Ultraman at TYO Create a Powerful Ultramanwith the New Knowledge Tag
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Ultraman Hawaii’
Sex differences in pacing during `Ultraman Hawaii' Beat Knechtle1,2 and Pantelis T. Nikolaidis3 1 Gesundheitszentrum St. Gallen, St. Gallen, Switzerland 2 Institute of Primary Care, University of Zurich, Zurich, Switzerland 3 Exercise Physiology Laboratory, Nikaia, Greece ABSTRACT Background. To date, little is known for pacing in ultra-endurance athletes competing in a non-stop event and in a multi-stage event, and especially, about pacing in a multi-stage event with different disciplines during the stages. Therefore, the aim of the present study was to examine the effect of age, sex and calendar year on triathlon performance and variation of performance by events (i.e., swimming, cycling 1, cycling 2 and running) in `Ultraman Hawaii' held between 1983 and 2015. Methods. Within each sex, participants were grouped in quartiles (i.e., Q1, Q2, Q3 and Q4) with Q1 being the fastest (i.e., lowest overall time) and Q4 the slowest (i.e., highest overall time). To compare performance among events (i.e., swimming, cycling 1, cycling 2 and running), race time in each event was converted in z score and this value was used for further analysis. Results. A between-within subjects ANOVA showed a large sex × event (p D 0:015, η2 D 0:014) and a medium performance group × event interaction (p D 0:001, η2 D 0:012). No main effect of event on performance was observed (p D 0:174, η2 D 0:007). With regard to the sex × event interaction, three female performance groups (i.e., Q2, Q3 and Q4) increased race time from swimming to cycling 1, whereas only one male performance group (Q4) revealed a similar trend. -
On a Day in 2000, at a Certain Pub, the Three Creators of the Big O Got Together and to Discuss Their Passionate Thoughts…!
On a day in 2000, at a certain pub, the three creators of The Big O got together and to discuss their passionate thoughts…! Kazuyoshi Katayama The director of The Big O, he has also worked on other anime including Sentimental Journey and Giant Robo. An established pro of robot dramas. Keiichi Sato The Big O character and mecha designer/supervisor. He has worked with director Kazuyoshi Katayama since Giant Robo, and has also worked on the City Hunter TV special. Hitoshi Ariga The Big O manga artist (see inside front cover for more information). The Big O is finally starting to be released on video/DVD. Ariga: I‟d like people who weren‟t able to catch it on TV to take this opportunity to check it out Sato: Even people who dismissed it by just saying “I don‟t have cable.” [The Big O was originally shown in Japan on the Wowow cable channel—Ed.] But I guess that‟s how it is. When you can‟t see it, it‟s sour grapes. Ariga: I was hoping that the manga would help to get people interested. I‟m hoping it‟ll get people to buy the DVDs and videos, so it‟s an important piece of media in that respect. I know that I shouldn‟t stray too far. Sato: Well, we‟re going to keep needing your help. (laughs) Ariga: I‟ll do my best. (laughs) Katayama: Well, I‟d like people to enjoy the world of The Big O by both reading the manga and watching the anime. -
A Unified Platform for Big Trajectory Data Management and Analytics
