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BANDAI NAMCO Group CORPORATE PROFILE 2021

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BANDAI NAMCO Group CORPORATE PROFILE 2021 www.bandainamco.co.jp April 2021 Printed in Japan OUR VISION The Leading Innovator in Global OUR MISSION STATEMENT Dreams, Fun Entertainment ビジョン and Inspiration 世界で最も期待される ミッション エ ンタ ー テ イン メント 「 夢・遊 び・感 動 」 企業グループ 「夢・遊び・感動」は幸せのエンジンです。 わたしたちバンダイナムコは常に時代の先頭で、エンターテインメントに わたしたちバンダイナムコは斬新な発想と、あくなき情熱で、 新たな広がりと深みをもたらし、楽しむことが大好きな世界中の人々から愛され、 エンターテインメントを通じた「夢・遊び・感動」を世界中の人々へ提供しつづけます。 最も期待される存在となることを目指します。 “Dreams, Fun and Inspiration” are the Engine of Happiness. As an entertainment leader across the ages, BANDAI NAMCO is Through our entertainment products and services, BANDAI NAMCO will constantly exploring new areas and heights in entertainment. continue to provide “Dreams, Fun and Inspiration” to people around We aim to be loved by people who have fun and will earn their trust as the world, based on our boundless creativity and enthusiasm. “The Leading Innovator in Global Entertainment.” 1 THE STRENGTHS OF THE BANDAI NAMCO GROUP ORGANIZATION バンダイナムコグループの強み グループ組織体制 IP軸戦略 The IP Axis Strategy IP* Strength to conduct wide-ranging development 有力な を軸に、多彩な事業領域へと in a diverse range of businesses with powerful 広く展開する力 IP* as an axis エンターテインメントユニット ENTERTAINMENT UNIT 「IP軸戦略」は、エンターテインメント分野において多彩な事 The IP axis strategy is the greatest strength of the BANDAI NAMCO Group, which has a diverse range of businesses and デジタル事業 業領域と豊富なノウハウを持つバンダイナムコグループの強 extensive know-how in the field of entertainment. Digital Business みです。 It is through the IP axis strategy that the Group works to トイホビー事業 IPの世界観や特性を活かし、最適なタイミングで、最適な商 maximize IP value by leveraging IP worldviews and providing Toys and Hobby Business 品・サービスとして、最適な地域に向けて提供することによ the optimal products and services in the optimal regions at the optimal times. り、IP価値の最大化をはかること、それが「IP軸戦略」です。 By advancing, promoting, and expanding the IP axis strat- バンダイナムコグループは、「IP軸戦略」の進化と浸透・拡大 egy, the BANDAI NAMCO Group is aiming to achieve further に取り組むことで、グローバル市場におけるさらなる成長を目 growth in global markets. 指しています。 * IP: Characters and other intellectual property IPプロデュースユニット * IP： キャラクターなどの知的財産 IP PRODUCTION UNIT 映像音楽事業 IPの価値を最大化 Visual and Music Business Maximizing IP Value クリエイション事 業 Creation Business 最適な 最適な 出口 最適な タイミング The optimal 地域 The optimal outlet The optimal time region アミューズメントユニット CONFECTIONERY LIVE ENTER- NETWORK HOME VIDEO NEW TOYS and FOODS TAINMENT CONTENT GAMES DEVICES AMUSEMENT UNIT VIDEO ON AMUSEMENT PLASTIC CARDS DEMAND (VOD) FACILITIES MODELS CONTENT VISUAL and MUSIC AMUSEMENT MOVIES PACKAGE MACHINES 世界観を活かした商品・サービスの投入 関連事業会社 Introducing products and services that leverage the worldviews of IPs AFFILIATED BUSINESS ノウハウの蓄積 Accumulated know-how COMPANIES IP への投資 IP investment 育成 創出 共創 注：この概念図は、IP軸展開の一例です。 Note: This illustration shows one example of Cultivation Co-creation IP axis development. Creation 2 3 「夢・遊び・感動」を提供する仕事に 誇りと責任を持ち、世界中のファンとつながり、 心を豊かにする世界の構築に貢献していきます 株式会社バンダイナムコホールディングス 代表取締役社長 We will maintain a sense of pride and responsibility for our role in providing 川口 勝 Masaru Kawaguchi “Dreams, Fun and Inspiration.” On that basis, we will strive to forge connections with President and Representative Director BANDAI NAMCO Holdings Inc. fans in global markets and contribute to the creation of a world that fosters happiness. バンダイナムコグループ最大の強みは、IP*を 最 適 なタイミン グ The IP* axis strategy is the greatest strength of the BANDAI NAMCO Group. Through this strategy, we provide the optimal で、最適な商品・サービスとして、最適な地域に向けて提供する「IP products and services in the optimal regions at the optimal times. 