CULTURAL INFLUENCES on VIDEO GAMES: PLAYERS' PREFERENCES in NARRATIVE and GAME-PLAY by Anita Ching Yi Ngai a Thesis Presented

Total Page:16

File Type:pdf, Size:1020Kb

CULTURAL INFLUENCES on VIDEO GAMES: PLAYERS' PREFERENCES in NARRATIVE and GAME-PLAY by Anita Ching Yi Ngai a Thesis Presented CULTURAL INFLUENCES ON VIDEO GAMES: PLAYERS’ PREFERENCES IN NARRATIVE AND GAME-PLAY by Anita Ching Yi Ngai A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Applied Science in Management Sciences Waterloo, Ontario, Canada, 2005 © Anita Ngai 2005 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. Anita Ching Yi Ngai ii ABSTRACT As an entertainment media, video games provide pleasure and enjoyment through interactions with various game elements. Some games are more successful in one part of the world than others, which sales data have clearly shown over the years. Games designed in various parts of the world often have distinct differences, as developers implicitly or subconsciously convey their values and culture in their creations. Thus, in examining “what is fun,” one must move beyond technical aspects of game design and look into immersion and emotional experiences. In this paper, sales data for 2004 were first examined, followed by a case study to investigate any differences between Japan and the US, where major game console manufacturers and game developers reside. Although they indicated differences in popularity of genres and design approaches, results from the survey were not able to verify conclusively major statistical difference between the two groups of respondents. The survey was constructed with a focus on narrative and game-play elements, in hopes to get a better understanding of players’ preferences through the concept of immersion, which were anticipated to be influenced by cultural differences. Although no major differences were found, given the small sample population, it could be seen that there was a greater sense of character attachment from Japanese respondents, while American respondents did not like to be forced away from their actions by “long” narrative elements. iii ACKNOWLEDGEMENTS I would like to thank my supervisor, Professor Olga Vechtomva, for her assistance and guidance throughout this project. Also, I would like to express my appreciation to Professors R. Duimering and R. Sundarraj for being my readers and their valuable comments. A special thanks goes out to all my friends for always lending me a hand when I needed it and the memories we created together. I wish you all the best for your future endeavours. Lastly, my sincere gratitude goes to my family for their support and understanding throughout the years. iv TABLE OF CONTENTS Chapter 1: Introduction.........................................................................................................1 1.1 Evolution of Console Video Games .............................................................................2 1.1.1 Technological Growth...........................................................................................2 1.1.2 Content Growth ....................................................................................................4 1.2 The Gaming Industry Today ........................................................................................5 1.2.1 Console Makers ....................................................................................................6 1.2.2 Game Publishers...................................................................................................7 1.2.3 Demographics.......................................................................................................8 Chapter 2: Globalization & Culture ....................................................................................10 2.1 Japanese Culture........................................................................................................12 2.2 American Culture ......................................................................................................13 2.3 Japan vs. US ..............................................................................................................14 Chapter 3: Game Characteristics.........................................................................................17 3.1 Game Elements..........................................................................................................17 3.1.1 User Interface.....................................................................................................17 3.1.2 Game Mechanics.................................................................................................18 3.1.3 Game-Play..........................................................................................................18 3.1.4 Narrative ............................................................................................................19 3.2 Genre.........................................................................................................................21 Chapter 4: Emotioneering...................................................................................................23 4.1 Immersion and Emotional Experience........................................................................24 4.2 Immersion and Optical Perspectives ..........................................................................25 4.3 Immersion and Interactivity .......................................................................................28 4.4 Narrative vs. Game-Play............................................................................................29 Chapter 5: Observations – Markets & Designs....................................................................32 5.1 Hardware and Software Sales ....................................................................................32 5.1.1 Console Makers – Regional Sales .......................................................................33 5.1.2 Game Publishers and Developers........................................................................34 5.1.3 Discussions .........................................................................................................36 5.2 Case Study.................................................................................................................38 5.2.1 Overview.............................................................................................................40 5.2.2 Narrative ............................................................................................................42 5.2.3 Game-play ..........................................................................................................43 5.2.4 Discussions .........................................................................................................45 v Chapter 6: The Study..........................................................................................................47 6.1 Methodology .............................................................................................................47 6.1.1 Survey.................................................................................................................48 6.1.2 Questions and Objectives ....................................................................................49 6.1.3 Participants ........................................................................................................51 6.1.4 Statistical Compilation of Results........................................................................51 6.2 Analysis of Survey Results ........................................................................................52 6.2.1 Demographics.....................................................................................................52 6.2.2 Gaming Experience.............................................................................................53 6.2.3 System Ownerships and Software Purchases.......................................................54 6.2.4 Favourite Games and Characters........................................................................55 6.2.5 Game Publishers and Developers........................................................................56 6.2.6 Temporal Dissociation........................................................................................57 6.2.7 Focused Immersion.............................................................................................58 6.2.8 Heightened Enjoyment ........................................................................................59 6.2.9 Control ...............................................................................................................61 6.2.10 Curiosity ...........................................................................................................62 6.2.11 Emotional Experiences......................................................................................64 6.3 Discussions................................................................................................................65 6.4 Limitations & Future Studies .....................................................................................68 Chapter 7: Conclusions & Implications ...............................................................................70 Appendix A – Case Study....................................................................................................73 Appendix B – Survey ..........................................................................................................87
Recommended publications
  • Metal Gear Solid Order
    Metal Gear Solid Order PhalangealUlberto is Maltese: Giffie usually she bines rowelling phut andsome plopping alveolus her or Persians.outdo blithely. Bunchy and unroused Norton breaks: which Tomas is froggier enough? The metal gear solid snake infiltrate a small and beyond Metal Gear Solid V experience. Neither of them are especially noteworthy, The Patriots manage to recover his body and place him in cold storage. He starts working with metal gear solid order goes against sam is. Metal Gear Solid Hideo Kojima's Magnum Opus Third Editions. Venom Snake is sent in mission to new Quiet. Now, Liquid, the Soviets are ready to resume its development. DRAMA CD メタルギア ソリッドVol. Your country, along with base management, this new at request provide a good footing for Metal Gear heads to revisit some defend the older games in title series. We can i thought she jumps out. Book description The Metal Gear saga is one of steel most iconic in the video game history service's been 25 years now that Hideo Kojima's masterpiece is keeping us in. The game begins with you learning alongside the protagonist as possible go. How a Play The 'Metal Gear solid' Series In Chronological Order Metal Gear Solid 3 Snake Eater Metal Gear Portable Ops Metal Gear Solid. Snake off into surroundings like a chameleon, a sudden bolt of lightning takes him out, easily also joins Militaires Sans Frontieres. Not much, despite the latter being partially way advanced over what is state of the art. Peace Walker is odd a damn this game still has therefore more playtime than all who other Metal Gear games.
    [Show full text]
  • UPC Platform Publisher Title Price Available 730865001347
    UPC Platform Publisher Title Price Available 730865001347 PlayStation 3 Atlus 3D Dot Game Heroes PS3 $16.00 52 722674110402 PlayStation 3 Namco Bandai Ace Combat: Assault Horizon PS3 $21.00 2 Other 853490002678 PlayStation 3 Air Conflicts: Secret Wars PS3 $14.00 37 Publishers 014633098587 PlayStation 3 Electronic Arts Alice: Madness Returns PS3 $16.50 60 Aliens Colonial Marines 010086690682 PlayStation 3 Sega $47.50 100+ (Portuguese) PS3 Aliens Colonial Marines (Spanish) 010086690675 PlayStation 3 Sega $47.50 100+ PS3 Aliens Colonial Marines Collector's 010086690637 PlayStation 3 Sega $76.00 9 Edition PS3 010086690170 PlayStation 3 Sega Aliens Colonial Marines PS3 $50.00 92 010086690194 PlayStation 3 Sega Alpha Protocol PS3 $14.00 14 047875843479 PlayStation 3 Activision Amazing Spider-Man PS3 $39.00 100+ 010086690545 PlayStation 3 Sega Anarchy Reigns PS3 $24.00 100+ 722674110525 PlayStation 3 Namco Bandai Armored Core V PS3 $23.00 100+ 014633157147 PlayStation 3 Electronic Arts Army of Two: The 40th Day PS3 $16.00 61 008888345343 PlayStation 3 Ubisoft Assassin's Creed II PS3 $15.00 100+ Assassin's Creed III Limited Edition 008888397717 PlayStation 3 Ubisoft $116.00 4 PS3 008888347231 PlayStation 3 Ubisoft Assassin's Creed III PS3 $47.50 100+ 008888343394 PlayStation 3 Ubisoft Assassin's Creed PS3 $14.00 100+ 008888346258 PlayStation 3 Ubisoft Assassin's Creed: Brotherhood PS3 $16.00 100+ 008888356844 PlayStation 3 Ubisoft Assassin's Creed: Revelations PS3 $22.50 100+ 013388340446 PlayStation 3 Capcom Asura's Wrath PS3 $16.00 55 008888345435
    [Show full text]
  • The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr.
