Launch of Bisty's Pachislot Machine “Neon Genesis Evangelion”

Total Page:16

File Type:pdf, Size:1020Kb

Launch of Bisty's Pachislot Machine “Neon Genesis Evangelion” (Translation) To all concerned parties: July 25, 2005 Fields Corporation President and CEO: Hidetoshi Yamamoto (JASDAQ code: 2767) Inquiries: Hiroyuki Yamanaka General Manager Administration Division Tel: +81-3-5784-2111 ©GAINAX/Project Eva./TV Tokyo Launch of Bisty’s Pachislot Machine “Neon Genesis Evangelion” —First pachislot machine to comply with new regulations— Fields Corporation (Head office: Shibuya-ku, Tokyo; President and CEO: Hidetoshi Yamamoto) announces the nationwide launch of Bisty Co., Ltd.’s pachislot machine “Neon Genesis Evangelion,” the first pachislot machine in the industry to comply with the new regulations of the Security Electronics and Communications Technology Association through the Association’s official examination. “Neon Genesis Evangelion” features the characters from the popular Japanese animation movie of the same name. With variations in presentation even more diverse than Bisty’s highly acclaimed pachinko machine “CR Neon Genesis Evangelion,” “Neon Genesis Evangelion” reproduces its power and world view in an even more dynamic form. “Neon Genesis Evangelion” has been designed in three types, one for each of the main characters Rei Ayanami, Shinji Ikari, and Soryu Asuka Langley. This is the first time in the industry that a machine has been made with unique presentation specifications according to each type. The hardware consists of new casings with a multifaceted design that evokes a strong sense of metallic depth and brings out the beauty of the lights. The machines are equipped with video ROM with a huge 2-Gigabit capacity, enhancing the presentation quality and permitting more breadth in the development of the story. This combination of the latest hardware and software enables players to experience a higher level of visual power and beauty than ever before. Players will be able to experience the new machine’s enhanced entertainment elements at pachinko halls throughout Japan from the middle of September. ©GAINAX/Project Eva./TV Tokyo Sales of “Neon Genesis Evangelion” have been incorporated into the Fields *Unauthorized use of the images is Corporation business plan for the fiscal year ending March 2006. prohibited <End> ◆For inquiries or further information, please contact:◆ IR Manager, Fields Corporation E Space Tower 12F, 3-6 Maruyama-cho, Shibuya-ku, Tokyo 150-0044 Tel: +81-3-5784-2109 Fax: +81-3-5784-2119 .
Recommended publications
  • The Second Try
    The Second Try Jimmy Wolk Chapter I: The 12th Shinji Ikari, Third Children and designated pilot of Evangelion Unit-01, had just reached a new sync- ratio record. And as Rei Ayanami suspected, the former holder of this record, known as Asuka Langley Soryu, wasn't very pleased with this. So she didn't pay much attention to the rants of the Second Children, who made obviously ironical statements about the 'great, invincible Shinji' while holding herself; swaying in front of her locker. Instead, Rei finished changing from the plugsuit the pilots were supposed to wear during their time in the entry plugs of the EVAs or the test plugs, into her casual school uniform. As soon as she was done, she went silently for the door of the female pilots' changing room, whispered "Sayonara" and left. With the First Children gone, Asuka could finally release all the feelings that tensed up the last hours in a powerful... ...sigh. She still had problems to play this charade in front of everyone, and it seemed to only grow harder. She wasn't sure if she would be able to keep it up much longer at all. Not while these thoughts disturbed her mind; thoughts of all the things that happened... or will happen soon. Lost in her worries, she failed to notice someone entering the room, sneaking up to her and suddenly embracing her from behind; encircling her arms with his own. She tensed up noticeably as she felt the touch, even though (or maybe just because) she knew exactly who the stranger was.