軸戦略」です。今後も「IP軸戦略」を進化させ、グローバル市場で Going forward, we will continue to follow a basic policy of further の浸透・拡大をはかることが基本方針です。 advancing the IP axis strategy in order to extend and expand our business operations in global markets. しかしながら、世界のエンターテインメント市場では、技術革新 However, we have entered an era in which the global entertain- に加え、人々の価値観やライフスタイルが大きく変わる時代を迎え ment market is affected not only by technical innovation but also by significant changes in people’s values and lifestyles. In this ています。こうしたなか、私たちは、従来のビジネスモデルや常識 environment, we must be prepared to move beyond previous busi- にこだわることなく、ファンが期待する新たなエンターテインメント ness models and established ideas. We need to create entertain- を創造していかなければなりません。 ment that meets the expectations of fans. To that end, we are taking steps to establish a new way for そのために、新しい時代におけるバンダイナムコの新しい戦い BANDAI NAMCO to compete in this new era. These initiatives 方の構築に向けた取り組みの一つとして、2021年4月より3つのユ include the transition to a system of three Units through the reor- ニットへと組織再編を実施しました。 ganization that we implemented in April 2021. The Entertainment Unit is working to leverage synergies to 「 エ ン タ ー テ イ ン メ ン ト ユ ニ ット 」 は 、 IPを 軸 に モノとデ ジ タ ル の foster collaboration and growth across a wide range of outlets for 幅広い出口を相互活用した連携・拡大をはかることで、新たな価値 both physical and digital products and services, centered on IP. In this way, the Unit is aiming to address new values and enhance 観に対応し、グローバル市場での存在感の向上を目指します。 our presence in global markets. 「 IPプ ロ デ ュ ー ス ユ ニ ット 」は 、 IP創出を行うスタジオ機能と The IP Production Unit consolidates the studio function, which プロデュース機能を集約し、より多彩なIP創出機能の強化をはか involves the creation of IP, and the production function. This Unit is striving to bolster our ability to create a wider range of IP. ります 。 The Amusement Unit is working to build a strong earnings 「アミューズメントユニット」は、IPやグル ープのリソースを活 用 foundation by taking steps to collaborate closely with the other するなど、グループの各ユニットと一体となることで、強い収益基 Units, such as leveraging IP and Group resources. Under this new organizational system, the Group will continue 盤づくりを実現します。 to take on challenges by leveraging the wide range of our busi- こうした新組織のもと、グループの幅広い事業領域と多彩な従 ness activities and drawing on the know-how of our diverse employees. In this way, we will aim to achieve sustained growth by 業員が持つさまざまなノウハウを活かしたチャレンジを続けること strongly advancing the IP axis strategy in global markets. により、グローバル市場で「IP軸戦略」を強力に推進し、持続的な As the world evolves toward a new era, entertainment that PRESIDENT’S 成長を目指していきます。 truly makes people happy is increasingly important. Accordingly, we will continue to maintain a sense of pride and responsibility for 新しい時代へと変化するなか、人々の心を豊かにするエンター our work in providing “Dreams, Fun and Inspiration” through the テインメントの存在意義が高まっています。今後も、私たちはバン Group’s products and services, and on that basis, we will strive to ダ イナ ムコグ ル ー プ の 商 品・サ ービ スを 通じ て「 夢・遊 び・感 動 」を forge connections with fans in global markets and contribute to MESSAGE the creation of a world that fosters happiness. 