Tag Archives: children’s folklore

Game: Electric Shock

Nationality: Chinese
Age: 21
Occupation: student
Residence: around usc
Performance Date: 2/16/2023
Primary Language: Chinese
Language: English

L is a junior at University of Southern California studying Communications. He is an international student from China who is telling us about a game he played as a child from his hometown in China, Anhui Province in the city Hefei. His first language was Chinese, so throughout the interview, he would sometimes slip into Chinese and struggle placing the exact words in English.

Text:
L: “It’s just another version of hide and seek in the place where I live. Like every hide and seek game. The one whose finding the others is gonna have to stay in place and counts for 30 seconds but that specific place is, in this game, a big pillar. He places his hand on the big pillar and counts for 30 seconds before he goes off and finds the others. I think that’s it.”
Why is it called Electric Shock?
L: “When we find another one, we say “Electric Shock” and he can’t move. He could move before, like if he tried to dodge he can move but he can’t be seen. But if he is seen, then ‘Electric Shock’ and he can’t move. He’s frozen in place.”
How do you win the game, to just not get found?
L: “Yeah, and by finding them all. And there is a time limit. Like for ten minutes. Like, you can’t be looking forever. So, ten minutes. If you can’t find everyone, then yeah.”

Context:
“For some reason, we don’t call Hide and Seek Hide and Seek. We call it Electric Shock in Chinese, like that’s just a traditional version native to the place, it’s name is called Electric Shock…very childish, like before sixth grade. I really have no idea how we came up [with it]. It’s something that we come up with, like our community. Like, there’s like 20-30 kids who live around our community. We come to same place every two days to play them. We play it so often. I have no idea why, but I guess it was very fun.”
This was a game specific to the community of the informant, a game shared among all the children of that area in the city they grew up in. The informant specified that they played this frequently during their early childhood, but stopped before sixth grade. They used it as a way to have fun with other children, and viewed as something childish: enjoyable as a kid to play, but socially unfitting for an adult.

Interpretation:
In every culture and nation, there seems to be a childhood game or two with which any child can play. There are commonalities between Electric Shock and American hide and seek and freeze tag. But to call Electric Shock a fusion of hide and seek and freeze tag would be ignorant of the Chinese community that created the environment that fostered this specific game. The time limit, the hand on the pillar, even the title, Electric Shock; these distinct variations compared to other examples of hide and seek or freeze tag make it unique. Even though it seems to be only played in one city of one province of one country in the world, Electric Shock has become a piece of children’s lore, its own folk game. However, its specificity to one region in the world does not take away from its purpose, synonymous to all other universal children’s lore. These small, folk games children invent give them a chance to let loose society’s expectations and have fun. There’s freedom that comes with playing the same game with dozens of other people your age, laughing and playing together. No matter the game style, title, or variation, the special nostalgia, fond fun and freedom that’s associated with childhood are hardly taken away. That makes childhood lore unifying under whatever variation, but simultaneously unique to each child’s upbringing.

Lavender Town Tone

Background: The informant is a 25 year old male who lives in Buffalo Grove, Illinois. He was born and raised in Chicago, Illinois. The informant has been playing video games for about 15 years, is on video game chat platforms, and watches videos reviewing games over the year.

Context: The informant and collector was discussing new video games over the year when at the informant’s apartment. The conversation shifted to Pokémon, given the release of the new Pokémon game.

Me: So, you mentioned Lavender Town? It sounds familiar but what is it?

MC: Basically, Lavender Town is an area in Pokémon Red and Green, you know, like the first of the games. This town is, as you might guess from the name, completely in shades of lavender and has music, as each town has unique music in each Pokémon game, that had very high frequencies. I think it was something along the lines of only children and teens were able to hear the high pitch because we lose the ability to hear certain frequencies as we grow older.

Me: And, this town has a special significance in the game? 

MC: Not for good reasons.

Me: What happened?

MC: After the game was released, in the 1990s, there was a sudden peak in suicides for younger children, around elementary school. Of course, there was a huge fan theory that it as the lavender high tone that was affecting children, causing them to commit suicide and develop illnesses, terrible headaches and stuff. This would always happen right after the children reached the town. So now, Lavender Town is infamous for, well, causing children to die.

Me: And, did Pokémon do anything about it?

MC: Yeah, I believe they changed the music, lowered the tone. But, the idea of the original Lavender Town is still out there. Ask any person who played the original Pokemon games, they will know the Lavender Town Tone. Even newer players, most likely.

Analysis:

Informant: From his words, he never expressed that he didn’t believe in the idea of the  Lavender Town Tone. In fact, he seemed to readily accept it and not question it, and is confident that other gamers also know.

