Esg Data Environment

Total Page：16

File Type：pdf, Size：1020Kb

SCOPE FY2015（total 10）SEGA SAMMY HOLDINGS INC. 、 SEGA Holings Co., Ltd. 、 Sammy Corparation 、 SEGA TOYS CO., LTD. 、 TMS ENTERTAINMENT CO., LTD. 、 Sammy Networks Co., Ltd. 、 PHOENIX RESORT CO., LTD. 、 SEGA ENTERTAINMENT CO., LTD 、 SEGA Games Co., Ltd. SEGA Networks Company 、 TAIYO ELEC Co., Ltd. FY2016（total 16）SEGA SAMMY HOLDINGS INC. 、 SEGA Holings Co., Ltd. 、 Sammy Corparation 、 SEGA TOYS CO., LTD. 、 TMS ENTERTAINMENT CO., LTD. Sammy Networks Co., Ltd. 、 PHOENIX RESORT CO., LTD. 、 SEGA ENTERTAINMENT CO., LTD 、 SEGA Games Co., Ltd. SEGA Networks Company 、 TAIYO ELEC Co., Ltd. 、 SEGA LOGISTICS SERVICE CO., LTD. 、 DARTSLIVE Co., Ltd. 、MARZA ANIMATION PLANET INC. 、 Japan Multimedia Services Corporation 、 SEGA Imteractive Co., Ltd. FY2017 (total 15) SEGA SAMMY HOLDINGS INC. 、 SEGA Holings Co., Ltd. 、 SEGA Games Co., Ltd. 、SEGA Interactive Co., Ltd. 、SEGA ENTERTAINMENT CO., LTD 、SEGA TOYS CO., LTD. 、TMS ENTERTAINMENT CO., LTD. 、SEGA LOGISTICS SERVICE CO., LTD. 、 DARTSLIVE Co., Ltd. 、Sammy Corparation 、Sammy Networks Co., Ltd. 、MARZA ANIMATION PLANET INC. 、Japan Multimedia Services Corporation 、PHOENIX RESORT CO., LTD. ※ Data coverage for FY2017: About 90% of the sales ratio and 70% of the regular employment ratio ESG DATA ENVIRONMENT ASPECT CLASSIFICATION ITEMS UNIT FY2017 FY2016 FY2015 Gross CO2 Emissions t-CO₂ 95,557 111,107 123,801 CO₂ Emissions by GHG Scope1(Direct CO2 Emissions) t-CO₂ 8,613 10,658 13,485 Protcol ※1 Scope2(Indirect CO2 Emissions) t-CO₂ 86,944 100,449 110,316 Energy Total Energy Consumption GJ 1,832,927 2,050,423 2,216,589 Electricity Electricity Used MWh 167,381 185,803 198,119 City Gas 1000m³ 2,725 2,822 3,388 LPG ｔ 74 117 66 Fuel Kerosene KL 82 94 68 Heavy oil KL 60 500 1,206 Water Water Use 1000m³ 886,828 945,162 1,075.035 Environment Total Waste t 1,242 1,860 2,466 Waste Industrial Waste Discharged t 1,242 1,860 2,466 Number of Spills times 0 0 0 Pollution Amount of Spills t 0 0 0 Number of Environmental Fines times 0 0 0 compliance Amount of Environmental Fines yen 0 0 0 GHG Scope1＋2 Intensity per Sales t-CO₂/one Billion yen 26.04 31.93 33.75 GHG Scope1＋2 Intensity per Employee t-CO₂/person 12.51 14.61 15.69 Intensity ※2 GHG Intensity per Scope1+2 GJ t-CO₂/GJ 0.05 0.05 0.06 Water Intensity per Sales 1000m³/one Billion yen 241.68 271.61 293.07 ●Aggregated data include an estimate based on floor space. ※1 Adjusted CO2 emission factors for each power company in previous years are used for purchased electricity ※2 The intensity uses consolidated Net sales, and the number of Employees.

