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Boys' Love, Byte-Sized
School of Sociology and Social Policy Boys’ Love, Byte-sized: A Qualitative Exploration of Queer- themed Microfiction in Chinese Cyberspace Gareth Shaw B.A. (Hons), M.A. Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy January 2017 Acknowledgements I owe an enormous debt of gratitude to my supervisors, Dr Xiaoling Zhang, Professor Andrew Kam-Tuck Yip, and Dr Jeremy Taylor, for their constant support and faith in my research. This project would not have been possible without them. I also wish to convey my sincerest thanks to my examiners, Professor Sally Munt and Dr Sarah Dauncey, for their very insightful comments and suggestions, which have been invaluable to this project’s completion. I am grateful to the Economic and Social Research Council for funding this research (Award number: 1228555). I wish to express my heartfelt gratitude to everyone who has participated in this project, particularly to the interview respondents, who gave so freely of their time. I am especially thankful to Huang Guan, Zhai Shunyi and Wei Ye for assisting me with some of the (often quite esoteric) Chinese to English translations. To my family, friends and colleagues, I thank you for being a constant source of comfort and advice when the light at the end of the tunnel seemed to have vanished. Special thanks go to Laura and Céline, for their support and encouragement during the long writing hours. Finally, to Juan and Mani, whose love and support means the world to me, I am eternally grateful to have had you both by my side on this journey. -
Appareil, 23 | 2021 Formes Programmées De L’Écriture Vidéoludique 2
Appareil 23 | 2021 Poïétique du jeu vidéo Formes programmées de l’écriture vidéoludique Hélène Sellier Édition électronique URL : http://journals.openedition.org/appareil/3853 DOI : 10.4000/appareil.3853 ISSN : 2101-0714 Éditeur MSH Paris Nord Référence électronique Hélène Sellier, « Formes programmées de l’écriture vidéoludique », Appareil [En ligne], 23 | 2021, mis en ligne le 31 mars 2021, consulté le 02 avril 2021. URL : http://journals.openedition.org/appareil/3853 ; DOI : https://doi.org/10.4000/appareil.3853 Ce document a été généré automatiquement le 2 avril 2021. Appareil est mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Formes programmées de l’écriture vidéoludique 1 Formes programmées de l’écriture vidéoludique Hélène Sellier NOTE DE L'AUTEUR Tout au long de cet article, je privilégie l’emploi de la forme féminine puisque l’utilisation du masculin n’est pas neutre au sein de la culture vidéoludique (sur ce point, il est possible de consulter l’ouvrage Genre et jeux vidéo dirigé par Fanny Lignon et publié en 2015 ou l’article de Torill Elvira Mortensen, « Anger, Fear, and Games: The Long Event of #GamerGate »). Utiliser « la joueuse » et « la créatrice » me permet de participer à rendre visible d’autres profils de joueurs ou joueuses. Ces expressions ont particulièrement leur place dans le cadre de cet article, dans la mesure où les communautés auxquelles je fais référence se construisent en marge des formes vidéoludiques qui prônent une « masculinité militarisée ». Introduction Cadre théorique : platform studies 1 Souvent envisagée à travers ses objets et les expériences qu’en font les joueurs, au sein des game studies et des play studies autant que dans le milieu de l’industrie, la culture vidéoludique est aussi une culture du logiciel. -
Folha De Rosto ICS.Cdr
