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"model": "videogames.videos", "fields": {}}, {"pk": 240, "model": "videogames.videos", "fields": {}}, {"pk": 241, "model": "videogames.videos", "fields": {}}, {"pk": 242, "model": "videogames.videos", "fields": {}}, {"pk": 243, "model": "videogames.videos", "fields": {}}, {"pk": 244, "model": "videogames.videos", "fields": {}}, {"pk": 245, "model": "videogames.videos", "fields": {}}, {"pk": 246, "model": "videogames.videos", "fields": {}}, {"pk": 247, "model": "videogames.videos", "fields": {}}, {"pk": 248, "model": "videogames.videos", "fields": {}}, {"pk": 249, "model": "videogames.videos", "fields": {}}, {"pk": 256, "model": "videogames.videos", "fields": {}}, {"pk": 257, "model": "videogames.videos", "fields": {}}, {"pk": 258, "model": "videogames.videos", "fields": {}}, {"pk": 259, "model": "videogames.videos", "fields": {}}, {"pk": 260, "model": "videogames.videos", "fields": {}}, {"pk": 261, "model": "videogames.videos", "fields": {}}, {"pk": 262, "model": "videogames.videos", "fields": {}}, {"pk": 263, "model": "videogames.videos", "fields": {}}, {"pk": 264, "model": "videogames.videos", "fields": {}}, {"pk": 265, "model": "videogames.videos", "fields": {}}, {"pk": 266, "model": "videogames.videos", "fields": {}}, {"pk": 267, "model": "videogames.videos", "fields": {}}, {"pk": 268, "model": "videogames.videos", "fields": {}}, {"pk": 269, "model": "videogames.videos", "fields": {}}, {"pk": 270, "model": "videogames.videos", "fields": {}}, {"pk": 271, "model": "videogames.videos", "fields": {}}, {"pk": 272, "model": "videogames.videos", "fields": {}}, {"pk": 273, "model": "videogames.videos", "fields": {}}, {"pk": 274, "model": "videogames.videos", "fields": {}}, {"pk": 275, "model": "videogames.videos", "fields": {}}, {"pk": 276, "model": "videogames.videos", "fields": {}}, {"pk": 277, "model": "videogames.videos", "fields": {}}, {"pk": 278, "model": "videogames.videos", "fields": {}}, {"pk": 279, "model": "videogames.videos", "fields": {}}, {"pk": 280, "model": "videogames.videos", "fields": {}}, {"pk": 281, "model": "videogames.videos", "fields": {}}, {"pk": 282, "model": "videogames.videos", "fields": {}}, {"pk": 1, "model": "videogames.genre", "fields": {"types": "Side Scroller"}}, {"pk": 2, "model": "videogames.genre", "fields": {"types": "Platforming"}}, {"pk": 3, "model": "videogames.genre", "fields": {"types": "Racing"}}, {"pk": 4, "model": "videogames.genre", "fields": {"types": "Party"}}, {"pk": 5, "model": "videogames.genre", "fields": {"types": "Arcade"}}, {"pk": 6, "model": "videogames.genre", "fields": {"types": "Strategy"}}, {"pk": 7, "model": "videogames.genre", "fields": {"types": "Fighting"}}, {"pk": 8, "model": "videogames.genre", "fields": {"types": "Action-Adventure"}}, {"pk": 9, "model": "videogames.genre", "fields": {"types": "Role-Playing Game"}}, {"pk": 10, "model": "videogames.genre", "fields": {"types": "Sports"}}, {"pk": 11, "model": "videogames.genre", "fields": {"types": "Shooter"}}, {"pk": 12, "model": "videogames.genre", "fields": {"types": "Beat 'em up"}}, {"pk": 13, "model": "videogames.genre", "fields": {"types": "FPS"}}, {"pk": 14, "model": "videogames.genre", "fields": {"types": "Simulation"}}, {"pk": 15, "model": "videogames.genre", "fields": {"types": "Strategy"}}, {"pk": 16, "model": "videogames.genre", "fields": {"types": "Puzzle"}}, {"pk": 17, "model": "videogames.genre", "fields": {"types": "Card"}}, {"pk": 18, "model": "videogames.genre", "fields": {"types": "Board"}}, {"pk": 1, "model": "videogames.system", "fields": {"platform": "NES"}}, {"pk": 2, "model": "videogames.system", "fields": {"platform": "SEGA Genesis"}}, {"pk": 3, "model": "videogames.system", "fields": {"platform": "Playstation"}}, {"pk": 4, "model": "videogames.system", "fields": {"platform": "SNES"}}, {"pk": 5, "model": "videogames.system", "fields": {"platform": "SEGA Master System"}}, {"pk": 6, "model": "videogames.system", "fields": {"platform": "Atari 7800"}}, {"pk": 7, "model": "videogames.system", "fields": {"platform": "TurboGrafx-16"}}, {"pk": 8, "model": "videogames.system", "fields": {"platform": "Neo Geo"}}, {"pk": 1, "model": "videogames.game", "fields": {"name": "Metroid", "people": [1], "release_date": "1986-08-06T00:00:00Z", "copies": 