Copy Link

Recommended publications

Vaitoskirjascientific MASCULINITY and NATIONAL IMAGES IN
Faculty of Arts University of Helsinki, Finland SCIENTIFIC MASCULINITY AND NATIONAL IMAGES IN JAPANESE SPECULATIVE CINEMA Leena Eerolainen DOCTORAL DISSERTATION To be presented for public discussion with the permission of the Faculty of Arts of the University of Helsinki, in Room 230, Aurora Building, on the 20th of August, 2020 at 14 o’clock. Helsinki 2020 Supervisors Henry Bacon, University of Helsinki, Finland Bart Gaens, University of Helsinki, Finland Pre-examiners Dolores Martinez, SOAS, University of London, UK Rikke Schubart, University of Southern Denmark, Denmark Opponent Dolores Martinez, SOAS, University of London, UK Custos Henry Bacon, University of Helsinki, Finland Copyright © 2020 Leena Eerolainen ISBN 978-951-51-6273-1 (paperback) ISBN 978-951-51-6274-8 (PDF) Helsinki: Unigrafia, 2020 The Faculty of Arts uses the Urkund system (plagiarism recognition) to examine all doctoral dissertations. ABSTRACT Science and technology have been paramount features of any modernized nation. In Japan they played an important role in the modernization and militarization of the nation, as well as its democratization and subsequent economic growth. Science and technology highlight the promises of a better tomorrow and future utopia, but their application can also present ethical issues. In fiction, they have historically played a significant role. Fictions of science continue to exert power via important multimedia platforms for considerations of the role of science and technology in our world. And, because of their importance for the development, ideologies and policies of any nation, these considerations can be correlated with the deliberation of the role of a nation in the world, including its internal and external images and imaginings.
[Show full text]
Piracy Or Productivity: Unlawful Practices in Anime Fansubbing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Aaltodoc Publication Archive Aalto-yliopisto Teknillinen korkeakoulu Informaatio- ja luonnontieteiden tiedekunta Tietotekniikan tutkinto-/koulutusohjelma Teemu Mäntylä Piracy or productivity: unlawful practices in anime fansubbing Diplomityö Espoo 3. kesäkuuta 2010 Valvoja: Professori Tapio Takala Ohjaaja: - 2 Abstract Piracy or productivity: unlawful practices in anime fansubbing Over a short period of time, Japanese animation or anime has grown explosively in popularity worldwide. In the United States this growth has been based on copyright infringement, where fans have subtitled anime series and released them as fansubs. In the absence of official releases fansubs have created the current popularity of anime, which companies can now benefit from. From the beginning the companies have tolerated and even encouraged the fan activity, partly because the fans have followed their own rules, intended to stop the distribution of fansubs after official licensing. The work explores the history and current situation of fansubs, and seeks to explain how these practices adopted by fans have arisen, why both fans and companies accept them and act according to them, and whether the situation is sustainable. Keywords: Japanese animation, anime, fansub, copyright, piracy Tiivistelmä Piratismia vai tuottavuutta: laittomat toimintatavat animen fanikäännöksissä Japanilaisen animaation eli animen suosio maailmalla on lyhyessä ajassa kasvanut räjähdysmäisesti. Tämä kasvu on Yhdysvalloissa perustunut tekijänoikeuksien rikkomiseen, missä fanit ovat tekstittäneet animesarjoja itse ja julkaisseet ne fanikäännöksinä. Virallisten julkaisujen puutteessa fanikäännökset ovat luoneet animen nykyisen suosion, jota yhtiöt voivat nyt hyödyntää. Yhtiöt ovat alusta asti sietäneet ja jopa kannustaneet fanien toimia, osaksi koska fanit ovat noudattaneet omia sääntöjään, joiden on tarkoitus estää fanikäännösten levitys virallisen lisensoinnin jälkeen.
