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Jizo No Akumu: A psychological horror game exploration of generational trauma and mixed-race identity

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Jizo No Akumu: A psychological horror game exploration of generational trauma and mixed-race identity

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Content Jizo No Akumu:
A psychological horror game exploration of generational trauma and mixed-race identity
by
Anike Ashaka
A Dissertation Presented to the
FACULTY OF THE USC SCHOOL OF CINEMATIC ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTERS OF FINE ARTS
(INTERACTIVE MEDIA)
May 2024
Copyright 2024 Anike Ashaka

ii
Table of Contents
List of Figures..........................................................................................................................................iv
Abstract.....................................................................................................................................................v
Introduction...............................................................................................................................................1
About, Mechanics, and Goals................................................................................................................1
About.................................................................................................................................................1
Technology........................................................................................................................................2
Mechanics..........................................................................................................................................2
Astral Projection ............................................................................................................................2
Astral Vision..................................................................................................................................3
Experience Goals...............................................................................................................................3
Design Goals .....................................................................................................................................4
Generational Trauma .........................................................................................................................4
Interracial Discrimination ..................................................................................................................4
Isolation.............................................................................................................................................5
Thesis Question .................................................................................................................................5
Chapter One: The Game ............................................................................................................................7
Narrative................................................................................................................................................7
Themes..............................................................................................................................................7
Environmental Storytelling..................................................................................................................10
Chapter Two: Cultural Context and Research ..........................................................................................11
Japanese Culture Research...................................................................................................................11
Interview..........................................................................................................................................11
Consulting on Religion and Practices...............................................................................................11
Player Research ...............................................................................................................................12
Sound and Music .................................................................................................................................12
Lighting and Tone ...............................................................................................................................13
Baku Demon & Dreams.......................................................................................................................14
Chapter Three: Prior Art..........................................................................................................................15
Gyaru...................................................................................................................................................15

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Religion...............................................................................................................................................15
Shinto and Buddhism.......................................................................................................................15
Chapter Four: Architecture ......................................................................................................................16
Shinden Zukuri....................................................................................................................................16
Chapter Five: Art.....................................................................................................................................17
Traditional Art Pieces..........................................................................................................................17
Making the Baku Demon in Ink Paintbrush Style ................................................................................17
Using Semi-Realism for the Rest of the Models...................................................................................18
Chapter Six: Referencing different Horror Games...................................................................................19
Little Nightmares.................................................................................................................................19
Bendy and the Ink Machine .................................................................................................................19
Silent Hill: Shattered Memories...........................................................................................................19
Alien Isolation .....................................................................................................................................20
Chapter Seven: Process............................................................................................................................21
Chapter Eight: Conclusion.......................................................................................................................22
References...............................................................................................................................................24

iv
List of Figures
Figure 1Main Game Opening Cutscene .....................................................................................................1
Figure 2 Door Puzzle.................................................................................................................................2
Figure 3 Astral Vision showing the protective charm. ...............................................................................3
Figure 4 Jizo model design ........................................................................................................................4
Figure 5 Outdoor level...............................................................................................................................5
Figure 6 Funeral Cutscene .........................................................................................................................7
Figure 7Jizo Rom ......................................................................................................................................9
Figure 8 Jizo discovering answer to door puzzle through astral projection...............................................10
Figure 9 Baku Demon..............................................................................................................................14
Figure 10 Gyaru fashion magazine cover.................................................................................................15
Figure 11 Shinden Zukuri........................................................................................................................16
Figure 12 Door puzzle answer concepts...................................................................................................17
Figure 13 Example of ink brush artstyle ..................................................................................................17
Figure 14 Raya and the Last Dragon........................................................................................................18
Figure 15 Little Nighmares......................................................................................................................19
Figure 16 Bendy and the Ink Machine .....................................................................................................19

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Abstract
Jizo no Akumu is a 3D psychological horror game about discovering the Jizo family's dark
secrets and what is haunting her family by using your astral projection abilities to navigate
throughout Manor. The game aims to explore the horrors of how trauma can manifest in the form
of a monster to torment someone who did not witness the sins that her family committed, yet she
also has to suffer from the pains that the family has caused. It also highlights to often-forgotten
demographic of interracial children in Japan and how Jizo gets treated due to being half Japanese
and half black. It offers to spread awareness of people who are mixed race who are often
forgotten in the media.