    [Show full text]
  • IHBB Asian Championships: Sports and Entertainment Bee: Round 1
    IHBB Asian Championships: Sports and Entertainment Bee: Round 1 1. This man missed his team’s final penalty in a quarterfinal shootout against the United Arab Emirates, causing his team to crash out of the 2015 Asian Cup. In the service of his club, he once informed the press that he would score two goals in the Revierderby before getting exactly that amount against rivals Schalke 04. This man became the first Asian to net a hat trick in the Premiership after he was signed by Manchester United in 2012, but has since returned to Germany. For the point, name this Borussia Dortmund midfielder from Japan. ANSWER: Shinji Kagawa 2. This band appeared on several episodes of Full House, one of which saw them perform the song “Forever” with John Stamos. One song by the Barenaked Ladies is titled for a member of this band and references a story about that man spending time with a psychologist over his mental illness. Cleveland Cavaliers forward Kevin Love is a relative of Mike Love, a member of this band whose early hits included “Surfin’ Safari” and “ Little Deuce Coupe”. This band later referenced several Caribbean locations like Aruba and Jamaica in their hit song “Kokomo”. For the points, name this legendary rock act whose other hits have included “Good Vibrations” and “I Get Around”. ANSWER: The Beach Boys 3. In 2016, a character from this franchise received a huge 25 meter statue in Shanghai courtesy of ChinaJoy expo, setting a Guinness record as the largest of its’ kind. The plea “try smiling” is uttered by a character in this franchise after his friend nearly dies in a fight against Ramiel, a shapeshifting blue octahedron known as the Fifth Angel.
    [Show full text]
  • Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Tsukuba Repository 〈Articles〉Beyond 2015 : Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion 著者 TSANG Gabriel F.Y. journal or Journal of International and advanced Japanese publication title studies number 8 page range 35-43 year 2016-03 URL http://doi.org/10.15068/00146740 © 2016 Journal of International and Advanced Japanese Studies Vol. 8, February 2016, pp. 35–43 Master’s and Doctoral Program in International and Advanced Japanese Studies Graduate School of Humanities and Social Sciences, University of Tsukuba Article Beyond 2015: Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion Gabriel F. Y. TSANG King’s College London, Department of Comparative Literature, Ph.D. Student Generally categorized as low art, Japanese manga and anime draw insufficient overseas critical attention, regardless of their enormous cultural influence in East Asia. Their popularity not simply proved the success of cultural industrialization in Japan, but also marks a series of local phenomena, reflecting social dynamicity and complexity, that deserve interdisciplinary analysis. During the lost decade in the 1990s, which many scholars studied with economic accent (Katz 1998, Grimes 2001, Lincoln 2001, Amyx 2004, Beason and Patterson 2004, Rosenbluth and Thies 2010), manga and anime industry in Japan entered its golden age. The publication and broadcast of some remarkable works, such as Dragon Ball, Sailor Moon, Crayon Shin-chan and Slam Dunk, not only helped generate huge income (nearly 600 billion yen earned in the manga market in 1995) that alleviated economic depression, but also distracted popular focus from the urge of demythologising national growth.
    [Show full text]
  • The Cultural Context and the Interpretation of Japanese 'Lolita
    Intercultural Communication Studies XXIII: 2 (2014) HINTON The Cultural Context and the Interpretation of Japanese ‘Lolita Complex’ Style Anime Perry R. HINTON Independent Academic Researcher, UK Abstract: Japanese animated films or anime have been popular in the West since the early 1990s. However, media interest in anime (particularly in Britain) has tended to focus on negative representations of anime concerning violence, sexuality and young girls. The current paper undertakes an examination of the genre of ‘Lolita complex’ or rorikon anime, the focus of these concerns. It is argued that the term ‘Lolita’ has a culturally specific meaning and that it has a different meaning in Western culture to that in Japan. This has led to a misperception of aspects of Japanese society and its cultural products such as anime. Furthermore it is argued that rorikon anime reflects teenage anxieties about the adult world, and changes in society and gender roles rather than perverse male sexual desire. An examination of the elements of rorikon anime shows that, rather than the product of a cultural ‘other’, it reflects features common across Japanese and Western cultures. Keywords: Japanese anime, Lolita complex, rorikon, shoujo, British media, cultural context, gender roles 1. Introduction One of the key aspects of globalization is the ready availability of the cultural products of one country to other nations round the world. The development of the internet as a global marketplace and its social media role for creating communities of fans of these products has further enhanced this cross-cultural communication. This can be seen most clearly in the popularity of Japanese popular culture (in terms of a range of products such as animated films (anime), comic books (manga), video games and toys) in Western countries.
