Mugen celebrity

Want to make a Marvel vs Capcom fangame with gamemaker

2024.05.24 21:47 Key_Industries Want to make a Marvel vs Capcom fangame with gamemaker

Hi there! As a long time fan of Marvel vs Capcom, I wanted to make a fangame to celebrate my love for the series! But Ikemen go and MUGEN don't really interest me that much so I've decided to use gamemaker. Any tips?
submitted by Key_Industries to gamemaker [link] [comments]


2024.05.21 08:29 ItsaMeaEGGYOLK Mugen celebrating Samurai Champloo's 20 year anniversary by dressing as his namesake

Mugen celebrating Samurai Champloo's 20 year anniversary by dressing as his namesake submitted by ItsaMeaEGGYOLK to mainecoons [link] [comments]


2024.04.21 08:29 _KingDawg72_ It's been one year since I first watched "Samurai Champloo"...

I had the opportunity to watch the show last year on April 20th, 2023 during the late afternoon or early evening (I think it was around 6:00 PM).
And man, I'm glad I started this series!
I just wanted to make a post to celebrate the first anniversary that I first watched the show.
Bro, Mugen was SUCH A BADASS.
Him breakdancing and busting killer moves in the opening was such a vibe. Like, I could never skip the opening because of him. I thought the opening was alright when I first watched Episode 1 but when I watched more episodes, I slowly started to like it and then love it about halfway through the season.
https://preview.redd.it/4hond7h5srvc1.jpg?width=1283&format=pjpg&auto=webp&s=b8f47db176f42e1ff2b1143f74eb5b9237b51c2f
Not gonna lie, when I saw Mugen get introduced in the show... the first person I thought of was Spike Spiegel from the Bebop series because they both share the same voice actor. I wonder if they would get along...
Mugen was pretty much like Michael Jordan. He talked hella trash but he backed it up.
Jin was also a badass! Like, this guy survived against Sara (The blind girl) and he stabbed that pirate with a gun from behind his back. That was cool to watch despite it being short.
https://preview.redd.it/5zqb8r24mrvc1.png?width=1334&format=png&auto=webp&s=653699769a83e4e024f4abd6b9923c06e9f847ab
Jin had some of the best fights.
Also him calling that guy in the first episode a "piece of shit" was lowkey funny. LOL
I WAS NOT expecting to hear that come out of his mouth, especially not in the first episode of an anime. I don't think I ever watched an English dubbed anime where a character uttered a curse word in the first episode before watching SC.
Bro had no tolerance in this scene (which is understandable given the context).
It would've been interesting to see Mugen and Jin duel to the death or even just a casual sword match to practice. But I'm also glad they didn't kill each other since I like both characters.
Fuu was also entertaining despite not having combat skills like Jin and Mugen. I would say she's a well-written character since she had depth and her own value as a character in a show primarily about fighting, which I know is HARD to do as a writer.
She's so cute! :)
I do think she got the worst ending out of the three because she pretty much got what she wanted (to see her dad again) and then she saw him die in front of her...
Like damn, that's some brutal shit.
Not to mention her also not having any friends after she split with Mugen and Jin.
Also forgot to mention that the Mugen drowning scene was so ICONIC, the beauty of watching a formidable warrior embrace his demise was fun to watch (because I knew Mugen wasn't gonna die. There were more episodes left!) and the music just fit so well with the scene.
https://preview.redd.it/yw5glxy3prvc1.jpg?width=1280&format=pjpg&auto=webp&s=b219e9c00428e9e600573dec498141408e6fd0da
I think it would've been more sad if the show ended like it did in the drowning scene. Oh my gosh, if THAT was the end of Mugen... damn, it would've been a good death.
But good thing Mugen survived to have another chance to fight more opponents, since that's obviously his passion (I don't blame him, going against good competition can be fun).
My favourite episode was when Mugen learned how to read (Episode 18). Him jumping out of nowhere yelling "I'M NUMBER OOOOOOOONNNNNEEEEEEEEE!" at the end of the episode was such a mood. LOL
https://preview.redd.it/pwaiprup0svc1.png?width=1334&format=png&auto=webp&s=a5903eae9980389ae1ecb8ae1777afd73fca0a49
https://preview.redd.it/64z35z3p0svc1.png?width=1334&format=png&auto=webp&s=af35695922400d8ead5452952949bd8f5cd99352
https://preview.redd.it/d9y62ecq0svc1.png?width=1334&format=png&auto=webp&s=dc4e72f158915f94ca5709a5a0d3d678c8c82e1a
Also the two twins were entertaining. Haha
Mugen's reaction to his difficulty while learning was so relatable to me.
"This SUCKS!"
You and me both, Mugen. I hate learning because I'm just simply not good at it. My years in school proved that to me.
https://preview.redd.it/x0xkm9l3yrvc1.png?width=1334&format=png&auto=webp&s=4f702d80d1c1957a2bff528be9bfc80c0d6e4a7f
Mugen is how I felt like during studying/homework sessions in college, except I didn't flip my table. LOL
Speaking of intelligence, the way that Mugen strategically used the enemies chain weapon as his own weapon in the heat of the moment and killed him made me convinced that he's a genius.
Like, that shit was so smart and so clean. Something Shikamaru would've come up with in battle.
https://preview.redd.it/r2kboz8v3svc1.png?width=1334&format=png&auto=webp&s=89057a935402bb3409fcd37f4111aaac4cf8126a
https://preview.redd.it/ua7shahw3svc1.png?width=1334&format=png&auto=webp&s=fe77a4cd26845fda9ac791293be0ab2bb24d842c
I thought he was gonna die since that background music used in this scene was used when Mugen almost got killed on that pirate ship in that one episode.
Best kill in the series in my opinion.
One more thing, the episode where Mugen met that cute ninja was pretty awesome. I can't believe I almost forgot to mention it! She was a badass, too bad we didn't see more of her.
All bro wanted was to just cheek slam some girls
Mugen: \"I WANT MY NOOKIEEEEEEEEE!\"
I wonder if she did marry Mugen.
*Gasps*
What if we got a sequel of "Samurai Champloo" where Mugen meets Jin and Fuu years later after starting a family with that kunoichi?
I think it could be a potentially well-executed show.
Overall, I think the show is not only entertaining but it also has rewatchability since most of the episodes have simple plots that aren't connected in the next episode (even though the previous episode actually happened).
Will I rewatch it? Maybe some day but not for now. I'm gonna go watch "Ghost Stories", that show's English dub is funny! LOL
submitted by _KingDawg72_ to SamuraiChamploo [link] [comments]


