシリーズをはじめとした芝村裕吏氏の「無名世界観」のゲームでも現実のプレイヤーの存在を意識していましたが、あのシリーズでの他世界への介入はサージュで言うところの「インターディメンド」に留まっていました。
*As long as I know, other video games which concerned with a player's existence are "Nameless World" series including Gun Parade series by Yuuri Shibamura, but the way of intervening the fictional world was still kept as "Interdimend" defined in Surge Concerto.
もともと土屋作品では、ダイブというシステムを通して主人公側がヒロインの心を理解し、受け入れることを要求されてきました。それもゲームならではの表現で、非常にわかりやすいのが秀逸だと思います。（私個人が高く評価している点です。）それでもアルトネリコシリーズではそれをやっているのはあくまでゲームの中の主人公キャラでしたから、まだ他人事として見られる余裕がありました。
Originally in Director Tsuchiya's works, heroes were required to understand and accept heroines' hearts through Dive system. Moreover, I think it is amazing that it was expressed in the way only video games could do and very easy to understand. (I personally evaluate this point high.) Still, hero characters in the game used to do the job in Ar tonelico series, so we could be composed to watch that as other people's affairs.
それがサージュでは直接プレイヤーに対して、画面の向こうからはっきり非難されたのです。その時の衝撃は今でも忘れられません。そしてこの作品は、自分にとって都合のいい存在でなくても、彼らを愛せるかということを問いかけています。
However in Surge Concerto series, we were criticized clearly and directly from beyond the display. I can't forget the shock at the time even now. Furthermore, this video game asks a question that whether we can love them even if they're not comfortable or convenient to us.
Originally in Director Tsuchiya's works, heroes were required to understand and accept heroines' hearts through Dive system. Moreover, I think it is amazing that it was expressed in the way only video games could do and very easy to understand. (I personally evaluate this point high.) Still, hero characters in the game used to do the job in Ar tonelico series, so we could be composed to watch that as other people's affairs.
それがサージュでは直接プレイヤーに対して、画面の向こうからはっきり非難されたのです。その時の衝撃は今でも忘れられません。そしてこの作品は、自分にとって都合のいい存在でなくても、彼らを愛せるかということを問いかけています。
However in Surge Concerto series, we were criticized clearly and directly from beyond the display. I can't forget the shock at the time even now. Furthermore, this video game asks a question that whether we can love them even if they're not comfortable or convenient to us.
Ion:
You are just watching this world through the glass. It's just other people's affairs to you after all. Once I realized so...I suddenly feel getting fed up with everything.
もしもサージュのように、他作品のお気に入りの二次元キャラが現実の自分の存在を認識したら、何と言われるでしょうか？実際には全くの他人である作品世界の主人公キャラと自分が同じ扱いを受けられると信じられるほど、少なくとも私は楽観的ではありません。もし何の疑いもなくそう信じられるとしたら、それこそ「架空と現実の区別がついていない」と言われてもおかしくないでしょう。
Imagine what your favorite characters would say to you if they recognize your existence in reality as the characters in Surge Concerto did. I am not optimistic enough to believe that I would be treated in the same way as a hero character who is totally a different person from myself. If you can believe so without any doubt, you should be said "You cannot distinguish between fantasy and reality".
それを考えると、実はもっとも二次元が現実に現れることを恐れているのは、他ならぬ私達オタク自身ではないでしょうか。土屋作品が二次元キャラの都合の良さを打ち破ったことは、今までプレイヤーの存在を認識せず、決して非難することもなかった二次元からの反逆と言えるのではないでしょうか。（あれは半分ネタでしょうけど、シェルノサージュの中でイオンがハーレムラノベをさんざん批判していたこともそう感じます。ジャンルは違いますが、初音ミクなどもそういう方向の創作の可能性を広げたと言えますね。）
Considering the assumption, I suppose it is us, otaku ourselves who are actually afraid of our favorite characters appearing in reality the most. Denying the convenience of virtual characters by Director Tsuchiya's works could be considered a rebellion from those who have used to never recognize or criticize us. (I think it was a kind of joke, but I also felt the same way when I saw Ion criticizing harem-type novel mercilessly in Ciel nosurge. In different category, I guess Hatsune Miku gave a possibility of such kind of work for creators, too.)
Imagine what your favorite characters would say to you if they recognize your existence in reality as the characters in Surge Concerto did. I am not optimistic enough to believe that I would be treated in the same way as a hero character who is totally a different person from myself. If you can believe so without any doubt, you should be said "You cannot distinguish between fantasy and reality".