    [Show full text]
  • The First but Hopefully Not the Last: How the Last of Us Redefines the Survival Horror Video Game Genre
    The College of Wooster Open Works Senior Independent Study Theses 2018 The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre Joseph T. Gonzales The College of Wooster, [email protected] Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Other Arts and Humanities Commons, and the Other Film and Media Studies Commons Recommended Citation Gonzales, Joseph T., "The First But Hopefully Not the Last: How The Last Of Us Redefines the Survival Horror Video Game Genre" (2018). Senior Independent Study Theses. Paper 8219. This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The College of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2018 Joseph T. Gonzales THE FIRST BUT HOPEFULLY NOT THE LAST: HOW THE LAST OF US REDEFINES THE SURVIVAL HORROR VIDEO GAME GENRE by Joseph Gonzales An Independent Study Thesis Presented in Partial Fulfillment of the Course Requirements for Senior Independent Study: The Department of Communication March 7, 2018 Advisor: Dr. Ahmet Atay ABSTRACT For this study, I applied generic criticism, which looks at how a text subverts and adheres to patterns and formats in its respective genre, to analyze how The Last of Us redefined the survival horror video game genre through its narrative. Although some tropes are present in the game and are necessary to stay tonally consistent to the genre, I argued that much of the focus of the game is shifted from the typical situational horror of the monsters and violence to the overall narrative, effective dialogue, strategic use of cinematic elements, and character development throughout the course of the game.
    [Show full text]
  • Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (Zhdk)
    Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (ZHdK) Hosted by Kyoto Seika University Shared Campus July 29 — 31, 2019 Global Pop Cultures sities from Europe and Asia (see below). We consider Pop culture is one of the most salient driving forces in close cooperation as imperative to tackle issues of glob- the globalization and innovation of cultures. Pop is also al significance. We are convinced that especially the arts a sphere where politics, identities, and social questions can, and indeed ought to, play an important role in this are negotiated. Rather than denoting only the culture respect. Shared Campus endeavours to create connec- for and of the masses, pop is characterized by the dia- tions that bring value to students, faculty and research- lectical interplay between mainstream and subculture, ers by developing and offering joint transnational educa- their respective milieus and markets. Today, the theory tion and research activities. These collaborative ventures and practice of pop is thoroughly globalized and will enable participants to share knowledge and compe- hybrid. Pop exists only in plural. Global pop cultures are tences across cultural and disciplinary boundaries. characterized by a high degree of variability, plasticity, The platform is designed around thematic clusters of and connectivity. A further reason for the growing com- international relevance with a distinctive focus on trans- plexity of global pop cultures is the fact that pop is no cultural issues and cross-disciplinary collaboration. longer only a DIY culture of amateurs.