2024.04.19 05:23 Infamous_Economy9836 After Chapter 4: A short teleplay

I found the travelers' stories in Octopath 2 wrapped up much better than in the original. But in some cases, they wrapped up so well that I had to wonder why the character was still out traveling. This led to another conversation inside my head, which I present below in the form of a TV script.
[SPOILER ALERT: The script references several late-game events. You may want to avoid it if you haven't finished all 8 storylines.]
 After Chapter 4: A Teleplay 
(Int. shot: the tavern in Montwise. HIKARI, OSVALD, PARTITIO, and OCHETTE are seated around a table, playing poker.)
OSVALD: Straight flush.
OCHETTE: Hah! Read ‘em and weep, Pops!
(OCHETTE lays down her hand. She has a completely mismatched assortment of high-value cards.)
PARTITIO: You sure you understand this game, Ochette?
OCHETTE: Sure! My numbers are bigger than Osvald’s. Big things eat littler things. Rawr! [She reaches for the pot.]
HIKARI: That's not always the case. You're the littlest of us all, but yesterday I saw you eat half a shaggy auroch by yourself.
OCHETTE: Ooh, I still have some of the good bits left! Do you want some?
(Ochette begins to dig in her bag of jerky, but is interrupted by the sound of the door opening. The four look up as AGNEA, CASTTI, TEMENOS, and THRONÉ enter. CASTTI goes to hang up her cloak.)
OSVALD: You're back.
PARTITIO: Howdy, friends! How'd things go in Sai?
AGNEA: Great! I learned so much about my mother, and all the smiles she brought to people's faces!
THRONÉ: And then we beat the hell out of a celebrity's bodyguard.
TEMENOS: For a good cause, of course.
HIKARI: It sounds as though your trip was very eventful.
(CASTTI rejoins the group.)
CASTTI: Hikari? What are you doing here?
HIKARI: [Sounding confused] I'm … I'm awaiting the next time we have need of my blade. As always.
CASTTI: Still!?
HIKARI: Our journey is not yet over.
CASTTI: Yours is! You're the king of Ku now. Was that not your entire goal?
HIKARI: It was. But to desert my companions…
CASTTI: You can't worry about us! Hundreds of people just died – messily – to put you on the throne of Ku!
HIKARI: And I shall forever honour their sacrifice.
CASTTI: How does sitting in a bar in Montwise honour their sacrifice?
HIKARI: I–
CASTTI: Your kingdom isn't even on this continent!
HIKARI: We do have an outpost in Stormhail…
TEMENOS: Now that I think of it, when you cut down your dear friend to gain access to the throne room, weren't his dying words something about building a Ku where his sister could be happy? I doubt this is what he had in mind.
HIKARI: [Looking forlornly down at the table.] Ritsu… we could have walked the same path…
(CASTTI takes a deep breath. She pulls up a chair, sits down next to HIKARI, and puts her hand on his solicitously.)
CASTTI: Hikari, listen to me. You fought the final battle. You slew the usurper. You made your big victory speech. It was all very climactic. And now, your people need you to stay at home and do king things.
(HIKARI looks somewhat embarrassed.)
CASTTI: What's the matter?
HIKARI: It turns out that winning the final battle and making the big speech were the main king things. Ku actually has a very effective civil service, so there … isn't that much for the king to do day to day.
TEMEMOS: No? Mugen certainly seemed to keep busy.
HIKARI: Because he was waging constant war. That's been the main occupation of the kings of Ku for centuries. Once I decided to not do that anymore, it really freed up a lot of time.
CASTTI: Are you saying that you're here because being king is too dull?
HIKARI: Not … in those exact words…
AGNEA: [Giving Hikari a hug from behind.] Well, whatever his reason, I like that Hikari still spends time with us!
OSVALD: You like everyone and everything. It's a madness.
(The table falls silent. The other TRAVELERS give OSVALD the savage glare reserved for people who are mean to AGNEA.)
OSVALD: [Sighs.] I withdraw my remark.
PARTITIO: Agnea's right. We're lucky to still have ya, Hikari. And you're the boss now, after all – ain't nobody else who can tell you where to be.
THRONÉ: I suppose you would know.
PARTITIO: Heh. I guess I am a bit of a big boss myself these days.
THRONÉ: Yes. Exactly. Of a company that's worth tens of billions of leaves, and is supposed to be building a continental railway. How do you have time to sit here playing poker?
PARTITIO: Hey, a friendly game of cards never did anybody any harm!
THRONÉ: But you're not even playing for money! A megabillionaire and a literal king at the table, and the stakes are … this.
(THRONÉ gestures at the pot. It consists of several chunks of jerky, some nuts and candy, a bag of azuki porridge, and other bits of food.)
OSVALD: Ochette refused to play for anything she couldn't eat immediately upon winning it.
CASTTI: Thoné does make a good point – about your company, I mean. Don't they need you at the office, to sign documents or something?
PARTITIO: Nah, I got somebody to cover for me.
(Cut to the head office of the Partitio-Roque Company. WILL is seated at a huge desk, with several pillows piled on his chair to let him reach the top of the desk.)
WILL: People sure like sending you “per-chase orders,” Yellow Guy. [He scribbles a signature on a page and adds it to the huge stack of paper in the outbox.] Whatever those are…
(Cut back to the tavern.)
THRONÉ: You gave the shoeshine kid signing authority for your company!?
PARTITIO: I liked his moxie!
OSVALD: If you want to give powerful jobs to children, I have a daughter who's much more qualified.
THRONÉ: Please don't encourage him.
PARTITIO: There's no cause for worry, friends. Between Mr. Roque and my ol’ Papp, the company's affairs are in good hands.
OCHETTE: Didn't Mister Rock try to kill us with that steamy tank thing?
THRONÉ: And didn't your hometown spend years in crushing poverty because Papp couldn't spot obvious tampering with a contract?
PARTITIO: Hey, we all make a few mistakes! That just helps us become better people.
OSVALD: …I've revised my theory. Agnea, you are not the most delusional person here after all.
AGNEA: Awwww. Thanks, Osvald!
PARTITIO: The point is, things are shipshape back at the office. And that frees me to be out here, lookin’ for talent and materials.
TEMENOS: Talent? Is that why you hired that random fisherman six towns ago?
PARTITIO: Darn right! I know a fella with potential when I see one. How you doing over there, Clarence?
(The camera pans to another table. A FISHERMAN dressed in Harborlands garb is poking forlornly at a plate of unfamiliar food.)
FISHERMAN: I don't understand why I'm here. There's not even anywhere to fish.
PARTITIO: Heh, classic Clarence! [Turns back to the other TRAVELERS.] What a character. You see what I'd be missing if I was cooped up in some dingy office?
HIKARI: Though my throne room is by no means dingy, I feel similar.
OCHETTE: Things are so complicated for you guys! I'm glad I don't have a big important job like yours.
TEMENOS: Ochette, didn't you become the new Warden of the Isle when we last visited Toto’haha?
OCHETTE: Oh yeeaah! But I'm sure things are fine there. Unless the humans are making trouble again. Or any big monsters have turned up. Or the beastlings can't catch enough food without me.
…maybe we should go check on things.
PARTITIO: Sounds like a plan to me! Let's rig up the Terry and head for Toto’haha.
HIKARI: My blade will help strike down any threat to your people.
CASTTI: But we just got here, and – oh, forget it. [She slides her chair back and stands up.] I'm going to go teach the barman to make darkdelion cocktails.
OSVALD: [Standing up as as well.] Now there's a formula worth learning.
(The camera zooms out to a wide shot as CASTTI, OSVALD, and THRONÉ head for the bar. TEMEMOS reaches in to start snacking on the poker winnings. AGNEA takes OSVALD’s chair, and joins HIKARI, OCHETTE, and PARTITIO in planning excitedly for the trip to Toto’Haha. Fade out.)
submitted by Infamous_Economy9836 to octopathtraveler [link] [comments]


2024.04.05 09:41 Leaf3lf Found em

Found em submitted by Leaf3lf to DSaF [link] [comments]


2024.03.05 05:38 EnclavedMicrostate [Virtual Youtubers] Chopped Livers: How Japan's Biggest VTuber Agency Kept Screwing Up at Going Global

TW: Bullying
Before we begin, a glossary of terms for those who may need one. In particular, 'graduation' (a voluntary retirement of a given VTuber identity, whether indie or corporate) will come up a lot; the other specific term is '[Virtual] Livers' (rhyming with 'divers'), Nijisanji's specific term for its VTubers.
Writing this in early March 2024, chances are that the name 'Nijisanji' will ring a bell if you have engaged with just about any online space with even the slightest connection to weeb fandoms in the last few weeks. The scandal resulting from the termination of Nijisanji English's Selen Tatsuki on 5 February – exactly a month ago at the time of posting – has become a matter of considerable attention reaching well outside the VTuber bubble, and may well hang over the agency for the rest of its existence. But it's worth remembering that this was not the first scandal to rock Nijisanji, and especially not the first to revolve around its international branches. The recent blow-up has some rather older precedents.

Where did Nijisanji come from?

On 29 November 2016, tech startup Activ8 debuted Kizuna AI, voiced and acted by Kasuga Nozomi, as the first self-proclaimed 'Virtual YouTuber'. Unbeknownst to her creators, their apparent dominance of the medium was not to last. AI's time as the face of the industry was to end in flames in 2019, as Activ8's attempts to follow through on their original vision of the 'eternal idol' ran up against a fandom that had developed its own set of expectations about VTubing, driven by the proliferation of new VTuber personas that had become inextricably tied to the talents behind them. And at the arguable forefront of that movement was Nijisanji.
Nijisanji, officially styled NIJISANJI and often informally stylised as 2434 (ni shi san shi), is the brainchild of Riku Tazumi (born c.1996), who dropped out of his studies at Waseda University in 2017 to establish Ichikara Inc, and set to work developing a Live2D tracking app, offering a much cheaper and less labour-intensive alternative to the full-body studio 3D then in vogue. On 11 January 2018, Ichikara publicly unveiled Nijisanji, the name of its official app, and opened auditions; eight successful applicants debuted from 8 to 16 February. Nijisanji's bursting onto the scene with Live2D arguably kicked off modern VTubing as we know it, leading competitors like Cover to copy the format, and paving the way for an eventual explosion in the number of independent VTubers as the cost of entry continued to fall. Aggregator site Userlocal would claim that there were over 1000 VTubers by the end of March, and 6000 by the end of the year; 61 belonged to Nijisanji. (source).
We could get bogged down in early Nijisanji history forever, but the meat of this story requires us to leave Japan and 2018 behind and move away in both space and time. Before we get to that, though, why do Japanese VTuber agencies set up overseas operations, anyway?

Why expand overseas?

Even today, the exact limit of the Japanese market for VTubers is not really known, but from the very beginning, the industry has been keenly aware both of the eventual limits of the domestic space and the potential room for growth in foreign markets that will be receptive to Japanese cultural exports. Rarely has a media company sought to have less of an audience. But we also ought to account for the fact that a lot of VTuber agencies have their origins as tech startups, where you get a lot of initial funding and then need to find a way to become profitable before it runs out. Overseas expansion carries with it a certain amount of risk, but when there is only so much money before it all runs out, those are risks that may need taking.

Where to first?

If you look at the history of the major VTuber ventures, it is notable that their first priority of expansion has usually been China, then other Asian regions, and then finally the English-language market, if they ever get there. Regional markets are just easier logistically (both in terms of timezone difference and in terms of shipping for physical goods), and presumed to be more predictable in terms of spending, and historically, the largest of these markets has been the Chinese one. Activ8 did some limited English outreach with Kizuna AI, but their experiment with Multiple AI explicitly included one voice actor to serve as her Mandarin voice. Hololive's overseas expansion went in the order China -> Indonesia -> English. Brave Group, whose modus operandi has often revolved around buying up existing ventures rather than introducing its own, acquired the Chinese agency MUGEN-LIVE in 2022, and only started an English-language branch with V4Mirai the year after. What I'm saying is that we in the Anglosphere have tended to be a pretty distant, fourth-tier concern for the Japanese VTuber industry. Nijisanji would be no exception.

