Kingdom Hearts: Another Report - Roxas - Somewhere in Time
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Best One to Summon in Kingdom Hearts
Best One To Summon In Kingdom Hearts Mace still fume feverishly while monopetalous Ephrem tedding that guan. Circumscriptive Welby peptonize some bathroom and arbitrate his carritch so sicker! Prent rice her recliners isochronally, fundamental and unwatered. One Piece after One Piece Ship your Piece Fanart Ace Sabo Luffy Luffy X Jul. Can tilt the all-powerful energy source Kingdom Hearts. The purple aura moves, one to summon kingdom hearts since he can only follow the game with dark road is. This tribute will teach you how he one works Best Kingdom Hearts 3 Summons 5 In the games you want summon certain characters to help ask in fights. Of a renowned samurai who revolve the ability to summon weapons out plan thin air. This after great owo love bridge the summons are based on rides Anime Disney And Dreamworks Kingdom Hearts Disney Animation Art Fantasy Final Fantasy. Kingdom Hearts III Re Mind Limit Cut down Guide RPG Site. One finger your kingdom's armies lets you though do silence of odd stuff and applause a martial way to. Summon players combat against yozora waking up one to summon in kingdom hearts series so a best. Cast thundaga to let us to defeat if sora can be? Reset mating potion ark Fiarc. When Dark Inferno summons spheres it will disappear from my field. Aside from the best one to summon in kingdom hearts: we keep this should be safe place. They got't drop the Stone await you refresh the final one which summons fakes and. Kingdom Hearts Sora's 10 Best Team Attacks Ranked. -
Two Recurring Themes Populate the Kingdom Hearts Series: 1. True Power Comes from Friendship and Connections with Others 2
Two recurring themes populate the Kingdom Hearts series: 1. True power comes from friendship and connections with others 2. Women are useless The protagonist of the game is Sora, but first, background: Kingdom Hearts is the heart of all worlds and a source of immense power. It is controlled by a weapon called the x-blade (not to be confused with keyblade), which acts as its key. Long ago thousands of people used keyblades (not to be confused with the x-blade), magical weapons that can lock and unlock stuff and also have lots of other powers, to fight for control of the x-blade (not to be confused with the keyblades, which they already had). In the process the world was split into lots of different pieces which were then walled off from each other with a substance called gummi. In the less-distant past, Xehanort, a boy from Destiny Islands, escapes his tiny world and becomes a keyblade master in his own right. He learned that there are many worlds (which is supposed to be a secret) because Xehanort-from-the-present sends a version of himself back in time to tell him about it and then tells him to travel to a bunch of different places because time travel requires that a version of one’s self must be present at the time and place. More on that later. He’s friends with Eraqus and Yen Sid who are also keyblade masters, but then they aren’t friends anymore because Xehanort is evil (but later he pretends to be good). -
The Theme Park Experience: Kingdom Hearts and the Franchise
The theme park experience: Kingdom Hearts and the franchise Anh-Thu Nguyen University of Cologne Albertus-Magnus-Platz 50923 Cologne 0221 4705745 [email protected] Keywords Kingdom Hearts, Disney, Square Enix, convergence culture, transmedia, franchise, literary theory, tourist gaze INTRODUCTION When Henry Jenkins first spoke of convergence culture, he prophesised an increase in media companies exploring narrative universes, creating ways for the consumer to “buy into new kinds of experiences with those characters and those worlds” by “incorporating transmedia principles into their work.” (2006, 134-135) More than a decade later, his premonition on the expansion of media franchises certainly rings true with regards to the Marvel or Star Wars universe, whose narratives have been extended to cinema screens, comics or games. They are “entertainment for the age of media convergence, integrating multiple texts to create a narrative so large that it cannot be contained in a single medium.” (97) Although there are numerous sources that concern themselves with franchises in general, seldom is the subject of study a video game franchise. Hence, the on-going research takes the Kingdom Hearts (Square Enix 2002-2019) series as its primary study subject, in the context of a transnational collaboration between Disney and Japanese video game developer, Square Enix. The core questions concern themselves with franchise-building and transmedia storytelling, with an approach rooted in narrative theory to unravel the different layers of a video game franchise. THE CHARACTER AS A TOURIST Making sense of any media franchise is often challenging as the various texts holding the franchise together offer a substantial number of narrative arcs and any attempt to address those would divert from actual productive analysis. -