    [Show full text]
  • Anime: the Cultural Signification of the Otaku Anime
    ANIME: THE CULTURAL SIGNIFICATION OF THE OTAKU ANIME: THE CULTURAL SIGNIFICATION OF THE OTAKU By Jeremy Sullivan, B.A. A Thesis Submitted to the School of Graduate Studies In Partial Fulfilment of the Requirements For the Degree Master of Arts McMaster University © Copyright by Jeremy Sullivan, September 2005 MASTER OF ARTS (2005) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Anime: The Cultural Signification of the Otaku AUTHOR: Jeremy Sullivan, B.A. (McMaster University) SUPERVISOR: Dr. Lorraine York NUMBER OF PAGES: v, 103 Abstract Technology has allowed nearly instantaneous communication around the globe and this study examines how cultural transmission occurs through the consumption of television and film. Anime, a term used to refer to a genre of animation that is of Japanese origin, has become immensely popular in North America and has come to simultaneously come to signify a commodifled Japanese youth culture. However, the spectrum of Japanese animation is restricted and controversial anime that includes offensive themes, violent, sexual or illicit material are not televised, or publicized except when associated with negative behaviour. The Otaku are labeled as a socially deviant subculture that is individualistic and amoral. Their struggle for autonomy is represented by their production, circulation and consumption of manga and anime, despite the insistence of the dominant Japanese and North American cultural discourses. This study will examine how publicly circulating definitions, media review, historical relations and censorhip have affected the portrayal of otaku subculture in Japan and internationally. in Acknowledgements A special thanks to my thesis supervisor Lorraine York. Without her patience and guidance this project would not have been possible.
    [Show full text]
  • A Sociological Analysis of Japanese Animation Fans and Fandoms
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2019-04-05 Beyond Subcultural Community: A Sociological Analysis of Japanese Animation Fans and Fandoms Robles Bastida, Nazario Robles Bastida, N. (2019). Beyond subcultural community: A sociological analysis of Japanese animation fans and fandoms (Unpublished doctoral thesis). University of Calgary, Calgary, AB. http://hdl.handle.net/1880/110147 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Beyond Subcultural Community: A Sociological Analysis of Japanese Animation Fans and Fandoms by Nazario Robles Bastida A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN SOCIOLOGY CALGARY, ALBERTA APRIL, 2019 © Nazario Robles Bastida 2019 i Abstract The study of media fandom has emphasized the subcultural nature of fans’ practices and relationships. The work of Henry Jenkins (2013) was especially influential in this regard. Proposing that media fans constituted both a subculture and an interpretive community, Jenkins reified fandoms
    [Show full text]
  • Neon Genesis Evangelion: Specchio Della Società E Della Psiche Umana
    CORSO DI LAUREA MAGISTRALE IN LINGUE E CIVILTÀ DELL'ASIA E DELL'AFRICA MEDITERRANEA Neon Genesis Evangelion: specchio della società e della psiche umana. RELATORE: Chiar.ma Prof.ssa Roberta Maria Novielli CORRELATORE: Chiar.ma Prof.ssa Paola Scrolavezza LAUREANDA: Martina Anais Zavatarelli Matricola 987557 Anno Accademico 2013 / 2014 要旨 「新世紀エヴァンゲリオンと」とは庵野秀明監督の創造力によって生み出されたアニメー ション作品である。1988 年の「トップを狙え!」と 1990 年の「ふしぎの海のナディア」 の制作で評価されていた庵野監督の「エヴァンゲリオン」は、テレビシリーズとして 1995 年 10 月から 1996 年 3 月までテレビ東京系で放映された。アニメーションを制作した のは株式会社ガイナックスである。 「EVANGELION」とはギリシャ語由来の単語で、キリスト教の間では「福音(良い知ら せ)」という意味の言葉であり、派生して「キリスト教のもたらす救いや幸い」の意味な どでも使われている。キリスト教の象徴が入っているにもかかわらず、「EVANGELION]と いう単語を選んだ理由は複雑な感じがするからだと庵野監督が言った。 26 話のシリーズは、テレビ放映が終わった翌年に二つの劇場版として封切られ、話題と なった。1997 年 3 月には、テレビ放映された第 1 話から 24 話までを再構成した劇場版の 映画「新世紀エヴァンゲリオン シト新生」(英題 DEATH&REBIRTH)が公開となり、同年 7 月には、第 25 話、第 26 話を再構成したの劇場版の映画「Air/まごころを、君に」(英 題 THE END OF EVANGELION)が、完結版として配給された。 2007 年に入り、リビルドという「再構築」の意味を持つ作品である「ヱヴァンゲリヲン 新劇場版」4 部作の政策が発表され、同年9月には、第一作の「ヱヴァンゲリヲン新劇場 版:序」が公開された。「新劇場版」は、2009 年 6 月に第二作の「ヱヴァンゲリヲン新劇 場版:破」が、2012 年 11 月に第三作「ヱヴァンゲリヲン新劇場版:Q]が公開されている が、第四作の公開日は未定である。 終末の未来に設定された作品の中では主人公である碇シンジをはじめとした 14 歳の少年 少女たちが超巨大な「人造人間エヴァンゲリオン」という決戦兵器に乗り込んで人類のた めに戦う。西暦 2000 年にセカンドインパクトと呼ばれる地球規模の大災害が起きた。そ して西暦 2015 年、人類はセカンドインパクトを引き起こしたとされる「 使徒」という謎 の存在からの攻撃を受けていた。それに立ち向かう選ばれた Children たちは、国連特務 組織 NERV の完成させたエヴァンゲリオンを操縦し、人類を滅亡させようとする敵から人 類を守る。「エヴァンゲリオン」は、メカジャンルに属しているものの、他のメカや SF アニメとは明確に相違する点がある。 その相違点を挙げるとすれば、エヴァンゲリオンが「生きている」ことである。エヴァン ゲリオンは巨大な生命体であり、パイロットが脳神経を同期させて操縦するという画期的 な設定を持つ。神経接続する操縦システムでは、その稼動状況がパイロットとエヴァの