UlTraMan: A Unified Platform for Big Trajectory Data Management and Analytics Xin Ding∗;y Lu Chenz Yunjun Gao∗;y Christian S. Jensenz Hujun Bao∗;y ∗State Key Laboratory of CAD&CG, Zhejiang University, Hangzhou, China yCollege of Computer Science, Zhejiang University, Hangzhou, China zDepartment of Computer Science, Aalborg University, Aalborg, Denmark fdingxin@, gaoyj@, [email protected] fluchen, [email protected] ABSTRACT also in real-world applications. As an example, DiDi, the Massive trajectory data is being generated by GPS-equipped largest ride-sharing company in China, utilizes trajectory devices, such as cars and mobile phones, which is used in- data to provide services such as travel time prediction, de- creasingly in transportation, location-based services, and mand forecasting, and carpool scheduling [6]. The explosive urban computing. As a result, a variety of methods have increase in data volumes and the rapid proliferation of new been proposed for trajectory data management and ana- data analysis methods expose three shortcomings of tradi- lytics. However, traditional systems and methods are usu- tional trajectory data management platforms. ally designed for very specific data management or analyt- First, in real-life applications, trajectory data is collected ics needs, which forces users to stitch together heteroge- at a rapid pace. For instance, the Daisy Lab at Aalborg neous systems to analyze trajectory data in an inefficient University currently receives some 100 million points per manner. Targeting the overall data pipeline of big trajec- day from about 40,000 vehicles in Denmark. Consequently, tory data management and analytics, we present a unified traditional centralized systems [13, 23, 35] are or will be platform, termed as UlTraMan. -
Top Japanese Talent to Headline C3 Charaexpo 2016 in Singapore
L-R: Showcase emcee, Misa; NJPW Pro Wrestler, Tetsuya Naito,, Sora Tokui and Bushiroad's CEO, Takaaki Kidani May 18, 2016 22:13 +08 Top Japanese talent to headline C3 CharaExpo 2016 in Singapore Over 30,000 visitors anticipated to attend one of the largest anime conventions in Southeast Asia Singapore – The C3 CharaExpo committee that comprises Bushiroad Inc., ASATSU-DK INC., SOTSU CO., LTD. and Amuse Entertainment Singapore Pte Ltd, has announced an impressive lineup of events and multiple guest appearances that will occur at the C3 CharaExpo 2016, to be held on 9-10 July 2016 at Hall 7 of the Singapore EXPO. The organisers are expecting to attract some 30,000 visitors to one of the largest anime conventions in the region. C3 CharaExpo 2016 will feature leading names from the Japanese manga, anime, music, games and cosplay industry. Luminaries include illustrator Asuka Nishi (Shiyoko) and Na-Ga (Little Busters, Angel Beats); game designerSatoshi Nakamura (Weiss Schwarz and Cardfight!! Vanguard); voice talents such as Mark Ishii (Chrono Shindou in Cardfight!! Vanguard); Yui Makino (Tsubasa: Reservoir Chronicle) and Sora Tokui (Nero Yuzurizaki, Nizo Yazawa) as well as musical talent such as marina; STARMARIE and The World Standard, who will make their debut appearance at the C3 CharaExpo. Bushiroad Inc’s President and Chief Executive Officer, Takaaki Kidani would like the convention to accomplish two things: “Our goals for C3 Chara Expo 2016 are twofold; to ensure that fans get the best experience with the cream of Japanese anime talent from Bushiroad and our partners at Bandai Namco Entertainment, Doga Kobo and Nippon Animation as well as to create more opportunities and expand the reach between creators in Japan and our partners throughout region." Highlights of C3 CharaExpo include • Cos☆Stage: The highly anticipated stage returns this year and cosplay fans can compete to win an exclusive, all-expenses paid, invitation to the Cosplay Collection Night at Tokyo Game Show this year. -
