Capcom to Bring Classic Titles Such As “SONSON” to the Wii Via Virtual

Total Page：16

File Type：pdf, Size：1020Kb

Capcom to Bring Classic Titles Such As “SONSON” to the Wii Via Virtual

July 16th, 2010 Press Release 3-1-3, Uchihiranomachi, Chuo-ku Osaka, 540-0037, Japan Capcom Co., Ltd. Haruhiro Tsujimoto, President and COO (Code No. 9697 Tokyo - Osaka Stock Exchange) Capcom to bring classic titles such as SONSON to the Wii “ ” via Virtual Console Arcade - Arcade favorites make their long-awaited return - Capcom Co., Ltd. (Capcom) is pleased to announce the regular release of classic arcade games that will be available for download and play on the Nintendo Wii “Virtual Console Arcade”. The first title scheduled for release is “SonSon”, a shooting game inspired by the Chinese fable “Journey to the West”. Originally released in 1984 for the arcade market, subsequent releases on home consoles and on the mobile phone platform have contributed to its status as a long-selling title. As it supports two-player simultaneous play with the Wii Remote, this title will appeal to fans of the original as well as the core Wii audience. Capcom plans to follow up the release of “SonSon” this summer with regular additions of its classic titles to the Virtual Console Arcade. Lately, the market for downloadable content over the online marketplace has been growing at a rapid rate, starting from PC online games and expanding to include the home consoles as well. Recognizing this growth, Capcom is striving to become a leading company in the online business sector. We hope to utilize our vast library of game titles to aggressively break into the digital distribution market (sales through downloadable content), assuring stable and long-term profit gain. Capcom will continue our commitment to maximize the value of our games across multiple platforms. By utilizing the hardware most suitable for the game software, Capcom fans can continue to expect the best in cutting-edge entertainment. 【Product Detail】 1. Title SonSon 2. Genre Shooting 3. Platform Wii (Virtual Console Arcade) 4. Release Date Summer 2010 5. Price 800 Wii Points ※Wii is a registered trademark of Nintendo Company, Limited. Inquiries regarding the above information may be directed to: Capcom Co., Ltd. Public Relations Office (Email) [email protected] (Address) 3-1-3, Uchihiranomachi, Chuo-ku, Osaka, 540-0037, Japan (Tel) +81-6-6920-3623 (Fax) +81-6-6920-5108 .

Copy Link

Recommended publications

The Misrepresentation of Representation: in Defense of Regional Storytelling in Netflix's the New Legends of Monkey
The Misrepresentation of Representation: In Defense of Regional Storytelling in Netflix’s The New Legends of Monkey KATE MCEACHEN The 2018 Australian Broadcasting Corporation (ABC Me), Television New Zealand (TVNZ), and Netflix’s coproduction of the original series The New Legends of Monkey (2018) is a fantasy-based television series that reimagines Monkey (1978), a British Broadcasting Corporation (BBC) dubbing of the Japanese television series Saiyūki 西遊記. Saiyūki was an adaptation of the historically significant Chinese novel Xiyou ji (Wu Cheng’en, 1592), known in English as Journey to the West. Monkey gained a cult following in Australia, New Zealand, and other international markets leading to the 2018 reboot The New Legends of Monkey, which, unlike Monkey, was released in the United States (Flanagan). This new iteration prompted cultural confusion from those largely unfamiliar with the preceding series, the contexts in which it was introduced to English-speaking viewers in Australia and New Zealand, or the cult response that resulted. This article presents the recent series with this background in mind and within the context of locally produced television in New Zealand, where The New Legends of Monkey was filmed. Analysis of online discussions exposes the interpretive differences arising from this lack of context regarding the show’s connection to Monkey and highlights the problems viewers face interpreting stories outside of their local production markets—an increasingly relevant problem as more regional productions become accessible to a wide range of audiences through transnational streaming services like Netflix. The 2018 The New Legends of Monkey television adaptation, produced by and for the Australian and New Zealand markets and co-produced for international KATE MCEACHEN is currently pursuing her Doctoral Degree in Cultural Studies at The University of Southern Queensland in Australia.