    [Show full text]
  • Desu” in an English Online Community
    FROM CODE-SWITCHING TO LOANWORD: NEW INDEXICALITIES AND FUNCTIONS OF JAPANESE “DESU” IN AN ENGLISH ONLINE COMMUNITY By CHRIS SPRINGFIELD UNIVERSITY OF FLORIDA 2019 1 TABLE OF CONTENTS ABSTRACT .......................................................................................................................... 3 INTRODUCTION ................................................................................................................. 4 REVIEW OF THE LITERATURE ....................................................................................... 8 METHODOLOGY ............................................................................................................. 24 FINDINGS ......................................................................................................................... 27 Gauging Language Ideologies of “Desu” in Two Communities: 4chan’s Worksafe Requests Board ............................................................................... 27 Gauging... Communities: SwampCon Anime Convention Community ....................... 29 Analyzing Instances of “Dess” on 4chan, as Archived on archived.moe..................... 31 1. Confessional/Evaluative “Dess” without Anime/Manga context ................. 37 2. ...With direct Anime/Manga context ............................................................. 45 3. ...In response to Anime/Manga context ........................................................ 49 4. Further Considerations ................................................................................
    [Show full text]
  • (Not): an Eco-Phenomenological Reading of Neon Genesis Evangelion1
    NARRATIVES / AESTHETICS / CRITICISM THE MECHA THAT THEREFORE WE ARE (NOT): AN ECO-PHENOMENOLOGICAL READING OF NEON GENESIS EVANGELION1 GIUSEPPE GATTI Name Giuseppe Gatti peculiar synergy between themes, forms of storytelling Academic centre Roma Tre University and “out-of-joint” consumption, the Japanese robotic E-mail address [email protected] animation series thematized and popularized content and perspectives on mediated experience that I define as KEYWORDS “eco-phenomenological”: “phenomenological” because (i) Anime; enactivism; presence; ecophenomenology; narrative it reevaluates the quality of the subjective experience in its ecosystem. historical and biocultural context; “ecological” because (ii) it look at the environment as an intelligent system; and (iii) it proposed a multidisciplinary approach between the human ABSTRACT sciences and the life sciences. In the late 1960s, Japanese animation inaugurated a The article proposes an analysis of the forms of prolific science fiction strand which addressed the topic narration and reception of the anime series Neon of mediated experience. In a context of transnational Genesis Evangelion (1995-1996), in its ability to have reception and consumption of anime, the “robotic” subgenre intercepted, synthesized and internationally popularized (particularly the one that will be called “mecha” in the in an innovative and almost unparalleled way, the 1980s, i.e., narratives of giant robots piloted by a human complexity of the eco-phenomenological perspective. within) occupies a strategic place. By highlighting the Views and epistemological approaches at the center of the contemporary scientific and cultural debate will 1 The author thanks Ilaria De Pascalis, Jacopo Nacci and the anonymous referees for be reconstructed, discussed and analyzed through the their valuable comments and suggestions.