“For when established identities become outworn or unfinished ones threaten to remain incomplete, special crises compel men to wage holy wars, by the cruellest means, against those who seem to question or threaten their unsafe ideological bases.” Erik Erikson (1956), “The Problem of Ego Identity”, p. 114 “In games it’s very difficult to portray complex human relationships. Likewise, in movies you often flit between action in various scenes. That’s very difficult to do in games, as you generally play a single character: if you switch, it breaks immersion. The fact that most games are first-person shooters today makes that clear. Stories in which the player doesn’t inhabit the main character are difficult for games to handle.” Hideo Kojima Simon Parkin (2014), “Hideo Kojima: ‘Metal Gear questions US dominance of the world”, The Guardian iii AGRADECIMENTOS Por começar quero desde já agradecer o constante e imprescindível apoio, compreensão, atenção e orientação dos Professores Jean Rabot e Clara Simães, sem os quais este trabalho não teria a fruição completa e correta. Um enorme obrigado pelos meses de trabalho, reuniões, telefonemas, emails, conversas e oportunidades. Quero agradecer o apoio de família e amigos, em especial, Tia Bela, João, Teté, Ângela, Verxka, Elma, Silvana, Noëmie, Kalashnikov, Madrinha, Gaivota, Chacal, Rita, Lina, Tri, Bia, Quelinha, Fi, TS, Cinco de Sete, Daniel, Catarina, Professor Albertino, Professora Marques e Professora Abranches, tanto pelas forças de apoio moral e psicológico, pelas recomendações e conselhos de vida, e principalmente pela amizade e memórias ao longo desta batalha. Por último, mas não menos importante, quero agradecer a incessante confiança, companhia e aceitação do bom e do mau pela minha Twin, Safira, que nunca me abandonou em todo o processo desta investigação, do meu caminho académico e da conquista da vida e sonhos. -
Dansō, Gender, and Emotion Work in a Tokyo Escort Service
WALK LIKE A MAN, TALK LIKE A MAN: DANSŌ, GENDER, AND EMOTION WORK IN A TOKYO ESCORT SERVICE A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2018 MARTA FANASCA SCHOOL OF ARTS, LANGUAGES AND CULTURES Table of Contents List of Figures and Tables ...................................................................................................... 5 Abstract .................................................................................................................................. 6 Declaration and Copyright Statement .................................................................................... 7 Acknowledgments .................................................................................................................. 8 Introduction .......................................................................................................................... 9 Significance and aims of the research .................................................................................. 12 Outline of the thesis ............................................................................................................. 14 Chapter 1 Theoretical Framework and Literature Review Introduction .......................................................................................................................... 16 1.1 Masculinity in Japan ...................................................................................................... 16 1.2 Dansō and gender definition -
LNCS 8018, Pp
The Study to Clarify the Type of “Otome-Game” User Misaki Tanikawa and Yumi Asahi Department of Systems Engineering, Shizuoka University 3-5-1 Johoku Naka-ku Hamamatsu 432-8561, Japan [email protected], [email protected] Abstract. The authors use the Marketing Science.And the one of the authors study to clarify the type of “Otome-game”user. “Otome-game” users have many kinds of liking or desire.So it is difficult for makers to create products that match with the demands of users.By this research, users and makers will be able to trade at the suitable type of demands. So the auther will research the market of the “Otome-game”. The data that is collected by marketing research is analyzed by SPSS. Keywords: Marketing Science, Otome-game, Japanese culture, User Analy- sis,SPSS. 1 Introduction I research to clarify the types of “Otome game” users, using marketing science. 1.1 What Is Otome Game? “Otome game” means love simulation game for women in Japanese. The word “Otome ” means a young girl, and this word also suggests a virgin indirectly. Fig. 1. Explanation of Otome game Otome game is a game genre like novel. Each one has own story. The player of the game handles a girl who is the heroine of the story. The player can change heroine's name. Of course, the player can change it into her name.And the heroine meets hand- some men of various characters in the game. She fall in love with one of them. As a result, the player who handles the heroine can enjoy virtual love with the man in the game. -