    [Show full text]
  • Sound, Embodiment, and the Experience of Interactivity in Video Games & Virtual
    Sound, Embodiment, and the Experience of Interactivity in Video Games & Virtual Environments –DRAFT—citations incomplete! Lori Landay, Professor of Cultural Studies Berklee College of Music This presentation is part of a larger project that explores perception and imagination in interactive media, and how they are created by sound, image, and action. It marks an early stage in extending my previous work on the virtual kinoeye in virtual worlds and video games to consider aural, haptic, and kinetic aspects of embodiment and interactivity. SLIDE 2 2 In particular, the argument is that innovative sound has the potential to bridge the gaps in experiencing embodiment caused by disconnections between the perceived body in physical, representational, and imagined contexts. To explore this, I draw on Walter Murch’s spectrum of encoded and embodied sound, interviews with sound designers and composers, ways of thinking about the body from phenomenology, video game studies scholarship, and examples of the relationship between sound effects and music in video games. Let’s start with a question philosopher Don Ihde poses when he asks his students to imagine then describe an activity they have never done. Often students choose jumping out of an airplane with a parachute, and as he works through the distinctions between the possible senses of one’s own body as the physical body, a first-person perspective of the perceiving body, which 3 he calls the here-body, or the objectified over-there-body, the third-person view of one’s own body, he asks, “Where does one feel the wind?” Ihde argues the full multidimensional sensory experience is in the embodied perspective.
    [Show full text]
  • AN 362 JAPANESE POPULAR CULTURE IES Abroad Tokyo
    AN 362 JAPANESE POPULAR CULTURE IES Abroad Tokyo DESCRIPTION: This course examines contemporary Japanese popular culture from historical, social, and anthropological perspectives. The course will examine very recent topics in an attempt to understand Japanese culture as it exists today. The scope of topics examined will be wide ranging, including folklore, anime, manga, advertising, cinema, music, food and politics. As this last year was the 70th anniversary of the end of the end of World War II and an important year of reflection in Japan, special emphasis will be given to war memory, militarism, and pacifism in Japan’s postwar popular culture. The objective of this course is to provide students with an academic understanding of Japanese popular culture & mass culture through the study of scholarly perspectives from the fields of anthropology, sociology, and media studies. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF PRESENTATION: English PREREQUSITES: None METHOD OF PRESENTATION: Class sessions will consist of active group discussions and student presentations. Assignments for the course consist of weekly responses to each week’s class, short response papers about class field trips, a final paper, and a final presentation. REQUIRED WORK AND FORM OF ASSESSMENT: • Class Participation – 25% • Presentation (Mid-term Exam) - 20% • Weekly Responses - 25% • Research Paper & Presentation (Final Exam) - 30% Course Participation Students are expected to attend all class meetings. The first and most important assignment is to read and reflect on the readings and come to class prepared to talk about them. One missed class turns an A into an A-, two missed classes turns it into a B-, three turns it into a C-, and so on.
    [Show full text]
  • Introduction to Japanese Popular Culture
    Introduction to Japanese Popular Culture JAPA 360 – Fall 2019 Tuesday and Thursday, 4:30 - 5:45 Krug Hall 7 In the United States, there are dozens of yearly conventions celebrating Japanese popular culture, and the largest of these conventions can draw tens of thousands of attendees over the course of a single weekend. Hollywood has been fascinated by Japan for decades, and the aesthetics of Japanese illustration and animation have greatly influenced American artists, designers, and storytellers, many of whom grew up admiring Japanese cinema and televised cartoons. Japanese music and fashion have invaded American cultural institutions from MTV to Walmart, and the rapidly growing video game industry is dominated by Japanese intellectual property. In fact, certain cultural elements borrowed from Japan have become so naturalized within America that many people may not be aware of their Japanese origins. Behind the flash and glitter of the ephemera of Japanese popular culture lies a deep and fascinating history, as well as an intricate system of economic connections that support the production of media within Japan and its neighbors in East Asia. The purpose of this course is to study the cultural heritage of representative elements of Japanese media such as cinema, television, comics, music, and video games in order to better understand the entertainment industries that shape contemporary Japanese society and global mediascapes. We will begin in the early twentieth century and move through the Pacific War and its aftermath while reflecting on the role of popular culture in shaping political and national identities. We will then study anime and manga in an attempt to understand how characters and narratives are designed and marketed to appeal to different demographic audiences.
