Case History: Historical Perspective on the Legend of Zelda
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Nintendo 64 Product Overview
Nintendo 64 Product Overview ● Specifications ● Video games ● Accessories ● Variants Nintendo 64 Product Overview Table of Contents The Nintendo 64 System ................................................................................................................. 3 Specifications .................................................................................................................................. 3 List of N64 Games ........................................................................................................................... 4 Accessories ...................................................................................................................................... 6 Funtastic Series Variants ................................................................................................................. 7 Limited Edition Variants .................................................................................................................. 8 2 Nintendo 64 Product Overview The Nintendo 64 System The Nintendo 64 (N64) is a 64- bit video game entertainment system created by Nintendo. It was released in 1996 and 1997 in North America, Japan, Australia, France, and Brazil. It was discontinued in 2003. Upon release, the N64 was praised for its advanced 3D graphics, gameplay, and video game line-up. These video games included Super Mario 64, The Legend of Zelda: Ocarina of Time, GoldenEye 007, and Pokémon Stadium. The system also included numerous accessories that expanded play, including the controller -
Owner's Manual
1ST PRINTING SEPT ‘03 www.sauservice.com � Standard Version Owner’s Manual SEGA AMUSEMENTS USA, INC. MANUAL NO. 999-1930 GAME CODE:FZR VISIT OUR WEBSITE! BEFORE USING THE PRODUCT, BE SURE TO READ THE FOLLOWING: To maintain the safety: To ensure the safe usage of the product, be sure to read the following before using the product. The following instructions are intended for the users, operators and the personnel in charge of the opera- tion of the product. After carefully reading and sufficiently understanding the warning displays and cautions, handle the product appropriately. Be sure to keep this manual nearby the product or else- where convenient for referring to it when necessary. Herein, explanations which require special attention are enclosed with dual lines. Depending on the potentially hazardous degrees, the terms of WARNING, CAUTION, etc. are used. Be sure to under- stand the contents of the displays before reading the text. Indicates that mishandling the prod- Indicates that mishandling the product uct by disregarding this warning by disregarding this caution will cause will cause a potentially hazardous a slight hazardous situation which can WARNING! situation which can result in death result in personal injury and or material or serious injury. CAUTION! damage. For the safe usage of the product, the following pictographs are used: Indicates “HANDLE WITH CARE.” In order to protect the human body an equipment, this display is attached to places where the Owner’s Manual and or Service Manual should be referred to. Perform work in accordance with the instructions herein stated. Instructions for work are explained by paying attention to the aspect of accident prevention. -
The Journey of a Hero: Musical Evocations of the Hero's Experience in the Legend of Zelda Jillian Wyatt in Fulfillment Of
The Journey of a Hero: Musical Evocations of the Hero’s Experience in The Legend of Zelda Jillian Wyatt In fulfillment of M.M. in Music Theory Supervised by Dr. Benjamin Graf, Dr Graham Hunt, and Micah Hayes May 2019 The University of Texas at Arlington ii ABSTRACT Jillian Wyatt: The Journey of a Hero Musical Evocations of the Hero’s Experience in The Legend of Zelda Under the supervision of Dr. Graham Hunt The research in this study explores concepts in the music from select games in The Legend of Zelda franchise. The paper utilizes topic theory and Schenkerian analysis to form connections between concepts such as adventure in the overworld, the fight or flight response in an enemy encounter, lament at the loss of a companion, and heroism by overcoming evil. This thesis identifies and discusses how Koji Kondo’s compositions evoke these concepts, and briefly questions the reasoning. The musical excerpts consist of (but are not limited to): The Great Sea (Windwaker; adventure), Ganondorf Battle (Ocarina of Time; fight or flight), Midna’s Lament (Twilight Princess; lament), and Hyrule Field (Twilight Princess; heroism). The article aims to encourage readers to explore music of different genres and acknowledge that conventional analysis tools prove useful to video game music. Additionally, the results in this study find patterns in Koji Kondo’s work such as (to identify a select few) modal mixture, military topic, and lament bass to perpetuate an in-game concept. The most significant aspect of this study suggests that the music in The Legend of Zelda reflects in-game ideas and pushes a musical concept to correspond with what happens on screen while in gameplay. -