Only Nijixon could go to China

When I earlier wrote that Nijisanji debuted 61 Livers in its first 10 months, that was not entirely true. Nijisanji had licensed its app and its branding to a different company, who proceeded to launch Nijisanji Shanghai and Nijisanji Taipei, each of 8 members, at the end of August 2018. In other words, some 77 people signed on to become official Nijisanji talents that year.
Trying to find out what exactly happened to 二次三次虚拟主播企划 (er ci san ci xuni zhubo qihua, or 'Nijisanji Virtual Streamer Project'; evidently sometimes shortened to '"Nijisanji" Project') is tricky given the relative lack of attention from back in the day and the retroactive scrubbing of a lot of material. Thanks to kirandra I was put on to this writeup concerning Nijisanji Shanghai, but this too is a rather later retrospective. Probably the only comprehensive timeline comes from the relevant page on Chinese ACGN wiki Moegirl.org.cn, which has no citations. So, bear in mind that the following is pretty dry and summative because I have to work with what I could find.
On 8 July 2018, a Facebook page for Nijisanji Taipei emerged, with a cover image featuring silhouettes of its eight members. The project would be formally announced on the 17th on Facebook (focussing on Taipei), Bilibili (focussing on Shanghai), and Weibo (ditto) with auditions open until the 27th. Over the course of the next few weeks, promo images would be teased until, on 24 August, both branches formally began debuting talents.
The debut announcement simply said that Nijisanji had partnered with unspecified 'local company/ies' (在地企業), something which may at the time have been seen as innocuous but which, with the benefit of hindsight, was a bit of a major red flag. Per the summary by Shitantan in the linked writeup, it very quickly became apparent that the quality of models in both instances was noticeably poorer than what was on offer from Nijisanji's main branch. Things got worse after debut, as rumour had it that agency management were abusive towards their talents, linked to a continual wave of graduations from the Shanghai branch which began in November with the exit of Siddel. By March 2019, only one of eight remained, Saitania Liun Linse, and her graduation had already been announced and scheduled for that June (in the event, she brought it forward to 10 May). In mid-February, Monmon would be the first Taipei member to graduate.
The news then came, in late March or early April 2019, that 'Nijisanji' Project's affiliation with Ichikara would cease, and the remaining seven members of Nijisanji Taipei, along with Saitania, would rebrand as VEgo. This was formally announced on 2 April on both Weibo (this was their final post on the site) and Facebook, although the process of rebranding had started a little earlier. VEgo trundled along for another year, but continued losing members until the final one, Talency, left on 31 March 2020, having been alone at the agency since the departure of Siarurin on 8 February. And so came the end of Nijisanji's first overseas foray. Whatever specific events behind the scenes caused all these exits may never be known at this point, but clearly neither the setup nor the management of the two branches was done with particularly great competence.
Tangent: It is commonly asserted across several sites, primarily wikis (including Moegirl, Chinese Wikipedia, and the Virtual YouTubers Wiki on Fandom.com), that Nijisanji's partner was the Japanese-owned, Taiwan-centred influencer and marketing firm, Capsule Inc., with considerable inconsistency over whether it was the 'core' business in Taiwan, its (now-defunct) Hong Kong subsidiary, or its (still-active) Japanese subsidiary that was running the show. However, neither I nor those who helped me with this writeup have found any evidence that Capsule was Ichikara's partner in 2018-19. Capsule's website has press releases going back to late 2018 that make no mention of this partnership, nor of VEgo, nor do social media posts from 'Nijisanji' Project/VEgo mention Capsule's involvement. Moreover, Capsule has since been involved in collaboration marketing projects with both Hololive and Nijisanji, something you wouldn't expect if the latter agency still remembered them for botching their first China project.
However, Nijisanji Shanghai and Taipei did not mark the end of Nijisanji's attempts to edge into the Chinese market. Barely two and a half weeks after 'Nijisanji' Project's rebrand to VEgo, on 19 April 2019 came the announcement of VirtuaReal, a new VTuber project based on a joint venture between Ichikara and Bilibili, with Ichikara licensing their proprietary tech while management would be local, and if this is giving you flashbacks well yeah basically, it is the same idea just without the Niji branding. Without an account I can't see many of the comments on the Bilibili piece, but I will say that it is very amusing to me that of the three that I am allowed to see, one of them is someone remarking:
上海2434屍骨未寒
Which, to translate idiomatically, would be along the lines that:
Shanghai Nijisanji's corpse is still warm
And that really made my day.
I won't go into VirtuaReal at length, for a couple of reasons: firstly, I don't want to get bogged down in the details, and secondly, while its relationship with Niji is really about the same as the earlier entities (its main thing is it uses Nijisanji's tech, and it has some cross-branch collaboration both in 'official' events and between talents), the fact it doesn't even use the Nijisanji name marks it as something other than a simple extension of the brand. I'm sure the group has had its own triumphs and tribulations, but I am happy to place it outside the purview of this post.

An Indone-jerk reaction

Midway through its invasion of China, Nijisanji struck southwards into Indonesia, and… wait no that's the Japanese Empire during WW2. But it does apply to both. Nijisanji's third foray into overseas expansion would move into what is arguably one of the more unexpected VTuber markets to the layperson, that being Indonesia. But Indonesia has a lot of attractions for a VTuber company: there's a strong demand for Japanese cultural exports, a relatively ubiquitous lingua franca in the form of Bahasa Indonesia, and also a relatively decent standard of English that can help Indonesian streamers reach out to a more global audience.
Nijisanji started auditions for its Indonesian branch on 19 July 2019, and saw its first 'wave' of debuts on 17 September with Hana Macchia, ZEA Cornelia, and Taka Radjiman, whose group was later informally dubbed 3SetBBQ. Five more 'waves', one of four members and the rest of three, would debut until 31 July 2021, for a total of 19 talents signing on with Nijisanji Indonesia, or NijiID for short.
NijiID's first wave would be one of, if not the, first groups of agency VTubers in Indonesia. While it was overshadowed in viewership by its successors, locally-based agency Maha5 (pronounced Mahapanca, first debuts in October 2019) and Hololive's Indonesian branch (first debuts in April 2020), it was nevertheless well-liked by fans as a cohesive community unto itself, as well as having very good ties with its notional competitors, with frequent collaboration between the three. Throughout 2022 and going into early 2023, an informal unit known to some as HoloNiji5, comprising two members from each agency, had cropped up, although unfortunately Zen Gunawan's graduation from Maha5 in June 2023 marked the beginning of the end of that particular partnership.
In contrast to the supposed horror-show behind the scenes of 'Nijisanji' Project Shanghai, fan and talent opinion on Nijisanji Indonesia and its talent management was almost universally positive, especially in retrospect. Merch arrived on time, talents didn't complain about mismanagement, and they were able to get along with each other. For its second anniversary in 2021, NijiID pulled out all the stops to do a 7-hour 'Virtual Summit', held partly in VRChat, accompanied by a merch drop featuring a body pillow depicting 'Staff-san', the personification of NijiID's management.
'Hang on,' you may be thinking, 'why is this all in the past tense?'
Hahahahaaaaaa oh god.
On 17 February 2022, Anycolor (which Ichikara had renamed itself to in May 2021) announced that Nijisanji Indonesia was going to be merged with the main branch of Nijisanji at the beginning of the Japanese financial year in April, with its management integrated into the 'main' agency staff. NijiID would no longer exist as a separate branch on the books. This was also to happen to Nijisanji Korea (covered later), but not to Nijisanji English. In the long run, resentment over this decision has been very visible, thanks to NijiID's fans being both more numerous and being more fluent in English than Nijisanji Korea's. At the time though, responses were a little more mixed, with some cautious optimism about the benefits of closer integration with the core agency in Japan, but also concern over the loss of the branches' distinct identity. Of particular note was the implied end of any future debuts in either market, with then-ongoing audition and onboarding processes for both branches being cancelled at whatever stage of completion they may have been at.
To this day, the exact reasons behind the merger are unknown. Officially, Anycolor's reasoning was that it would allow for more efficient management of their talents, a statement that rang a little hollow for fans of NijiID who had (correctly, it seems) never been under the impression that the Indonesia branch was suffering from any management problems. Since then, it has been speculated, and widely accepted, that NijiID may have been operating on relatively low margins compared to EN and the main branch, if not at a loss, and that the merger was done to hide NijiID's financial status in advance of Anycolor becoming a publicly traded company, which eventually happened in June 2022. The charitable but realistic take is that Anycolor had to either go public or sell to a larger company so that early investors could cash out, especially thanks to the credit crunch that happened post-Covid. Pulling ID into the main branch did mean cutting any future development, but at least the talents would still keep their jobs for as long as they wanted to.
Unfortunately, in time it seemed like that was all they would get. For many VTubers, merch releases are a big part of their income, with agency VTubing in particular tending to put a lot of emphasis on talent 'birthdays' (albeit not necessarily the real birthdays of the IRL talents). Usually, these warrant an official merch drop, but as early as July 2022 it was clear that the former NijiID cohort had been pretty definitively shafted. That month, Azura Cecilia's birthday was accompanied by fan merch in the form of a pair of voice packs (voice recordings that basically serve as a sort of mini-audiobook), promoted by fellow talent Riksa Dhirendra, increasingly nicknamed 'Staff R' for how much he was having to carry things for actual management. The same happened with Rai Galilei and Bonnivier Pranaja in September. With Nijisanji Indonesia no longer having its own branch-wide social media accounts, promotion for Indonesian talents was entirely driven by their own efforts and their fans', with no visible support from higher up.
Probably the most glaring example of just how badly ID were treated post-merger relates to fan mail. Unsurprisingly, VTubers get fan mail. Or at least, they do if their agency forwards it to them. Reza Avanluna stated on 30 January 2023 that he did not actually receive fan mail and told fans not to waste their money on postage. Two other ex-IDs added their own perspectives: ZEA Cornelia said that she had received fan mail in the past and that she did sometimes get softcopy scans, but the last time she got the mail physically was when she visited Japan for NijiFes in October 2022; Mika Melatika simply confirmed that she didn't get the mail. This didn't kick up much of a storm, but the tone of the fan response, seen both on Reddit and in various Twitter replies, was one that suggested that the earlier cynicism about the merger was warranted.
Beginning in 2022, graduations from former Nijisanji Indonesia talents started trickling in, typically announced in batches a few months in advance. Miyu Ottavia seemed a lone outsider when she left on 27 November, but then from May 2023 onward, at least one former NijiID member has left each month, except, ironically, February 2024. The first two, in May 2023, were members of NijiID's first wave, in an especial vote of no confidence. Reza Avanluna, the fanmail whistleblower, left in September, though not before Azura Cecilia in August, who accompanied her graduation with this rather provocative thumbnail. Mika Melatika, who was very much well-liked among English-speaking viewers, left in late December last year, followed by Riksa, 'Staff R' himself, in January.
As of writing, only seven of NijiID's original 19 Livers remain. Of the twelve who left, all of them did so post-merger. The typical postmortem on NijiID would have it that this was a branch that was flourishing, but then cruelly thrown on the pyre for the sake of Anycolor's financial reports. We are unlikely to find out soon – possibly ever – if Nijisanji Indonesia's financials really were as bad as many have presumed. But what cannot be denied is that Nijisanji's stated aim of providing better support to its non-Japanese talents in Asia was very clearly unfulfilled in the case of its Indonesian talents. The agency should have done better, and very much could have done better, but it didn't.