1
Introduction
About, Mechanics, and Goals
About
Jizo no Akumu is a 3D psychological horror game
about discovering the Jizo family's dark secrets and
what is hunting her family by using your astral
projection abilities to navigate throughout Manor.
Discover the way to seal away the Baku Demon once
and for all.
Baku's shift from guardian to torturer reflects the
characters' spiral into darkness, drawing a terrifying comparison between their trauma and the
outside threat. The story takes on a psychological horror element as a result of Baku's impending
arrival, forcing Jizo to face both their innermost fears and physical ones.
The game creates an internal struggle for the player and protagonist to decide how they want to
handle the trauma but the decision they make towards the end of the game will then determine
what kind of future Jizo will have. The game will showcase not only the decisions that the player
makes towards the end, but the game will foreshadow the consequences of not letting go of the
endless trauma that has haunted the family through different generations. Throughout the
dialogue and notes in the g players learn more of the dark secrets the Mirai family holds and are
made aware how Jizo is treated due to her being mixed race. My argument is that generational
Figure 1Main Game Opening Cutscene

2
trauma and interracial discrimination are often intertwined and can lead to lasting effects on a
family for generations. Uncovering the secrets of Jizo’s family and learning how to heal from
trauma by confronting the fear head-on.
Technology
Jizo no Akumu is a PC game intended to be demo. It is being developed on Unity.
Here are the tools that will be used:
Mechanics
Astral Projection
When Jizo transforms into her astral projection form, it acts as
a means of getting around and discovering other parts of the
mansion that are hidden away in the dream world. This gives
the player access to puzzle solutions that open secret
passageways, notes, or messages that are necessary to advance
the game. Nevertheless, players cannot interact with realworld objects in Astral Projection. When Jizo enters the
greenhouse, for instance, he encounters a door puzzle that locks a secret chamber. To open the
closed door, the player must astral project to the hidden chamber and solve the problems inside.
Figure 2 Door Puzzle

3
After solving the puzzle, the player can progress and find out more information about the world
around them.
Astral Vision
It gives Jizo the ability to perceive hidden messages that lead
her to puzzle solutions, undiscovered lore, and the location of
her protective charms, which she uses to defend herself. This
makes it possible for the player to locate objects like
protective charms that shield them from the Baku demon's
blows. The player can utilize their astral vision to locate
additional hidden protective charms or things if their current
protective charm has run out. The astral vision mechanic
allows players to strategically use protective charms to
survive encounters with the Baku demon. This feature also encourages exploration and the
finding of hidden mysteries, which gives the game environment more depth.
Experience Goals
Players will navigate through the dream world and real world, encountering isolation and fear at
every turn. As they unravel the dark secrets of the family, they will experience sadness, conflict,
and determination driven by this motivation to unravel the family's buried secrets within the
manor. However, through the journey, the player will find confidence and peace in how they can
defeat the Baku Demon by sealing it away and freeing the family.
Figure 3 Astral Vision showing the protective charm.

4
Design Goals
I noticed that there is a lack of media that portrays the
main protagonist as a mixed-race individual, often
forgotten in today’s media. Often, interracial children go
through an identity crisis, which leads to things like
anxiety. The project’s goal is to explore generational
trauma and identity through psychological horror. I hope
the game brings awareness to how trauma can affect
someone through the game’s manifestation of a monster.
Generational Trauma
Exploring the family’s actions and how generations have manifested into its monster by using the Baku
demon as a form of representing trauma for the family. Jizo no Akumu is a game that shows how
generational trauma can affect a family in the form of a monster created by their family's wrongdoing.
The purpose of this is to bring awareness to the fact that trauma can affect people in different ways and
forms. The game aims to explore the horrors of how trauma can manifest in the form of a monster to
torment someone who did not witness the sins that her family committed, yet she also has to suffer from
the pains that the family has caused.
Interracial Discrimination
Jizo no Akumu brings to light the often-forgotten demographic of interracial children in Japan
and how Jizo gets treated due to being half Japanese and half black. ‘The game also offers to
spread awareness of interracial discrimination since the protagonist is half Japanese and black. It
Figure 4 Jizo model design