それを考えると、実はもっとも二次元が現実に現れることを恐れているのは、他ならぬ私達オタク自身ではないでしょうか。土屋作品が二次元キャラの都合の良さを打ち破ったことは、今までプレイヤーの存在を認識せず、決して非難することもなかった二次元からの反逆と言えるのではないでしょうか。（あれは半分ネタでしょうけど、シェルノサージュの中でイオンがハーレムラノベをさんざん批判していたこともそう感じます。ジャンルは違いますが、初音ミクなどもそういう方向の創作の可能性を広げたと言えますね。）
Considering the assumption, I suppose it is us, otaku ourselves who are actually afraid of our favorite characters appearing in reality the most. Denying the convenience of virtual characters by Director Tsuchiya's works could be considered a rebellion from those who have used to never recognize or criticize us. (I think it was a kind of joke, but I also felt the same way when I saw Ion criticizing harem-type novel mercilessly in Ciel nosurge. In different category, I guess Hatsune Miku gave a possibility of such kind of work for creators, too.)
このことについて、さらに私がもっと考えるきっかけになったのは、画集THE FINDERです。こちらの記事にも書いたように、私は数点のエロ絵を見た時になんとも言えない気持ちになりました。THE FINDERでは各イラストの出典が明記されていないので、私が知っている出典がはっきりしている例について言及すると、97ページの絵は店舗購入特典テレカの三部作です。いかにも18禁なシチュエーションを想像させる絵ですが、実際のゲーム中ではイオンはバスタオルの時自分で髪飾りをつけないし（こんな例外もあるけど明らかに絵とは違う流れだし）、そのままベッドに座ることもありません。着替えも目隠しされますし。
About this issue, the aspect that made me think even more was THE FINDER. As I wrote in this post, I had a feeling which is difficult to describe when I saw several erotic illustrations in the book. The source of each illustration in THE FINDER is not indicated in the book, thus I just pick up an example which I know the source for sure. Works on page 97 were drawn as trilogy for a limited supplement you could get when you bought the game at specific stores. As you can see, these works suggest a situation in adult contents. However, Ion in the actual game doesn't put her head accessory on when she wears a bath towel (there is an exception like this, but obviously the sequence is different from the illustration) or doesn't sit on the bed with the towel. Your eyes are covered when she changes her clothes.
About this issue, the aspect that made me think even more was THE FINDER. As I wrote in this post, I had a feeling which is difficult to describe when I saw several erotic illustrations in the book. The source of each illustration in THE FINDER is not indicated in the book, thus I just pick up an example which I know the source for sure. Works on page 97 were drawn as trilogy for a limited supplement you could get when you bought the game at specific stores. As you can see, these works suggest a situation in adult contents. However, Ion in the actual game doesn't put her head accessory on when she wears a bath towel (there is an exception like this, but obviously the sequence is different from the illustration) or doesn't sit on the bed with the towel. Your eyes are covered when she changes her clothes.
「うたひめ」に掲載された該当イラストのラフスケッチ（2013年夏号／ワニマガジン社刊）
A draft for the illustration I picked up printed on "Utahime" Summer 2013 Issue,
published by WANIMAGAZINE Co., Ltd.
エロそれ自体が駄目という話ではありません。私もイオンにシーズホワイト着せるの好きだし、お風呂に一緒に入れるものなら入りたいし。けれどそれは一人で楽しむからこそ自由にできることで、販促のためにわざわざ性的アピールさせられる姿を（しかもゲーム中に存在しないシチュエーションで）たくさんの人の目にさらしたいとは思いません。
I'm not saying sexual expression itself is bad. I like Ion wearing She's White, and I hope to take a bath with her if I could. But I think those kind of things are allowed as long as I enjoy only by myself; I don't want to let her appeal suggestively to many other people for advertisement (moreover, with a situation which doesn't exist in the game).
※そう考えると、私自身も世界中誰からも容易に見られるTwitter上で、きわどい格好のイオンの姿をあげていたのは軽率だったかと反省しています。見る人が自分で能動的にそのURLへ移動する必要がある個人サイトとは違い、SNSであるTwitterは望まない人にも見せてしまう確率が高いからです。すでにログはこのブログに収録し終わっているので、そういうツイートは削除を検討したいと思います。
*Thinking about this issue, I sort of regret that I might have been thoughtless to tweet screenshots of Ion dressing in the way which may be considered too sexy on Twitter where everyone in the world can easily see without expectation. Not as same as a personal web site, which a viewer needs to go to the URL actively to see, there's a high possibility to let people who don't want such contents see on Twitter. I have already transcribed all logs to this blog, so probably I will delete such tweets.