Lijst 556 Euro-DCD
€ DCD CODES!!!! LIJST: FAX/MODEM/E-MAIL: 25 jul 2021 PREVIEWS DISK: 27 jul 2021 [email protected] voor Nieuws, Aanbiedingen en Nabestellingen KIJK OP WWW.PEPCOMICS.NL PEP COMICS SLUITINGSDATUM: DCD WETH. DEN OUDESTRAAT 10 FAX: 25 juli 5706 ST HELMOND ONLINE: 25 juli TEL +31 (0)492-472760 UITLEVERING: (€) FAX +31 (0)492-472761 september/oktober #556 ********************************** DCD0060 [M] Image Firsts Monstress #1 2.57 b *** DIAMOND COMIC DISTR. ******* DCD0061 [M] Saga TPB Vol.01 12.89 b ********************************** DCD0062 [M] Saga TPB Vol.02 19.34 b DCD0063 [M] Saga TPB Vol.03 19.34 b DCD SALES TOOLS page 026 DCD0064 [M] Saga TPB Vol.04 19.34 b DCD0001 Previews September 2021 #396 5.45 i DCD0065 [M] Saga TPB Vol.05 19.34 b DCD0002 Marvel Previews S EXTRA Vol.05 #15 1.58 b DCD0066 [M] Saga TPB Vol.06 19.34 b DCD0003 Previews September 2021 Custo #396 0.86 i DCD0067 [M] Saga TPB Vol.07 19.34 b DCD0004 Previews Sept 2021 Cust EXTRA #396 1.72 i DCD0068 [M] Saga TPB Vol.08 19.34 b DCD0006 Previews Sep 2021 Retai EXTRA #396 2.62 b DCD0069 [M] Saga TPB Vol.09 19.34 b DCD0007 Game Trade Magazine #259 0.00 E DCD0070 [M] Mom Mother Of Madness (3) #3 6.44 b DCD0008 Game Trade Magazine EXTRA #259 0.58 E DCD0071 Blackbird TPB Vol.01 21.92 b IMAGE COMICS page 042 DCD0072 Skyward My Low G Life TPB Vol.01 12.89 b DCD0009 [M] Primordial A Sorrentino (6) #1 5.15 b DCD0073 Skyward Here There Be D TPB Vol.02 21.92 b DCD0010 [M] Primordial B Ward (6) #1 5.15 b DCD0074 Skyward Fix The World TPB Vol.03 21.92 b DCD0011 [M] Primordial C Nguyen -
Microsoft Visual Basic
$ LIST: FAX/MODEM/E-MAIL: aug 23 2021 PREVIEWS DISK: aug 25 2021 [email protected] for News, Specials and Reorders Visit WWW.PEPCOMICS.NL PEP COMICS DUE DATE: DCD WETH. DEN OUDESTRAAT 10 FAX: 23 augustus 5706 ST HELMOND ONLINE: 23 augustus TEL +31 (0)492-472760 SHIPPING: ($) FAX +31 (0)492-472761 oktober/november #557 ********************************** __ 0079 Walking Dead Compendium TPB Vol.04 59.99 A *** DIAMOND COMIC DISTR. ******* __ 0080 [M] Walking Dead Heres Negan H/C 19.99 A ********************************** __ 0081 [M] Walking Dead Alien H/C 19.99 A __ 0082 Ess.Guide To Comic Bk Letterin S/C 16.99 A DCD SALES TOOLS page 026 __ 0083 Howtoons Tools/Mass Constructi TPB 17.99 A __ 0019 Previews October 2021 #397 5.00 D __ 0084 Howtoons Reignition TPB Vol.01 9.99 A __ 0020 Previews October 2021 Custome #397 0.25 D __ 0085 [M] Fine Print TPB Vol.01 16.99 A __ 0021 Previews Oct 2021 Custo EXTRA #397 0.50 D __ 0086 [M] Sunstone Ogn Vol.01 14.99 A __ 0023 Previews Oct 2021 Retai EXTRA #397 2.08 D __ 0087 [M] Sunstone Ogn Vol.02 14.99 A __ 0024 Game Trade Magazine #260 0.00 N __ 0088 [M] Sunstone Ogn Vol.03 14.99 A __ 0025 Game Trade Magazine EXTRA #260 0.58 N __ 0089 [M] Sunstone Ogn Vol.04 14.99 A __ 0026 Marvel Previews O EXTRA Vol.05 #16 0.00 D __ 0090 [M] Sunstone Ogn Vol.05 14.99 A IMAGE COMICS page 040 __ 0091 [M] Sunstone Ogn Vol.06 16.99 A __ 0028 [M] Friday Bk 01 First Day/Chr TPB 14.99 A __ 0092 [M] Sunstone Ogn Vol.07 16.99 A __ 0029 [M] Private Eye H/C DLX 49.99 A __ 0093 [M] Sunstone Book 01 H/C 39.99 A __ 0030 [M] Reckless -