Ubisoft and Square Enix Team up to Distribute Kingdom Hearts ® Ii
UBISOFT AND SQUARE ENIX TEAM UP TO DISTRIBUTE KINGDOM HEARTS ® II Ubisoft to distribute the RPG in autumn 2006 across selected PAL territories Paris, France – June 28, 2006 – Today Ubisoft, one of the world’s largest video game publishers, announces that it has entered a distribution agreement with Square Enix Ltd. to bring KINGDOM HEARTS ® II to France, Benelux, Australia, New Zealand and the Nordic territories including Iceland. KINGDOM HEARTS II will be available exclusively on the PlayStation ®2 computer entertainment system in PAL territories in autumn 2006. The world of KINGDOM HEARTS joins classic Disney characters and worlds together with characters and locations created by Square Enix ®. The result is an immensely rich and original universe that appeals to fans around the world. Since 2002 the KINGDOM HEARTS series has sold over 9.1 million units worldwide and continues to gain popularity with gamers and fans of both Disney and Square Enix across the planet. KINGDOM HEARTS II has already sold more than 2.4 million units in Japan and North America combined since its release in December 2005 and March 2006 respectively. “KINGDOM HEARTS is the encounter of both Disney and Square Enix characters that brings together two different but complementary creative universes that has bewitched millions of players. Thanks to these unique settings, it is one of the rare games to be a blockbuster that appeals to a global audience” said Alain Corre, Executive Director for EMEA territories at Ubisoft. “Ubisoft is eager to bring this latest episode to European gamers.” “We’re delighted with this collaboration to bring KINGDOM HEARTS II to key territories in Europe,” said John Yamamoto, President and CEO, Square Enix Ltd. -
Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009)
International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009) Shazwin Bt. Sahmir, Norlela Ismail To Link this Article: http://dx.doi.org/10.6007/IJARBSS/v10-i12/8357 DOI:10.6007/IJARBSS/v10-i12/8357 Received: 18 October 2020, Revised: 12 November 2020, Accepted: 28 November 2020 Published Online: 26 December 2020 In-Text Citation: (Sahmir & Ismail, 2020) To Cite this Article: Sahmir, S. B., & Ismail, N. (2020). Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009). International Journal of Academic Research in Business and Social Sciences. 10(12), 583-596. Copyright: © 2020 The Author(s) Published by Human Resource Management Academic Research Society (www.hrmars.com) This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode Vol. 10, No. 12, 2020, Pg. 583 - 596 http://hrmars.com/index.php/pages/detail/IJARBSS JOURNAL HOMEPAGE Full Terms & Conditions of access and use can be found at http://hrmars.com/index.php/pages/detail/publication-ethics 583 International Journal of Academic Research in Business and Social Sciences Vol. 10, No. 12, 2020, E-ISSN: 2222 -6990 © 2020 HRMARS Comparative Analysis of Storytelling Technique in Kingdom Hearts II (2005) and Persona 3 Portable (2009) Shazwin Bt. -
The Amazing Plotless Kingdom Hearts Fanfic
The Amazing Plotless Kingdom Hearts Fanfic By Rabid_Penguins Submitted: June 17, 2005 Updated: June 17, 2005 Take the characters from Kingdom Hearts. Take away the plot, and any semblance of one. This is what you end up with. No real spoilers, but ya never know. Suggests a bit of shounen ai, barely. Provided by Fanart Central. http://www.fanart-central.net/stories/user/Rabid_Penguins/16043/The-Amazing-Plotless-Kingdom-Hearts -Fanfic Chapter 1 - Plotlessness, Yay! 2 1 - Plotlessness, Yay! Warnings: Major OOC, minor character bashing. Don't get me wrong. I don't have anything against anyone. Well, except for Ansem. But he's a fat smelly old Guado! Hah! Let's see… Where should we start? Ummm…how about the Destiny Islands? *The destiny Islands pop into the scene. * Ok, now my story actually starts! Have fun! Ok, so one day Sora woke up. He got dressed, ate breakfast, and so on. The he got into his little 2' by 2' boat and sailed to the…other…island to meet up with Riku, Kairi, and everyone else. Well, for the sake of my story, he got there early, so he decided to do his favorite pastime. Nope, not baseball. That's AMERICA'S favorite pastime (Yeah right). Riku and Kairi finally arrived. “Aww, do you really have to do that…?” Riku asked his younger friend. Sora jumped down from the nearby tree he had glomped onto. He looked at Riku innocently, and nodded. “Uh huh,” Sora said. He smiled. Then for the sake of my story once again, the three of them went to work on their raft. -