[Show full text]
Sega Sammy Holdings Integrated Report 2019
SEGA SAMMY HOLDINGS INTEGRATED REPORT 2019 Challenges & Initiatives Since fiscal year ended March 2018 (fiscal year 2018), the SEGA SAMMY Group has been advancing measures in accordance with the Road to 2020 medium-term management strategy. In fiscal year ended March 2019 (fiscal year 2019), the second year of the strategy, the Group recorded results below initial targets for the second consecutive fiscal year. As for fiscal year ending March 2020 (fiscal year 2020), the strategy’s final fiscal year, we do not expect to reach performance targets, which were an operating income margin of at least 15% and ROA of at least 5%. The aim of INTEGRATED REPORT 2019 is to explain to stakeholders the challenges that emerged while pursuing Road to 2020 and the initiatives we are taking in response. Rapidly and unwaveringly, we will implement initiatives to overcome challenges identified in light of feedback from shareholders, investors, and other stakeholders. INTEGRATED REPORT 2019 1 Introduction Cultural Inheritance Innovative DNA The headquarters of SEGA shortly after its foundation This was the birthplace of milestone innovations. Company credo: “Creation is Life” SEGA A Host of World and Industry Firsts Consistently Innovative In 1960, we brought to market the first made-in-Japan jukebox, SEGA 1000. After entering the home video game console market in the 1980s, The product name was based on an abbreviation of the company’s SEGA remained an innovator. Representative examples of this innova- name at the time: Service Games Japan. Moreover, this is the origin of tiveness include the first domestically produced handheld game the company name “SEGA.” terminal with a color liquid crystal display (LCD) and Dreamcast, which In 1966, the periscope game Periscope became a worldwide hit.
[Show full text]
Representations and Reality: Defining the Ongoing Relationship Between Anime and Otaku Cultures By: Priscilla Pham
Representations and Reality: Defining the Ongoing Relationship between Anime and Otaku Cultures By: Priscilla Pham Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Toronto, Ontario, Canada, April 2021 © Priscilla Pham, 2021 Abstract This major research paper investigates the ongoing relationship between anime and otaku culture through four case studies; each study considers a single situation that demonstrates how this relationship changes through different interactions with representation. The first case study considers the early transmedia interventions that began to engage fans. The second uses Takashi Murakami’s theory of Superflat to connect the origins of the otaku with the interactions otaku have with representation. The third examines the shifting role of the otaku from that of consumer to producer by means of engagement with the hierarchies of perception, multiple identities, and displays of sexualities in the production of fan-created works. The final case study reflects on the 2.5D phenomenon, through which 2D representations are brought to 3D environments. Together, these case studies reveal the drivers of the otaku evolution and that the anime–otaku relationship exists on a spectrum that teeters between reality and representation. i Acknowledgements I would like to express my deepest gratitude to my primary advisor, Ala Roushan, for her continued support and confidence in my writing throughout this paper’s development. Her constructive advice, constant guidance, and critical insights helped me form this paper. Thank you to Dr. David McIntosh, my secondary reader, for his knowledge on anime and the otaku world, which allowed me to change my perspective of a world that I am constantly lost in.