Korea-ending controversies

Nijisanji Korea is a bit of an oddity in terms of the history of Nijisanji branches. Whereas its Chinese branches have always been licensed out to other companies, and most of its others have been 'home-grown' so to speak, Korea was a bit of a strange hybrid. Although Nijisanji did set up its own in-house branch, it also bought out an existing Korean agency, 541E&C, whose name just rolls casually off the tongue. The first, ten-member wave of Nijisanji Korea (henceforth NijiKR) would comprise four members specifically hired onto KR, who debuted on 25 January 2020, and six members of 541E&C. This, it is commonly believed, is where the trouble started.
Now, as a disclaimer, whereas I can read Chinese and could therefore deal with Niji's Chinese branches, and a lot of NijiID stuff has filtered into English because of a generally multilingual fanbase and talent pool, NijiKR is a lot harder to find reliable info on in languages that I understand. I thus am reliant on English summaries of variable quality that I cannot vouch for the reliability of, on either an individual or collective basis.
541E&C had been in operation since April 2019, and its members were themselves indies, most of whom had debuted over the course of the year. Unfortunately, 541E&C seems to have been a little lax in its screening process, and this resulted in a rather dramatic exit very early when Moarin, one of the 541E&C members, quit NijiKR on 28 February 2020, and VTubing outright the next day. The full circumstances are discussed in a comment by HarunaKai in this Reddit thread responding to the announcements, but I offer a brief summary here:
Three of 541E&C's nine members, Alice Mana, ENA, and Lucia, had chosen to graduate from 541E&C rather than continue into NijiKR. Alice Mana and ENA had been part of Project Paryi, a one-man show run by illustrator Paryi, which had dissolved in mid-April 2019; they presumably knew Moarin and thus joined 541E&C afterward. The allegation seems to be that Moarin functionally ran 541E&C herself, and exploited her position to coerce and bully the members. Alice and ENA thus seem to have taken the opportunity to jump ship during the NijiKR takeover. (As a coda to this, ENA never resurrected her old identity, but Alice returned to VTubing again in September 2020 and has been active on Youtube since.)
(TW: This is the serious bullying part)
But the allegations about Moarin run deeper. Supposedly, Moarin was also a singer going by SIN*SKI, who was one of a number of high schoolers who, in 2016, had been exposed for bullying. Now, the implications of this seem to be complicated, and the two extant writeups in English present two stories: according to HarunaKai, Moarin/SIN*SKI's bullying went as far as forcing their victims to assume positions that, in one instance, required extensive surgery. On the other hand, there are some writeups from 2021 on DeviantArt by MapuruCafe (1) (2) (whom I will note was apparently 13 when they wrote them so believe at your peril) but which presents something a little different. Per these writeups, it was someone else going by Kyamjya who was exposed as the outright torture bully, and that this led to the 'resurfacing' of unspecified but presumably somewhat lesser earlier allegations against SIN*SKI, a student at the same school. I cannot tell which of these versions is the correct one, but either way, Moarin/SIN*SKI definitely was connected with some school bullying scandal which had, in its day, gained national attention.
Regardless of the scope and nature of the allegations, Moarin's departure was taken as a cause for celebration. Such celebration may have been premature, at least as regards the future of the branch, as four further 541E&C members left in July, leaving only Gaon still present with NijiKR. While I have been unable to find any clear indication as to why, it seems plausible enough that the reason was simply that these were largely former indie VTubers who had signed onto 541E&C when it was an indie network, and the Niji buyout had placed new, corporate-specific expectations on them that they weren't happy with.
In the longer term, KR never really managed to get a particularly strong audience outside a few outliers. Many members were bilingual and chose to stream in Japanese rather than Korean, likely due to the nature of their likely audience: South Korea historically (until recently) had relatively low Youtube livestream viewership compared to Twitch, while Japan historically was the reverse. The branch seems to have lacked a lot of institutional support, with apparent delays in technical support and tensions between talents and management.
Things came to a head in 2021 with the graduations of Shin Yuya and Nun Bora in June and November, respectively. They were the two most highly-subscribed members of the Korean branch, and with their departure, nobody in NijiKR had a sub count above 50k, a bad sign for the branch's overall performance and prospects when compared to other parts of the agency. This became worse in retrospect when it turned out that neither of them actually left for very long. (Spoilers owing to standard VTuber etiquette:) Yuya re-appeared as V-LUP's Lee Jooin on 22 January 2022, and is still streaming today. Bora re-debuted with VSPO! on 24 June 2022 as Nekota Tsuna, a particularly stinging choice given VSPO!'s emergence as a growing competitor to the existing big players on the market.
NijiKR's fate would be sealed with the 2022 merger announcement. Seven more Livers would leave, four in the run-up to 21 April and two very shortly after. Or at least, that's how it first appeared. It has been two years since the last graduation, so arguably the merger has helped with retention in some regard, with 12 of 27 original members of NijiKR (11/21 if we exclude the 541E&C cohort) still active, representing 44% (or 52%) of the branch, compared to 37% of NijiID – and yes, Gaon, last of the old guard of 541E&C, is still around. Even before the merger, many of them had pivoted largely to streaming in Japanese and/or English, which may account for their continued presence.
Retrospectively, feverish speculation has hung over this entire period thanks to further bullying accusations against Chae Ara, one of Nijisanji's own hires who debuted in the second wave in May 2020. What exactly happened with Ara is shrouded in mystery, with next to nothing in writing, at least on the English web. The only definitive piece of information I could find was that on 29 December 2021, she posted a message on Twitter, apparently addressing and denying existing bullying allegations. This would be the last thing she said as Chae Ara before she more or less disappeared (though she did retweet the message on 12 January), and she would be unceremoniously struck from Nijisanji's list of talents on 20 April 2022, the day before the merger. (See also her page on the VirtualYoutubers wiki, and its comments section.)
As of writing, I have been unable to find anything more definitive than the above. There came to be considerable speculation (as seen here on Nijisanji's fan subreddit) that bullying by Ara was responsible for Yuya and Bora departing in 2021, and that the graduations of Ko Yami and Lee Siu, announced on 2 February 2022, were also linked to her. In retrospect, Yami and Siu's cases would seem to be more connected with the merger, which was announced to the public only two weeks after the graduations were announced.
There's also something about a lawsuit. No idea what that involves because nobody seems to want to talk about it.
It is not hard to see why the popular narrative on NijiKR and NijiID frames them as direct opposites. In contrast to ID, which at least from the outside seemed to be entirely problem-free, KR came across as a disaster from start to finish, bookended by bullying scandals. Then, post-merger, the branches' fortunes inverted. As of writing, no former NijiKR Liver has graduated since May 2022, with 12 of the agency's 27 members (11 of 21 if we exclude 541E&C) still active at a modest but at least better-than-obscure level of popularity. Whatever Nijisanji's Japanese management has done with its Korean members has, somehow, managed to achieve a far greater degree of long-term retention than it has with the Indonesians.

India unlikely event of a total management failure…

Nijisanji India was many things, and it was also not many things. Tragically, as time passes it seems increasingly fated to be relegated to a footnote, a neat bit of trivia to be inserted into the history of Nijisanji's last overseas branch, Nijisanji EN.
On 18 November 2019, Ichikara announced auditions for the first generation of Nijisanji India, calling for one male and two female talents to take on the roles of Vihaan, Aadya, and Noor. These proceeded to debut on 23 January 2020, soon followed by some relay stream events with other members of Nijisanji and VirtuaReal on 2 and 3 February, as reported at the time here. Even a cursory keyword search on the VirtualYoutubers subreddit shows a small but persistent effort by fans to give the branch a boost. Unfortunately, Nijisanji India never really got very far off the ground popularity-wise.
On 22 June 2020, Nijisanji India's Twitter account rather abruptly posted that the branch was rebranding as Nijisanji EN, and aiming to more strongly target English-speaking audiences. This was evidently given very little fanfare elsewhere, and some of the fan discussion can be seen in this Reddit thread from October. Why, it was asked, had the branch been less successful than its cousins, despite a clear appetite for English VTubers among the viewing public, demonstrated by the recent, explosive debut of Hololive's English branch? Part of it was that the branch was just not very well marketed despite the name change, but part of it also was that it had seen no new members since the starting trio. Both the Korean and Indonesian branches had brought on at least one new wave by the 6-month mark, but there had been no new auditions, let alone debuts, for NijiIN/EN so far. Then, on 27 November, Nijisanji English's Twitter account rather abruptly posted that the branch was rebranding as Nijisanji IN. Er, yes.
So, NijiIN, formerly NijiEN, formerly NijiIN, kept soldiering on. It never did get a second generation, and then, on 13 April 2021, there came an announcement that Nijisanji India would be 'temporarily suspended' and its three Livers would graduate on the 30th. And, that was it. No real fanfare, just a lot of sadness and quite a bit of indignation as well.
One thing that is immediately striking about Nijisanji India in retrospect is just how conservative it all was, and this was apparent just from the VTubers themselves. The designs for Aadya and Vihaan were just not that interesting even considering Nijisanji's relatively down-to-earth designs; Noor stands out as the only one of the three who looks like what an average viewer would expect from a VTuber. That all three streamed in English was certainly a 'safe' choice, but they never really got substantial traction out of it, and Ichikara's indecision over whether or not to simply rename the branch 'Nijisanji EN' further speaks to a lack of any strong direction to the branch as a whole. Worst of all, NijiIN never actually got any new members after the first three, and that seems to suggest that Ichikara went into the whole thing without a particularly strong intent to keep it running. Everything seems to point to either Nijisanji having gone into IN with minimal expectations and thus minimal support, or that it got cold feet extremely quickly.
Today, if Nijisanji India is remembered at all, it is usually for the fact that it was, technically, the first iteration of Nijisanji English. And, in a coda similar to what happened with Nijisanji's Chinese ventures, the second attempt began as soon as the first one was cut loose. On 1 December 2020, three days after the NijiEN->ID rebrand, Nijisanji officially opened auditions for a new branch targeted at English-speaking countries. On 16 May 2021, barely two weeks after NijiIN's members graduated, the first three members of Nijisanji English (round 2) debuted, starting yet another chapter in the story. One of those members, Finana Ryugu, recounted that Noor had been one of her interviewers during the audition, and she is believed to still have been on staff at the end of the year thanks to her voice being heard in an accidentally-leaked test stream by a new talent. Whether she, or anyone else from NijiIN's talents and management, is still involved with Nijisanji is unknown.

