Notice of the 11Th Ordinary General Meeting of Shareholders
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10Th IAA FINALISTS ANNOUNCED
10th Annual Interactive Achievement Awards Finalists GAME TITLE PUBLISHER DEVELOPER CREDITS Outstanding Achievement in Animation ANIMATION DIRECTOR LEAD ANIMATOR Gears of War Microsoft Game Studios Epic Games Aaron Herzog & Jay Hosfelt Jerry O'Flaherty Daxter Sony Computer Entertainment ReadyatDawn Art Director: Ru Weerasuriya Jerome de Menou Lego Star Wars II: The Original Trilogy LucasArts Traveller's Tales Jeremy Pardon Jeremy Pardon Rayman Raving Rabbids Ubisoft Ubisoft Montpellier Patrick Bodard Patrick Bodard Fight Night Round 3 Electronic Arts EA Sports Alan Cruz Andy Konieczny Outstanding Achievement in Art Direction VISUAL ART DIRECTOR TECHNICAL ART DIRECTOR Gears of War Microsoft Game Studios Epic Games Jerry O'Flaherty Chris Perna Final Fantasy XII Square Enix Square Enix Akihiko Yoshida Hideo Minaba Call of Duty 3 Activison Treyarch Treyarch Treyarch Tom Clancy's Rainbow Six: Vegas Ubisoft Ubisoft Montreal Olivier Leonardi Jeffrey Giles Viva Piñata Microsoft Game Studios Rare Outstanding Achievement in Soundtrack MUSIC SUPERVISOR Guitar Hero 2 Activision/Red Octane Harmonix Eric Brosius SingStar Rocks! Sony Computer Entertainment SCE London Studio Alex Hackford & Sergio Pimentel FIFA 07 Electronic Arts Electronic Arts Canada Joe Nickolls Marc Ecko's Getting Up Atari The Collective Marc Ecko, Sean "Diddy" Combs Scarface Sierra Entertainment Radical Entertainment Sound Director: Rob Bridgett Outstanding Achievement in Original Music Composition COMPOSER Call of Duty 3 Activison Treyarch Joel Goldsmith LocoRoco Sony Computer -
Storytelling with Vignettes
Small Games, Big Feels: Storytelling with Vignettes Simon-Albert Boudreault Game Designer - Concordia University @saboudreault vignettes are not so good to tell a story. vignette games lesson #1 lesson #1 vignettes are not so good to tell a story, lesson #1 vignettes are not so good to tell a story, but they can evoke one. bla. the system is the message. lesson #2 lesson #2 vignette games are accessible. exotic gameplay Call of Duty 4 : Modern Warfare (2007) ― Infinity Ward Far Cry 4 (2014) ― Ubisoft Montréal lesson #2 vignette games are accessible, lesson #2 vignette games are accessible, for creators and players. but I'm not a gamer. vignette games leave no one indifferent. lesson #3 vignette games are different. a brief, evocative description. Louie (2010) ― Louis C.K. Final Fantasy VI (1994) ― Yoshinori Kitase & Hiroyuki Ito Dys4ia (2010) ― Anna Anthropy Freshman Year (2015) ― Nina Freeman That Dragon, Cancer (2016) ― Ryan & Amy Green To Pimp A Butterfly (2015) ― Kendrick Lamar minigame minigame vs vignette minigame vs vignette objective minigame vs vignette objective challenge minigame vs vignette objective challenge reward Patient Rituals (2016) ― André Blyth Patient Rituals (2016) ― André Blyth Patient Rituals (2016) ― André Blyth Patient Rituals (2016) ― André Blyth Patient Rituals (2016) ― André Blyth minigame vs vignette objective challenge reward minigame vs vignette objective challenge reward minigame vs vignette objective challenge reward minigame vs vignette objective challenge reward minigame vs vignette minigame vs vignette -
Final Fantasy Vii (1997): It’S Never Final in the World of Fantasy
Like what you see? Buy the book at the Focal Bookstore Vintage Games Bill Loguidice and Matt Barton ISBN 978-0-240-81146-8 7 FINAL FANTASY VII (1997): IT’S NEVER FINAL IN THE WORLD OF FANTASY For countless gamers in the United States and Japan, the Final Fantasy series are more than just games—they’re the games. Just hearing the word “Chocobo” or “Moogle”1 is enough to tickle the thumbs of dedicated fans all over the world. Indeed, few video- game franchises in the history of the industry have enjoyed the popularity, longevity, and high acclaim of Hironobu Sakaguchi’s epic series. The fi rst Final Fantasy , developed during a fi nancial crisis at Square, not only rescued the company but soon became Final Fantasy VII offered an immense area to explore, including populated towns where players could buy equipment, talk to the locals, and advance the plot. The red triangles indicate possible exits, and the white glove makes it easier to spot the main character. 1 Not to be confused with J. K. Rowling’s word “Muggle,” meaning a person not born in a magical world and lacking any sort of magical ability, in the 1997 U.K. book Harry Potter and the Philosopher’s Stone . 77 78 Chapter 7 FINAL FANTASY VII (1997): IT’S NEVER FINAL IN THE WORLD OF FANTASY a defi nitive console role-playing game—a reputation the series continues to enjoy. Because the series is much too lengthy and complex to cover adequately in a single chapter, we’ve decided to focus here on Final Fantasy VII. -
