Localizing Japanese Video Games for a Globalizing World
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Manual-3DS-Animal-Crossing-Happy
1 Important Information Basic Information 2 amiibo 3 Information-Sharing Precautions 4 Online Features 5 Note to Parents and Guardians Getting Started 6 Introduction 7 Controls 8 Starting the Game 9 Saving and Erasing Data Designing Homes 10 The Basics of Design 11 Placing Furniture 12 Unlockable Features Things to Do in Town 13 Nook's Homes 14 Visiting Houses and Facilities 15 Using amiibo Cards Internet Communication 16 Posting to Miiverse 17 Happy Home Network Miscellaneous 18 SpotPass 19 Paintings and Sculptures Troubleshooting 20 Support Information 1 Important Information Please read this manual carefully before using the software. If the software will be used by children, the manual should be read and explained to them by an adult. Also, before using this software, please select in the HOME Menu and carefully review content in "Health and Safety Information." It contains important information that will help you enj oy this software. You should also thoroughly read your Operations Manual, including the "Health and Safety Information" section, before using this software. Please note that except where otherwise stated, "Nintendo 3DS™" refers to all devices in the Nintendo 3DS family, including the New Nintendo 3DS, New Nintendo 3DS XL, Nintendo 3DS, Nintendo 3DS XL, and Nintendo 2DS™. CAUTION - STYLUS USE To avoid fatigue and discomfort when using the stylus, do not grip it tightly or press it hard against the screen. Keep your fingers, hand, wrist, and arm relaxed. Long, steady, gentle strokes work just as well as many short, hard strokes. Important Information Your Nintendo 3DS system and this software are not designed for use with any unauthorized device or unlicensed accessory. -
Gender and Sexuality
Elyse Lemoine November 21, 2013 Game Studies I I am the Shadow, the True Self: Exploring Dungeons, Gender, Sexuality, and Identity in Persona 4 In the small, foggy town of Inaba, trouble brews as people begin to disappearing, reappearing on a TV program called the “Midnight Channel,” where they become cartoonish impersonations of themselves, broadcasting their thoughts and feelings to the world. When the fog rolls into Inaba, it brings the corpses of the missing with it. In the Japanese roleplaying game, Shin Megami Tensei: Persona 4, the player assumes the role of a silent, male protagonist, the Hero, on a mission to save as many people from the Midnight Channel as possible and figure out who the true culprit is behind these disappearances, all while managing school, studying, part-time jobs, and his social life. The game has two main methods of gameplay: one in the town of Inaba, where the player is a powerless high school student trying to manage his life, and one in the television world, where the player and his party must explore dungeons and fight Shadows using the power of Persona. These dungeons, as manifestations of the human psyche, allow players to experience and interact with characters struggling with ideas of self-perception, identity, gender, and sexuality. In Persona 3, players were given Tartarus to explore, a dungeon accessible almost every night. Balancing one’s social life along with exploring this single dungeon became the core mechanic of the game. Persona 4 followed a similar mechanic, only with smaller, individualized dungeons that appear one at a time, tied directly to the game’s main characters. -
Press Release Company Name : Capcom Co., Ltd
October 31, 2013 Press Release Company Name : Capcom Co., Ltd. Representative: Haruhiro Tsujimoto, President and COO (Company Code: 9697 Tokyo Stock Exchange) Contact: Public Relations and Investor Relations Office Phone Number: +81-6-6920-3623 Favorable Increase on Financial Results for ended September 30, 2013 16.9% increase in Net Sales, 15.2% increase in Operating Income from Previous Term - “Monster Hunter 4” and Capcom pachislo machine contributed to the highest records at all levels for the first half of a fiscal year - Capcom Co., Ltd. would like to announce that net sales increased to 53,234 million yen (up 16.9% from the previous year) in the 6 months of fiscal year ending March 31, 2014. As for profits, operating income increased to 7,509 million yen (up 15.2% from the previous year), and ordinary income increased to 8,190 million yen (up 34.8 % from the previous year). Net income for the current period increased to 4,950 million yen (up 20.0 % from the previous year). During the 6 months, the feature title “Monster Hunter 4” is the highest ever for any third-party Nintendo 3DS title in Japan by becoming a big hit with shipment of 2.8 million units* in the Digital Contents business. In addition, “Resident Evil Revelations” and “Phoenix Wright: Ace Attorney - Dual Destinies” also basically achieved projected sales. *3 million units as of October 15, 2013 In the Amusement Equipments business, “Devil May Cry 4”, which was released in September, realized better-than-expected sales, serving to drive sales expansion and support earnings. -