Wherever next?

Well, as the last section noted, technically Nijisanji still formally maintains a distinct overseas branch 'in-house', that being Nijisanji English. However, writing this in early March 2024, it is quite hard to give a reasoned retrospective on its history while the wounds are still fresh and the dust is still being blown up. It is too early to say if the branch has imploded, or if it is dying a slow death, or if it is on the path to recovery.
What I think we can say is that Ichikara/Anycolor's overseas branch attempts have been less than stellar. To re-summarise, here's what has happened with each of them:
Branch Auditions Open First Debuts Current Status (5 March 2024)
Shanghai 17/07/2018 24/08/2018 Separated from Nijisanji to form VEgo on 02/04/2018; last talent graduated on 10/05/2018
Taipei 17/07/2018 24/08/2018 Separated from Nijisanji to form VEgo on 02/04/2018; last talent graduated on 31/03/2020
VirtuaReal (China) 19/04/2019 14/05/2019 Still active (41/106 graduated or transferred to indie)
Indonesia 19/07/2019 17/09/2019 Merged into main branch 01/04/2022; 12/19 graduated
Korea 17/12/2019 25/01/2020 Merged into main branch 01/04/2022; 15/27 graduated or terminated
India/English 18/11/2019 23/01/2020 'Temporarily suspended' since 30/04/2021; all members graduated
English 01/12/2020 16/05/2021 Still active (7/38 graduated or terminated)
Nijisanji has clearly had a lot of opportunities to learn some hard lessons from its earlier attempts to do things overseas. It – and any other agency doing the same – needs to have a strong enough hand to do things like clamp down on bullying and toxic clique-building (Shanghai, Korea), but also to have more locally-minded staff that are, among other things, fluent in the talents' primary language and supportive of their efforts (Indonesia). The result of Nijisanji's repeated failures in achieving these has been tragedy for many. For those who were bullied by coworkers, those who had their support network suddenly removed, and those who dreamed of performing before the world, whose dreams were sadly crushed through no fault of their own.
But if there is one slight silver lining to all this, it is that Nijisanji's repeated missteps in international expansion have not fundamentally harmed the overall trajectory of VTubing as both a business and as a hobby. Granted, VTubing in India never really managed to take off, despite hopes for a potential market, but it is still going strong in China, Indonesia, and Korea; the Anglosphere, of course, goes without saying. VTubing may owe its current existence as a medium to Nijisanji, but at the very least, Nijisanji can no longer destroy that which it has created.
submitted by EnclavedMicrostate to HobbyDrama [link] [comments]


2024.02.20 09:40 DoctorNeko Deresute 2023 Favorite Song Survey RESULTS

Sorry for the long wait because I've been busy and totally not because I was also lazy.
This year, we only had 110 responses. That's consistently down year by year since the first survey.
Here is the bar graph to represent the votings, and here is the formated spreadsheet.

Here is the next part of the survey: Deresute Favorite Song Head to Head

submitted by DoctorNeko to StarlightStage [link] [comments]


2024.02.04 15:47 mabskmk Why most of the time I'm just logged off...

Why most of the time I'm just logged off... submitted by mabskmk to u/mabskmk [link] [comments]


2023.12.18 23:39 Drama-Appropriate Cursed Train

Cursed Train: Yami no Bōken no Tabi - Journey of Dark Adventure
Description: The Cursed Train Labyrinth, “Yami no Bōken no Tabi,” is a nightmarish realm that draws inspiration from the Dungeon Train in “Adventure Time.” infinity train It’s a train follows an infinite, circular path through the cursed realm, it's just one carriage after the other. There’s no clear beginning or end, and even experienced sorcerers can get lost in its maze-like carriages
Each carriage is a self-contained environment that could take on any form and any amount of space so one could be a tiny ancient Japanese village run by dog people fighting off Zombie cat people and the next one is a cursed replica of a steampunk New York City sewer's and the next after that could a futuristic cyberpunk las vegas in space. The sky is the limit here
With a "type" to determine what's inside, each train is like a "training ground" with deadly monsters guarding valuable loot.
Cursed station - This is where the train will first reach out to you one day you are going about your business with your friends and then suddenly you are in this dark void and in front of you there's this massive train with carriages the size of skyscrapers with a kind looking conductor with a plain looking conductors outfit and a particular golden eye in front of you asking "if you would like to board a train to your destiny" the conductor is a visualization so it can't harm or be harmed he will try to convince the person to board the train but will never force them to enter.
If they say no that's that and the room/space they were in goes back to normal but if you say yes then the ride begins and you transported to a random carriage
(This phenomenon can happen to groups of people at a time but once they accept they will be separated and their journey will be individual and it could happen to the same person multiple times)
Types of Carriages (The carriages are linked through train doors after you step through one it disappears and the door to the next one only appears once you "completed" your carriage)
Ex- if the person is an avid gamer the cabin will filled with a grand collection of games and all the gaming consoles they will ever want or if the person loves they will have a wall to wall of hundred selections of manga to read
The main benefit of these rooms is that the powerful cursed technique of the boss will be given to you upon defeating them and you can have up to 3 cursed techniques at a time when you are at your limit you can swap them out like Pokémon moves or give to your companions as you go on the cursed techniques get
-Knowledge dojo carriages: These peaceful carriages resemble train grounds that the person respects like dojo or army camps they have a sensei that you can give money to train you on
Increasing your base stats (like your physicals, CE amount, CE & CT mastery, and stuff like that) the more money give them the better.
OR
Getting a new learnable technique (like RCT, Simple domain, and hollow wisket basket)
These rooms will show you the interworkings of the train it's like no clipping through a wall in a video game and you see everything kinda see through where you lay yours in an infinite space where you can see every carriage and see all the passengers on their journey
But be warned to enter here is to make an enemy of the train itself and the longer you stay out of bounds the more intense the attacks become
You can either go through to one of the walls of the carriages you see and all will be forgiven OR you can challenge the "The Conductor" for your right to leave
"The Conductor" An an Imaginary Demon (仮か想そうの鬼き神じん, Kasō no Kijin) That's an entity responsible for crafting the train before the Henin era and has been making and expanding it throughout the eras he has complete control of who comes in and out and can kick anyone out at a moment notice. He loves to screw around and dreams of an era of endless play where everyone will be one of his passengers and won't be so quick to relish any of his passengers until they have proven strong enough in his eyes what that means varies depending on his mood and the passenger escaping.
Cursed Technique: Infinite Junction (無限交差, Mugen Kōsa) - When he started he was extremely weak around grade 4 when started training but over the eras thanks to his train with tons of binding vows he has absorbed everything of all of those of fell in his realms (Their CE, Special traits, Physical stats, and can use their CT like it was his own) and slowly has been making his train more and more efficient throughout the eras and recently he has reached the point that he is gaining more CE that he spends which has allowed the train to start growing and getting more passengers that an exponential rate.
Curse of Addiction As sorcerers venture deeper into the Cursed Labyrinth, an insidious curse takes hold. The thrill of combat, the allure of new cursed techniques, and the ever-present promise of untold treasures make it increasingly difficult for sorcerers to leave. They become addicted to the journey and the power it offers, which can lead to madness and obsession. Sorcerers must show immense willpower to break free from its clutches and return to the real world, or risk being forever lost within the looping train of dark adventures.
Note: It seems that once a sorcerer gets out of the train it seems that more cursed station events seem to happen around them according to their strength (Ex - If a grade 2 scrub leaves the area around their town will some extra cursed station events BUT if a special grade leaves the entire country will experience a massive surge of cursed station events)
submitted by Drama-Appropriate to CTsandbox [link] [comments]


2023.12.12 02:24 SanderSo47 Weekend Actuals for December 8-10 – 'The Boy and the Heron' Off to a Great Start, 'Poor Things' Hits $73.4K PTA on 9 Theaters

Weekend Actuals for December 8-10 – 'The Boy and the Heron' Off to a Great Start, 'Poor Things' Hits $73.4K PTA on 9 Theaters

https://preview.redd.it/a8zeahednr5c1.png?width=1920&format=png&auto=webp&s=0d933b1a0cc100a2dbf00f7ae72830ab762f25a2
Audiences were ready for another Studio Ghibli adventure.

Hayao Miyazaki's The Boy and the Heron not only ranked as the #1 movie in North America, but also the biggest debut for an original anime film. Meanwhile, Yorgos Lanthimos' Poor Things got off to a strong start in 9 theaters. Wonka was also off to an early start overseas, and it all indicates it's heading for a strong run.

The top 10 earned a combined $59 million this weekend. That's up 77% from last year, but it still represents one of the weakest weekends of the year.