BAB I PENDAHULUAN A. Latar Belakang Budaya Populer Jepang
BAB I PENDAHULUAN A. Latar Belakang Budaya populer Jepang merupakan sebuah budaya yang berasal dari Jepang yang diakui, dinikmati, disebarluaskan dan merupakan jalan hidup mayoritas masyarakat Jepang secara umum. Budaya populer Jepang meliputi manga, anime, game, cosplay, dorama, j-pop, dan sebagainya. Manga merupakan suatu media yang di dalamnya terdapat sekumpulan gambar yang mengandung cerita yang bermacam-macam variasinya. Pada umumnya manga dicetak dalam warna hitam-putih dan terkadang ada beberapa bagian yang dicetak berwarna. Di Jepang, manga pada umumnya dicetak dalam majalah yang berukuran sebesar buku telepon dan sering terdiri dari berbagai cerita yang bersambung pada episode berikutnya. Budaya populer Jepang lainnya yaitu anime. Anime adalah produksi animasi Jepang yang menampilkan hasil gambar animasi melalui tangan maupun komputer. Istilah anime merupakan bahasa serapan dari bahasa Inggris “animation”. Dalam bahasa Inggris, istilah ini didefinisikan sebagai penyebarluasan gaya animasi Jepang yang pada umumnya dicirikan dengan grafis yang warna-warni, karakter yang bersemangat dan tema yang terkadang tidak masuk akal. Selain manga dan anime, cosplay juga termasuk ke dalam budaya populer Jepang. Cosplay adalah kata-kata bahasa Jepang yang dibuat dari menggabungkan dua kata dari bahasa Inggris "costume" dan "play". Cosplay merupakan sebuah pertunjukan seni di mana para pesertanya menggunakan kostum dan aksesori yang menunjukkan secara spesifik suatu karakter atau ide. Pada umumnya cosplay mengacu pada manga dan anime, manga, dan video game. Penduduk Jepang merupakan masyarakat penyuka game. Budaya Jepang yang disiplin dan pekerja keras menyebabkan masyarakat Jepang menyukai game sebagai salah satu sarana hiburan karena dengan bermain game masyarakat Jepang dapat mendapatkan kesenangan, menyegarkan kembali pikiran yang jenuh dengan pekerjaannya dan dapat membayangkan dirinya sebagai karakter game yang dimainkannya. -
Reflections of (And On) Otaku and Fujoshi in Anime and Manga
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 The Great Mirror of Fandom: Reflections of (and on) Otaku and Fujoshi in Anime and Manga Clarissa Graffeo University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Graffeo, Clarissa, "The Great Mirror of Fandom: Reflections of (and on) Otaku and ujoshiF in Anime and Manga" (2014). Electronic Theses and Dissertations, 2004-2019. 4695. https://stars.library.ucf.edu/etd/4695 THE GREAT MIRROR OF FANDOM: REFLECTIONS OF (AND ON) OTAKU AND FUJOSHI IN ANIME AND MANGA by CLARISSA GRAFFEO B.A. University of Central Florida, 2006 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 © 2014 Clarissa Graffeo ii ABSTRACT The focus of this thesis is to examine representations of otaku and fujoshi (i.e., dedicated fans of pop culture) in Japanese anime and manga from 1991 until the present. I analyze how these fictional images of fans participate in larger mass media and academic discourses about otaku and fujoshi, and how even self-produced reflections of fan identity are defined by the combination of larger normative discourses and market demands. -
Anime/Games/J-Pop/J-Rock/Vocaloid