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen. -
Current Developments in Translation Technology
T21N – Translation in Transition 2011-09 Frank Austermühl (Auckland) On Clouds and Crowds: Current Developments in Translation Technology Editors: Viktorija Bilić Anja Holderbaum Anne Kimmes Joachim Kornelius John Stewart Publisher: Christoph Stoll Wissenschaftlicher Verlag Trier T21N – Translation in Transition ISSN: 2191-1916 www.t21n.com T21N – Translation in Transition 2011-09 Frank Austermühl (Auckland) On Clouds and Crowds: Current Developments in Translation Technology Abstract: This paper presents two recent developments in translation technology: statistical machine translation (MT) and massive online collaboration (MOC), and their impacts on the translation process in general, and on the working conditions of individual translators in particular. Considering machine translation, we will focus on online MT systems and the paradigm of statistical machine translation. Concerning massive online collaboration, the discussion will focus on both crowdsourcing and on Wiki resources for translators. Finally, potential ways of reacting to the challenges posed by MT and MOC for both translation research and teaching will be provided. Ziel des Artikel ist es, zwei jüngere Entwicklungen im Bereich der Übersetzungstechnologie – Statistik-basierte maschinelle Übersetzung (MÜ) und massive online collaboration (MOC) – und ihre Auswirkungen auf den Übersetzungsprozess im Allgemeinen und die Arbeitsbedingungen von professionellen Übersetzerinnen und Übersetzern im Besonderen zu diskutieren. Mit Blick auf die maschinelle Übersetzung liegt der Fokus der Diskussion auf Onlinelösungen sowie bei statistischen MÜ-Ansätzen. Beim Thema massive online collaboration stehen sowohl das Konzept des crowdsourcing als auch die kollaborative Entwicklung von Wiki-Ressourcen für Übersetzer im Vordergrund. Im Schlussteil des Artikels werden mögliche Wege aufgezeigt, wie in Forschung und Lehre im Bereich der Übersetzungswissenschaft auf die durch MÜ und MOC entstehenden Herausforderungen reagieren kann. -
38 Studios: Rhode Island Economic Development Corp
38 Studios: Rhode Island Economic Development Corp. (“RIEDC”) Discussion Materials June 14, 2010 Public Session – Private and Confidential Interactive Entertainment Industry Overview Interactive Entertainment Market Opportunity Growth in the Interactive Entertainment Market will be Primarily Driven by Software Sales . Worldwide revenue representing retail value of shipments of videogame consoles, dedicated handheld gaming devices, and packaged software for consoles and handhelds reached a record high of $71.7 billion in 2008, up 15% from 2007’s record high of $62.4 billion. The worldwide market is expected to reach $124.1 billion in 2013, a projected compounded annual growth rate of 11.0%. While hardware revenue is projected to decline and then rise again in 2012 and 2013 due to the console cycle, the retail value of software shipments is expected to increase at a compounded annual growth rate of 14.3% in the projected years, reaching $101.8 billion in 2013. Worldwide Interactive Entertainment Revenue by Component ($ in Billions) Hardware Software '09E-'13E $150.0 CAGRs: $124.1 11.0% $108.7 $96.8 $100.0 $91.5 $81.9 $71.7 14.3% $62.4 $101.8 $89.8 $80.0 $59.7 $71.1 $50.0 $39.1 $46.6 $40.7 $25.4 $21.6 $25.1 $22.2 $22.3 $13.7 $20.3 $16.8 $18.9 0.1% $0.0 2006A 2007A 2008A 2009E 2010E 2011E 2012E 2013E Source: IDC, May 2009 38 Studios: Rhode Island Economic Development Corp. 2 Market Opportunity by Geography North America and Western Europe Each Currently Represent 40% of Total Market Share . -
Heggan Happenings for Teens and Tweens
September 2019 HEGGAN HAPPENINGS FOR TEENS AND TWEENS The Teen Video Game Night Advisory BoArd presents: @ the Library TEEN & TWEEN CUISINE Monday, September 30 • 6:30 p.m. Wednesday, September 18 • 5:00 p.m. Then(ish) and Now(ish) Learn to make delicious dishes and Star Fox scrumptious snacks during this hands-on cooking experience! Tuesday, September 24 • 6:00 p.m. How have your favorite games Teen & Tween Cuisine is open to Heggan By Teens, for Teens—Teens Supporting Teens changed over time? Library cardholder Teens & Tweens This month we’ll compare an from 5th-12th grade only. Advance The Margaret Heggan Library offers a safe place for teens to just be! older Star Fox installment registration is required. with a more recent release by No Pressure—No Stress—Just Talk playing both Star Fox 64 and . and snacks! Star Fox Zero. Find out if Fox LOCKER CRAFTS Heggan Library cardholder Teens only. McCloud’s adventures through for Teens & Tweens Registration required. the Lylat system matured for Rock your locker for the school year! better or for worse! Create a customized duct tape pencil case, TAB GAME TIME Both Star Fox 64 and make locker magnets, and decorate picture Star Fox Zero are rated E10 or mirror frames. Tuesday, September 17 • 6:00 p.m. for Everyone 10 and up by Tuesdays, September 3 and 10 Come play PuyoPuyo Tetris! the ESRB 5:30 p.m. TAB Game Time is open to Heggan Library Video Game Night is open to adults and children. Children under 10 must be Advance registration required. -