Tri Force Heroes Is a Cooperative Action- Adventure Game for up to Three Players in Which You Can Explore Diverse Locales While Solving Puzzles and Defeating Enemies
1 Important Information Basic Information 2 Information-Sharing Precautions 3 Online Features 4 Note to Parents and Guardians Getting Started 5 About the Game 6 Controls 7 Managing Save Data How to Play 8 Game Screen 9 Setting Out for a Dungeon 10 Progressing through Dungeons 11 Playing with Nearby Friends 12 Online Multiplayer 13 Competitive Multiplayer 14 Single Player Miscellaneous 15 SpotPass 16 Photos and Miiverse Troubleshooting 17 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™. Important Information Your Nintendo 3DS system and this software are not designed for use with any unauthorized device or unlicensed accessory. Such use may be illegal, voids any warranty, and is a breach of your obligations under the User Agreement. Further, such use may lead to injury to yourself or others and may cause performance issues and/or damage to your Nintendo 3DS system and related services. Nintendo (as well as any Nintendo licensee or distributor) is not responsible for any damage or loss caused by the use of such device or unlicensed accessory. -
Mario's Legacy and Sonic's Heritage: Replays and Refunds of Console Gaming History
Mario’s legacy and Sonic’s heritage: Replays and refunds of console gaming history Jaakko Suominen University of Turku / Digital Culture P.O. Box 124 28101 Pori +35823338100 jaakko.suominen at utu.fi ABSTRACT In this paper, I study how three major videogame device manufacturers, Microsoft, Sony and Nintendo use gaming history within their popular console products, Microsoft Xbox 360, Sony PS 3 and Nintendo Wii. These enterprises do not only market new game applications and devices but also recycle classic game themes, game characters as well as classic games themselves. Therefore, these corporations are a part of the phenomenon which can be called retrogaming culture or digital retro economy. The paper introduces the different ways in which the corporations began to use history and how they constructed their digital game market strategies to be compatible with the current retrogaming trend. In addition, the paper introduces a model for different phases of uses of history. The paper is empirically based on literary reviews, recreational computing magazine articles, company websites and other online sources and participatory observation of retrogaming applications and product analyses. Sociological and cultural studies on nostalgia as well as history culture form the theoretical framework of the study. Keywords retrogaming, classic games, history management, uses of history, consoles INTRODUCTION When a game company utilizes its older products to make a new application, when the same company mentions the year it was established in a job advertisement or when it celebrates a game figure’s 20-year anniversary, the company uses history. The use of history can be a discursive act, which underlines continuity and in so doing, for example, the trustworthiness and stability of the firm. -
Nintendo Co., Ltd
Nintendo Co., Ltd. Financial Results Briefing for the Nine-Month Period Ended December 2013 (Briefing Date: 1/30/2014) Supplementary Information [Note] Forecasts announced by Nintendo Co., Ltd. herein are prepared based on management's assumptions with information available at this time and therefore involve known and unknown risks and uncertainties. Please note such risks and uncertainties may cause the actual results to be materially different from the forecasts (earnings forecast, dividend forecast and other forecasts). Nintendo Co., Ltd. Consolidated Statements of Income Transition million yen FY3/2010 FY3/2011 FY3/2012 FY3/2013 FY3/2014 Apr.-Dec.'09 Apr.-Dec.'10 Apr.-Dec.'11 Apr.-Dec.'12 Apr.-Dec.'13 Net sales 1,182,177 807,990 556,166 543,033 499,120 Cost of sales 715,575 487,575 425,064 415,781 349,825 Gross profit 466,602 320,415 131,101 127,251 149,294 (Gross profit ratio) (39.5%) (39.7%) (23.6%) (23.4%) (29.9%) Selling, general and administrative expenses 169,945 161,619 147,509 133,108 150,873 Operating income 296,656 158,795 -16,408 -5,857 -1,578 (Operating income ratio) (25.1%) (19.7%) (-3.0%) (-1.1%) (-0.3%) Non-operating income 19,918 7,327 7,369 29,602 57,570 (of which foreign exchange gains) (9,996) ( - ) ( - ) (22,225) (48,122) Non-operating expenses 2,064 85,635 56,988 989 425 (of which foreign exchange losses) ( - ) (84,403) (53,725) ( - ) ( - ) Ordinary income 314,511 80,488 -66,027 22,756 55,566 (Ordinary income ratio) (26.6%) (10.0%) (-11.9%) (4.2%) (11.1%) Extraordinary income 4,310 115 49 - 1,422 Extraordinary loss 2,284 33 72 402 53 Income before income taxes and minority interests 316,537 80,569 -66,051 22,354 56,936 Income taxes 124,063 31,019 -17,674 7,743 46,743 Income before minority interests - 49,550 -48,376 14,610 10,192 Minority interests in income -127 -7 -25 64 -3 Net income 192,601 49,557 -48,351 14,545 10,195 (Net income ratio) (16.3%) (6.1%) (-8.7%) (2.7%) (2.0%) - 1 - Nintendo Co., Ltd. -