提供する仕事に誇りと責任を持ち、世界中のファンとつながり、 * IP: Characters and other intellectual property 人々の心を豊かにする世界の構築に貢献していきます。 * IP：キャラクターなどの知的財産 4 5 ENTERTAINMENT UNIT 他社 IPを活用したデジタル事業 Digital businesses leveraging IP from other companies IPの世界観を再現性高く表現し、さまざまなプラットフォームへ展開。 We are rolling out products that reproduce the worlds of IP with a high degree of accuracy for a variety of platforms. エンターテインメントユニット ネ ット ワ ー ク コ ン テ ン ツ / Network Content ＜デジタル事業 / Digital Business＞ ネットワークコンテンツの企画・開発・配信、家庭用ゲームなどの企画・開発・販売 Planning, development, and distribution of network content; planning, development, and sales of home video games 「NARUTO X BORUTO 忍者TRIBES」 ＜トイホビー事業 / Toys and Hobby Business＞ ネ ット ワ ー ク コ ン テ ン ツ（ PC向け） / Network Content (for PCs) 玩具、カプセルトイ、カード、菓子・食品、アパレル、生活用品、プラモデル、 景品、文具などの企画・開発・製造・販売 Planning, development, production, and sales of toys, capsule toys, cards, confectionery 「 DRAGON BALL Z 「 ONE PIECE トレジャークル ー ズ 」 and foods, apparel, sundries, plastic models, prizes, stationery, and other products DOKKAN BATTLE」 自社 IPを活用したデジタル事業 「火影忍者ONLINE」 Digital businesses leveraging in-house IP 自社で生み出した IP価値を最大化させるため、特性を活かせるプラットフォームへ展開。 We are rolling out products for platforms that can leverage special characteristics in order to maximize the value of IP created in-house. 家庭用ゲーム / Home Video Games ネ ット ワ ー ク コ ン テ ン ツ / Network Content 家庭用ゲーム / Home Video Games 「SCARLET NEXUS」 「ドラゴ ン ボ ー ル Z KAKAROT」 「ONE PIECE 海賊無双4」 「 パックマン× NBA」 「ア イド ル マ ス タ ー ポップリンクス」 esportsを通じたIP価値最大化の取り組み 「 ACE COMBAT™ 7： Initiatives to maximize IP value through esports SKIES UNKNOWN」 esportsに適したタイトルの開発や大会を実施。 We are developing titles suitable for esports and holding esports tournaments. 「 リト ル ナ イト メ ア 2」 「 ア イド リッ シ ュ セ ブ ン 」 「ガンダムブレイカー モバイル」 「ま～るい地球が四角くなった !? デジボク地球防衛軍 EARTH DEFENSE FORCE： WORLD BROTHERS」 「 鉄 拳７」 「太鼓の達人 Nintendo Switchば～じょん！」 「テイルズ オブ クレ ストリ ア 」 6 7 さまざまな IPを活用したトイホビー事業 菓 子・食 品 / Confectionery and Foods ハ イ タ ー ゲ ット 向 け フ ィ ギ ュ ア / Figures for Mature Fan Base プラモデル / Plastic Models Utilizing a variety of IP in the Toys and Hobby business 幅広い層に向けて、IPやエンターテインメント性を活かした多彩な商品・サービスを展開。 We are rolling out a diverse range of products and services that leverage IP and entertainment value for a wide range of customers. 玩具 / Toys 「 プ リ キ ュ ア 」シ リ ー ズ 「食べマス」シリーズ 「アンパンマン」シリーズ 「ドラゴンボール IMAGINATION 「呪術廻戦 S.H.Figuarts」シ リ ー ズ 「機動戦士ガンダムシリーズプラモデル」 「スーパー戦隊」シリーズ 「仮面ライダー」シリーズ 「 た ま ご っ ち 」シ リ ー ズ WORKS」シ リ ー ズ カ プ セ ルト イ・カ ード / Vending Machine Capsule Products and Card Products 「キャラパキ」シリーズ フードエンターテインメント / Food Entertainment アミューズメント施設向け景品 / Prizes for Amusement Facilities キャラクターくじ / Character Lottery 「Q posket」 「 DRAGON BALL SUPER 「 カ ードダ ス 」 「 デ ー タカ ードダ ス 」 CARD GAME」 「ガシャポン」 「一番くじ」 アパレル・生活用品 / Apparel and Lifestyle Sundries オセロシリーズ / Othello Series 「ガンダムカフェ」 生活家電 / Home Appliances 文具 / Stationery 「アンパンマンキッズコレクション」 「大人向けアパレル」 「クレア ボー テ 」 「びっくら？たまご」シリーズ 主要グループ会社 MAIN GROUP COMPANIES ＜デジタル事業＞ ＜トイホビー事業＞ <Digital Business> <Toys and Hobby Business> 株式会社バンダイナムコエンターテインメント／株式会社バンダイナムコスタジオ 株式会社バンダイ／株式会社BANDAI SPIRITS ／株式会社メガハウス BANDAI NAMCO Entertainment Inc. / BANDAI NAMCO Studios Inc. BANDAI CO., LTD. / BANDAI SPIRITS CO., LTD. / MegaHouse
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  • The First Dsungaripterid Pterosaur from the Kimmeridgian of Germany and the Biomechanics of Pterosaur Long Bones