5
aims to shed awareness of how the family treats her but also raise awareness of people of mixed
race who are often forgotten in the media. The game sheds light on how she is treated in the
family based on the comments and interactions she has throughout the game. An example of this
would be in the beginning of the game some of her relatives refer her “Hāfu” meaning that she is
not full Japanese. Even referring to Jizo in a demeaning tone.
Isolation
The atmosphere of the game investigates how an individual would
respond to being abandoned while still having to face challenges.
The psychological atmosphere of the game employs the
environment to illustrate how isolation may impact a person when
they are left alone and must overcome it to survive. Example in
Figure 5 you can see that isolated is dark and empty place and Jizo
does not know where the monster is lurking in the shadows. The
game depends on an environmental narrative to let the player
explore.
Thesis Question
The thesis question for this project is:
How can I create a unique atmospheric psychological game experience using astral projection and
Baku demons to induce a terrifying experience for players? I compared the game to other IP
games such as Bendy and the Ink Machine, Silent Hill: Shattered Memories, and Alien
Isolation in creating game experiences.
Figure 5 Outdoor level

6
By using ideas from Bendy and the Ink Machine to encourage the player to explore the
area, looking for hidden messages, the player uncovers more information about the world
around them. Borrowing elements from Silent Hill: Shattered Memories by going in
between worlds and not being able to fight the demon directly. Relying on stealth-like
Alien Isolation to evade the monster to create a game experience. Using the environment
to tell the story by creating tension, curiosity, and how the player uncovers the family
trauma.
.

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Chapter One: The Game
Narrative
Jizo starts the game by attending her grandmother’s
funeral, which introduces the player to the world and
her family members. After she finishes talking, a
white fog turns her family members into stone, and
Jizo must run away before the Baku Demon gets to
her. The player will navigate different areas of the
manor using her astral projection abilities to help uncover her family secret and escape this
nightmare.
In the end, Jizo must make two hard decisions that will forever change her fate.
She either must relinquish her powers, which forever get rid of Baku, realize her family is under
the curse of the Baku demon, or forever seal the Baku demon away.
She can accept her powers and seal the Baku demon, of which Jizo will end up being the family
head.
Themes
Jizo no Akumu uses generational trauma to explain or at least show how generational trauma can
affect a whole family physically. Generational Trauma is something that can be passed down
from generation to generation. The game allows the player to explore and become a witness to
the trauma being brought to light. This is showcased through the dialogue interactions, with Jizo
showing she is anxious and handling stress by having to calm down. Being anxious doesn't
Figure 6 Funeral Cutscene

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necessarily mean generational trauma; however, by slowly uncovering the secrets throughout the
game, the player uncovers the truth behind this trauma.
Just like Jizo is inherent in her powers, she is also inherent in her family's powers. In the book
The Inheritors: Moving Forward from Generational Trauma, it is explained that "descended" members of
a community that has suffered victimization and marginalization based on race, ethnicity, gender, sexual
orientation, religious prejudices, dogma, practices, or government's policies". (Baack 3) Jizo is often
discriminated against based on being mixed race and based on family tradition since her family follows
traditional practices and often refuses to end the cycle of generational trauma.
The game showcases a Half Japanese and Half Black teenage girl, where often mixed races are
forgotten, and explores interracial discrimination by showcasing how the family treats Jizo
because she is mixed race. Often just by tolerating her existence, perhaps even seeing her as a
stain on the family. Another way she is looked down upon is that, based on interactions at the
beginning of the opening of the game, some of her relatives just don’t like her. Which then adds
to her anxiety and a strained relationship with her family members. This is one of the reasons for
Jizo's rebellious attitude towards her family members, since not all her family members welcome
her. This is something that mixed-race children often must deal with, and they are often having
identity crises of either not knowing enough about their culture or just feeling she is not Japanese
enough for their family.
The book Hybrid Identities and Adolescent Girls: Being “Half” in Japan explains further how it
explores the experiences of mixed-race Japanese girls in Japan, challenging the homogenous,
single-race society and highlighting their struggles in shaping their identities. The text further
explains how the girls struggled since they were seen as outsiders due to their mixed-race
heritage, they came to terms with having double identities. The struggles that mixed-race