Anime/Games/J-Pop/J-Rock/Vocaloid Deutsch Alice Im Wunderland Opening Anne mit den roten Haaren Opening Attack On Titans So Ist Es Immer Beyblade Opening Biene Maja Opening Catpain Harlock Opening Card Captor Sakura Ending Chibi Maruko-Chan Opening Cutie Honey Opening Detektiv Conan OP 7 - Die Zeit steht still Detektiv Conan OP 8 - Ich Kann Nichts Dagegen Tun Detektiv Conan Opening 1 - 100 Jahre Geh'n Vorbei Detektiv Conan Opening 2 - Laufe Durch Die Zeit Detektiv Conan Opening 3 - Mit Aller Kraft Detektiv Conan Opening 4 - Mein Geheimnis Detektiv Conan Opening 5 - Die Liebe Kann Nicht Warten Die Tollen Fussball-Stars (Tsubasa) Opening Digimon Adventure Opening - Leb' Deinen Traum Digimon Adventure Opening - Leb' Deinen Traum (Instrumental) Digimon Adventure Wir Werden Siegen (Instrumental) Digimon Adventure 02 Opening - Ich Werde Da Sein Digimon Adventure 02 Opening - Ich Werde Da Sein (Insttrumental) Digimon Frontier Die Hyper Spirit Digitation (Instrumental) Digimon Frontier Opening - Wenn das Feuer In Dir Brennt Digimon Frontier Opening - Wenn das Feuer In Dir Brennt (Instrumental) (Lange Version) Digimon Frontier Wenn Du Willst (Instrumental) Digimon Tamers Eine Vision (Instrumental) Digimon Tamers Ending - Neuer Morgen Digimon Tamers Neuer Morgen (Instrumental) Digimon Tamers Opening - Der Grösste Träumer Digimon Tamers Opening - Der Grösste Träumer (Instrumental) Digimon Tamers Regenbogen Digimon Tamers Regenbogen (Instrumental) Digimon Tamers Sei Frei (Instrumental) Digimon Tamers Spiel Dein Spiel (Instrumental) DoReMi Ending Doremi -
Romantic Love and Narrative Form in Japanese Visual Novels and Romance Adventure Games
arts Article From Novels to Video Games: Romantic Love and Narrative Form in Japanese Visual Novels and Romance Adventure Games Kumiko Saito Department of Languages, Clemson University, Clemson, SC 29634, USA; [email protected] Abstract: Video games are powerful narrative media that continue to evolve. Romance games in Japan, which began as text-based adventure games and are today known as bishojo¯ games and otome games, form a powerful textual corpus for literary and media studies. They adopt conventional literary narrative strategies and explore new narrative forms formulated by an interface with computer- generated texts and audiovisual fetishism, thereby challenging the assumptions about the modern textual values of storytelling. The article first examines differences between visual novels that feature female characters for a male audience and romance adventure games that feature male characters for a female audience. Through the comparison, the article investigates how notions of romantic love and relationship have transformed from the modern identity politics based on freedom and the autonomous self to the decentered model of mediation and interaction in the contemporary era. Keywords: Japanese video games; visual novels; bishojo¯ games; otome games; romance simulation; literature; romance; narrative form; modernity; postmodernity Citation: Saito, Kumiko. 2021. From Novels to Video Games: Romantic 1. Introduction Love and Narrative Form in Japanese With the rise of video games as a new medium for storytelling, scholars have un- Visual Novels and Romance equivocally posed the question, “Are games stories?” (Salen and Zimmerman 2003, p. 378). Adventure Games. Arts 10: 42. Although any computer or video game can be considered a form of popular fiction (Atkins https://doi.org/10.3390/arts10030042 2003, p. -
Growing the Otome Game Market: Fan Labor and Otome Game Communities Online
ISSN: 1795-6889 www.humantechnology.jyu.fi 15(3), November 2019, 347–366 GROWING THE OTOME GAME MARKET: FAN LABOR AND OTOME GAME COMMUNITIES ONLINE Sarah Christina Ganzon Concordia University Montreal, Canada Abstract: Otome games are a niche category of Japanese games marketed toward women. Outside its country of origin and the infrastructure of the anime media mix, its predominantly female player communities traditionally have defined these games as those that feature romance or dating simulation. In this paper, I look into how fan bloggers talk about their own work in marketing and distributing otome games beyond Japan. In the case of otome game fan blogging, the ability to shape discussions surrounding otome games also relies upon maintaining the image of players as good consumers. Although this work focuses on the practice of fan blogging, it is part of an ongoing study on otome games in English and otome game players outside Japan. Keywords: otome games, postfeminism, women and games, fan blogging, Japanese games. ©2019 Sarah Christina Ganzon and the Open Science Centre, University of Jyväskylä DOI: https://doi.org/10.17011/ht/urn.201911265024 This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. 