I'm not saying sexual expression itself is bad. I like Ion wearing She's White, and I hope to take a bath with her if I could. But I think those kind of things are allowed as long as I enjoy only by myself; I don't want to let her appeal suggestively to many other people for advertisement (moreover, with a situation which doesn't exist in the game).
*Thinking about this issue, I sort of regret that I might have been thoughtless to tweet screenshots of Ion dressing in the way which may be considered too sexy on Twitter where everyone in the world can easily see without expectation. Not as same as a personal web site, which a viewer needs to go to the URL actively to see, there's a high possibility to let people who don't want such contents see on Twitter. I have already transcribed all logs to this blog, so probably I will delete such tweets.
アルトネリコシリーズでもこういうイラストはあったし、私はこのテレカイラストを特別に批判したいのではありません。（ntnyさんは慣例通りに描いただけでしょうし。）例にあげたように、18禁でない作品においても販促のために女性キャラがエロいサービスをするのは、日本では日常的な光景です。私が今、なんとなくそれを手放しで喜べないのは、こうした女性キャラが当たり前のように性的アピールを要求される風潮そのものが彼女たちを尊重していないこと、そしてそれは日本社会における現実の女性の扱いをそのまま反映していることを感じるからです。
Such sexy illustrations had been drawn for Ar tonelico series, too. I'm not criticizing the work particularly. (I guess ntny-san just drew the illustration according to precedents.) As you can see in the example, it is ordinary in Japan that female characters are made to appeal sexually for advertisement. I somehow cannot be simply happy about that now because I feel the tendency which female characters are naturally required to provide sexual appeal indicates that people don't respect them, and the fact actually reflects how real women are treated in Japanese society.
Such sexy illustrations had been drawn for Ar tonelico series, too. I'm not criticizing the work particularly. (I guess ntny-san just drew the illustration according to precedents.) As you can see in the example, it is ordinary in Japan that female characters are made to appeal sexually for advertisement. I somehow cannot be simply happy about that now because I feel the tendency which female characters are naturally required to provide sexual appeal indicates that people don't respect them, and the fact actually reflects how real women are treated in Japanese society.
と言うと、大げさと思われるかもしれませんが、ひと昔前のビールの宣伝ポスターがなぜか一様に水着の女性の写真だったことと、自治体のポスターが胸を強調した萌えキャラを採用してしまうことは、とても類似していると思います。私が問題に思うのは、それらを作る側に意図的な悪意があるわけではなく、何の疑問も持たず当然のように行われてきた（そして社会も容認してきた）というところなのです。その対象が三次元から二次元に変わったところで、そういった意識は何も変わっていないように感じます。（無論男性キャラについても同様に問題提議されるべきですが、日本で世間的に問題となるような扱い方をされているのは圧倒的に女性キャラです。つまり、女性はそういう扱いをされて当たり前という認識があるということです。ここでは論じませんが、日本の商業では概して低年齢が性的対象になっていることも諸外国から指摘されるほどの大きな問題になっています。）
Some of you might think it's exaggerated, but I think the case all Japanese commercial posters of beer somehow used to be photographs of women in swimsuits decades ago and the case a campaign poster made by a local authority showing a female character with her breasts emphasized are very similar. I guess the makers of such posters didn't mean to be malicious; they just naturally did it without any questions (and Japanese society had approved that). I consider that is true problem. Although the object has changed from real women to virtual women, I think such recognition hasn't changed at all. (Of course, same kind of consideration should be done for male characters too, but most of controversial cases in Japan are female characters. That means there's a recognition that it is no wonder women are treated in such way in the society. I don't mention in detail here, but there is also a serious problem that sexual objects are generally young in Japanese business, which is pointed out by foreign countries.)
「でも、架空のキャラを尊重する必要はないのではないか？ある意味そうやって使用するために作られた存在なのだから」というのは確かに一面の真実でしょう。しかし、私個人はこの点において、「架空と現実の区別をつけない」のはむしろアリではないかと思います。というか、オタクってもともと対象にそうやって愛情を注ぐ者のことを言うのではないでしょうか？「架空だから自分の欲望のために一方的に利用して当然で、彼らの人権や意思など想像もしない」というのは、オタクとして主義に反する考え方ではないかと私は思います。
"But is it necessary to respect virtual characters? In a sense, they are made to be used in that way." That's certainly true in one point of view. However, in this point, I personally think not to separate fantasy from reality is rather effective. First of all, Otaku people are supposed to be called so because they tend to love their favorite objects deeply? I believe that considering it is natural to use virtual characters one-sidedly for our own greed because they are not real, or never imagining their human rights and their will is against our principle as otaku.