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    The first dsungaripterid pterosaur from the Kimmeridgian of Germany and the biomechanics of pterosaur long bones MICHAEL FASTNACHT Fastnacht, M. 2005. The first dsungaripterid pterosaur from the Kimmeridgian of Germany and the biomechanics of pterosaur long bones. Acta Palaeontologica Polonica 50 (2): 273–288. A partial vertebral column, pelvis and femora of a newly discovered pterosaur are described. The remains from the Upper Jurassic (Kimmeridgian) of Oker (northern Germany) can be identified as belonging to the Dsungaripteridae because the cross−sections of the bones have relatively thick walls. The close resemblance in morphology to the Lower Cretaceous Dsungaripterus allows identification of the specimen as the first and oldest record of dsungaripterids in Central Europe. Fur− thermore, it is the oldest certain record of a dsungaripterid pterosaur world wide. The biomechanical characteristics of the dsungaripterid long bone construction shows that it has less resistance against bending and torsion than in non−dsungari− pteroid pterosaurs, but has greater strength against compression and local buckling. This supports former suggestions that dsungaripterids inhabited continental areas that required an active way of life including frequent take−off and landing phases. The reconstruction of the lever arms of the pelvic musculature and the mobility of the femur indicates a quadrupedal terrestrial locomotion. Key words: Reptilia, Pterosauria, Dsungaripteridae, locomotion, biomechanics, Jurassic, Germany. Michael Fastnacht [fastnach@uni−mainz.de], Palaeontologie, Institut für Geowissenschaften, Johannes Gutenberg− Universität, D−55099 Mainz, Germany. Introduction described from this site (Laven 2001; Mateus et al. 2004; Sander et al. 2004). This and further dinosaur material has In recent years, the northern part of Germany has yielded an been collected by members of the “Verein zur Förderung der increasing number of Upper Jurassic/Lower Cretaceous niedersächsischen Paläontologie e.V.”, who regularly collect archosaurian remains.
  • TITLES = (Language: EN Version: 20101018083045