347 Ganzon INTRODUCTION Otome games are a niche category of games typically featuring topics related to romance and dating simulations that originated in Japan and are marketed specifically to women. Given its niche status and the very minimal commercial distribution of otome game titles, especially due to the lack of the media infrastructure that otome games have in their country of origin via the anime media mix (Steinberg, 2012), the distribution of otome games beyond Japan relies on its small but dedicated networked, predominantly female fanbase—calling themselves the Otome Armada—to promote existing localized titles via blogs, forums, and social networking sites. -
Definition, Construction, and Challenges in a Character Ecology
The Dynamic Game Character: Definition, Construction, and Challenges in a Character Ecology Joleen Blom Center for Computer Games Research IT University of Copenhagen This dissertation is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Ph.D.) at IT University of Copenhagen. December 2019 Title: The Dynamic Game Character: Definition, Construction, and Challenges in a Character Ecology Candidate: Joleen Blom Supervisor: Espen Aarseth Evaluation Committee: Martin Pichlmair IT University of Copenhagen Rachael Hutchinson University of Delaware Akinori Nakamura Ritsumeikan University This research has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (Grant Agreement No [695528] – Making Sense of Games). ii Abstract This study presents a theory about dynamic game characters within a broader character ecology in which characters are constantly produced and reproduced in a variety of media. Characters do not appear only in games, they migrate from one medium to another. They are independent from any medium in particular: a character does not require a specific medium to come into existence. Authoritative forces try to shape the overall interpretation of circulating characters transmedially in comics, television series, films, games and more through different venues of control, such as authorship, canonisation and ownership or intellectual property. This study addresses the struggle for interpretive authority by explaining -
Sony Playstation 3
Sony PlayStation 3 Last Updated on October 5, 2021 Title Publisher Qty Box Man Comments .hack: Sekai no Mukou ni + Versus - Hybrid Pack Bandai Namco Games .hack: Sekai no Mukou ni + Versus - Hybrid Pack: The World Edition Bandai Namco Games 007: Nagusame no Houshuu Square Enix 2010 FIFA World Cup South Africa Electronic Arts 3D Dot Game Heroes From Software 428: Fuusa Sareta Shibuya de Sega 428: Fuusa Sareta Shibuya de: Spike the Best Sega 50 Cent: Blood on the Sand THQ A.C.E.: Another Century's Episode R Bandai Namco Games Afrika Sony Computer Entertainment Afrika: PlayStation 3 the Best Sony Computer Entertainment Agarest Senki Compile Heart Agarest Senki 2 Compile Agarest Senki 2: CH Selection Compile Agarest Senki Zero Idea Factory Agarest Senki Zero: Limited Edition Idea Factory Agarest Senki Zero: Compile Heart Selection Idea Factory Aquanaut's Holiday: Kakusareta Kiroku Sony Computer Entertainment... Aquapazza: Aquaplus Dream Match Aquaplus Aquapazza: Aquaplus Dream Match: First Print Limited Edition Aquaplus Aquapazza: Aquaplus Dream Match: Rapbox Pack Aquaplus Ar Tonelico Qoga: Sekai Shuen no Hikigane wa Shojo no Uta ga Hiku Banpresto Arcadias no Ikusahime Nippon Ichi Software Arcana Heart 3 Arc System Works Arcana Heart 3: Suggoi! Limited Edition AQ Interactive Armored Core 4 From Software Armored Core 4: The Best Collection From Software Army of Two EA Games Army of Two: EA Best Hits EA Games Army of Two: The 40th Day Electronic Arts Army of Two: The 40th Day: EA Best Hits Electronic Arts Army of Two: The Devil's Cartel Electronic