Mine: The Lavender Tone is a longstanding legend about the Pokémon Red and green games. Nobody knows if it’s true or not, but it caused enough damage that they did change the frequency, perhaps admitting to some truth value in the matter. While gaming folklore commonly fades away, especially with the plethora of new games being released each year, it’s amazing how the Lavender Tone has remained for nearly three decades. Still, after searching online, it remains part of the gaming history and consciousness. It’s interesting how folklore can arise based on authored material, simply because of the effects in the real world or the massive outcry a game causes. In my opinion, I could see the frequency being a complete mistake by the sound designer as they wouldn’t be able to hear the sounds. I’m not sure if the game simply happened to be released at the wrong time and was blamed, or if the tones did play a role in the matter? I suppose that’s why it’s a legend – the truth value is questionable.

El Cucuy is Everywhere

Background: The informant is a 26 year old female who lives in a suburb of Chicago. She was born and raised around the city with her grandparents, mother, and younger brother. Her grandparents, immigrants from Mexico, imparted most of their knowledge to the informant.

Context: The context was watching a horror movie and being reminded of a legend she was constantly told as a child.

Text:

VA: So, in Mexican folklore, there’s El Cucuy. It’s like the boogeyman. Mexicans threaten their children with El Cucuy coming and taking them away.

Me: Oh my. How does El Cucuy come?

VA: El Cucuy is everywhere, everywhere around you.

Me: Would you mom tell you this to scare you?

VA: Well, it was my whole family. My mom, my grandparents, all of them. It was how they scared children into behaving. Oh also, just anyone of Latin American culture like my babysitter from Central America. Basically, if you speak Spanish, chances are you know El Cucuy.

Me: What does he do to children?

VA: He eats children once they’re taken. Basically, if you don’t behave, you’re getting eaten. 

Analysis:

Informant: Her voice was extremely solemn when speaking about El Cucuy, likely still remnants of how childrenhood fears can continue to affect someone. Even at 26, she didn’t want to take any chances.

Mine: The boogeyman is a very common theme across cultures as a way to scare children into behaving. While it may not be scary to everyone, it seemed to hit something deeper for the informant. She told the story more calmly than her other ones, not making any humorous jokes, or pausing often. While it likely is still childhood fears sticking with her to some extent, it may also be because the informant has a younger brother and would have to tell him the story as well. In this case, the informant has been both the receiver of the tradition and has passed on the tradition. It brings up the interesting placement of the older sibling, in that they may become active bearers of their traditions much earlier than the younger siblings. 

Miss Mary Mack (“bad version”)

Text:

Performed with handclapping: 

“Miss Mary Mack Mack Mack 

All dressed in black black black 

With the silver buttons buttons buttons 

All down her back back back 

She couldn’t read read read 

She couldn’t write write write 

But she could smoke smoke smoke 

Her father’s pipe pipe pipe.”

Context:

KY is an 18-year-old American Student at USC. She grew up in North Carolina. I asked her if she knew any proverbs or commonly said phrases and she told me this one. She told me this song/rhyme that was played with handclapping when I asked her about any childhood games she remembers, but she told me she could only remember the “bad version,” which she thinks was “bad” because of the discussion of smoking/pipes.

Interpretation:

Miss Mary Mack is rather widespread, and while I’ve heard the beginning before, it wasn’t common where I grew up, so I didn’t know the whole thing. I would be considered a passive bearer of this tradition, whereas my informant would be an active bearer. It’s common that children’s songs like this will have the “good [original] version” and the “bad version” derived from the original with a few things changed to make it naughty. The naughty oikotype might be specific to the area my informant grew up in, and there may be different oikotypes in other places that are similar but have slight variations. And since this can be played as a game with handclapping, it is a way for kids to entertain themselves without a need for toys or things of that sort and it is easy to learn with a simple melody and repeating words. 

Puerto Rican Fish Pun

GM is a college student studying communications. She is Puerto Rican and grew up in Miami. Both of her parents lived in Puerto Rico before moving to the United States and passed on Puerto Rican culture to her and her siblings.

Context: This joke was told over the dining room table while eating lunch. GM said when she was younger her grandmother told her this joke.

Transcript:

GM: This is one my family tells also:

Fish 1: ¿Qué hace tu papá para el trabajo?

Fish 2: Nada

GM: So “nada” in Spanish means nothing but it also means swim. I’m not sure if other Islands or Latin countries use “nada” for swim because it depends, but in Puerto Rico you can honestly just tell by the context of the sentence or conversation. That’s what makes it so funny; The second fish’s answer could go either way.

Thoughts/Analysis: This pun uses double meaning in words and is largely a children’s joke. Different Latin cultures use different words for things, and seeing as jokes are a significant part of cultural life and this is one example of its significance in Puerto Rican life. It is similar to English/American puns, in which homonyms are used.