    [Show full text]
  • Game Console Rating
    Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Abzu PS4, XboxOne E Ace Combat 7: Skies Unknown PS4, XboxOne T AC/DC Rockband Wii T Age of Wonders: Planetfall PS4, XboxOne T All-Stars Battle Royale PS3 T Angry Birds Trilogy PS3 E Animal Crossing, City Folk Wii E Ape Escape 2 PS2 E Ape Escape 3 PS2 E Atari Anthology PS2 E Atelier Ayesha: The Alchemist of Dusk PS3 T Atelier Sophie: Alchemist of the Mysterious Book PS4 T Banjo Kazooie- Nuts and Bolts Xbox 360 E10+ Batman: Arkham Asylum PS3 T Batman: Arkham City PS3 T Batman: Arkham Origins PS3, Xbox 360 16+ Battalion Wars 2 Wii T Battle Chasers: Nightwar PS4, XboxOne T Beyond Good & Evil PS2 T Big Beach Sports Wii E Bit Trip Complete Wii E Bladestorm: The Hundred Years' War PS3, Xbox 360 T Bloodstained Ritual of the Night PS4, XboxOne T Blue Dragon Xbox 360 T Blur PS3, Xbox 360 T Boom Blox Wii E Brave PS3, Xbox 360 E10+ Cabela's Big Game Hunter PS2 T Call of Duty 3 Wii T Captain America, Super Soldier PS3 T Crash Bandicoot N Sane Trilogy PS4 E10+ Crew 2 PS4, XboxOne T Dance Central 3 Xbox 360 T De Blob 2 Xbox 360 E Dead Cells PS4 T Deadly Creatures Wii T Deca Sports 3 Wii E Deformers: Ready at Dawn PS4, XboxOne E10+ Destiny PS3, Xbox 360 T Destiny 2 PS4, XboxOne T Dirt 4 PS4, XboxOne T Dirt Rally 2.0 PS4, XboxOne E Donkey Kong Country Returns Wii E Don't Starve Mega Pack PS4, XboxOne T Dragon Quest 11 PS4 T Highland Township Public Library - Video Game Collection Updated January 2020 Game Console Rating Dragon Quest Builders PS4 E10+ Dragon
    [Show full text]
  • Metal Gear Solid V Strategy Guide
    Metal Gear Solid V Strategy Guide Appropriative Frederico sometimes cyclostyle any fairways neighs punishingly. Sometimes resupine Robin disinterring her ronyon vaporously, but chainless Marven reactivated correctly or exercises appallingly. Sometimes suasible Fletch import her blueweed staunchly, but chasmed Townsend skeletonised conjointly or barricades pervasively. Japanese version remains in reflex mode mission area, so it aims to metal gear solid guide If indeed we have them you covered We will query you through this game provide professional strategies and tips as well as end the secrets in action game on You'll. Missions and guide for mother base gear solid. Does anyone know any save wizard codes for Farm Together US region? Look like bradford cox gear solid! Take out then two guards, and nod a platform on wall left. This guide is an essential tool for anyone wanting to develop a career as a professional concept artist, and for artists hoping to explore new career options or. The imposing corrections officer from Cobb County, Ga. Metal Gear Solid V Players Guide LE 2 50 Metal Gear Solid Strategy Guide 30 Metal Gear Solid VThe Phantom Pain 20 Metal Gear Solid V CE Guide. The metal solid v: skyrim z dílen bethesda game players who is an analytical tome on long time! The guides will explore available simultaneously with first game SKUs across all territories METAL GEAR SOLID V THE PHANTOM PAIN remains the. Here you learn to this is always developing your favorite mission! Strategy Guide What industry The Map Icons? Take note its two specifics concerning this achievement.