9
individuals face is something that is often overlooked, and Jizo is one of the characters who face
those same challenges and how she identifies herself based on the discrimination she has
received.
It is important to show representation in any form of media and understand the everyday struggle
people who are mixed race go through their entire life. The question is how I properly represent
mixed race demographic? Though representation has increased for mixed race through media
often it does not highlight the struggles nor in depth
interactions they may face having an interracial family.
The game places Jizo in an isolated Japanese manor,
where she must fend for herself using her newly
acquired skills to study the psychological aspects of
isolation and how it might affect both the user and Jizo.
The game investigates the psychological ramifications
of how the human brain responds to isolation and how our imaginations play with them using
music and ambient elements. Through her abilities, Jizo can astral project her consciousness
forth, searching for a way out of the nightmare she finds herself in.
Furthermore, it can be explained by saying, “This insight suggests that our fear of visual
obscurity does not just come from what we perceive may lurk within the unseen, but also that
people have been conditioned from childhood to relate it to isolation and loneliness." (King 6). In
summary, since Jizo is in an isolated environment, it is normal to be afraid of the unknown and
cautious of potential threats. The goal is to escape from the monster and survive. 25
Figure 7Jizo Rom

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Environmental Storytelling
The game utilizes environmental storytelling through sound, dialogue, and hidden objects,
encouraging players to explore while learning about the world around them. By letting the
environment tell what is currently happening to both Jizo and the player, it encourages the player
to explore and find out what’s going on while also dropping hints on where they should go next
with their journey.
A simplified version of explaining the
environment in Jizo no Akumu is
“Environmental storytelling offers cues for
players to understand in its different ways,
and the players are reliant on creating the
connections needed to reveal the story told
by the game environment." (Guo 11), in which leaving objects or explaining without saying
anything allows the player to learn more about the world, the Mirai family, and the story.
Figure 8 Jizo discovering answer to door puzzle through astral
projection.

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Chapter Two: Cultural Context and Research
Japanese Culture Research
Interview
The interviewee Yasna identifies as Caribbean and Japanese, with a strong emphasis on
education, music, and food in both cultures. They feel privileged to tap into multiple cultures and
define themselves, but they have faced challenges of ignorance and feeling like outsiders in both
the Caribbean and Japanese communities. They prioritize empathy, compassion, and
understanding in both cultures and have learned to assert their identity confidently.
Yasna discusses how their Caribbean and Japanese cultures influence their values, beliefs, and
behaviors, emphasizing communal focus, hospitality, and supporting underrepresented
backgrounds. They also touch on the importance of accurate representation of mixed-race
individuals in media, particularly in video games, to authentically showcase their experiences
and challenges.
Based on my interview with Yasna it is important that if we are to showcase mixed race
experience in different media that we need to properly research and constantly be consulting
those who are mixed race to not overlook or assume an experience they had or currently going
through in order to properly represent them in media.
Consulting on Religion and Practices
Throughout this project, I consulted the Dean of East Asian Studies, Akira Mizuta Lippit. I
consulted the cultural context and got verification to not overstep boundaries while exploring
various media about religion and Japanese culture. To properly incorporate in the game, such as