Notice of the 12Th Ordinary General Meeting of Shareholders
Note: This document is a translation from the Japanese original for reference purposes only. In the event of any discrepancy between this translation and the Japanese original, the Japanese original shall prevail. COLOPL, Inc. assumes no responsibility for this translation or for direct, indirect or any other forms of damages arising from the translation. (Securities Code: 3668) December 2, 2020 Dear Shareholders, Naruatsu Baba President and Representative Director COLOPL, Inc. 4-20-3 Ebisu, Shibuya-ku, Tokyo Notice of the 12th Ordinary General Meeting of Shareholders We are pleased to announce the 12th Ordinary General Meeting of Shareholders of COLOPL, Inc. (the “Company”), which will be held as described below. As a result of careful consideration regarding the holding of this Ordinary General Meeting of Shareholders, which is an important decision-making for making resolutions on such matters as the payment of the year-end dividend to shareholders (appropriation of surplus) and the election of directors, in order to prevent the spread of the novel coronavirus disease (COVID-19), the Company will place the highest priority on “taking action to protect the lives and health” of our shareholders, employees and related parties, and asks for your understanding and cooperation in holding this meeting only with the Company’s officers without the attendance of shareholders. Instead of attending the meeting in person, shareholders are requested to exercise voting rights in advance in writing or via the internet, etc. Please examine the attached “Reference Documents for the General Meeting of Shareholders” and exercise your voting rights by 7:00 p.m. on Thursday, December 17, 2020 in accordance with the instructions given below. -
Tetsuya Nomura
An Unofficial Fan Magazine The History of Developer FFXV Previewed Type-0 Profiles in Detail! The game’s development Learn all about the folk An in-depth look at the deconstructed! behind Class Zero! incoming FFXV demo! Production is non-profit. Do not pay for this! FINAL FANTASY Copyright © SQUARE ENIX CO., LTD. Production not associated with Square Enix. Welcome! he Final Fantasy series is quite a lot like light Tshone through a crystal, a key symbol of the series. Each beam of light interprets the shape Who Made This of the crystal differently and takes form with bold new definitions, cast brightly across what This magazine is a free, joint production from will soon become thirty years of history. several Final Fantasy, Square Enix and JRPG- Much like the games we enjoy, FF fans are focused websites & communities who band hues in a broad spectrum. Young and old, from together under the moniker SeeD (named after all walks of life all over the globe, it’s no susprise FFVIII’s Garden academies) to collectively work we have passionate and often disparate views to provide better unofficial outlets through on where FF is its best and where it should go which to grow and serve the FF community. in the future - but those passions are also a mark of pride for this community. Thanks to the following for their contributions to this project and SeeD at large: Under the banner of SeeD, representatives from several major FF and JRPG communities • FinalFantasy.net • FFWorld.com assemble regularly to collaborate on group • NovaCrystallis.com • SQEX.info projects and assist each other in bettering the • UFFSite.net • FFandMore.com wider community. -
Exploring Ivalice Through Music: an Examination of Music, Landscape, and Classical Etymology in Final Fantasy XII Marina Gallagh
Exploring Ivalice Through Music: An Examination of Music, Landscape, and Classical Etymology in Final Fantasy XII Marina Gallagher Music 381 Dr. Gray August 2014 2 Music in video games forges such a strong connection between players and fictional worlds that gamers are willing to purchase official soundtracks and visit concerts dedicated solely to game music, such as Video Games Live and Distant Worlds: The Music of Final Fantasy. Throughout video game history, the role of music in games has grown to such an extent that soundtracks written for symphony orchestra (rather than a single keyboard) are seamlessly integrated with characters and on-screen graphics.1 As Simon Wood notes, “the connection between game music and music for film…[is] a constant trope” for gamers and composers alike; however, this