Debuting atop, The Boy and the Heron earned $12.8 million from 2,205 theaters. That's the biggest debut for GKids and Miyazaki. In fact, this weekend gross is already higher than almost all of Miyazaki's films, and will pass Ponyo ($15 million) in the coming days to become his highest grossing film in the market. Of course, all of these movies (except Ponyo) played in limited release and when the anime market was much niche at the box office. But that doesn't negate what a great debut this is.

When The Wind Rises was released, the anime market in North America wasn't particularly strong. The only exception was Pokémon, which has three films earning a very fantastic gross. The biggest one was Pokémon: The First Movie - Mewtwo Strikes Back, which earned a fantastic $85 million back in 1999 and remains the biggest anime title domestically. In fact, very few titles hit $10 million in general. But in the past years, we've seen a lot of films earning a very solid amount, such as Demon Slayer: Kimetsu no Yaiba - The Movie: Mugen Train ($49 million) and Dragon Ball Super: Super Hero ($38 million). So it's clear that anime has been embraced by theaters.

The biggest (and obvious) selling point was Miyazaki himself. While his films were not known for making a lot of money domestically, they definitely made money in the rest of the world. Dubbed as one of, if not the, best directors in animation, there was huge anticipation for a new film. Especially one deemed as his "final" film, although he has said this in previous films as well. While Studio Ghibli opted to not make a single marketing effort in Japan, GKids actually worked hard in selling this for American audiences, revealing more stills and trailers. And it paid off as this was their biggest debut ever.

According to GKids, 54% of the audience was male and a massive 80% was in the 18-34 demographic. They gave it an "A–" on CinemaScore, which wouldn't be fantastic for an animated film, but it's fine for this considering the film's tone and story. The film has enjoyed extraordinary reception and it could hold well during the holidays, assuming it's not devoured by the incoming Christmas releases.

The Hunger Games: The Ballad of Songbirds & Snakes continued holding very well, easing just 34.4% for a $9.2 million weekend. That takes its domestic total to $135 million.

Godzilla Minus One expanded to 2,540 theaters and earned $8.5 million. That represents a drop of just 24.8% from last weekend, which is very impressive considering there were concerns over a front-loaded run. In fact, with this and Heron, it's the first time we have two foreign-language titles in the top three. It has earned $25.5 million and let's see how much more it can earn before the end of its run.

In fourth place, Trolls Band Together eased just 22% and added $6 million this weekend. So far, it has amassed $82.9 million, and it will face some family competition with Wonka and Migration coming up.

Last week's champ Renaissance: A Film by Beyonce fell to fifth place, earning $5.4 million. That's a steep 74.9%, far worse than Eras (64.2%) and almost on par with Jonas Brothers: The 3D Concert Experience (77.4%). Through ten days, it has earned $28.5 million, and is now guaranteed to finish below $40 million even with the holidays coming up.

After some tough weekends, Wish had its best drop so far, easing 31.2% for a $5.2 million weekend. However, with a $49.4 million total, there's nothing to celebrate. Let's see how much it drops as more family films arrive in the coming weeks.

Napoleon is also slowing down the bleeding, dropping 43% this weekend and grossing $4.1 million. It has grossed $53 million so far.

In eighth place, there was another newcomer, Bleecker Street's Waitress: The Musical. It debuted at 1,214 theaters and earned $2.5 million. This is a fine, albeit not great start, but it could've been worse considering Bleecker Street is one of the weakest studios out there. It has fantastic reviews (100% on RT) and strong word of mouth, so it might hold well, although it has two musicals (Wonka and The Color Purple on its way).

Animal dropped 62%, grossing $2.4 million this weekend. Its domestic total stands at $11.7 million.

Angel Studios' The Shift dropped 50% for a $2.1 million weekend. Through ten days, it has earned $8.4 million and it should hit $10 million, but it won't be by much.

In 9 theaters, Searchlight released Yorgos Lanthimos' newest film Poor Things and it earned a great $661,230. That represents a $73,470 per-theater average, which is the third best of the year (behind Asteroid City and Beau Is Afraid). However, like the previous examples, a fantastic performance in limited release does not guarantee a great wide expansion. The real test will be in the coming weeks, but so far, word of mouth is very good ("A–" on CinemaScore) so it could surprise.

Universal re-released Oppenheimer in 1,316 theaters but it disappointed with just $362,675. Its domestic total stands at $325.7 million, and while it will probably get another re-release for awards purposes, it won't move the needle by much.

OVERSEAS

Ahead of its domestic start, Wonka debuted in 37 markets, where it earned $43.2 million. Its biggest debuts were in the UK ($11.7M), Mexico ($5.2M), Spain ($4.4M), Germany ($3.6M), and China ($3.2M). These numbers are difficult to compare to Burton's 2005 version due to a lack of more data, but this points to a very strong run. From the looks of it, it should have no problem in recouping its $125 million budget.

Animal added $18.4 million overseas, and its worldwide total now stands at a fantastic $84.6 million.

Ridley Scott's Napoleon added another $16.4 million this weekend, taking its worldwide total to $170 million. Its sole opening was in Korea, where it debuted with $1 million.

Wish finally crossed the $100 million milestone, although it should've happened far earlier considering its prospects. It added $12.1 million this weekend, and it still has Italy, Australia, Japan, Korea and Brazil left.

Illumination's Migration also released early, although it was less impressive, with $6.5 million from 18 markets. It had good but not great debuts in France ($2M) and Italy ($1.8M), and it bombed in China with just $1 million. Next weekend, it opens in Mexico, followed by its debut in North America.

MOVIES THAT ENDED THEIR RUN THIS WEEKEND

None.

THIS WEEKEND

Paul King's Wonka is opening this weekend, marking the third film adaptation of the character created by Roald Dahl. It stars Timothée Chalamet as the famed chocolatier, and he is joined by an ensemble cast that includes Keegan-Michael Key, Paterson Joseph, Matt Lucas, Mathew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Tom Davis, Olivia Colman and Hugh Grant. The film was off to a very good start overseas, and it's enjoying very good reviews. Tim Burton's version did $474 million back in 2005, how will this fare compared to that?

MGM is opening American Fiction in limited release. The film stars Jeffrey Wright, Tracee Ellis Ross, Issa Rae, and Sterling K. Brown, and follows a frustrated black novelist and professor who jokingly writes an outlandishly stereotypical "Black" book out of spite, only for the book to be published and receive widespread fame and acclaim. The film has enjoyed critical acclaim since its premiere at TIFF, where it won the People's Choice Award. The past 11 winners of this award went on to be nominated for Best Picture at the Oscars, so American Fiction already has strong buzz going for it.

A24 is also going for one of the most anticipated prestige titles of the season, releasing Jonathan Glazer's first film in 10 years, The Zone of Interest, in limited release. The film centers on Auschwitz commandant Rudolf Höss and his wife as they strive to build a dream life next to the concentration camp. It has extraordinary reviews so far, will that translate into a strong per-theater average?
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2023.11.30 21:30 valkyria_knight881 A Look Into Sony/Columbia Pictures 2024: Celebrating 100 Years

In this post, I will look into Sony/Columbia Pictures, the studio that’s about to celebrate their 100th anniversary while holding their breath that they don’t suffer the centennial curse that the other major film studios have suffered through. Columbia Pictures is known for Ghostbusters, The Karate Kid, Jumanji, and Men in Black. Recently, Columbia Pictures is known for Insidious: The Red Door, Thanksgiving, Suzume, and Spider-Man: Across the Spider-Verse.

A Brief History of Columbia Pictures

On June 19, 1918, Joe Brandt, Harry Cohn, and Jack Cohn founded Cohn-Brandt-Cohn (CBC) Film Sales Corporation, which later adopted the name “Columbia Pictures” on January 10, 1924. As a small studio, it started with low budget features and shorts before giving the films higher budgets.
What really helped Columbia Pictures was Frank Capra, who always tried to push the studio for bigger budgets and better material. The one film that made Hollywood take Columbia Pictures seriously was 1934’s It Happened One Night, which swept the Oscars and is considered as one of the best films ever made. Other notable films that Frank Capra would direct for Columbia Pictures in the 1930s are Mr. Deeds Goes to Town, You Can’t Take It with You, and Mr. Smith Goes to Washington.
The 1940s saw the release of His Girl Friday, Gilda, The Lady from Shanghai, and All the King’s Men. The 1950s saw the release of films like From Here to Eternity, Anatomy of a Murder, and two of the best films in Columbia Pictures’ library: On the Waterfront and The Bridge on the River Kwai. The 1960s saw Columbia make many award winning films like Lawrence of Arabia, Dr. Strangelove, A Man for All Seasons, and Oliver!. However, Columbia was almost bankrupt in the early 1970s and was saved by moving into the Warner Bros lot in 1972. The 1970s saw the release of hits like The Last Picture Show, Taxi Driver, Close Encounters of the Third Kind, and Kramer vs. Kramer.
In 1982, Columbia Pictures was bought by the Coca-Cola Company, meaning that Pepsi wouldn’t be able to show up in Columbia films. The 1980s saw the release of hits like Stripes, Annie, Gandhi, Tootsie, Stand by Me, and the birth of Columbia’s two new franchises: Ghostbusters and The Karate Kid. However, the failure of Ishtar led to Coca-Cola selling off Columbia Pictures. In 1989, Sony acquired Columbia Pictures, eventually acquiring the former MGM studio lot in Culver City and turning it into Sony Pictures Studios.
The 1990s saw the release of films like Boyz N the Hood, A League of Their Own, A Few Good Men, Groundhog Day, Sleepless in Seattle, In the Line of Fire, Bad Boys, Jumanji, Men in Black, and one of the greatest films of all time that they distributed but unfortunately don’t own anymore, The Shawshank Redemption (now owned by Warner Bros). Sony would also form a partnership with Adam Sandler and Will Smith to distribute most of their films.
The 2000s would give them two of their largest franchises yet: James Bond and Spider-Man. Sony distributed Casino Royale, Quantum of Solace, Skyfall, and Spectre when MGM was in the middle of falling apart. While they only distributed the James Bond films for about 10 years, it still gave them Skyfall, which was the first Sony film to make $1B. However, it’s Spider-Man that’s Sony’s biggest franchise, maybe one Sony is a little too dependent on. Besides the Raimi trilogy, Sony’s hits in the 2000s include 50 First Dates, The Pursuit of Happyness, Superbad, Cloudy with a Chance of Meatballs, and Zombieland.
The 2010s saw the release of hits like The Social Network, Moneyball, The Girl with the Dragon Tattoo, 21 Jump Street, The Amazing Spider-Man films, Hotel Transylvania, Captain Phillips, The Equalizer, Baby Driver, Jumanji: Welcome to the Jungle, Searching, Once Upon a Time in Hollywood, Spider-Man: Into the Spider-Verse, and the Spider-Man films under the MCU. Spider-Man: Far From Home would give Sony their second billion dollar film.
With the acquisition of Funimation and Crunchyroll, Sony would start leaning into anime films with the North American distribution of Suzume and Demon Slayer: Mugen Train, the highest grossing Japanese film of all time and the highest grossing film of 2020, being the only non-Hollywood film to ever top the worldwide box office. The 2020s saw the release of hits like Ghostbusters: Afterlife, Bullet Train, and Sony’s highest grossing film of all time, Spider-Man: No Way Home. Of course it would be the highest grossing Sony film when all three Spider-Man show up. Now let’s see how well 2023 was for Sony.

