BACKGROUND
Tsuneno’s adventure begins in 19th century Japan where she explores the world unconventionally while going through hardships that include relationships, money and trying to achieve her goal of reaching Edo, which is a destination she had longed to visit. Over the duration of two weeks, she encountered treacherous mountain treks and situations that were difficult for her to dispute; she held a positive mindset and claimed that it was worth the journey. Tsuneno was someone that was crafty and always dealt with harsh circumstances the best way that she could during a time where “most ordinary women spent their lives working and breeding and, […] died at an early age, without having given any more thought to material independence or cultural enjoyments than to the possibility of visiting the moon” (Nenzi, p. 73).
Tsuneno’s story is one of uncertainty and brings readers through a plethora of emotions. Amy Stanley writes Tsuneno’s expedition in great detail, bringing the readers into her world and enabling them to picture the route and scenic sites that she discovers. This game will include the famous places that Tsuneno comes across and the experiences that she encounters.
INSTRUCTIONS
The player will roll the dice and move forward the number shown on the dice. After rolling the dice, if the player stops at a blank space, no actions are needed, and the next player will go. If the player stops on a block with a picture, they must roll the dice again. If they roll a “4”, there is a consequence according to the image, and they must move back a spot. If they roll an “8,” they are rewarded and may move forward one spot. If they roll the dice and it is not any of those two numbers, the player stays in that spot.
dice link: https://www.teacherled.com/iresources/tools/dice/ (use two dice)
CONSEQUENCES
The first picture on the board represents the time Tsuneno arrives at Iimuro village, where she had to sell belongings from her trousseau to prepare for her journey, but “the value of clothing was unstable and difficult to measure” (Stanley, p. 176). If the player rolls an “8”, that means that the man showed interest in her items, and the player may move up a spot. If they roll a “4,” the man did not feel there was any value in what she was offering, and they must move back a spot.
The second image is when she sets off on foot to Takada, and the consequences vary depending on the number rolled. A “4” would mean that her brother sees her in Takada, and her journey is now delayed. An “8” means she successfully uses her trip as an excuse to start her journey to Edo.
The following picture is of the Shimogomachi bridge where she meets Chikan, who wants to go to Edo as well. If the player rolls and gets a “4,” that means that Tsuneno is unsure about continuing on the journey with Chikan and has to think about it for a few days, therefore, having to move back a spot, delaying the trip. If the player rolls an “8,” that means Tsuneno is excited to have a travel companion and does not need to spend money on an escort.
The image after the bridge is of Akakura, where Tsuneno stays a few nights to prepare for her journey. A “4” consequences in the player needing to rest for a bit and staying a few nights, delaying the journey further and therefore having to move back a spot. A reward would be that Tsuneno was brave enough to admit to her family that she is going to Edo, and because of her courage, she was able to move forward.
The next stop is at the Sekikawa Barrier, a checkpoint along the road where samurais check travel passes. Rolling a “4” means Tsuneno gets refused because she does not have the necessary documents. An “8” leads to her leaving the highway to avoid the checkpoint, thus being able to continue the journey but needing to hire a guide for a few dozen copper coins.
The stop after the Sekikawa barrier is the Hackberry tree, a “tie-cutting” tree with shrines beside it. A “4” would mean that she remembers the family that she has cut ties with and feels a bit emotional. Thus, the player must move back because Tsuneno ponders whether the sacrifices she had to make this far were worth it. If the player rolls an “8,” she reminisces and thinks about her family but sees it as motivation to continue her journey to finally archive happiness.
The last stop is Edo. Whoever reaches here first is the winner of the entire game!
SOURCES
Nenzi, Laura. Excursions in Identity: Travel and the Intersection of Place, Gender, and Status in Edo Japan. University of Hawai’i Press, 2008. muse.jhu.edu/book/8261.
Stanley, Amy. “Fashioning the Family: A Temple, a Daughter, and a Wardrobe.” Essay. In What Is a Family?: Answers from Early Modern Japan, edited by Mary Elizabeth Berry and Marcia Yonemoto, 174–94. University of California Press, 2019. http://www.jstor.org/stable/j.ctvr7fdd1.1.
———. Stranger in the Shogun’s City: A Japanese Woman and Her World. London: Scribner, 2020. https://ebookcentral.proquest.com/lib/ubc/detail.action?docID=6235968.
I loved that the game was based off of Tsuneno’s adventures!
The board was a bit boring. I just wish that there had been more images and labels on the board.