[Show full text]
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
[Show full text]
Daniel Craig
PVR MOVIES FIRST VOL. 51 YOUR WINDOW INTO THE WORLD OF CINEMA March 2020 21 LITTLE-KNOWN FACTS AboUt…. DANIEL CRAIG UTE TRIB KIRK DOUGLAS OTHER BLOCKBUSTER MOVIES PLAYING THIS MONTH: BAAGHI 3, ANGREZI MEDIUM, BLOODSHOT, MULAN GREETINGS ear Movie Lovers, 21 amazing facts about Daniel Craig, who celebrates his 52nd birthday this month. Here’s the March issue of Movies First, your exclusive window to the world of cinema. Don’t forget to take a shot at our movie quiz, too. A Quiet Place Part II sees the Abbott family locked in a creepy battle with sound-sensitive forces. Ace action We really hope you enjoy the issue. Wish you a fabulous director Rohit Shetty presents Akshay Kumar in and as month of movie watching. Sooryavanshi. Irrfan makes his much-awaited return as a Regards harried father determined to send his daughter abroad in Angrezi Medium. Join us in paying tribute to the legendary actor Kirk Gautam Dutta Douglas, the last of Hollywood’s golden greats. Learn CEO, PVR Limited USING THE MAGAZINE We hope you’ll find this magazine easy to use, but here’s a handy guide to the icons used throughout anyway. You can tap the page once at any time to access full contents at the top of the page. PLAYPLAY TRAILER BOOKSELECT TICKETS MOVIES PVR MOVIES FIRST PAGE 2 CONTENTS Tap for... Tap for... Movie OF THE MONTH UP CLOSE & PERSONAL Tap for... Tap for... MUST WATCH MASTERS@WORK Tap for... Tap for... RISING Star TRIBUTE TO BOOK TICKETS GO TO PVRCINEMAS.COM OR DOWNLOAD OUR MOBILE APP.
[Show full text]
TMS Announces LUPIN the 3Rd Part 5, the Most Recognized Japanese
N E W S R E L E A S E April 2, 2018 TMS Entertainment USA, Inc. TMS Announces LUPIN THE 3rd Part 5, the Most Recognized Japanese Animation TV Series, Will Debut on Crunchyroll on April 3rd Los Angeles, CA – April 2, 2018 – TMS Entertainment USA announces that the latest installment of the LUPIN THE 3rd series, LUPIN THE 3rd Part 5, will launch on Crunchyroll on April 3rd, simultaneously with Japan’s broadcast. It will be streamed with the original Japanese audio and English subtitles. LUPIN THE 3rd Part 5 (24 x 30-minute episodes) is going to reveal the secret life story of how Lupin III came to be the world’s greatest thief. Lupin III, grandson of the infamous phantom thief Arsène Lupin, is a notorious thief who never fails in taking what he targets. Lupin works along with Daisuke Jigen, Goemon Ishikawa, and Fujiko Mine. Despite dealing against Inspector Zenigata, who has dedicated his life to capturing Lupin, they continue to swiftly take their targeted treasures. The series will be based in France, focusing on Lupin’s roots and origin, something that has been kept a mystery for 50 years…until now! LUPIN THE 3rd is one of the most well-known animated TV series in Japanese history. It began as a Japanese Manga series written and illustrated by Monkey Punch in 1967. The series follows the escapades of master thief Arsène Lupin III, the grandson of Arsène Lupin, the gentleman thief of Maurice Leblanc's series of novels. The TV series followed in 1971, with the broadcast starting on Japanese TV and becoming a very popular, long airing show.
[Show full text]
An Investigation of the Applicability of Susan
AN INVESTIGATION OF THE APPLICABILITY OF SUSAN NAPIER’S JAPANESE ANIMATION (ANIME) ‘GENRE CLASSIFICATION MODEL’ IN KENYAN ANIMATION FAITHSANDRA NEKHONGA MASIBO (BA) M66/28937/2013 A RESEARCH PROJECT SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF MASTER OF ARTS (FILM STUDIES) IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, FILM AND MEDIA STUDIES OF KENYATTA UNIVERSITY. MAY, 20TH 2019. DECLARATION I declare that this Research Project is my original work and has not been presented for a degree or award in any other University. Faithsandra Nekhonga Masibo, BA. M66/28937/2013 Signature: ………………….…… Date: ……………….……… SUPERVISOR This Research Project is submitted for review with our approval as university supervisor(s). Prof. John Mugubi Signature: ………………………. Date: ………………………. ii DEDICATION To Elizabeth and Protus Masibo, Lilian, Francis and Wilma. iii ACKNOWLEDGMENT First and foremost, I acknowledge my supervisor Prof. John Mugubi for his tireless effort in shaping this report through insightful readings, positive criticism and encouragement. I will forever be deeply indebted to him. I also recognize Sara Masese and all my friends and colleagues at the Department of Film and Theatre Arts and the larger School of Creative Arts, Film and Media Studies, Kenyatta University, with whom we walked this journey. I appreciate you. I also benefitted immensely from the following and who I shall always remain obliged to: Dr. Rosemary Nyaole and Mr. Norman Shitote for your scholarly insight; Mark Njoroge, Ng’endo Mukii and Andrew Kaggia for the animation productions studied in this report and availed personal insight on Kenyan Animation films as a whole. Special mention also goes to Francis Welle, Kevin Arianda, Elisabeth Shabouk and Hellen Musira and her family for the support offered throughout this program.