[Show full text]
Acquiring Literacy: Techne, Video Games and Composition Pedagogy
ACQUIRING LITERACY: TECHNE, VIDEO GAMES AND COMPOSITION PEDAGOGY James Robert Schirmer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2008 Committee: Kristine L. Blair, Advisor Lynda D. Dixon Graduate Faculty Representative Richard C. Gebhardt Gary Heba © 2008 James R. Schirmer All Rights Reserved iii ABSTRACT Kristine L. Blair, Advisor Recent work within composition studies calls for an expansion of the idea of composition itself, an increasing advocacy of approaches that allow and encourage students to greater exploration and more “play.” Such advocacy comes coupled with an acknowledgement of technology as an increasingly influential factor in the lives of students. But without a more thorough understanding of technology and how it is manifest in society, any technological incorporation is almost certain to fail. As technology advances along with society, it is of great importance that we not only keep up but, in fact, reflect on process and progress, much as we encourage students to do in composition courses. This document represents an exercise in such reflection, recognizing past and present understandings of the relationship between technology and society. I thus survey past perspectives on the relationship between techne, phronesis, praxis and ethos with an eye toward how such associative states might evolve. Placing these ideas within the context of video games, I seek applicable explanation of how techne functions in a current, popular technology. In essence, it is an analysis of video games as a techno-pedagogical manifestation of techne. With techne as historical foundation and video games as current literacy practice, both serve to improve approaches to teaching composition.
[Show full text]
Archiving Movements: Short Essays on Materials of Anime and Visual Media V.1
Contents Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui ………… 2 Utilizing the Intermediate Materials of Anime: Royal Space Force: The Wings of Honnêamise Ishida Minori ………… 17 The Film through the Archive and the Archive through the Film: History, Technology and Progress in Royal Space Force: The Wings of Honnêamise Dario Lolli ………… 25 Interview with Yamaga Hiroyuki, Director of Royal Space Force: The Wings of Honnêamise What Do Archived Materials Tell Us about Anime? Kim Joon Yang ………… 31 Exhibiting Manga: Impulses to Gain from the Archiving/Unearthing Anime Project Jaqueline Berndt ………… 36 Analyzing “Regional Communities” with “Visual Media” and “Materials” Harada Ken’ichi ………… 41 About the Archive Center for Anime Studies in Niigata University ………… 45 Exhibiting Anime: Archive, Public Display, and the Re-narration of Media History Gan Sheuo Hui presumably, the majority are in various storage Background of the Project places after their production cycles. It is not The exhibition “A World is Born: The uncommon that they are forgotten, displaced or Emerging Arts and Designs in 1980s Japanese eventually discarded due to the expenses incurred Animation” (19-31 March 2018) hosted at DECK, for storage. In many ways, these materials an independent art space in Singapore, is encompass an often forgotten yet significant part of an ongoing research collaboration research resource essential for understanding between the researchers from Puttnam School key aspects of Japanese animation production of Film and Animation in Singapore and the cultures and practices. Archive Center for Anime Studies in Niigata “A World is Born” was an exhibition focusing University (ACASiN).
[Show full text]
Essays on Monkey: a Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston
University of Massachusetts Boston ScholarWorks at UMass Boston Critical and Creative Thinking Capstones Critical and Creative Thinking Program Collection 9-1997 Essays on Monkey: A Classic Chinese Novel Isabelle Ping-I Mao University of Massachusetts Boston Follow this and additional works at: http://scholarworks.umb.edu/cct_capstone Recommended Citation Ping-I Mao, Isabelle, "Essays on Monkey: A Classic Chinese Novel" (1997). Critical and Creative Thinking Capstones Collection. 238. http://scholarworks.umb.edu/cct_capstone/238 This is brought to you for free and open access by the Critical and Creative Thinking Program at ScholarWorks at UMass Boston. It has been accepted for inclusion in Critical and Creative Thinking Capstones Collection by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. ESSAYS ON MONKEY: A CLASSIC . CHINESE NOVEL A THESIS PRESENTED by ISABELLE PING-I MAO Submitted to the Office of Graduate Studies, University of Massachusetts Boston, in partial fulfillment of the requirements for the degree of MASTER OF ARTS September 1997 Critical and Creative Thinking Program © 1997 by Isabelle Ping-I Mao All rights reserved ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL A Thesis Presented by ISABELLE PING-I MAO Approved as to style and content by: Delores Gallo, As ciate Professor Chairperson of Committee Member Delores Gallo, Program Director Critical and Creative Thinking Program ABSTRACT ESSAYS ON MONKEY: A CLASSIC CHINESE NOVEL September 1997 Isabelle Ping-I Mao, B.A., National Taiwan University M.A., University of Massachusetts Boston Directed by Professor Delores Gallo Monkey is one of the masterpieces in the genre of the classic Chinese novel.