connection is not unfounded, as films and video games both rely on “audience members”/gamers to enter a fictional world, or diegesis.2 Karen Collins notes that music “plays a significant role in the immersive quality of a game” and that, if the music is interrupted or absent, gamers do not feel as physically present within the game world.3 Although she also mentions the contention amongst scholars regarding immersion in video games,4 it would seem that video game music plays a key role in making various areas come alive for gamers. Collins suggests that “symbols and leitmotifs are often used to assist the player in identifying…environments”,5 though orchestration can also assist in creating a sense of a particular place, such as the serene countryside. This paper seeks to examine the connection between the soundtrack of role-playing game Final Fantasy XII and in-game landscapes to identify the ways in which the score suggests divergent landscapes by drawing on earlier techniques in classical and film music traditions. -
Arias Thesis
GAME X FILM MUSIC: A STUDY OF FINAL FANTASY’S EMPLOYMENT OF FILM MUSIC TECHNIQUES THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of MUSIC by Jeremy LeRoy Arias, B.A. San Marcos, Texas May 2013 GAME X FILM MUSIC: A STUDY OF FINAL FANTASY’S EMPLOYMENT OF FILM MUSIC TECHNIQUES Committee Members Approved: ______________________________ Rebecca M. Eaton, Chair ______________________________ Cynthia Gonzales ______________________________ Kevin E. Mooney Approved: ____________________________ J. Michael Willoughby Dean of the Graduate College COPYRIGHT by Jeremy LeRoy Arias 2013 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work, I, Jeremy LeRoy Arias, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS This thesis could not have been completed without the stoic support of my thesis advisor Dr. Rebecca Eaton. She has my eternal gratitude for her edits, advice, and constant morale boosts. I also thank my committee deeply for their time and patience regarding the completion of my thesis. And as always, I thank my family and friends (especially my parents and grandparents) for their unending moral support. This manuscript was submitted on December 13, 2012. -
Narrative Integration in 16-Bit Video Game Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By JUSTIN DANIEL SEXTRO B.M. Truman State University, 2012 Kansas City, Missouri 2015 ii PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC Justin Daniel Sextro, Master of Music University of Missouri-Kansas City, 2015 ABSTRACT Ever since Pong graced the screens of video arcades, one of the most influential interactions between technology and sound has been the video game console. Over the past decade, scholars have begun to recognize this interaction with the steady growth of scholarship on video game sound; however, one group of games, that of the 16-bit generation, has been overlooked. The 16-bit era, roughly spanning from 1988 to 1996, was a period of transition and innovation for the medium. The purpose of this research is to identify the elements of narrative integration of 16-bit video game music. To explore these elements, several games from the 16-bit era are examined. The first chapters discuss the common elements of narrative integration, including musical cohesion, identification, mood evocation, and musical codes. The last half of this research is devoted to in-depth discussion of five games; first, the story-driven genre, the Role Playing Game, is represented by Chrono Trigger and Earthbound. The final chapter gives context to the 16-bit era by looking at three games from The Legend of Zelda series. -
You Spoony Bard!: an Analysis of Video Game Localization Practices
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 You Spoony Bard!: An Analysis of Video Game Localization Practices Karrie Collins University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Recommended Citation Collins, Karrie, "You Spoony Bard!: An Analysis of Video Game Localization Practices" (2015). Masters Theses. 189. https://doi.org/10.7275/6956417 https://scholarworks.umass.edu/masters_theses_2/189 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. YOU SPOONY BARD!: AN ANALYSIS OF VIDEO GAME LOCALIZATION PRACTICES A Thesis Presented by KARRIE N. COLLINS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Japanese Language, Literature, and Culture YOU SPOONY BARD!: AN ANALYSIS OF VIDEO GAME LOCALIZATION PRACTICES A Thesis Presented by KARRIE N. COLLINS Approved as to style and content by: _____________________________________ Bruce P. Baird, Chair _____________________________________ Stephen D. Miller, Member _____________________________________ Stephen D. Miller, Director Asian Languages and Literatures Department of Languages, Literatures, and Cultures _____________________________________ William Moebius, Chair Department of Languages, Literatures, and Cultures DEDICATION To my father, who has always been an inspiration. ACKNOWLEDGMENTS I would like to thank my mother for her love, unending patience, and support. I would also like to express my gratitude to my professors from whom I have learned so much. -