[Show full text]
(And Holmes Related) Films and Television Programs
Checklist of Sherlock Holmes (and Holmes related) Films and Television Programs CATEGORY Sherlock Holmes has been a popular character from the earliest days of motion pictures. Writers and producers realized Canonical story (Based on one of the original 56 s that use of a deerstalker and magnifying lens was an easily recognized indication of a detective character. This has led stories or 4 novels) to many presentations of a comedic detective with Sherlockian mannerisms or props. Many writers have also had an Pastiche (Serious storyline but not canonical) p established character in a series use Holmes’s icons (the deerstalker and lens) in order to convey the fact that they are acting like a detective. Derivative (Based on someone from the original d Added since 5-22-14 tales or a descendant) The listing has been split into subcategories to indicate the various cinema and television presentations of Holmes either Associated (Someone imitating Holmes or a a in straightforward stories or pastiches; as portrayals of someone with Holmes-like characteristics; or as parody or noncanonical character who has Holmes's comedic depictions. Almost all of the animation presentations are parodies or of characters with Holmes-like mannerisms during the episode) mannerisms and so that section has not been split into different subcategories. For further information see "Notes" at the Comedy/parody c end of the list. Not classified - Title Date Country Holmes Watson Production Co. Alternate titles and Notes Source(s) Page Movie Films - Serious Portrayals (Canonical and Pastiches) The Adventures of Sherlock Holmes 1905 * USA Gilbert M. Anderson ? --- The Vitagraph Co.
[Show full text]
Catalogue Record
___________________________________________________________________________ 2021/CTI/WKSP2/009 Day 1 Session 2 Specific Aspects of Copyright and Related Rights Protection on the Internet Submitted by: Content Overseas Distribution Association Workshop on Protection of Intellectual Property Rights in Digital Content Trade 20-21 April 2021 Specific aspects of copyright and related rights protection on the Internet April 20th, 2021 Content Overseas Distribution Association (CODA) About CODA 1 • Name: Content Overseas Distribution Association (Abbreviation: CODA) http://www.coda-cj.jp • Purpose: CODA was founded to actively promote the international distribution of Japanese content, such as music, films, animation, TV programs and video games, as well as to help all the entities in contents industry make a concerted effort to reduce piracy around the world. • History: August 2002 Founded as a voluntary organization in response to a call by the Ministry of Economy, Trade and Industry (METI) and the Agency for Cultural Affairs (ACA) April 2009 Registered as a general incorporated association About CODA 2 >> Members: (as of April 1, 2021) Corporate members: 32 companies ■Animation 10 companies ■Music 5 companies ■TV programs 8 companies • Aniplex Inc. • Avex Inc. • TOKYO BROADCASTING • ADK Emotions Inc. • FWD Inc. SYSTEM TELEVISION, INC. • Sunrise Inc. • KING RECORD CO., LTD. • TV Asahi Corporation • Shogakukan-Shueisha Productions Co., • PONY CANYON INC. • Nippon Television Network Ltd. • UNIVERSAL MUSIC LLC Corporation • STUDIO GHIBLI INC. • Japan Broadcasting Corporation • Toei Animation Co., Ltd. (NHK) • TMS ENTERTAINMENT CO.,LTD. • Fuji Television Network, Inc. • NIPPON ANIMATION CO., LTD. • YOMIURI TELECASTING • HAPPINET CORPORATION CORPORATION • BANDAI NAMCO Arts Inc. • WOWOW Inc. • TV TOKYO Corporation ■Others 1 companies ■Films 4 companies ■Publishing 4 companies • YOSHIMOTO KOGYO CO.,LTD.