Video Game Archive: Nintendo 64
Video Game Archive: Nintendo 64 An Interactive Qualifying Project submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfilment of the requirements for the degree of Bachelor of Science by James R. McAleese Janelle Knight Edward Matava Matthew Hurlbut-Coke Date: 22nd March 2021 Report Submitted to: Professor Dean O’Donnell Worcester Polytechnic Institute This report represents work of one or more WPI undergraduate students submitted to the faculty as evidence of a degree requirement. WPI routinely publishes these reports on its web site without editorial or peer review. Abstract This project was an attempt to expand and document the Gordon Library’s Video Game Archive more specifically, the Nintendo 64 (N64) collection. We made the N64 and related accessories and games more accessible to the WPI community and created an exhibition on The History of 3D Games and Twitch Plays Paper Mario, featuring the N64. 2 Table of Contents Abstract…………………………………………………………………………………………………… 2 Table of Contents…………………………………………………………………………………………. 3 Table of Figures……………………………………………………………………………………………5 Acknowledgements……………………………………………………………………………………….. 7 Executive Summary………………………………………………………………………………………. 8 1-Introduction…………………………………………………………………………………………….. 9 2-Background………………………………………………………………………………………… . 11 2.1 - A Brief of History of Nintendo Co., Ltd. Prior to the Release of the N64 in 1996:……………. 11 2.2 - The Console and its Competitors:………………………………………………………………. 16 Development of the Console……………………………………………………………………...16 -
The Evolving Heroine in Nintendo Adventure Games
The Princess and the Platformer: The Evolving Heroine in Nintendo Adventure Games Katharine Phelps Humanities 497W December 15, 2007 Just remember that my being a woman doesn't make me any less important! --Faris Final Fantasy V 1 The Princess and the Platformer: The Evolving Heroine in Nintendo Adventure Games Female characters, even as a token love interest, have been a mainstay in adventure games ever since Nintendo became a household name. One of the oldest and most famous is the princess of the Super Mario games, whose only role is to be kidnapped and rescued again and again, ad infinitum. Such a character is hardly emblematic of feminism and female empowerment. Yet much has changed in video games since the early 1980s, when Mario was born. Have female characters, too, changed fundamentally? How much has feminism and changing ideas of women in Japan and the US impacted their portrayal in console games? To address these questions, I will discuss three popular female characters in Nintendo adventure game series. By examining the changes in portrayal of these characters through time and new incarnations, I hope to find a kind of evolution of treatment of women and their gender roles. With such a small sample of games, this study cannot be considered definitive of adventure gaming as a whole. But by selecting several long-lasting, iconic female figures, it becomes possible to show a pertinent and specific example of how some of the ideas of women in this medium have changed over time. A premise of this paper is the idea that focusing on characters that are all created within one company can show a clearer line of evolution in the portrayal of the characters, as each heroine had her starting point in the same basic place—within Nintendo. -
Fall 2014 Concert Series
Fall 2014 ConCert SerieS NIGEL HORNE, MUSIC DIRECTOR LAURA STAYMAN, CONCERT LEADER Saturday, December 13 - Herndon, VA Saturday, December 20 - Rockville, MD [Classical Music. Play On!] WMGSO.org | @WMGSO | fb/MetroGSO about the WMGSo The WMGSO is a community orchestra and choir whose mis- sion is to share and celebrate video game music with as wide an audience as possible, primarily by putting on affordable, accessi- ble concerts in the area. Game music weaves a complex, melodic thread through the traditions, values, and mythos of an entire culture, and yet it largely escapes recognition in professional circles. Game music has powerful meaning to millions of people. In it, we find deep emotion and basic truths about life. We find ourselves — and we find new ways of thinking about and expressing ourselves. We find meaning that transcends the medium itself and stays with us for life. WMGSO showcases this emerging genre and highlights its artistry. Incorporated in December 2012, WMGSO grew from the spirit of the GSO at the University of Maryland. About a dozen members showed up at WMGSO’s inaugural rehearsal. Since then, the group has grown to more than 60 musicians. The WMGSO’s debut at Rockville High School in June attracted an audience of more than 500. Also in June, the IRS accepted WMGSO’s appli- cation to become a 501(c)(3) tax-exempt organization, opening even more opportunities for the orchestra to grow. adMiniStration Music Director, Nigel Horne Chorusmaster, Jacob Coppage-Gross President, Ayla Hurley Vice President, Joseph Wang Secretary, Laura Stayman Treasurer, Chris Apple Public Relations, Robert Garner Webmaster, Jason Troiano Event Coordinator, Diana Taylor Assistant Treasurer, Patricia Lucast supporters From securing rehearsal space and equipment rentals, to print- ing concert programs and obtaining music licenses, we rely on the support of our members and donors. -