Twitter上で既存作品のキャラのアイコンを使いながら暴言を吐いているような人が、その作品やキャラを本当に好きで尊重しているとはとても思えませんし、自分が好きなはずの二次元キャラすら尊重できない人が、現実の人間を尊重できるわけがないと思います。少なくともそのような人はオタクとは言えないでしょう。
I don't think a person who talks abusively on Twitter with an icon of existing work truly likes and respects the work or its character. Moreover, I think there's no way a person who cannot respect even his favorite virtual characters can respect real people. Such person can't be called otaku at least.
I don't think a person who talks abusively on Twitter with an icon of existing work truly likes and respects the work or its character. Moreover, I think there's no way a person who cannot respect even his favorite virtual characters can respect real people. Such person can't be called otaku at least.
Ion:
Something which is nothing to you may cause to hurt other people badly or make them want to cry...
Something which is nothing to you may cause to hurt other people badly or make them want to cry...
お手軽な恋愛ゲームが他にたくさんあるにも関わらず、私達端末プレイヤーが多数のバグにもめげず、何年もかけてラシェーラでのイオンの物語を最後まで見届けたのは、彼女をただの架空の存在以上に思っていたからではないですか。あんな厳しいことを言われても、彼女の想いを真摯に受け止め、尊重しようと決意したからではないですか。
Ignoring a bunch of other easy dating games, why didn't we the terminal unit players give up playing for lots of bugs, and spent several years to watch Ion's story in Ra Ciela till its end? Wasn't it because we considered her not only as an imaginary existence? Wasn't it because we decided to listen to her sincerely and respect her thought even though she had blamed us severely?
Nelico:
You chose Lighthouse Keeper.
You chose Lighthouse Keeper.
余談ですがアルシエルにおいて、当初レーヴァテイルがどんな扱いを受けたかは想像に難くありません。いつまでも若く美しくて、人権はなく所有物扱いできるなんて、正に「二次元が来た」ようなものじゃないですか。そりゃみんな買うよね。（ソル・クラスタではそこを逆手にとった罠があったわけですが。）かつて私達の社会でも女性は教育も参政権も与えられず、男性に従属するしか生きる術がなかったことを思えば、現代のアルシエルでもレーヴァテイルに対する差別が存在する描写は、決して絵空事とは言えません。
Let me say in passing that it's not hard to imagine how Reyvateils were treated at first in Ar Ciel. They were young and beautiful for their lives, and they weren't supposed to have human rights. They were considered as property. I think it was really as if "virtual girls came to life"; it's no wonder everybody bought them. (In Sol Crusta, there was a trap taking advantage of the trend, though.) As well, until less than 100 years ago in our society, women didn't have education and right to vote; the only way to live used to be subordinate to men. The expression in the game that discrimination against Reyvateils still exists in today's Ar Ciel is not just a fantasy.
巷でよく聞くゾーニングの問題も、むしろ二次元キャラを尊重するなら当然守られるべきTPOなのです。（もちろん土屋作品も公共の場に使用される機会がもしあるなら、いろいろ配慮する必要があるでしょう。）本当はすごくシンプルなことのはずなのに、それを「表現の自由」（という勘違い）によって理解しない人達が最近よく目につくという印象です。そんな認識がはびこってしまったら、権力によって表現規制が行われる日も遠くありません。（と心配している方々もよく見ます。私も全く同感です。）
Also, zoning (we often see issues about this) should be a righteous rule we rather have to follow if we respect virtual characters. (Of course, if characters of Director Tsuchiya's works are used in public places, there should be enough consideration on how to handle them.) As a matter of fact, it's that simple...but I recently often see a group of Japanese people who misunderstand "freedom of expression" and cannot understand the common sense. If such recognition becomes a majority, sooner or later the government would regulate every expression. (I also see many other people are seriously worried about that. I absolutely agree with them.)
Let me say in passing that it's not hard to imagine how Reyvateils were treated at first in Ar Ciel. They were young and beautiful for their lives, and they weren't supposed to have human rights. They were considered as property. I think it was really as if "virtual girls came to life"; it's no wonder everybody bought them. (In Sol Crusta, there was a trap taking advantage of the trend, though.) As well, until less than 100 years ago in our society, women didn't have education and right to vote; the only way to live used to be subordinate to men. The expression in the game that discrimination against Reyvateils still exists in today's Ar Ciel is not just a fantasy.