National Show Jumping Championship Scores
National Show Jumping Championship Scores Rank Name Club Horse Competition 1 Competition 2 Cmpetition 3 Total CLASS 3 - 70cm (2nd Phase against the Clock) Art. 274, #5.2 1 Shana Thurley © SPC Toby 7 10 17 2 Charlotte Dorrey © BTSC Desiree II 9 7 16 3 Sophie Parkhurst © SPC Star 5 8 13 4 India Boyd © RDA Louis 6 5 11 5 Lara Dickinson © SPC Mo 3 6 9 6 Angelina Saliling © SPC Rascal 4 4 8 7 Oonah Illingworth © SPC Delmonte 2 3 5 CLASS 4 - 80cm (2nd Phase against the Clock) Art. 274, #5.2 1 Fiona Craig © SPC Maverick 6 8 14 2 Marie Van Hove © BTSC Gemma 8 6 14 3 Rolando Gonzalez © SPC Mr. Percy 10 2 12 4 Hannah Sheehy © BTSC Saoirse Lily 7 4 11 5 Alva Zinser © BTSC Indi 4 5 9 6 Louisa Blakeley © SPC Star 3 3 6 7 Jessica Skinner © SPC Rosa 0 1 1 CLASS 5 -90cm (1 Round against the Clock) Art 239, Tab C 1 Nancy Hughes © NEC Foxdale Villarni 11 16 13 40 2 Keith Yeo © SPC Sugar Plum Fairy 14 14 11 39 3 Sara Elisabeth Currie © BTSC Cool Performer 8 13 7 28 4 Teya Blunck © SPC Falco 5 11 12 28 5 Vesilia Ng © NEC Little Miss Sunshine 4 7 15 26 6 Laura Richardson © SPC Brownie 9 12 4 25 7 Imogen Laird © NEC Little Plains 7 9 8 24 8 Tara Drummond © BTSC Diamond Blue 6 8 10 24 9 Bridget Gray © BTSC Imperial Green 12 3 6 21 10 Grace Mackey© SPC Mimo 2 10 9 21 11 Anne Hagarty © NEC The Hec Man 10 2 5 17 12 Vitoria Yang © NEC Impero 3 5 3 11 13 Tegan David © BTSC Shirrine De Caprioa 0 4 2 6 CLASS 6 -100cm (1 Round against the Clock) Art. -
(Revised0507)JAPAN BOOTH 2013 Cannes FIX
CONTENTS INTRODUCTION Contents Introduction 1 Introduction Japan Booth is organized by JETRO/UNIJAPAN with the support from Agency for Cultural Affairs (Government of Japan). 2 Geneon Universal Entertainment Japan, LLC 3 Gold View Co., Ltd. 4 Happening Star Project JETRO, or the Japan External Trade Organization, is UNIJAPAN is a non-profit organization established 5 MODE FILMS INC. a government-related organization that works to pro- in 1957 by the Japanese film industry under the mote mutual trade and investment between Japan and auspice of the Government of Japan for the purpose 6 Nikkatsu Co. the rest of the world. of promoting Japanese cinema abroad. Initially named 7 Office Walker Inc. Originally established in 1958 to promote Japanese ex- ‘Association for the Diffusion of Japanese Film Abroad’ 8 Omgact Entertainment LLC ports abroad, JETRO’s core focus in the 21st century (UniJapan Film), in 2005 it joined hands with the has shifted toward promoting foreign direct investment organizer of Tokyo International Film Festival (TIFF), to 9 Open Sesame Co., Ltd. into Japan and helping small to medium-sized Japa- form a combined, new organization. 10 Production I.G nese firms maximize their global business potential. 11 SDP Inc. 12 Sedic International Inc. 13 Showgate Inc. 14 Tsuburaya Productions Co., Ltd. Category Action Drama Comedy Horror / Suspense Documentary Animation Screening schedule Day Starting Time Length of the Film Title Place 1 Geneon Universal Entertainment Japan, LLC Gold View Co., Ltd. The Chasing World: The Origin Belladonna Of Sadness AD 3000. 1 in 20 has the family name "SATO" in Japan. The A story about a young and beautiful woman, who has lived a life 150th king implements a horrific policy to reduce the number of of hardships. -
… … Mushi Production