Ranking of Stocks by Market Capitalization(As of End of Jan.2018)
Ranking of Stocks by Market Capitalization(As of End of Jan.2018) 1st Section Rank Code Issue Market Capitalization \100mil. 1 7203 TOYOTA MOTOR CORPORATION 244,072 2 8306 Mitsubishi UFJ Financial Group,Inc. 115,139 3 9437 NTT DOCOMO,INC. 105,463 4 9984 SoftBank Group Corp. 98,839 5 6861 KEYENCE CORPORATION 80,781 6 9432 NIPPON TELEGRAPH AND TELEPHONE CORPORATION 73,587 7 9433 KDDI CORPORATION 71,225 8 7267 HONDA MOTOR CO.,LTD. 69,305 9 8316 Sumitomo Mitsui Financial Group,Inc. 68,996 10 7974 Nintendo Co.,Ltd. 67,958 11 7182 JAPAN POST BANK Co.,Ltd. 66,285 12 6758 SONY CORPORATION 65,927 13 6954 FANUC CORPORATION 60,146 14 7751 CANON INC. 58,005 15 6902 DENSO CORPORATION 54,179 16 4063 Shin-Etsu Chemical Co.,Ltd. 53,624 17 8411 Mizuho Financial Group,Inc. 52,124 18 6594 NIDEC CORPORATION 52,025 19 9983 FAST RETAILING CO.,LTD. 51,647 20 4502 Takeda Pharmaceutical Company Limited 50,743 21 7201 NISSAN MOTOR CO.,LTD. 49,108 22 8058 Mitsubishi Corporation 48,497 23 2914 JAPAN TOBACCO INC. 48,159 24 6098 Recruit Holdings Co.,Ltd. 45,095 25 5108 BRIDGESTONE CORPORATION 43,143 26 6503 Mitsubishi Electric Corporation 42,782 27 9022 Central Japan Railway Company 42,539 28 6501 Hitachi,Ltd. 41,877 29 9020 East Japan Railway Company 41,824 30 6301 KOMATSU LTD. 41,162 31 3382 Seven & I Holdings Co.,Ltd. 39,765 32 6752 Panasonic Corporation 39,714 33 4661 ORIENTAL LAND CO.,LTD. 38,769 34 8766 Tokio Marine Holdings,Inc. -
Candace Ming Prof. Besser 4/19/11 Handling Complex Media The
Candace Ming Prof. Besser 4/19/11 Handling Complex Media The Legend of Zelda: Hey Listen! This Needs to be Preserved! I. The Legend of Zelda (1987) In 1985 Nintendo released the Nintendo Entertainment System (NES) to the American market. The Legend of Zelda was released in 1987 and has since become one of the most popular series of all time. Taking its cue from the early VCS Adventure game the first Legend of Zelda was a side-scrolling platformer that allowed players to explore an environment and then move off-screen to another environment. The player controlled a boy named Link who must collect the pieces of an object known as the Triforce in order to save Princess Zelda. The game uses a simple controller layout consisting of a directional pad (or d-pad) and an A and B button. The Start button allowed players to pause the game. The Select button showed the players inventory. The gameplay consisted of moving Link around a series of environments, encountering enemies, and solving dungeon puzzles. Link is armed only with a sword at first, but more weapons are available as the game progresses. Once Link recovers all the pieces of the Triforce he faces the final boss and in defeating him saves Hyrule. The game difficulty increases as Link finds more dungeons: enemies become more difficult to kill and puzzles become harder. If Link dies he is returned to the point he starts in the game, or if in a dungeon, the start of the dungeon. Depending on the players skill the game can take several hours or days to complete. -
Mall För Examensarbete
WOMEN AS CHARACTERS, PLAYERS AND DEVELOPERS An educational perspective Master Degree Project in Media, Aesthetics and Narration A1E One year Level 60 ECTS Spring term 2020 Emma Arltoft Supervisor: Lissa Holloway-Attaway Examiner: Rebecca Rouse Abstract There is a lack of female representation in video games, and women are often ignored as characters, as players, and as developers. This thesis investigates how the University of Skövde works with gender diversity in the second game project within those categories. A content analysis was carried out, and a total of 102 documents collected from the course site were coded. It was complemented with additional information from instructor interviews and a student survey. It was found that while there is an emotional commitment to diversity from the students as well as the instructors, there is a lack of clear guidelines and resources to create more nuanced portrayals of diversity. There is significant potential for improvements and a need for a continuous effort to follow up on the content produced. Keywords: gender diversity, representation, ambivalent sexism, objectification, stereotypes Table of Contents 1 Introduction ................................................................................................. 1 2 Background ................................................................................................. 2 Women in video games .......................................................................... 4 2.1.1 Harassment and assumed incompetence ..................................................................