2023

Missing - Sony kicked off 2023 with Missing, a stand alone sequel to Searching. While not making as much as Searching, the film made a respectable $49M on a budget of $7M, being a hit for Sony.
65 - 65 was just doomed to fail. Not only was it getting mixed reviews, it was released a week after Creed III and the same day as Scream VI. The film only made $61M on a budget of $45M. I’m sure Sony would’ve preferred if the film made at least $65M domestic instead of $32M domestic.
The Pope’s Exorcist - The Pope’s Exorcist was up next. While it did release a week after The Super Mario Bros. Movie, The Pope’s Exorcistwas good counter-programming for Mario. The Pope’s Exorcist made $77M on a budget of $18M, being a hit for Sony.
Suzume - Suzume came out the same day as The Pope’s Exorcist as Sony was looking to appeal to horror fans and anime fans on the same day. While Suzume only made $11M in America, the film was able to rack up $323M worldwide, being the fourth highest grossing Japanese film of all time behind Spirited Away, Your Name, and Demon Slayer: Mugen Train.
Big George Foreman - Big George Foreman is actually the shorter name for the film. It had the subtitle of The Miraculous Story of the Once and Future Heavyweight Champion of the World. That must’ve turned some people away from the film as it only made $6M on a budget of $32M.
Love Again - Another film that was released to little to no fanfare was Love Again. I’m sure Sony thought of Love Again as good counter-programming to Guardians of the Galaxy Volume 3, but no one cared. Love Again made $13M on a budget of $9M, losing money for Sony.
Knights of the Zodiac - While video game adaptations are starting to improve, anime adaptations are further behind. No one cared about a live action adaptation of Knights of the Zodiac. It literally only made $1M in America. It was that bad. On a budget of $60M, the film only made $7M, being a major box office bomb.
The Machine - I guess Sony can take a fourth L in a row because The Machine gave them that. Back in November 2022, Sony reached a deal to distribute films produced by Legendary. For the first Sony film with Legendary, this wasn’t good. The film was only able to make $11M on a budget of $20M, being a box office bomb. Warner Bros dodged a bullet here. As for Sony, thank goodness Spider-Man: Across the Spider-Verse released the week after.
Spider-Man: Across the Spider-Verse - The movie Sony needed after four flops in a role arrived. Spider-Man: Across the Spider-Verse had the good will from Into the Spider-Verse and to a certain extent, No Way Home, to give the film a boost. Compared to the $384M that Into the Spider-Verse made, Across the Spider-Verse made $691M on a budget of $150M, being Sony’s biggest film of 2023 (unless Anyone But You randomly crosses $700M this Christmas).
No Hard Feelings - While The Machine fell flat on its face, No Hard Feelings fared better. Not enough though, as it only made $90M on a budget of $45M, losing Sony a little bit of money. Spider-Man: Across the Spider-Verse will easily cover any losses the film had.
Insidious: The Red Door - Comedy isn’t a moneymaker like it used to, but horror still is. Insidious: The Red Door was Sony’s only July film. While July saw the release of films like Sound of Freedom, Mission: Impossible - Dead Reckoning Part One, Barbie, and Oppenheimer, Insidious: The Red Door was always there to please horror fans, even if it didn’t get as much attention as the other films (though still more attention than the 2023 Haunted Mansion film will ever get). Insidious: The Red Door made $189M on a budget of $16M, being a huge hit for Sony and is the highest grossing film in the Insidious franchise.
Gran Turismo - Gran Turismo is a film that technically took the top spot on its opening weekend. Sure, Warner Bros got pissed as they claim that Barbie actually made more on opening weekend. They’re right, but fuck you Warner Bros because nothing can beat the weeks of previews that Gran Turismo had leading up to its official opening weekend. Gran Turismo made $122M on a budget of $60M. The film did okay, not a huge failure or a huge hit. It was just there. For something based on a true story like this, maybe it would’ve been better had it been released in the late 2010s like 2017 or something instead of 2023. It probably would’ve done better in the late 2010s.
The Equalizer 3 - The final installment of The Equalizer franchise arrives right on the heels of Gran Turismo. Just like the previous installments, The Equalizer 3 made $190M on a budget of $70M, being a hit. It pretty much made the exact same amount that the second film made, which is crazy. What’s even crazier is that both films made $2M less than the first one. What a strange coincidence that all three films pretty much made the same amount.
Dumb Money - Sony was smart making Spider-Man: Across the Spider-Verse and The Equalizer 3. Unfortunately, Sony was pretty stupid with Dumb Money. The film only made $20M on a budget of $30M, losing money for Sony.
Journey to Bethlehem - Journey to Bethlehem is another Christian film from Sony. And just like Big George Foreman, this also didn’t make money. The film only made $6M on a budget of $6M. Sony should’ve released this film closer to Christmas, when the story took place.
Thanksgiving - Sony may not be celebrating Christmas, but they’re definitely celebrating Thanksgiving. Horror films in November usually don’t do well as it’s right past the spooky month of October, but Thanksgiving was given a low enough budget to where it’s okay. The film made $30M on a budget of $15M. It’ll probably end somewhere around $50M, being a moderate success for Sony. Can’t really say the same for the next film, though.
Napoleon - Like Killers of the Flower Moon, Napoleon is released theatrically by a major film studio (this time Sony) and streams on Apple TV+ at some point. The film made $84M on a budget of $200M so far. I could see the film reaching as much as $200M. Still better than how much Killers of the Flower Moon made, though still not a financial success. Unlike Killers of the Flower Moon, Napoleon doesn’t have the luxury of good reviews because of its historical inaccuracies and long runtime not being very beneficial. At least it beat Wish, so take that Disney.
Columbia Film That Hasn’t Released Yet
There is one film from Sony that hasn’t been released yet that is still slated to release in 2023: Anyone But You. Let’s see how well that film does.
Anyone But You - It’s a romantic comedy film directed by Will Gluck. It seems like a harmless romcom that could benefit from the holidays, though not as much as a film like Wonka or Migration would. Not even Box Office Pro has an idea of how much Anyone But You will make. I’d say the film makes $30M, though the holidays could increase the number by a little bit. Financially, maybe Will Gluck should’ve just made Peter Rabbit 3 instead. Just recast James Corden.

How Did Columbia Pictures Do This Year?

Better than last year, but nothing spectacular. 2023 might be the first year for Sony in which they fail to hit $1B domestically despite having a Spider-Man film. Even 2021 was able to barely do it despite COVID preventing any film releases from the first half of the year from reaching their potential. Sony is in fourth place with an 11% market share, making $928M domestically. Throw in another $32M from both Thanksgiving and Napoleon and that’s only going to be $960M. Unless Anyone But You manages to hit $40M before the year ends, Sony just won’t hit $1B domestically this year. Serves them right for pushing Kraven the Hunter to 2024 (not like it would’ve made much but would guarantee Sony $1B in 2023). Insidious: The Red Door, The Equalizer 3, and especially Spider-Man: Across the Spider-Verse helped out this year, but everything else was just disappointing. Seeing as how 2024 is the 100th anniversary of Columbia Pictures and every major film studio has an awful 100th anniversary, let’s just take a look at 2024.

2024

The Book of Clarence

It’s an epic biblical comedy drama film directed by Jeymes Samuel. I don’t think this is the best way to start off a 100th anniversary. I’ve been seeing the film getting some flack due to its tampering of biblical events and the portrayal of Clarence as a good guy despite his actions in the film. I haven’t seen it yet, but this will turn some people off from the film. Like Legendary’s previous film with Sony, The Machine, I could see the film making $20M. Even though Legendary is partnered with Sony, it seems like Warner Bros still benefits more with Dune: Part Two and Godzilla x Kong: The New Empire in 2024. It’s not like Sony gets the distribution rights to those films. Just The Machine and The Book of Clarence. Warner Bros dodged a bullet with The Book of Clarence. Paramount was also in the running to make a deal with Legendary, so it’s probably for the best that Paramount didn’t.

It Ends With Us

It’s a romance film directed by Justin Baldoni and is based on the book of the same name. The film’s production hasn’t resumed since the writers and actors strikes finished, so I doubt it will make the February 2024 release date it currently has. I could see It Ends With Us make $40M. Romance movies don’t make a lot, especially now, so I’m not expecting crazy numbers.