1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Mushi Production (ancien) † / 1961 – 1973 Tezuka Productions / 1968 – Group TAC † / 1968 – 2010 Satelight / 1995 – GoHands / 2008 – 8-Bit / 2008 – Diomédéa / 2005 – Sunrise / 1971 – Deen / 1975 – Studio Kuma / 1977 – Studio Matrix / 2000 – Studio Dub / 1983 – Studio Takuranke / 1987 – Studio Gazelle / 1993 – Bones / 1998 – Kinema Citrus / 2008 – Lay-Duce / 2013 – Manglobe † / 2002 – 2015 Studio Bridge / 2007 – Bandai Namco Pictures / 2015 – Madhouse / 1972 – Triangle Staff † / 1987 – 2000 Studio Palm / 1999 – A.C.G.T. / 2000 – Nomad / 2003 – Studio Chizu / 2011 – MAPPA / 2011 – Studio Uni / 1972 – Tsuchida Pro † / 1976 – 1986 Studio Hibari / 1979 – Larx Entertainment / 2006 – Project No.9 / 2009 – Lerche / 2011 – Studio Fantasia / 1983 – 2016 Chaos Project / 1995 – Studio Comet / 1986 – Nakamura Production / 1974 – Shaft / 1975 – Studio Live / 1976 – Mushi Production (nouveau) / 1977 – A.P.P.P. / 1984 – Imagin / 1992 – Kyoto Animation / 1985 – Animation Do / 2000 – Ordet / 2007 – Mushi production 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … 1948 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 … Tatsunoko Production / 1962 – Ashi Production >> Production Reed / 1975 – Studio Plum / 1996/97 (?) – Actas / 1998 – I Move (アイムーヴ) / 2000 – Kaname Prod. -
Ray X X-Rayer #131 January 30, 2017
Ray X X-Rayer #131 January 30, 2017 [email protected] http://x-rayer.com Ultra Q – Episode 27: The Disappearance of Flight 206 XR #131 Page 1 TAFFy Pull: Nominee John Purcell Draws In the Votes Welcome to SF fan alphabet soup. TAFF. CUFF. DUFF. GUFF. All three organizations raise funds so that science fiction fans can travel to conventions in other parts of the world. Three candidates are vying to win TAFF, Trans-Atlantic Fan Fund.* The TAFF 2017 Ballot explains: "TAFF has regularly brought North American fans to European conventions and European fans to North American conventions. It exists solely through the support of fandom." This year it's North America to Europe. Fanzine editor and 2017 TAFF nominee John Purcell took the time to explain how TAFF works. John is a Minnesotan transplanted to Texas. His day job: instructor at Blinn Community College. Hobbies: Besides SF fandom there's music, playing guitar. He publishes two fanzines with easily confused titles, Askew and Askance. (I know after writing a letter of comment to the wrong zine.) He explained a fan declares the intention to run for TAFF and then needs to line up other fans to nominate that fan. John: "TAFF requires a total of five nominators (two from the destination continent, three from the sending continent) to send in their nominating statements to the current TAFF Administrators." XR #131 Page 2 "Once the requirements are met," he continued, "the administrators then announce that the race is on and open it for any fan to vote until the deadline [this year March 4.]" A TAFF nominee can campaign through fanzines. -
“Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd
(Translation) April 24, 2018 To all parties concerned: FIELDS CORPORATION President and COO: Tetsuya Shigematsu (TSE 1st: 2767) Inquiries: Hideaki Hatanaka Corporate Officer; General Manager, Corporate Communications Office Tel.: +81-3-5784-2111 Notice of Winning Judgment In U.S. Lawsuit Regarding “Ultraman” Rights of the Consolidated Subsidiary Tsuburaya Productions Co., Ltd. FIELDS CORPORATION announces that in the copyright-related lawsuit that took place in the United States between our consolidated subsidiary Tsuburaya Productions Co., Ltd. (“TPC”) and UM Corporation (“UMC”), the United States District Court, Central District of California, entered a final judgment on April 18, 2018 affirming the entire claim of TPC, including that the supposed agreement dated March 4, 1976, claimed by UMC as the basis for its alleged rights in “Ultraman,” was not an authentic contract. In addition to confirming that TPC possesses all the rights to develop and expand any audio-visual or other creative works or products based on “Ultraman” characters or stories, the judgment required UMC to pay damages for its infringement of TPC’s rights as per the attached document. The impact of those damages upon the forecast consolidated results for the fiscal year ended March 31, 2018 will be insignificant and we are now examining the impact on the consolidated results for the fiscal year ending March 31, 2019. Following the results of the above lawsuit, TPC will promote active overseas development of “Ultraman” works in the future as a result of above lawsuit. For inquiries or further information please contact Corporate Communications Office, FIELDS CORPORATION Shibuya Garden Tower, 16-17 Nampeidai-cho, Shibuya-ku, Tokyo 150-0036 Tel.: +81-3-5784-2109 Fax: +81-3-5784-2119 April 24, 2018 Tsuburaya Productions Co., Ltd. -
Tokusatsu. I Telefilm Giapponesi Con Effetti Speciali
Tokusatsu. I telefilm giapponesi con effetti speciali. Tokutatsu è il primo saggio in Italia dedicato alla storia dei telefilm giapponesi con effetti speciali. Ve lo ricordate Megaloman? Introduciamo Tokutatsu. Chi è appassionato di manga, anime e film di mostri (i cosiddetti kaijū eiga) ha a disposizione un numero considerevole di pubblicazioni tra cui scegliere. C’è però un altro settore, non ancora adeguatamente considerato e studiato, che ha un’importanza altrettanto fondamentale. Sono i tokusatsu, i telefilm nipponici con effetti speciali di cui qualche esempio è arrivato anche in Italia durante i primi anni Ottanta. Si è trattato però solo della punta dell’iceberg di un fenomeno molto più ricco, articolato e complesso che meritava di essere approfondito. Il termine, che deriva dalla fusione delle parole tokushū (特殊) e satsuei (撮影) ossia “effetti speciali”, viene utilizzato per indicare un genere di serie televisive, spesso di argomento fantascientifico, in cui viene fatto abbondante uso di particolari espedienti cinematografici. Dal kabuki a Ultraman L’origine di queste produzioni risale ai primi esempi del teatro giapponese tradizionale, in particolare al kabuki e al bunraku. Dal primo questi telefilm hanno tratto ispirazione principalmente per le scene d’azione e di combattimento; dal secondo, invece, hanno mutuato tutta una serie di soluzioni tecniche artigianali che poi, ulteriormente sviluppate e raffinate, hanno dato origine a quel particolare mix in cui costumi sgargianti si sposano con esplosioni pirotecniche e modellini in scala di città, navi, aerei e mostri di vario genere. Analizzare la storia di questo tipo di produzioni significa intraprendere un lungo viaggio che inizia negli anni Cinquanta, con i primi supereroi mascherati emuli di Superman e Batman, per poi attraversare gli anni Sessanta, con la consacrazione di Eiji Tsuburaya a cui si deve la creazione di una lunga serie di personaggi che sono entrati nella storia del cinema e della televisione giapponese, Ultraman su tutti.