    TITLES = (Language: EN Version: 20101018083045

    TITLES = http://wiitdb.com (language: EN version: 20101018083045) 010E01 = Wii Backup Disc DCHJAF = We Cheer: Ohasta Produce ! Gentei Collabo Game Disc DHHJ8J = Hirano Aya Premium Movie Disc from Suzumiya Haruhi no Gekidou DHKE18 = Help Wanted: 50 Wacky Jobs (DEMO) DMHE08 = Monster Hunter Tri Demo DMHJ08 = Monster Hunter Tri (Demo) DQAJK2 = Aquarius Baseball DSFE7U = Muramasa: The Demon Blade (Demo) DZDE01 = The Legend of Zelda: Twilight Princess (E3 2006 Demo) R23E52 = Barbie and the Three Musketeers R23P52 = Barbie and the Three Musketeers R24J01 = ChibiRobo! R25EWR = LEGO Harry Potter: Years 14 R25PWR = LEGO Harry Potter: Years 14 R26E5G = Data East Arcade Classics R27E54 = Dora Saves the Crystal Kingdom R27X54 = Dora Saves The Crystal Kingdom R29E52 = NPPL Championship Paintball 2009 R29P52 = Millennium Series Championship Paintball 2009 R2AE7D = Ice Age 2: The Meltdown R2AP7D = Ice Age 2: The Meltdown R2AX7D = Ice Age 2: The Meltdown R2DEEB = Dokapon Kingdom R2DJEP = Dokapon Kingdom For Wii R2DPAP = Dokapon Kingdom R2DPJW = Dokapon Kingdom R2EJ99 = Fish Eyes Wii R2FE5G = Freddi Fish: Kelp Seed Mystery R2FP70 = Freddi Fish: Kelp Seed Mystery R2GEXJ = Fragile Dreams: Farewell Ruins of the Moon R2GJAF = Fragile: Sayonara Tsuki no Haikyo R2GP99 = Fragile Dreams: Farewell Ruins of the Moon R2HE41 = Petz Horse Club R2IE69 = Madden NFL 10 R2IP69 = Madden NFL 10 R2JJAF = Taiko no Tatsujin Wii R2KE54 = Don King Boxing R2KP54 = Don King Boxing R2LJMS = Hula Wii: Hura de Hajimeru Bi to Kenkou!! R2ME20 = M&M's Adventure R2NE69 = NASCAR Kart Racing
  • Oda Nobunaga in Japanese Videogames the Case of Nobunaga’S Ambition: Sphere of Influence (Koei, 2013)

    Oda Nobunaga in Japanese Videogames the Case of Nobunaga’S Ambition: Sphere of Influence (Koei, 2013)

    Trabajo Fin de Máster Oda Nobunaga en los videojuegos japoneses El caso de Nobunaga’s Ambition: Sphere of Influence (Koei, 2013) Oda Nobunaga in Japanese videogames The case of Nobunaga’s Ambition: Sphere of Influence (Koei, 2013) Autora Claudia Bonillo Fernández Directoras Elena Barlés Báguena Amparo Martínez Herranz Facultad de Filosofía y Letras/ Departamento de Historia del Arte Curso 2017-2018 2 ÍNDICE I. PRESENTACIÓN DEL TRABAJO .......................................................................................................................... 3 1. Delimitación del tema y causas de su elección ..................................................................................................... 3 2. Estado de la cuestión ............................................................................................................................................. 5 3. Objetivos del trabajo ............................................................................................................................................. 9 4. Metodología .......................................................................................................................................................... 9 4.1. Búsqueda, recopilación, lectura y análisis de material bibliográfico ........................................................... 10 4.2. Búsqueda, recopilación, lectura y análisis de material documental ............................................................. 11 4.3. Trabajo de campo ........................................................................................................................................
  • Living Through Death in Anime.Pdf (1.612Mb)

    Living Through Death in Anime.Pdf (1.612Mb)

    by Jordan Trygstad What is Anime? What is Anime? “Japanese cartoons and computer animation (=pictures, films etc produced using a computer)” - Longman English Dictionary Online What is Anime? What is Anime? What is Anime? What is Anime? What is Anime? What is Anime? “a style of animation originating in Japan that is characterized by stark colorful graphics depicting vibrant characters in action-filled plots often with fantastic or futuristic themes” - Merriam-Webster Why Anime? Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm 24 Nights a Semester 72 Hours Why Anime? NDSU Anime Club Friday & Saturday 7 – 10pm 24 Nights a Semester 72 Hours 9 Semesters 648 Hours Death in Anime Death in Anime Goals -Understanding Religious Climate Goals -Understanding Religious Climate -Associating Fairy Tales and Myths Goals -Understanding Religious Climate -Associating Fairy Tales and Myths -Applying Psychoanalysis Goals -Understanding Religious Climate -Associating Fairy Tales and Myths -Applying Psychoanalysis Religious Climate -Shinto -Buddhism -Christianity Religious Climate -Shinto -Buddhism • More than 85% (Karan 72-3) • Reincarnation • Bardo -Christianity Limited Time Fullmetal Alchemist: Brotherhood Episode 02 – “The First Day” Mother Revival? “And then something goes terribly wrong.” Revival After Fairy Tales - “White Bird Sister” - “The Elder Sister and the Younger Brother” Stages of Grief - Denial - Anger - Bargaining - Depression - Acceptance Thank You NDSU English Professors and Instructors Dr. Robert O’Connor Dr. Elizabeth Birmingham Works Cited "Anime." Longman English Dictionary Online. N.p., n.d. Web. 29 Nov. 2012. <http://www.ldoceonline.com/dictionary/anime>. "Anime." Merriam-Webster. Merriam-Webster, n.d. Web. 29 Nov.
  • Characters and Merchandising Rights