12
using some aspects of Buddhism and learning how to tell the main character's story, her trauma,
and being able to dive deeper into how it is to be a mixed-race child.
One of the books recommended to me was The Face of Jizo, which explores the role of the
bodhisattva Jizo in medieval Japanese Buddhism, providing insights into visual representation
and religious life. The book was able to give more historical context on Jizo's name, and
religion-wise she is seen as a guardian for children. While in the game, she is seen as someone
who has the choice to break the endless cycle of trauma.
Player Research
A significant design obstacle encountered by the Jizo no Akumu team was ensuring that a horror
game appropriately portrayed a game for people of mixed races. To provide players of this
psychological horror game with a realistic experience, we carry out ongoing research, interviews,
and consultations. Players were able to comprehend the protagonist, the objective of the game,
and the significance of having a mixed-race character through many playtesting sessions. A
deeper comprehension of the significance of having an interracial character in the game was
evident from the feedback provided by a few of the play testers. Overall, they adore Jizo and the
themes she seeks to convey in this horror game, which is a welcome departure from the typical
stereotypes often seen in the horror genre. The diverse representation adds depth and realism to
the gameplay, enhancing the overall experience for players.
Sound and Music
Comprehending the utilization of sound and music to effectively communicate the desired
feeling or mood to the gamer. Horror games use music to create tension by gradually increasing
the player's level of dread as they progress through the game. To effectively create tension and

13
manage the kind of emotion you want your audience to experience at that particular time, scoring
is essential.
By properly scoring the music and SFX, the player can experience a sense of tension or danger
from the tone or sound that the music makes in the game. For example, if the player hears the
monster making a sound nearby, they know they are in danger and are supposed to run away
from it. Sound can often set a certain mood for the player and the feeling we want the player to
experience.
Lighting and Tone
Using lighting, graphics, and color schemes to create a scary gaming mood. One psychological
method of learning how the placement of objects will create the mood you wish to depict in the
media is to learn how to employ light sources and set the tone. Horror games rely heavily on
using shadows to their best advantage to create the tense feeling of something lurking in the
dark. With dim lighting and the correct color tone, horror games can make a player go from
feeling calm to building anxiety based on something as simple as a light going out and the music
tempo kicking up.
The book Praise of Shadows explains the challenges of incorporating modern necessities into
traditional Japanese architecture, highlighting the importance of shadows and darkness in
creating a sense of beauty and tranquility. The book itself explains how shadows are used in
Japanese media, such as Shadows are, “the play of light and darkness creating a sense of depth and
mystery. This highlights the unique aesthetic principles that inform traditional Japanese design”
(Tanizaki). This can be seen as a way to create a creepy atmosphere for the media by utilizing shadows
for traditional Japanese architecture.

14
Baku Demon & Dreams
The Baku was a mythological creature that is known as a dream eater that would eat away bad
dreams since it was believed evil spirits cause
nightmares. It is a creature that can be summoned to
help eat away bad dreams in the game Jizo no Akumu. I
wanted to take something that was traditionally seen as
a good thing and add what if I can make it symbolize the
trauma that the family has gone through for many
generations. The Baku in the game is hinted to be once
the family guardian but over a long period the Baku
slowly got corrupted and became the monster that the family tried to keep buried. The Baku is
meant to showcase how trauma can affect a generation both physically and mentally.
Figure 9 Baku Demon

15
Chapter Three: Prior Art
Gyaru
Jizo is modeled after a Japanese subculture in Japan that first arose
during the 1970s but gained popularity during the 1980s and had its
height of popularity from the 1990s through the 2000s. Jozo's
personality and style were inspired by Gyaru's looks and how her
outfit was designed. Gyaru is often used to rebel outside of society's
norms. Jizo Kimono has a bold symbol of a spider lily, has short
hair, and wears a platform tabi in four ways that show her Gyaruinspired look. Her look is meant to show that her family is stuck in
traditional ways, while Jizo represents modernism and younger generations.
Religion
Shinto and Buddhism
Throughout the game, it uses environmental storytelling to show that the family practices
Buddhism and Shinto through the Baku originally being their family garden and how the family
has dream walking abilities, which can be seen as a form of enlightenment. However, only
family leaders can astral project outside of their bodies, which the family has used to prosper
through generations of walking into others' dreams and dispelling bad dreams using Baku
demons. The paper talisman, which is called Kamakura, can be used differently depending on the
situation. In the game, the paper talisman is used to seal away the demon for good.
Figure 10 Gyaru fashion magazine
cover.