[Show full text]
International Reinterpretations
International Reinterpretations 1 Remakes know no borders… 2 … naturally, this applies to anime and manga as well. 3 Shogun Warriors 4 Stock-footage series 5 Non-US stock-footage shows Super Riders with the Devil Hanuman and the 5 Riders 6 OEL manga 7 OEL manga 8 OEL manga 9 Holy cow, more OEL manga! 10 Crossovers 11 Ghost Rider? 12 The Lion King? 13 Godzilla 14 Guyver 15 Crying Freeman 16 Fist of the North Star 17 G-Saviour 18 Blood: the Last Vampire 19 Speed Racer 20 Imagi Studios 21 Ultraman 6 Brothers vs. the Monster Army (Thailand) The Adventure Begins (USA) Towards the Future (Australia) The Ultimate Hero (USA) Tiga manhwa 22 Dragonball 23 Wicked City 24 City Hunter 25 Initial D 26 Riki-Oh 27 Asian TV Dramas Honey and Clover Peach Girl (Taiwan) Prince of Tennis (Taiwan) (China) 28 Boys Over Flowers Marmalade Boy (Taiwan) (South Korea) Oldboy 29 Taekwon V 30 Super Batman and Mazinger V 31 Space Gundam? Astro Plan? 32 Journey to the West (Saiyuki) Alakazam the Great Gensomaden Saiyuki Monkey Typhoon Patalliro Saiyuki Starzinger Dragonball 33 More “Goku”s 34 The Water Margin (Suikoden) Giant Robo Outlaw Star Suikoden Demon Century Akaboshi 35 Romance of the Three Kingdoms (Sangokushi) Mitsuteru Yokoyama’s Sangokushi Kotetsu Sangokushi BB Senshi Sangokuden Koihime Musou Ikkitousen 36 World Masterpiece Theater (23 seasons since 1969) Moomin Heidi A Dog of Flanders 3000 Leagues in Search of Mother Anne of Green Gables Adventures of Tom Sawyer Swiss Family Robinson Little Women Little Lord Fauntleroy Peter
[Show full text]
Instruction Booklet
CAPCOM ENTERTAINMENT, INC., 800 Concar Drive, Suite 300, San Mateo, CA 94402 © CAPCOM CO., LTD. 2006, 2008 ALL RIGHTS RESERVED. Wii development by Ready At Dawn Studios LLC. CAPCOM and the CAPCOM LOGO are registered trademarks of CAPCOM CO., LTD. ŌKAMI is a trademark of CAPCOM CO., LTD. The typefaces included herein are solely developed by DynaComware. The rating icon is a registered trademark of the Entertainment Software Association. All other trademarks are owned by their respective owners. www.capcom.com/okami PRINTED IN USA INSTRUCTION BOOKLET ESRB on Front: 14 x 21 mm OKAMI: Wii Manual Cover - Round 5 Prepared by Eclipse Advertising on: February 28, 2008 PLEASE CAREFULLY READ THE Wii™ OPERATIONS MANUAL COMPLETELY BEFORE USING YOUR Wii HARDWARE SYSTEM, GAME DISC OR ACCESSORY. THIS MANUAL CONTAINS IMPORTANT The Ofﬁcial Seal is your assurance that this product is licensed or manufactured by HEALTH AND SAFETY INFORMATION. Nintendo. Always look for this seal when buying video game systems, accessories, games and related products. IMPORTANT SAFETY INFORMATION: READ THE FOLLOWING WARNINGS BEFORE YOU OR YOUR CHILD PLAY VIDEO GAMES. Dolby, Pro Logic, and the double-D symbol are trademarks of Dolby Laboratories. Manufactured under license from Dolby Laboratories. WARNING – Seizures This game is presented in Dolby Pro Logic II. To play games that carry the Dolby Pro Logic II logo in surround sound, you will need a Dolby Pro Logic II, Dolby Pro Logic or Dolby Pro Logic IIx receiver. These • Some people (about 1 in 4000) may have seizures or blackouts triggered by light ﬂashes or receivers are sold separately.