Sebastian Domsch Storyplaying Narrating Futures
Sebastian Domsch Storyplaying Narrating Futures Edited by Christoph Bode Volume 4 Sebastian Domsch Storyplaying Agency and Narrative in Video Games ISBN 978-3-11-027216-1 e-ISBN 978-3-11-027245-1 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.dnb.de. © 2013 Walter de Gruyter GmbH, Berlin/Boston Typesetting: PTP-Berlin Protago-TEX-Production GmbH, Berlin Printing: Hubert & Co. GmbH & Co. KG, Göttingen ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Content 1 Introduction: What is Storyplaying? | 1 1.1 Preliminaries: Medial Forms | 6 1.2 Preliminaries: Exclusions | 10 2 Video Games and Narrative | 13 2.1 Gameplay and Narrative | 13 2.1.1 Gameplay and Game Mechanics: The Rules of the Game | 14 2.1.2 Semanticization and Fictionalization: Towards Gameworlds | 18 2.2 Narrative Forms | 31 2.2.1 Passive Forms | 31 2.2.1.1 Exposition | 32 2.2.1.2 Cut scenes | 32 2.2.1.3 Loading Screen | 34 2.2.2 Actively Nodal Forms | 34 2.2.2.1 Player Actions | 35 2.2.2.2 Quick Time Event | 35 2.2.2.3 Dialogue tree | 38 2.2.2.4 Event trigger | 41 2.2.3 Dynamic Forms | 43 2.2.3.1 Non-player Character | 43 2.2.3.2 Timed Events/Intradiegetic Clock | 46 2.2.4 Digression: Architecture and Protocols | 48 3 Non-Unilinear Gameplay in -
The Score of Final Fantasy VI's Opera
The University of Southern Mississippi The Aquila Digital Community Master's Theses Summer 2021 An Analysis of Nobuo Uematsu’s Linear Structures: The Score of Final Fantasy VI’s Opera Daniel Comeaux Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Music Theory Commons Recommended Citation Comeaux, Daniel, "An Analysis of Nobuo Uematsu’s Linear Structures: The Score of Final Fantasy VI’s Opera" (2021). Master's Theses. 822. https://aquila.usm.edu/masters_theses/822 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. An Analysis of Nobuo Uematsu’s Linear Structures: The Score of Final Fantasy VI’s Opera by Daniel James Comeaux A Thesis Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by: Dr. Douglas Rust, Committee Chair Dr. Joseph Brumbeloe Dr. Gregory Fuller Dr. Jonathan Kilgore August 2021 COPYRIGHT BY Daniel James Comeaux 2021 Published by the Graduate School ABSTRACT Nobuo Uematsu, the composer of the first nine entries in the Final Fantasy video game series, creates sophisticated music in the operatic section of Final Fantasy VI. This thesis will provide a linear analysis of the music, borrowing from contrapuntal techniques of important theorists such as Heinrich Schenker and Paul Hindemith. -
Narrative Integration in 16-Bit Video Game Music
PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By JUSTIN DANIEL SEXTRO B.M. Truman State University, 2012 Kansas City, Missouri 2015 ii PRESS START: NARRATIVE INTEGRATION IN 16-BIT VIDEO GAME MUSIC Justin Daniel Sextro, Master of Music University of Missouri-Kansas City, 2015 ABSTRACT Ever since Pong graced the screens of video arcades, one of the most influential interactions between technology and sound has been the video game console. Over the past decade, scholars have begun to recognize this interaction with the steady growth of scholarship on video game sound; however, one group of games, that of the 16-bit generation, has been overlooked. The 16-bit era, roughly spanning from 1988 to 1996, was a period of transition and innovation for the medium. The purpose of this research is to identify the elements of narrative integration of 16-bit video game music. To explore these elements, several games from the 16-bit era are examined. The first chapters discuss the common elements of narrative integration, including musical cohesion, identification, mood evocation, and musical codes. The last half of this research is devoted to in-depth discussion of five games; first, the story-driven genre, the Role Playing Game, is represented by Chrono Trigger and Earthbound. The final chapter gives context to the 16-bit era by looking at three games from The Legend of Zelda series. Narrative integration is discovered to be an evolutionary step in 16-bit video game music.