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Chapter Four: Architecture
Shinden Zukuri
The different types of traditional Japanese homes serve
different purposes, and while researching which one fits the
best, the design team had to ensure that the way the house is
laid out made sense for anyone playing the game. The house
layout was big enough for the player to navigate and ensure
enough gameplay and pacing.
In terms of researching different traditional Japanese-type manors that would fit, the one that was
settled on was Shinden Zukuri due to its large and complex design, perfect for a horror game.
Shinden Zukuri is a style of Japanese architecture that originated in the Heian period (794–
1185). It is characterized by the use of a specific layout for the main hall of a shrine or temple,
with a central core surrounded by a series of concentric corridors. In terms of level design, this
was a perfect layout due to being able to place things in certain areas and allowing the player to
explore.
Figure 11 Shinden Zukuri

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Chapter Five: Art
Traditional Art Pieces
Since the house is a traditional Japanese household, my team and I decided that since the manor
uses traditional Japanese architecture, it should also use
traditional Japanese art pieces to do environmental
storytelling in the game. It doesn’t outright give you the
answer, but as the player, if you’re following along in the
dialogue, you're able to figure out that the art gives the
player a visual story or clues to a bigger puzzle. One
example of an art piece is a Byobu, a decorative folding
screen used as room dividers or as a backdrop for tea ceremonies.
With Jizo no Akumu, since the game is a traditional Japanese art piece, I wanted to ensure that it
added to both the world-building and Jizo story.
Making the Baku Demon in Ink Paintbrush Style
During the process of developing Baku Demon, I wanted to bring a unique art style perspective
that used Japanese traditional art styles in a modern way.
The two art styles that my art time and I both narrowed
down to were calligraphy ink and watercolor. However, in
the end, it was decided to use the calligraphy ink style for
the monster since the striking color would be better
captured. Through extensive research, I found that the Ukiyo
Figure 12 Door puzzle answer concepts.
Figure 13 Example of ink brush art style.

18
type would capture the scariness of the monster while giving the illusion that the monster came
from painting.
Using Semi-Realism for the Rest of the Models
The art style chosen for the game was semi-realism because I wanted the game to still have a
cartoonish look but still showcase signs of realism. To decide what
the models would look like, prior art such as “Raya and the Last
Dragon” is a movie that I got heavy inspiration from in terms of how
I wanted the character models to look in the game. Raya and the Last
Dragon is a movie that is based on Southeast Asian culture, which I
found interesting. I wanted the player to be able to tell they were
playing a video game while also recognizing the nationality of Jizo
and her family members.
Figure 14 Raya and the Last
Dragon

19
Chapter Six: Referencing different Horror Games
Little Nightmares
I enjoyed every minute of the game, Little Nightmares. The player
must explore the environment, solve various riddles, and act quickly
to escape the monsters that lurk in the maw to progress through the
exploration portion of Little Nightmares. I got a lot of inspiration
from enemies in the game, and it also showed me how I wanted to
approach enemies in terms of stealth and avoiding enemies. I wanted
to use Little Nightmares' ambient storytelling in my game so that the
player would always be scanning their surroundings for information. while simultaneously
making use of the game's stealth mechanic to avoid attacks.
Bendy and the Ink Machine
Hidden areas and puzzles are something that Bendy and
The Ink Machine use constantly in their game. To help find
hidden areas or messages, I will be using astral vision,
which will help the player see things that are not there but
in the dream world. It will act as a way for the player to be
able to navigate and find hidden places.
Silent Hill: Shattered Memories
Silent Hill-Shattered Memories offers the amazing psychological horror that I want out of my
game. Silent Hill explores the human psyche and challenges the player-preserver. Silent Hill is
well known for using sound to keep the player on their toes. Different sounds play a key factor in
Figure 15 Little Nightmares
Figure 16 Bendy and the Ink Machine

20
determining what the player will be facing and if they should be running to hide somewhere. I
wanted to create a game in which the player cannot fight back and is the one to face the
challenge of a monster going after you.
Alien Isolation
In the survival horror game Alien Isolation, players must stay hidden while an alien hunts them
down. I got ideas from this game about surviving by using stealth rather than going up against
the monster head-on. This provides a realistic method for surviving in a hostile world for the
player. Knowing when to hide or flee, and learning to pay attention to your surroundings ensures
that the player will live.