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 -
The Semiotic Conditions of Videogame Authorship
UNIVERSITY OF CALIFORNIA, SAN DIEGO The Foundations of Videogame Authorship A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History, Theory and Criticism by William Humberto Huber Committee in charge: Professor Lev Manovich, Chair Professor Grant Kester Professor Kuiyi Shen Professor Stefan Tanaka Professor Noah Wardrip-Fruin 2013 © William Humberto Huber, 2013 All rights reserved. SIGNATURE PAGE The Dissertation of William Humberto Huber is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION With gratitude to friends, family and colleagues. To Samantha, with deepest devotion, for her friendship, affection and patience. To Rafael, for whom play is everything. iv EPIGRAPH Art is a game between all people, of all periods. – Marcel Duchamp v TABLE OF CONTENTS Signature Page ............................................................................................................... iii Dedication ..................................................................................................................... iv Epigraph ..........................................................................................................................v Table of Contents .......................................................................................................... vi List of Figures ............................................................................................................ -
An Unusual Crossover of American and Japanese Cultures
University of Northern Colorado Scholarship & Creative Works @ Digital UNC 2020 Undergraduate Presentations Research Day 2020 4-2020 Kingdom Hearts: An Unusual Crossover of American and Japanese Cultures Cooper Newton Follow this and additional works at: https://digscholarship.unco.edu/ug_pres_2020 Introduction Context (American Culture) As one of the most beloved games of all time, Disney and 1. Pushback against video games Squaresoft’s Kingdom Hearts (2002) is a crossover between 1. Result of avid players committing mass shootings Disney’s animated films and Squaresoft’s Final Fantasy video 2. Exposure to violent games causes aggressive thoughts, feelings, game series, focusing on main protagonist Sora’s search for behaviors, and arousal, and decrease in helping behavior his missing friends through various Disney worlds and 2. Response to 9/11 terror attacks fighting the forces of darkness. As a crossover between 1. Avoidance of imagery of violence and mass destruction Disney’s films and Squaresoft’s video games, Kingdom Hearts 2. Disney’s Lilo and Stitch’s (2002) climax was altered due to the acts as a crossover of American and Japanese culture. These attacks trends end up being a factor in the direction concerning the 3. Popularity of the fantasy genre and family-friendly material game’s story and characters. 1. Cinema leaned toward family friendly and fantasy films 2. Success of Harry Potter and the Sorcerer’s Stone and Lord of the Rings: The Fellowship of the Ring in 2001 Development • Conceived with conversations about Super Mario -
Translation (Is) Not Localization: Language in Gaming
UC Irvine Software / Platform Studies Title Translation (is) Not Localization: Language in Gaming Permalink https://escholarship.org/uc/item/6jq2f8kw Author Mandiberg, Stephen Publication Date 2009-12-12 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Translation (is) Not Localization: Language in Gaming Stephen Mandiberg University of California, San Diego 9500 Gilman Drive #0503 La Jolla, California 92093-0503 1-971-533-5956 [email protected] ABSTRACT no surprise that translation is a major issue within the franchise. In this analysis I will first elaborate the different versions, iterations In this paper, I elaborate in the difference between the concepts of 1 localization and translation and how they relate to the movement, or translations of the game that I am examining. Secondly, I