巷でよく聞くゾーニングの問題も、むしろ二次元キャラを尊重するなら当然守られるべきTPOなのです。（もちろん土屋作品も公共の場に使用される機会がもしあるなら、いろいろ配慮する必要があるでしょう。）本当はすごくシンプルなことのはずなのに、それを「表現の自由」（という勘違い）によって理解しない人達が最近よく目につくという印象です。そんな認識がはびこってしまったら、権力によって表現規制が行われる日も遠くありません。（と心配している方々もよく見ます。私も全く同感です。）
Also, zoning (we often see issues about this) should be a righteous rule we rather have to follow if we respect virtual characters. (Of course, if characters of Director Tsuchiya's works are used in public places, there should be enough consideration on how to handle them.) As a matter of fact, it's that simple...but I recently often see a group of Japanese people who misunderstand "freedom of expression" and cannot understand the common sense. If such recognition becomes a majority, sooner or later the government would regulate every expression. (I also see many other people are seriously worried about that. I absolutely agree with them.)
※この記事を書いている途中にも新たな案件が。ワンダーフェスティバルで全員購入を義務付けられている（子供や女性も含む）パンフレットの表紙が急にエロ絵になったという話。（しかも中身にも18禁なエロフェチトークを掲載。）これには男性の参加者や関係者からも批判が出ていました。ずっとイラストを担当されていた故・水玉蛍之丞さんの業績をも軽んじた主催者の愚かな所業と言わざるを得ません。
*Another new issue came up while I was writing this post. At Wonder Festival (Japanese popular event of models and dolls sponsored by a big model company Kaiyodo), the cover artwork of official brochure which every visitor (including kids and women) was required to buy suddenly changed to straightforward erotic picture. (Moreover, there was an adult erotic fetish column inside.) For this issue, male visitors and people involved in the event were also criticizing. I insist that this sponsor's stupid decision even disregards former significant work of Keinojo Mizutama, who had drawn illustrations for the brochure for many years and had passed away in 2014.
それこそ表現の自由を守るために、こういった現状を改善するにはどうすればいいのかが大きな課題ですが、考えても一筋縄ではいきませんね。私なりの意見は、最後に書く予定の「後書き」に記したいと思います。
To protect "the real" freedom of expression, how to improve such current condition in the society is a big problem, but the solution is not going to be a piece of cake. I will write my opinion about that in the postscript which I plan to write at the end of this blog.
なんだかんだ言いましたが、土屋さんにはこれからも考えさせられる独自の作品を作っていただきたいです。二次元と人権との関わりについて、私は20年近く前から個人的に考えていましたが、本当にサージュコンチェルトに出会ったことで、改めて深く考えさせられました。
私がこのブログで証明していますように、創作は現実に影響を与えます。良い面でも悪い面でも。その両方をしっかり捉えることが、オタクとして必要なことではないでしょうか。私は悪い面に目をつぶることなく、良い面をこれからも世界に向けて伝える努力をしていきたいと思います。（超微力ですが！）
So far, I have talked this and that, but anyway I hope Director Tsuchiya to keep developing unique video games which make me think. I have concerned about relation between virtual contents and human rights since almost 20 years ago, however Surge Concerto series really led me think deeply about the issue anew.
As I proof in this blog, fictions do affect reality in both good and bad ways. I think otaku must know both sides correctly. I'm willing to keep making efforts to convey the good side of Japanese works to the world without closing my eyes for the bad side. (Even though my influence is so little!)
To protect "the real" freedom of expression, how to improve such current condition in the society is a big problem, but the solution is not going to be a piece of cake. I will write my opinion about that in the postscript which I plan to write at the end of this blog.
なんだかんだ言いましたが、土屋さんにはこれからも考えさせられる独自の作品を作っていただきたいです。二次元と人権との関わりについて、私は20年近く前から個人的に考えていましたが、本当にサージュコンチェルトに出会ったことで、改めて深く考えさせられました。
私がこのブログで証明していますように、創作は現実に影響を与えます。良い面でも悪い面でも。その両方をしっかり捉えることが、オタクとして必要なことではないでしょうか。私は悪い面に目をつぶることなく、良い面をこれからも世界に向けて伝える努力をしていきたいと思います。（超微力ですが！）
So far, I have talked this and that, but anyway I hope Director Tsuchiya to keep developing unique video games which make me think. I have concerned about relation between virtual contents and human rights since almost 20 years ago, however Surge Concerto series really led me think deeply about the issue anew.
As I proof in this blog, fictions do affect reality in both good and bad ways. I think otaku must know both sides correctly. I'm willing to keep making efforts to convey the good side of Japanese works to the world without closing my eyes for the bad side. (Even though my influence is so little!)