[Show full text]
Talking Like a Shōnen Hero: Masculinity in Post-Bubble Era
Talking like a Shōnen Hero: Masculinity in Post-Bubble Era Japan through the Lens of Boku and Ore Hannah E. Dahlberg-Dodd The Ohio State University Abstract Comics (manga) and their animated counterparts (anime) are ubiquitous in Japanese popular culture, but rarely is the language used within them the subject of linguistic inquiry. This study aims to address part of this gap by analyzing nearly 40 years’ worth of shōnen anime, which is targeted predominately at adolescent boys. In the early- and mid-20th century, male protagonists saw a shift in first-person pronoun usage. Pre-war, protagonists used boku, but beginning with the post-war Economic Miracle, shōnen protagonists used ore, a change that reflected a shift in hegemonic masculinity to the salaryman model. This study illustrates that a similar change can be seen in the late-20th century. With the economic downturn, salaryman masculinity began to be questioned, though did not completely lose its hegemonic status. This is reflected in shōnen works as a reintroduction of boku as a first- person pronoun option for protagonists beginning in the late 90s. Key words sociolinguistics, media studies, masculinity, yakuwarigo October 2018 Buckeye East Asian Linguistics © The Author 31 1. Introduction Comics (manga) and their animated counterparts (anime) have had an immense impact on Japanese popular culture. As it appears on television, anime, in addition to frequently airing television shows, can also be utilized to sell anything as mundane as convenient store goods to electronics, and characters rendered in an anime-inspired style have been used to sell school uniforms (Toku 2007:19).
[Show full text]
UNIVERSIDAD DE LAS ARTES Escuela De Cine Producto Artístico: Realización Cinematográfica Individual Licenciada En Cine
UNIVERSIDAD DE LAS ARTES Escuela de Cine Producto artístico: Realización cinematográfica individual Investigación para desarrollo de proyecto de cortometraje animado Previo la obtención del Título de: Licenciada en Cine Autora: Nataly Estefanía Sandoya Zamora GUAYAQUIL - ECUADOR Año: 2019 Declaración de autoría y cesión de derechos de publicación de la tesis Yo, nombres y apellidos, declaro que el desarrollo de la presente obra es de mi exclusiva autoría y que ha sido elaborada para la obtención de la Licenciatura en (nombre de la carrera que cursa). Declaro además conocer que el Reglamento de Titulación de Grado de la Universidad de las Artes en su artículo 34 menciona como falta muy grave el plagio total o parcial de obras intelectuales y que su sanción se realizará acorde al Código de Ética de la Universidad de las Artes. De acuerdo al art. 114 del Código Orgánico de la Economía Social de los Conocimientos, Creatividad E Innovación* cedo a la Universidad de las Artes los derechos de reproducción, comunicación pública, distribución y divulgación, para que la universidad la publique en su repositorio institucional, siempre y cuando su uso sea con fines académicos. Firma del estudiante *CÓDIGO ORGÁNICO DE LA ECONOMÍA SOCIAL DE LOS CONOCIMIENTOS, CREATIVIDAD E INNOVACIÓN (Registro Oficial n. 899 - Dic./2016) Artículo 114.- De los titulares de derechos de obras creadas en las instituciones de educación superior y centros educativos.- En el caso de las obras creadas en centros educativos, universidades, escuelas politécnicas, institutos superiores técnicos, tecnológicos, pedagógicos, de artes y los conservatorios superiores, e institutos públicos de investigación como resultado de su actividad académica o de investigación tales como trabajos de titulación, proyectos de investigación o innovación, artículos académicos, u otros análogos, sin perjuicio de que pueda existir relación de dependencia, la titularidad de los derechos patrimoniales corresponderá a los autores.
[Show full text]