Managing the Story of Non-Linear Inter- Active Story Game
Sara Lindo Managing the story of non-linear inter- active story game Metropolia University of Applied Sciences Bachelor of Engineering Information and communication technology Smart Systems 09 November 2020 Abstract Author Sara Lindo Title Managing non-linear interactive story game Number of Pages 35 pages Date 09 November 2020 Degree Bachelor of Engineering Degree Programme Information and Communications Technology Professional Major Smart Systems Instructors Antti Laiho, Project Manager Kimmo Sauren, Principal Lecturer This thesis is about non-linear interactive story games. The idea of non-linear games origi- nated from a book genre called choose your own adventure. These books let the reader choose the way the story would go with multiple options within the books. Non-linear games change every time they are played. Interactive games are a type of non- linear game that gives the player choices to move the story toward different directions. The player’s actions determine the direction of the plot. In this final year project, an interactive story game called “Road trip” was created. It is a simple example to demonstrate how an interactive story game controller works. It also has certain traits of open world games, which allows the player to explore freely around the area. The game was created with Unity and the logic of the game used the tree-diagram as a base. Along with object-oriented programming, the controller of the game uses triggers as their base for the game logic. The triggers are invisible 3D-objects that detect the player and trigger the codes attached to it. These codes contained, for example, the choices that the player would come across while playing. -
2020 ALTA Awards
43rd Annual ALTA Sept. 30 – Oct. 18, 2020 Conference THE AMERICAN LITERARY TRANSLATORS ASSOCIATION 2020 ALTA Awards THE NATIONAL CENTER FOR ONLINE TRANSLATION CERTIFICATE INTERPRETATION has been one of the premier NCI now offers an online, non-credit Spanish/ providers of high quality interpreter training since English Translation Certificate with courses its inception in 1983. focused on legal translation, medical translation, and business translation. Contact us for more information: [email protected] More about the Certificate: nci.arizona.edu/online-translation-certificate WEBINARS Throughout the year, NCI offers a variety of COURT INTERPRETER TRAINING INSTITUTE webinars focused on essential aspects of (CITI) interpreting, from ethical considerations to Each summer, NCI offers its prestigious Court skill-building to specialized content such as Interpreter Training Institute (CITI). Now in its drug and weapons terminology. NCI offers both 38th year, the CITI is NCI’s most comprehensive Spanish/English webinars and language neutral training and is renowned nationally. The CITI webinars that are open to interpreters of all begins in June with online pre-testing followed languages. NCI’s webinar schedule changes by a series of webinars and online work, followed throughout the year, so check back often. You by two intensive weeks in July with the CITI’s can also join our mailing list to receive updates exceptional, federally certified instructors. It’s a as we post new trainings. once-in-a-lifetime experience! Webinar Schedule: More information about the CITI: nci.arizona.edu/workshop-schedule nci.arizona.edu/training/citi Congratulations to the translators on the 2020 Italian Prose in Translation Award shortlist! See what judges Jeanne Bonner, Richard Dixon, and Tony Italian Prose Shugaar had to say about each of the shortlisted titles (in alphabetical in Translation order by title). -
Q1 2007 8 Table of the Punch Line Contents