[Show full text]
4. the Street Fighter Lady
4. The Street Fighter Lady Invisibility and Gender in Game Composition Andy Lemon and Hillegonda C Rietveld Transactions of the Digital Games Research Association December 2019, Vol. 5 No. 1, pp. 107-133. ISSN 2328-9422 © The text of this work is licensed under a Creative Commons Attribution — NonCommercial –NonDerivative 4.0 License (http://creativecommons.org/licenses/by-nc- nd/ 2.5/). IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights ABSTRACT The international success of Japanese game design provides an example of the invisibility of female game composers, as well as of gendered identification in game music production and sound design. Yoko Shimomura, the female composer who produced the iconic soundtrack for the 1991 arcade game, Street Fighter II (Capcom 1991), seems to have been invisible to game developers and music producers, which is partly due to the way in which the game is credited as a team effort. Regardless of their personal gender identity, game composers respond to themed briefs by 107 108 The Street Fighter Lady drawing on transnational musical ideas and gendered stereotypes that resonate with the Global Popular. Game music, as imagined as suitable for hyper-masculine game arcades, seems to draw on a masculinist aesthetic developed in Hollywood compositions. In turn, Street Fighter II’s music and the competitive game culture of arcade fighting games has been interwoven with masculinist music scenes of hip-hop and grime. The discussion of the music of Street Fighter II and the musical versions it inspired, nevertheless highlights that although seemingly simplified gendered stereotypes are reproduced within the game, gender identification itself can be complex within the context of game music composition.
[Show full text]
Onimusha Soul” for Pcs and Smartphones - Aiming for More Growth in the Online Content Business Through the Multiple Use of Popular Titles
March 9, 2012 Press Release 3-1-3, Uchihiranomachi, Chuo-ku Osaka, 540-0037, Japan Capcom Co., Ltd. Haruhiro Tsujimoto, President and COO (Code No. 9697 Tokyo - Osaka Stock Exchange) Capcom Announces Entry in the Growing Browser Game Market First Title will be “Onimusha Soul” for PCs and Smartphones - Aiming for more growth in the online content business through the multiple use of popular titles - Capcom Co., Ltd. (Capcom) is pleased to announce that the launch date of“Onimusha Soul”, the company’s first browser game, will be June 28, 2012. “Onimusha” is a series of samurai survival action game. Set in the Warring States period of Japan, the games require young swordsmen to advance while slaying enemies and solving mysteries. The first title was “Onimusha”, a game for the “PlayStation®2” that made its debut in 2001 and became the first million seller. Cumulative sales of all “Onimusha” titles were 7.9 million units at the end of December 2011, making this one of Capcom’s most successful series of games. In recent years, the pachislo versions of “Onimusha 3” and “Onimusha: Dawn of Dreams” have also become big hits. “Onimusha Soul” is a Sengoku simulation RPG based on the characters that appear in “Onimusha” series. Each player is a daimyo (feudal lord) of one of the warring states. Players use their powers to achieve the growth of their respective states and train military commanders as they fight with other players. “Onimusha Soul” also allows players to enjoy an original story. The game is easy to play as it offers two unique advantages of browser games.
[Show full text]
MANHUA MODERNITY HINESE CUL Manhua Helped Defi Ne China’S Modern Experience
CRESPI MEDIA STUDIES | ASIAN STUDIES From fashion sketches of Shanghai dandies in the 1920s, to phantasma- goric imagery of war in the 1930s and 1940s, to panoramic pictures of anti- American propaganda rallies in the 1950s, the cartoon-style art known as MODERNITY MANHUA HINESE CUL manhua helped defi ne China’s modern experience. Manhua Modernity C TU RE o ers a richly illustrated and deeply contextualized analysis of these il- A lustrations from the lively pages of popular pictorial magazines that enter- N UA D tained, informed, and mobilized a nation through a half century of political H M T and cultural transformation. N H O E A “An innovative reconceptualization of manhua. John Crespi’s meticulous P study shows the many benefi ts of interpreting Chinese comics and other D I M C illustrations not simply as image genres but rather as part of a larger print E T culture institution. A must-read for anyone interested in modern Chinese O visual culture.” R R I CHRISTOPHER REA, author of The Age of Irreverence: A New History A of Laughter in China L N “A rich media-centered reading of Chinese comics from the mid-1920s T U U I I through the 1950s, Manhua Modernity shifts the emphasis away from I R R T T ideological interpretation and demonstrates that the pictorial turn requires T N N examinations of manhua in its heterogenous, expansive, spontaneous, CHINESE CULTURE AND THE PICTORIAL TURN AND THE PICTORIAL CHINESE CULTURE Y and interactive ways of engaging its audience’s varied experiences of Y fast-changing everyday life.” YINGJIN ZHANG, author of Cinema, Space, and Polylocality in a Globalizing China JOHN A.