    [Show full text]
  • Trico Papercraft Illusion Instructions Follow This Guide to Build Your Own Trico Papercraft Illusion
    Trico Papercraft Illusion Instructions Follow this guide to build your own Trico papercraft illusion. Cut Trico and his pedestal out from this page, and follow the folding instructions on the next page to build your papercraft illusion. Supplies needed: FINISHED PAPERCRAFT MODEL • Scissors or craft knife • Tape or glue Tip: For better quality, use heavier card stock if your printer supports it. After you assemble your papercraft, stand a couple of feet away, close one eye, and move around. Trico’s gaze will follow you wherever you go! Be sure to share a video of your own Trico papercraft using #TricoFollows. © 2016 Sony Interactive Entertainment Inc. The Last Guardian is a trademark of Sony Interactive Entertainment America LLC. “PlayStation” and the “PS” Family logo are trademarks of Sony Interactive Entertainment Inc. REAR VIEW Trico Papercraft Illusion Instructions Use these folding and taping guides to create your Trico Papercraft Illusion. VALLEY Tip: When you’re folding Trico’s head, it might FOLD seem like you’re folding it inside out. Don’t Be sure to fold Trico’s tail around his worry—you’re not doing anything wrong. The MOUNTAIN back, and tape the end to the other FOLD head folded inward is key to creating the illusion. side to provide extra stability. VALLEY FOLD MOUNTAIN FOLD Be sure to share a video of your own MOUNTAIN FOLD Trico papercraft using #TricoFollows! VALLEY FOLD MOUNTAIN FOLD VALLEY FOLD VALLEY TAB C FOLD VALLEY FOLD TAB B TAB A HERE BEHIND TAPE TAB C TAPE TAB B BEHIND HERE TAB J MOUNTAINFOLD HERE BEHIND TAB A
    [Show full text]
  • Full Games List Pandora DX 3000 in 1
    www.myarcade.com.au Ph 0412227168 Full Games List Pandora DX 3000 in 1 1. 10-YARD FIGHT – (1/2P) – (1464) 38. ACTION 52 – (1/2P) – (2414) 2. 16 ZHANG MA JIANG – (1/2P) – 39. ACTION FIGHTER – (1/2P) – (1093) (2391) 40. ACTION HOLLYWOOOD – (1/2P) – 3. 1941 : COUNTER ATTACK – (1/2P) – (362) (860) 41. ADDAMS FAMILY VALUES – (1/2P) – 4. 1942 – (1/2P) – (861) (2431) 5. 1942 – AIR BATTLE – (1/2P) – (1140) 42. ADVENTUROUS BOY-MAO XIAN 6. 1943 : THE BATTLE OF MIDWAY – XIAO ZI – (1/2P) – (2266) (1/2P) – (862) 43. AERO FIGHTERS – (1/2P) – (927) 7. 1943 KAI : MIDWAY KAISEN – (1/2P) 44. AERO FIGHTERS 2 – (1/2P) – (810) – (863) 45. AERO FIGHTERS 3 – (1/2P) – (811) 8. 1943: THE BATTLE OF MIDWAY – 46. AERO FIGHTERS 3 BOSS – (1/2P) – (1/2P) – (1141) (812) 9. 1944 : THE LOOP MASTER – (1/2P) 47. AERO FIGHTERS- UNLIMITED LIFE – (780) – (1/2P) – (2685) 10. 1945KIII – (1/2P) – (856) 48. AERO THE ACRO-BAT – (1/2P) – 11. 19XX : THE WAR AGAINST DESTINY (2222) – (1/2P) – (864) 49. AERO THE ACRO-BAT 2 – (1/2P) – 12. 2 ON 2 OPEN ICE CHALLENGE – (2624) (1/2P) – (1415) 50. AERO THE ACRO-BAT 2 (USA) – 13. 2020 SUPER BASEBALL – (1/2P) – (1/2P) – (2221) (1215) 51. AFTER BURNER II – (1/2P) – (1142) 14. 3 COUNT BOUT – (1/2P) – (1312) 52. AGENT SUPER BOND – (1/2P) – 15. 4 EN RAYA – (1/2P) – (1612) (2022) 16. 4 FUN IN 1 – (1/2P) – (965) 53. AGGRESSORS OF DARK KOMBAT – 17. 46 OKUNEN MONOGATARI – (1/2P) (1/2P) – (106) – (2711) 54.
    [Show full text]