Q1 2007 8 Table of The Punch Line Contents 4 On the Grand Master’s Stage 34 Persona Visits the Wii Line Strider–ARC AnIllustratedCampoutfortheWii 6 Goading ‘n Gouging 42 Christmas Morning at the Ghouls‘nGoblinsseries Leukemia Ward TokyoGameShow2006 12 That Spiky-Haired Lawyer is All Talk PhoenixWright:AceAttorney–NDS 50 A Retrospective Survival Guide to Tokyo Game Show 14 Shinji Mikami and the Lost Art of WithExtra-SpecialBlueDragon Game Design Preview ResidentEvil-PS1;P.N.03,Resident Evil4-NGC;GodHand-PS2 54 You’ve Won a Prize! Deplayability 18 Secrets and Save Points SecretofMana–SNES 56 Knee-Deep in Legend Doom–PC 22 Giving Up the Ghost MetroidII:ReturnofSamus–NGB 58 Killing Dad and Getting it Right ShadowHearts–PS2 25 I Came Wearing a Full Suit of Armour But I Left Wearing 60 The Sound of Horns and Motors Only My Pants Falloutseries Comic 64 The Punch Line 26 Militia II is Machinima RuleofRose-PS2 MilitiaII–AVI 68 Untold Tales of the Arcade 30 Mega Microcosms KillingDragonsHasNever Wariowareseries BeenSoMuchFun! 76 Why Game? Reason#7:WhyNot!? Table Of Contents 1 From the Editor’s Desk Staff Keep On Keeping On Asatrustedfriendsaidtome,“Aslong By Matthew Williamson asyoukeepwritingandcreating,that’s Editor In Chief: Staff Artists: Matthew“ShaperMC”Williamson Mariel“Kinuko”Cartwright allIcareabout.”Andthat’swhatI’lldo, [email protected] [email protected] It’sbeenalittlewhilesinceourlast andwhatI’llhelpotherstodoaswell. Associate Editor: Jonathan“Persona-Sama”Kim issuecameout;Ihopeyouenjoyedthe Butdon’tworryaboutThe Gamer’s Ancil“dessgeega”Anthropy [email protected] anticipation.Timeissomethingstrange, Quarter;wehavebigplans.Wewillbe [email protected] Benjamin“Lestrade”Rivers though.Hasitreallybeenovertwo shiftingfromastrictquarterlysched- Assistant Editor: [email protected] yearsnow?Itgoessofast. -
Sega Sammy Holdings Integrated Report 2019
SEGA SAMMY HOLDINGS INTEGRATED REPORT 2019 Challenges & Initiatives Since fiscal year ended March 2018 (fiscal year 2018), the SEGA SAMMY Group has been advancing measures in accordance with the Road to 2020 medium-term management strategy. In fiscal year ended March 2019 (fiscal year 2019), the second year of the strategy, the Group recorded results below initial targets for the second consecutive fiscal year. As for fiscal year ending March 2020 (fiscal year 2020), the strategy’s final fiscal year, we do not expect to reach performance targets, which were an operating income margin of at least 15% and ROA of at least 5%. The aim of INTEGRATED REPORT 2019 is to explain to stakeholders the challenges that emerged while pursuing Road to 2020 and the initiatives we are taking in response. Rapidly and unwaveringly, we will implement initiatives to overcome challenges identified in light of feedback from shareholders, investors, and other stakeholders. INTEGRATED REPORT 2019 1 Introduction Cultural Inheritance Innovative DNA The headquarters of SEGA shortly after its foundation This was the birthplace of milestone innovations. Company credo: “Creation is Life” SEGA A Host of World and Industry Firsts Consistently Innovative In 1960, we brought to market the first made-in-Japan jukebox, SEGA 1000. After entering the home video game console market in the 1980s, The product name was based on an abbreviation of the company’s SEGA remained an innovator. Representative examples of this innova- name at the time: Service Games Japan. Moreover, this is the origin of tiveness include the first domestically produced handheld game the company name “SEGA.” terminal with a color liquid crystal display (LCD) and Dreamcast, which In 1966, the periscope game Periscope became a worldwide hit. -
Incorporating Fansubbers Into Corporate Capitalism on Viki.Com
“A Community Unlike Any Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Taylore Nicole Woodhouse TC 660H Plan II Honors Program The University of Texas at Austin Spring 2018 __________________________________________ Dr. Suzanne Scott Department of Radio-Television-Film Supervising Professor __________________________________________ Dr. Youjeong Oh Department of Asian Studies Second Reader ABSTRACT Author: Taylore Nicole Woodhouse Title: “A Community Unlike Another Other”: Incorporating Fansubbers into Corporate Capitalism on Viki.com Supervising Professors: Dr. Suzanne Scott and Dr. Youjeong Oh Viki.com, founded in 2008, is a streaming site that offers Korean (and other East Asian) television programs with subtitles in a variety of languages. Unlike other K-drama distribution sites that serve audiences outside of South Korea, Viki utilizes fan-volunteers, called fansubbers, as laborers to produce its subtitles. Fan subtitling and distribution of foreign language media in the United States is a rich fan practice dating back to the 1980s, and Viki is the first corporate entity that has harnessed the productive power of fansubbers. In this thesis, I investigate how Viki has been able to capture the enthusiasm and productive capacity of fansubbers. Particularly, I examine how Viki has been able to monetize fansubbing in while still staying competitive with sites who employee trained, professional translators. I argue that Viki has succeeded in courting fansubbers as laborers by co-opting the concept of the “fan community.” I focus on how Viki strategically speaks about the community and builds its site to facilitate the functioning of its community so as to encourage fansubbers to view themselves as semi-professional laborers instead of amateur fans.