    Characters and Merchandising Rights

    Characters and Merchandising Rights ©2010 Collaborator: Asuka GOMI Patent Attorney, SHIROKUMA PATENT Hiroyuki NAKAGAWA Patent Attorney, Nakagawa International Patent Office Junichiro TSUCHIYA Senior Manager, Licensing Department Rights Division, Kodansha Ltd. CONTENTS Page Introduction ............................................................. 1 Chapter 1 Rights Composing Merchandising Rights ......................... 3 (1) Overview ........................................................... 3 (a) No rights called merchandising rights in place ................ 3 (b) Power to attract customers (customer-attraction power) ......... 4 (c) Rights included within merchandising rights .................... 6 (2) Content of various rights .......................................... 7 (a) Copyrights ..................................................... 8 (b) Design Act .................................................... 14 (c) Trademark Act ................................................. 16 (d) Unfair Competition Prevention Act ............................. 18 Chapter 2 Character Goods and Merchandising Rights ..................... 20 (1) History of merchandising rights ................................... 20 (2) Economic significance of merchandising rights ..................... 21 (a) Merchandising rights in the content-business .................. 21 (b) Merchandising rights to the mascot logo related to goods ...... 22 (c) Merchandising rights to industrial products ................... 22 (3) Merchandising rights and the media-mix strategy.................
  • Anime and Historical Inversion in Miyazaki Hayao's Princess

    Anime and Historical Inversion in Miyazaki Hayao's Princess

    Anime and Historical Inversion in Miyazaki Hayao’s Princess Mononoke John A. Tucker East Carolina University Introduction If box office receipts are any indication of cultural significance, then Miyazaki Hayao’s Princess Mononoke (Mononokehime, 1997) surely stands as one of the most important works of late-twentieth-century Japanese popular culture: currently it remains the highest-grossing (¥16.65 billion, approximately $150 million) domestic film in Japanese history. Prior to the release of The Titanic, Princess Mononoke eclipsed E.T. and reigned as the biggest box-office hit ever, domestic or foreign, in Japan. While The Titanic has since surpassed Princess Mononoke in overall ticket sales, over 13.53 million Japanese, or more than one-tenth of the population, have watched Princess Mononoke in theatres, and over five million copies of the video have been sold domestically (Yoneda, 204). Princess Mononoke also stands as the most expensive animated movie ever made in Japan, with a 3 billion yen (approximately $30 million) production cost (Wakita et al., 168). Critics have lauded it in literally hundreds of media reviews, especially in Japanese film and popular culture publications such as Kinema junpō, SAPIO, Nyūmedeia, AERA, uirumumeekaazu, Bessatsu Comicbox, Bessatsu Takarajima, Tech Win, Shunkan Kinyōbi, Video Doo!, Yurika, Cinema Talk, and SPA!, as well as in the major newspapers, periodicals, and regional media. Additionally, Princess Mononoke has been awarded numerous prizes, most notably the 21st Japan Academy Award for Best Film (Kuji, 3-4; Schilling, 3). Not surprisingly the film has been released internationally, with an English language version, featuring numerous familiar American voices, including that of Gillian Anderson and Billy Bob Thornton, thus making it exceptionally accessible in the United States for anime fans, and those interested in Japanese history and culture.