[Show full text]
PSP UGNG Manual.Pdf
BOOKLET - PSP 2 PANEL 4 PAGE 1/8" BLEED ZONE A0030.02 FLAT: 6.688" x 6.75" 1/16" SAFETY ZONE FINISHED: 3.375" x 0.0" x 6.688" PRINT/TEXT ZONES 01/21/05 6.688" capcom.com/psp 3.375" 3.375" 6.75" ugng psp final.qxd 6/14/06 9:28 AM Page ii For safe use of this product, carefully read the following section of this manual and the Precautions section of the instruction manual supplied with the PSP (PlayStation®Portable) entertainment system before use. Retain both this software manual and the instruction manual for future reference. CONTENTS Health precautions • When operating the unit, play in a well-lit room and keep a safe distance from the screen. • Avoid prolonged use of the system. Take a break of about 15 minutes during GETTING STARTED 2 every hour of play. • Do not use the system when you are tired or short of sleep. • When using headphones, do not turn the volume up before putting the headphones on. Also, do STARTING UP 3 not listen at loud volume levels for extended periods of time. Stop using the system immediately if you experience any of the following symptoms. If the condition persists, ARTHUR’S ULTIMATE TEST! 4 consult a doctor. • Lightheadedness, nausea, or a sensation similar to motion sickness. GETTING INTO THE GAME 6 • Discomfort or pain in the eyes, ears, hands, arms, or any other part of the body. Use and handling precautions GAME RULES 8 • This disc is PSP™ (PlayStation®Portable) format software and is intended for use with the SCREEN LAYOUT 9 PSP system only.
[Show full text]
The Journey to the West a Platform for Learning About China Past and Present
A painting in the Long Corridor in the Summer Palace in Beijing, China. It depicts the four protagonists, from left to right: Sun Wukong (Monkey King), Xuanzang (on the White Dragon Horse), Zhu Bajie (Pigsy), and Sha Wujing (Sandy). Source: Wikimedia Commons at https://tinyurl.com/y59sbz9y. Photo by Rolf Müller. The Journey to the West A Platform for Learning about China Past and Present By Jianfen Wang and Gordon Gray n US college students’ first course on China, the challenge for instructors is to pack the maximum amount of punch into the experience so that the course will inspire them to seek more opportunities to learn about China Iat and beyond the college level. One way to achieve this goal is to use a rich text with many applications to help students unpack the complexities of Chinese history, language, politics, economics, and thought. For this purpose, the six- teenth-century novel The Journey to the West, with its many incarnations, is ide- al.1 It features a rousing adventure story, which can be read as historical fiction, political satire, and religious allegory. The novel has been reproduced for many types of audiences in many different media, including children’s books, puppet shows, operas, comics, TV series, and movies; each version is different enough to allow instructors to discuss them in the context of important Chinese histori- cal events and cultural elements. Because well-told stories help us make sense of the world, instructors can use this novel as a foundational element to facilitate students’ connections with and between the various elements of the course.
[Show full text]
Theory, Practice, Activism
7 Transgenderism in Japanese Manga as Radical Translation The Journey to the West Goes to Japan Leo Tak-Hung Chan The subversive nature of manga is a fact widely acknowledged. Using "an expressive format that combines stylized and simplistic imagery with a laconic text," it can "lampoon, satirize, romanticize [and] reimagine the world in which people live" ( Allison 1996 : 56-57). But what if the targetof the parody is a text from another culture? A case in point involves the parodic manga versions of the Chinese classic The Journey to the West (Xiyouji; hereafter The Journey), representing a shift from a verbal to a visual medium and from a Chinese to a Japanese context. Not surprisingly, when such manga is translated back into Chinese, readers in China are offended to see their own cherished literary work tampered with, leading in 2007 to a critical attack on Japanese manga versions of a parodic nature ( Lin and Zhang 2008 : 168); official statements were issued concerning the need to curb the translation of such works in order to protect the health of Chinese culture. Much venom was directed not just at manga derived from The Journey, but on Japanese parodies in general. An article in the national newspaper Huanqiu shibao was subtitled "Why Does Japan Parodythe Classics of Other Countries?" Among the commentators (e.g., Zhu 2007 ; Lin and Zhang 2008 ), the point was stressed that a culture of egao, or 'malicious meddling,' originated in a Japanese concept that had spread to Mainland China via Taiwan and Hong Kong. There were also strongly
[Show full text]