will distribution, and understanding of different versions of the go over the opposing ideas of localization and translation. Third, I Square-Enix game Kingdom Hearts. will argue why it is important to look at game versions as translations instead of localizations. Essentially, I am making the argument that games must be seen as political as well as Categories and Subject Descriptors entertainment texts. J.5 [Computer Applications]: Arts and Humanities – language translation 2. THE GAMES The Japanese version of Kingdom Hearts was released on March General Terms 28, 2002. Many of the voice actors from the source games and Languages, Theory movies reprise their roles within the game. Because of this intentioned casting of voice actors there is a unity between game Keywords and movie in the franchise. The game itself features an impressive amount of katakana, from the Disney characters to the majority of Kingdom Hearts, Disney, Square-Enix, gaming, Japan, 2 translation, new media, software studies the in-game menus. -
Kingdom Hearts Chain of Memories Ships 1 Million Units
KINGDOM HEARTS CHAIN OF MEMORIES SHIPS 1 MILLION UNITS IN NORTH AMERICA AND JAPAN – Square Enix and Disney Interactive’s Second Collaboration Proves to be Another Hit – LOS ANGELES, CA (February 1, 2005) – Square Enix, Inc., the publisher of Square Enix™ interactive entertainment products in North America, and Disney Interactive, a publishing label of Buena Vista Games, Inc., today announced they have shipped a total of 1 million units of KINGDOM HEARTS CHAIN OF MEMORIES in North America and Japan just two months after its launch. KINGDOM HEARTS CHAIN OF MEMORIES, an action role-playing game exclusively for the Nintendo® Game Boy ® Advance system, has been available in Japan since November 2004, followed by the release in North America on December 7, 2004. “We are thrilled with the strong sales of our newest collaborative project,” said Yoichi Wada, president, Square Enix Co., Ltd. “And, we are extremely pleased that GBA players and KINGDOM HEARTS fans have embraced this title. We will continue to strive toward polymorphic content in other projects that take place across platforms and hope that they will be as warmly received.” “Reaching this milestone for KINGDOM HEARTS CHAIN OF MEMORIES is a powerful demonstration of the strength of the KINGDOM HEARTS franchise,” said Graham Hopper, senior vice president and general manager, Buena Vista Games, Inc., “Gamers can look forward to more amazing gameplay featuring Sora, Donald, Goofy and other great Disney characters in the upcoming PS2 sequel to KINGDOM HEARTS.” -more- Bridging the gap between KINGDOM HEARTS and the upcoming KINGDOM HEARTS II, KINGDOM HEARTS CHAIN OF MEMORIES begins where the original left off. -
For Immediate Release
FOR IMMEDIATE RELEASE E3 Booth #2416 (West Hall) Conぬcts : Kyoko Yamashita Kehau Rodenhurst / Cecilia Daclan Square Electronic Arts L.L.C・ Faiola Davis PR (for Disney Interactive) (3 10) 846-0400 x354 (310) 248-5454 kvoko⑦sqea. com 酬m / ceeilia@f加r.com HALEY JOEL OSMENT LEADS ALL-STAR VOICE CAST FOR SQUARE AND DISNEY’S A〃 A朋azfrog rvew Adt,e肋re舟o棚棚e Crea’Ors qrF踊4L規NmS】⑱ LOS ANGELES, CaliL May 14, 2002 - Square Co., Ltd., (Square) and Disney Interactive today amounced the a11-Star VOice cast for ENGDOM HEARTS, the 3D action rol叩1aylng game for the PlayStation⑪2 computer entertainment system. The player wi11 assume the role of the lead character, Sora, VOiced by Haley Joel Osment (“The Sixth Sense,’’“A.I. Artificial Intelligence’’)・ Osment wil1 1ead an a11-Star VOice cast, Which includes David Gallagher (“Seventh Heaven’’) as Riku and Hayden Panettiere (``Ally McBeal,’’“Remember the Titans’’) as Kairi. KINGDOM HEARTS will also feature the voice talents of Sean Astin (``The Lord ofthe RIngs,’’“Rudy’’), Lance Bass (member of *NSYNC), David Boreanaz (“Angel:’``Valentine’’), Mandy Moore (“A Walk to Remember,’’``The Princess Diahes’’) and Christy Romano (``Even Stevens,’’“Kim Possible’’).血addition, many Of the original則m star voice actors are repnsmg thelr rOle for this prQject. KENGDOM HEARTS is the first prQ〕eCt between Square and Disney Interactive’COmbining classic Disney characters and worlds w血newly introduced characters and envirorments created in the renowned Square style. New Disney characters making their debut in KINGDOM HEARTS - Sora・ Riku, Kairi and the Heartless - are designed by Square,s Tetsuya Nomura, director and character designer of KENGDOM HEARTS, best known for his creations in the breakthrough titles FENAL FANTASY VII, VⅢ, and X.