21
Chapter Seven: Process
During the development of the game, understanding wanting to develop a full game or demo for
the game was a process that was constantly evolving during the summer. Understanding other
skill sets and what they can contribute to produce the game Jizo no Akumu. Developing an
overarching narrative while having a cultural context for the game was very important when
developing the Jizo story that I wanted to convey to players. Understanding how I can tell her
story through a demo proved very challenging, but it gave me an understanding of what kind of
story I want to tell the players. Working with other volunteers was challenging, but I saw passion
through the different times I had while also facing some challenges. I am learning how to
manage a team to portray the themes I want in my thesis, which is creating a game about a
mixed-raced girl and her identity and trauma.

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Chapter Eight: Conclusion
To sum up, starting this thesis project has been a voyage of self-discovery and professional
development. As I think back on my experience, I've picked up priceless knowledge on narrative
development, game design, and the persuasiveness of video games.
Initially, my expectations for the project were centered around creating a unique atmospheric
psychological game experience that would immerse players in a world of terror and intrigue.
However, the final version of my project exceeded these expectations in many ways. Through
meticulous research and thoughtful design, I was able to weave together complex themes of
generational trauma, interracial discrimination, and isolation, creating a narrative that resonated
deeply with the players.
My experience taught me how crucial adaptation and flexibility are to the creative process. Even
though I started the project with a definite concept, as I dug more into the themes and mechanics,
I saw that the game developed naturally. By adopting this iterative process, I was able to include
insightful criticism from mentors, peers, and play testers, which helped me refine the game and
make it a more engaging and seamless experience.
Throughout this thesis paper, I've discussed the intricacies of "Jizo no Akumu," from its
innovative mechanics of astral projection and astral vision to its exploration of generational
trauma and mixed-race identity. By delving into the cultural context of Japanese society and
drawing on insights from interviews, I was able to create a narrative that felt authentic and
resonant.
I want to express my sincere gratitude to everyone who helped with this project, including my
peers, mentors, and advisors. The eventual result of the game was greatly influenced by their

23
advice, encouragement, and criticism. I appreciate all of their help and support during our
journey.
To sum up, "Jizo no Akumu" represents not only the culmination of my academic endeavors but
also a testament to the transformative power of storytelling in video games. As I move forward
in my career, I carry with me the lessons learned and experiences gained from this project,
confident in my ability to create meaningful and impactful interactive experiences for players
around the world.

24
References
Ashaka, Anike K, and Yasna Vismale. “The Day and Life of Being Mixed Race Japanese.” 28
Oct. 2023.
Baack, Gita Arian. The inheritors: Moving forward from generational trauma. She Writes Press,
2017.
Blackmore, Karen L., et al. “Using Startle Reflex to Compare Playing and Watching in a
Horror Game.” Proceedings of the Australasian Computer Science Week Multiconference /,
ACM, pp. 1–7, https://doi.org/10.1145/2843043.2843482.
Bown, Johnathan, and Jayne Gackenbach. “Video Games, Nightmares, and Emotional
Processing.” Emotions, Technology, and Digital Games /, Elsevier Inc./ Academic Press, pp. 3–
14, https://doi.org/10.1016/B978-0-12-801738-8.00001-4.
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Asset Metadata

Creator Ashaka, Anike K. (author)

Core Title Jizo No Akumu: A psychological horror game exploration of generational trauma and mixed-race identity

School School of Cinematic Arts

Degree Master of Fine Arts

Degree Program Interactive Media

Degree Conferral Date 2024-05

Publication Date 04/17/2024

Defense Date 04/15/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag generational trauma,horror,interracial discrimination,Japan,OAI-PMH Harvest

Format theses (aat)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Bilson, Danny (committee member), Huntley, Jim (committee member), Russworm, TreaAndrea (committee member)

Creator Email aka1819@gmail.com,ashaka@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC113878097

Unique identifier UC113878097

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Legacy Identifier etd-AshakaAnik-12813

Document Type Thesis

Format theses (aat)

Rights Ashaka, Anike K.

Internet Media Type application/pdf

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Source 20240417-usctheses-batch-1141 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.

Repository Name University of Southern California Digital Library

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