Madame Web

It’s a superhero film directed by S.J. Clarkson and is part of Sony’s Spider-Man Universe. It’s about a young Madame Web as she can see into the future. She also has to protect three Spider-Women from Ezekiel Simms. He was in the Amazon with her mom when she was researching spiders right before she died. This trailer is getting a lot of shit for how cheap it looks and the poor dialogue. Even with that, I can see the film make $80M domestically and $170M worldwide. Slightly less than The Marvels, but maybe not as bad of a loss if Sony didn’t spend over $90M on the film.

Ghostbusters: Frozen Empire

It’s a supernatural comedy film directed by Gil Kenan and is the fourth film in the Ghostbusters franchise. While Ghostbusters: Afterlife was more focused on nostalgia, Ghostbusters: Frozen Empire is meant to give the Ghostbusters a new threat to face. I’m going to go bold here and say Ghostbusters: Frozen Empire makes $160M domestically and $300M worldwide, a lot more than what Afterlife made. It’s a late March release that can definitely play until April. In terms of competition, the only competition it really has is Godzilla x Kong: The New Empire two weeks after. Mickey 17 releases the same day, though I don’t think it will be a serious threat to Ghostbusters: Frozen Empire. If it does hit $300M, that would make Ghostbusters: Frozen Empire the highest grossing Ghostbusters film.

My Ex-Friend’s Wedding

It’s a film that hasn’t even started production, yet is scheduled for release in May 2024. I don’t know. Most likely less than It Ends With Us. I’d say My Ex-Friend’s Wedding makes $30M.

The Garfield Movie

It’s a comedy film directed by Mark Dindal and is based on the Garfield comic strips. Here’s another bold prediction from me. The Garfield Movie will be the highest grossing 2024 Sony film. I’m saying $230M domestic and $500M worldwide. Sure, Chris Pratt as Garfield isn’t universally liked, but he was Mario last year and look how that turned out. The animation looks pretty good, even if Sony Pictures Animation isn’t behind it. The May release does give the film three weeks before Inside Out 2, and it should be able to capitalize on that Memorial Day weekend. I think I’ve gone insane.

Bad Boys 4

It’s a buddy cop action comedy film directed by Adil & Bilall and is the fourth film in the Bad Boys franchise. Bad Boys for Life managed to be good and became the highest grossing American film of 2020. Even with the Will Smith slapping incident (wonder if he’ll slap someone in the film), I don’t think that will deter people from this film. I can see Bad Boys 4 making $220M domestically and $440M worldwide, being a hit for Sony.

Horrorscope

It’s a horror film. I don’t know anything else about it. Horror films usually have an audience, and this will most likely not be any different. I can see Horrorscope make $50M.

Harold and the Purple Crayon

It’s a fantasy film directed by Carlos Saldanha and is based on the book of the same name. I don’t know how this film is going to work. What helps the film is that it has August to itself as a kids film, so families could flock to that. I’d say the film makes $90M domestically and $200M worldwide. If the budget isn’t above $75M, this film should be fine.

Kraven the Hunter

It’s a superhero film directed by J.C. Chandor and is part of Sony’s Spider-Man Universe. Unlike Madame Web, Kraven the Hunter isn’t getting as much flack, though some criticism is directed toward the story that’s being hinted of in the trailer. Getting powers from a lion’s blood does seem kind of weird. It was originally going to release on October 2023 before being pushed to August 2024. Maybe Sony actually has high hopes for it, at least more so than Madame Web. It is also the first R rated Sony Marvel film (kind of wish that title would’ve gone to Venom: Let There Be Carnage, but that’s in the past). I can see Kraven the Hunter making $150M domestically and $310M worldwide.

Venom 3

It’s a superhero film directed by Kelly Marcel and is part of Sony’s Spider-Man Universe. I really don’t know what to expect for this film. Venom: Let There Be Carnage has been seen as a step down for many compared to the first film. Carnage not being as menacing as in the comics may also hurt. Venom 2 also teased a Venom vs. Spider-Man fight that never happened. So, what is Venom 3? It’s said to be the final Venom solo film, though I’m sure they’ll have Tom Holland’s Spider-Man fight Tom Hardy’s Venom at some point (it would be bad on Sony if it doesn’t happen). I don’t think it will be a severe decline from Venom 2, but Venom 3 will make the least of the trilogy, unless Tom Holland’s Spider-Man is somehow in Venom 3. I’d say the film makes $180M domestically and $480M worldwide.

The Karate Kid 6

It’s a film directed by Jonathan Entwistle and is part of the Karate Kid franchise. Ralph Macchio will reprise his role as Daniel LaRusso, and Jackie Chan is reprising his role as Mr. Han. The plot is about a Chinese teenage boy who moves to the east coast to study martial arts. This has me very intrigued as a Karate Kid fan. There is a lot of goodwill from the franchise now, with the success of Cobra Kai. However, that goodwill can only be used if The Karate Kid 6 can successfully tie into Cobra Kai season 6, which will most likely release before December 2024. It’d be nice if other characters from Cobra Kai can show up like William Zabka’s Johnny Lawrence and Xolo Mariduena’s Miguel Diaz. I can see the film making $120M domestically and $280M worldwide, especially if the film is able to tie itself with Cobra Kai. It does seem like the Cobra Kai team is giving notes to Entwistle, showing that there is communication between the two projects.
If These Films Had To Move, Where Should They Go?
The Book of Clarence - February 2, 2024
Madame Web - March 15, 2024
The Garfield Movie - April 5, 2024
Kraven the Hunter - May 17, 2024
Ghostbusters: Frozen Empire - June 7, 2024
Harold and the Purple Crayon - July 19, 2024
Horrorscope - September 27, 2024
Bad Boys 4 - October 11, 2024
Venom 3 - November 15, 2024
The Karate Kid 6 - December 25, 2024
It Ends With Us - February 7, 2025
My Ex-Friend’s Wedding - March 7, 2025
Thoughts on the 2024 Slate - If Spider-Man: Beyond the Spider-Verse kept the 2024 release date, I wouldn’t actually be worried about the centennial curse affecting Columbia Pictures. As it is, this lineup seems fine. Ghostbusters: Frozen Empire, Bad Boys 4, Venom 3, and The Karate Kid 6 should almost certainly be hits (the centennial curse could strike though). Madame Web, Kraven the Hunter, and Harold and the Purple Crayon are wildcards that the centennial curse could easily fuck with, especially Madame Web. I think Sony will have a better year than Disney or Paramount did in their 100th anniversary, but they’re not going to randomly have a film that does over $1B like Warner Bros had on their 100th anniversary.
The Future - While Warner Bros distributed Paddington 2, Sony will distribute Paddington in Peru. Spider-Man: Beyond the Spider-Verse will be released at some point as well (2025, maybe?). Nintendo is making a live action Legend of Zelda film with Sony, which is an interesting choice since Universal distributed Mario and Sony is also behind the PlayStation. I’m guessing this will be released in 2026 to coincide with the 40th anniversary of The Legend of Zelda.
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2023.10.04 01:37 fganniversaries Fighting Game Anniversaries: Week 40 (October 2 - October 8)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
October 2
October 3
October 4
October 5
October 6
October 7
October 8
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2023.10.04 01:37 fganniversaries Fighting Game Anniversaries: Week 40 (October 2 - October 8)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
October 2
October 3
October 4
October 5
October 6
October 7
October 8
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2023.10.04 01:36 fganniversaries Fighting Game Anniversaries: Week 40 (October 2 - October 8)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
October 2
October 3
October 4
October 5
October 6
October 7
October 8
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2023.10.01 16:25 throw_away_acc_5 The article doesn’t say how to get one. Where can I buy one? I see nothing about it on the Mugen website

The article doesn’t say how to get one. Where can I buy one? I see nothing about it on the Mugen website submitted by throw_away_acc_5 to Honda [link] [comments]


2023.09.18 20:47 fganniversaries Fighting Game Anniversaries: Week 38 (September 18 - September 24)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
September 18
September 19
September 20
September 21
September 22
September 23
September 24
submitted by fganniversaries to Fighters [link] [comments]


2023.09.18 20:47 fganniversaries Fighting Game Anniversaries: Week 38 (September 18 - September 24)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
September 18
September 19
September 20
September 21
September 22
September 23
September 24
submitted by fganniversaries to FGC [link] [comments]


2023.09.18 20:46 fganniversaries Fighting Game Anniversaries: Week 38 (September 18 - September 24)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
September 18
September 19
September 20
September 21
September 22
September 23
September 24
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2023.08.19 01:28 survivor22999 PS2 ISOs

is it ok if the store can have PS2 iso file section & mk mugen games, hell mabey even n64 games as well to celebrate mk1. mk chotic new era, mk bloodstorm, anthology 1 & 2. theres so many good mk mugen games ou there & this store is perfect for it. cant put ps2 iso files cuz of NTFS cobra & dont know how to fix that issue on my 32 GB USB, cant download pkg files without it anymore
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2023.08.01 07:01 fganniversaries Fighting Game Anniversaries: Week 31 (July 30 - August 6)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
July 30
July 31
August 1
August 2
August 3
August 4
August 5
August 6
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2023.08.01 07:00 fganniversaries Fighting Game Anniversaries: Week 31 (July 30 - August 6)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
July 30
July 31
August 1
August 2
August 3
August 4
August 5
August 6
submitted by fganniversaries to FGC [link] [comments]


2023.08.01 06:57 fganniversaries Fighting Game Anniversaries: Week 31 (July 30 - August 6)

Hey, yall. This is fganniversaries. Just like last week, I will be recapping anniversaries relating to fighting game announcements/releases this week. Like always, if I missed one, do please let me know in the comments. Here would be the following anniversaries:
July 30
July 31
August 1
August 2
August 3
August 4
August 5
August 6
submitted by fganniversaries to u/fganniversaries [link] [comments]


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