The instructions were relatively clear. However, they didn’t make the game that exciting. Especially, as it wasn’t clear what the consequences were for those that landed on the image without rolling a ‘four’ or an ‘eight’.
All in all, the game was quick and easy.
Overall the game is enjoyable and meaningful. The game has adopted Amy Stanley’s book Stranger in the Shogun’s City: A Japanese Woman and Her World. Tsuneno is a brave female who dares to challenge the traditional patriarchal society, which embarked on an adventurous path. Tsuneno gives up remarriage, determined to leave home to Edo to start a new life. Many things happened during her journey to Edo, such as ambiguous relationships and money. It was a big adventure like a life change decision to Tsuneno. Therefore, I feel like Canan chooses a fascinating theme as the background story of the map game.
During the semester, we have all read this book deeply. Personally, I was deeply moved by Tsuneno’s story, and I admire her courage.
Her awakening of female consciousness is very advanced, and she decided to get rid of the family-dominated marriage life, determined to be independent. Thus it was exciting for me to experience her adventure. According to Amy Stanley’s detailed description of Tsuneno’s journey, Canan drew a complete map with various famous scenic spots.
I tried the game with my friends, and we all thought it was exciting. We roll dice and move forward to the number shown on the dice. After the first time dice roll, I stayed in the blank space, and my friend stayed in the first picture. In the first picture, Tsuneno arrives at Iimuro village, and she has to sell her belongings to prepare for her trip; thus, my friend had to throw dice again. The game instruction says that only when the player rolls an eight, which means the buyer shows interest in her items, and the player may move forward a spot, and if the player rolls a four, which means the buyer does not want to pay for what she was offering, and the player has to move back a spot. My friend is stuck in this picture and can’t move because it’s challenging to throw eight or four, so she tried many times. There is a little confusion of the game, which is the instruction doesn’t describe specifically that whether another player is waiting in or can continue to move forward when one player gets stuck. Therefore, I feel like there needs a more detailed introduction to the game so that players can follow the game’s guide. However, as someone not trapped, I assume I can continue to move forward.
One of my favorite stops is the Sekikawa Barrier; in this stop, the player rolls a four, which means that Tsuneno feels a bit emotional and even regrets cutting ties with her family. Thus, the player must move back, but if the player rolls an eight, Tsuneno will rethink her family and sees it as motivation to continue her journey to archive happiness finally. Out of my feelings for Tsuneno, I really wish that I can roll an eight, then she can resume a hopeful and motivated life in Edo. Fortunately, I really threw out an eight. I feel like it’s a game that needs the luck to win, and thanks for Canan bringing me a great game experience.
Hi Tianqi,
Thank you for your feedback! Sorry there was a little confusion about passing a “stuck” person. You did it exactly right, though; you’re free to pass someone who’s waiting on an image block 🙂
First things first, the consequences part of the game profoundly resonated with my current situation. I intend to do some traveling, but the COVID-19 situation will make it hard for my family to accept my decision and give me their blessing and support. Anyway, because I have everything I need, I feel like Tsuneno’s (and the player) who must depend on chance from the time she decided to travel to Edo. In short, the game’s context resonated with me deeply, and I am crossing my finger that in real life, I will get that 8 to move forward with little interferences or regrets.
Second, as much as I loved the context, I found the game to be a little boring because there is no real inspiration. Yes, the board and the instructions are clear, and it looks interesting (because of the context). However, the instructions are a little unclear. For example, the player is asked to use two dices. Which ones? More so, relying on only two dice totals for decision-making brings about boredom. For example, my friend and I rolled the dice using the link provided, but dice I and 2 never gave an eight. Every time my friend and I rolled, we got either a four or other numbers. It was frustrating. It was also confusing because the player cannot move back (when they get a 4) if they have not started the game.
Third, for such an interesting traveler, I believe this game can be improved in a few ways. Games should be challenging and rewarding for the players to stay motivated. Therefore, it could have been better if there were two more dice numbers with consequences. If four means the player goes back a step and eight means the player moves forward, maybe a five could indicate a shield that moves the player past the white boxes and onto the picture boxes. Another number could also indicate some gifts that players can trade with when they get a four. That way, many players are moving forward rather than being stuck, and there is hope that no matter how many times one rolls a four and moves back, the game will work in their favor when they roll any of three lucky numbers. I believe this is what adaptations or historical dramas do to keep the audience entertained. A few changes here and there would not hurt the experience.