    [Show full text]
  • Why I Hate Asuka Langley-Sohryu
    Why I Hate Asuka Langley-Sohryu Alright. In regards to my writing, I've had people calling me out on the treatment of a certain character. Now you see this girl right here? Her name is Asuka Langley-Sohryu, and I hate her. She is, in my honest opinion, one of the worst characters in the anime Neon Genesis Evangelion. And after all of the criticisms I've gotten for the treatment of her character, my less than flattering depictions of her, I've decided that enough is enough. I'm going to come out and explain to everyone precisely why I hate her, I think she's a horrible excuse for a human being, and that she doesn't deserve to be treated like some divine goddess who can do no wrong the way so many people seemed inclined to do. Now keep in mind that I'm referring to the anime version of Asuka. Not the Rebuild version or any of the versions from the various manga. The original red-haired terror that appeared in the original 26 episode length Evangelion series. Also, I'm going to be careful in my terminology. Not everyone who reads this will know everything about Evangelion, so I'm going to do my best not to confuse anyone with this narrative. You got that? Great, let's get on then. The Defenses of Asuka Now before I move on to explain exactly why I hate Asuka, I think it would be prudent for me to take a moment to explain why so many people think that she should be pitied and go out of their way to defend her.
    [Show full text]
  • Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion
    © 2016 Journal of International and Advanced Japanese Studies Vol. 8, February 2016, pp. 35–43 Master’s and Doctoral Program in International and Advanced Japanese Studies Graduate School of Humanities and Social Sciences, University of Tsukuba Article Beyond 2015: Nihilism and Existentialist Rhetoric in Neon Genesis Evangelion Gabriel F. Y. TSANG King’s College London, Department of Comparative Literature, Ph.D. Student Generally categorized as low art, Japanese manga and anime draw insufficient overseas critical attention, regardless of their enormous cultural influence in East Asia. Their popularity not simply proved the success of cultural industrialization in Japan, but also marks a series of local phenomena, reflecting social dynamicity and complexity, that deserve interdisciplinary analysis. During the lost decade in the 1990s, which many scholars studied with economic accent (Katz 1998, Grimes 2001, Lincoln 2001, Amyx 2004, Beason and Patterson 2004, Rosenbluth and Thies 2010), manga and anime industry in Japan entered its golden age. The publication and broadcast of some remarkable works, such as Dragon Ball, Sailor Moon, Crayon Shin-chan and Slam Dunk, not only helped generate huge income (nearly 600 billion yen earned in the manga market in 1995) that alleviated economic depression, but also distracted popular focus from the urge of demythologising national growth. This paper will focus on the TV-series version of Hideaki Anno’s Neon Genesis Evangelion (1995–1996), a well-received anime broadcast after the Great Hanshin earthquake and the Tokyo subway sarin attack perpetrated by terrorists of Aum Shinrikyo, both happening in 1995. I will base my discussion on some important concepts of Jean-Paul Sartre, such as le pour-soi (the for-itself) and bad faith, to illustrate how Hideaki Anno represents his protagonists as figures emancipated by existentialist morality.
    [Show full text]
  • The Otaku Lifestyle: Examining Soundtracks in the Anime Canon
    THE OTAKU LIFESTYLE: EXAMINING SOUNDTRACKS IN THE ANIME CANON 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 MICHELLE JURKIEWICZ B.M., University of Central Missouri, 2014 Kansas City, Missouri 2019 © 2019 MICHELLE JURKIEWICZ ALL RIGHTS RESERVED THE OTAKU LIFESTYLE: EXAMINING SOUNDTRACKS IN THE ANIME CANON Michelle Jurkiewicz, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2019 ABSTRACT Japanese animation, or anime, has been popular around the globe for the last sixty years. Anime has its own fan culture in the United States known as otaku, or the obsessive lifestyle surrounding manga and anime, which has resulted in American production companies creating their own “anime.” Japanese filmmakers do not regard anime simply as a cartoon, but instead realize it as genre of film, such as action or comedy. However, Japanese anime is not only dynamic and influential because of its storylines, characters, and themes, but also for its purposeful choices in music. Since the first anime Astro Boy and through films such as Akira, Japanese animation companies combine their history from the past century with modern or “westernized” music. Unlike cartoon films produced by Disney or Pixar, Japanese anime do not use music to mimic the actions on-screen; instead, music heightens and deepens the plot and emotions. This concept is practiced in live-action feature films, and although anime consists of hand-drawn and computer-generated cartoons, Japanese directors and animators create a “film” experience with their dramatic choice of music.
    [Show full text]