2730000, "system": 1, "gamefaq": "http://www.gamefaqs.com/nes/519689-metroid", "synopsis": "Space Pirates attack a Galactic Federation-owned space research vessel and seize samples of Metroids, dangerous floating organisms that can latch on to any organism and drain its life energy. While searching for the stolen Metroids, the Galactic Federation locates the Space Pirates on the planet Zebes. As a last resort, the Federation decides to send a lone bounty hunter to penetrate the Pirates' base and destroy Mother Brain, the mechanical life-form that controls the Space Pirates' fortress and its defenses. Considered the greatest of all bounty hunters, Samus Aran is chosen for the mission. Samus lands on the surface of Zebes and explores the planet, traveling through the planet's caverns. She eventually comes across Kraid, an ally of the Space Pirates, and Ridley, the Space Pirates' commander, and defeats them both. Eventually, Samus finds and destroys Mother Brain. She then places a time bomb set for 999 seconds, and escapes the collapsing lair. Metroid is an action-adventure game in which the player controls Samus Aran in sprite-rendered two-dimensional landscapes. The game takes place on the planet Zebes, a large, open-ended world with areas connected by doors and elevators. The player controls Samus Aran as she travels through the planet's caverns and hunts Space Pirates. She begins with a weak power beam as her only weapon, and with only the ability to jump. The player explores more areas and collects power-ups that grant Samus special abilities and enhance her armor and weaponry, granting access to areas that were previously inaccessible. Among the power-ups that are included in the game are the Morph Ball, which allows Samus to curl into a ball to roll into tunnels and use the Bomb weapon, and the Screw Attack, a somersaulting move that destroys enemies in its path. In addition to common enemies, Samus encounters bosses whom she needs to defeat to progress.", "genre": [1], "company": 1}}, {"pk": 2, "model": "videogames.game", "fields": {"name": "Sonic the Hedgehog", "people": [2], "release_date": "1991-06-23T00:00:00Z", "copies": 15000000, "system": 2, "gamefaq": "http://www.gamefaqs.com/genesis/454495-sonic-the-hedgehog", "synopsis": "Sonic the Hedgehog plays as a 2D side-scrolling platformer. The gameplay centers around Sonic's ability to run at high speed through levels that include springs, slopes, high falls, and loop-the-loops. The levels are populated with hazards in the form of robots (named \"badniks\" in the Western game manuals) that Dr. Robotnik has trapped animals inside; destroying one frees the creature, but is not necessary to complete the game. The player must also avoid touching rows of sharp spikes, falling into bottomless pits, and being crushed by moving walls or platforms, as well as drowning, which can be circumvented by breathing air bubbles periodically released from vents. Sonic's main means of attack is the Spin Attack, in which he curls into a ball and rotates rapidly, damaging enemies and certain obstacles upon collision. This can be performed by jumping in the air or by pressing down on the D-Pad while moving on the ground.\n\nScattered around each level map are gold rings. Collecting 100 rings rewards the player with an extra life.Rings act as a layer of protection against hazards: if Sonic holds at least one ring when he collides with an enemy or dangerous obstacle, he will survive. However, all of the rings in his possession will be scattered; they will flicker and disappear in a few seconds if not picked up again. If he is hit without holding any rings, then he loses a life. Shields and temporary invincibility can also be collected to provide additional layers of protection, but certain hazards, such as drowning, being crushed, falling down a bottomless pit or running out of time, will cause Sonic to lose a life regardless of rings or other protection.\n\nThe game is split up into six zones\u2014named Green Hill, Marble, Spring Yard, Labyrinth, Star Light, and Scrap Brain\u2014each with its own visual style and enemies. Each zone is split into three acts. The player must navigate through each zone to progress. At the end of each zone's third act, the player confronts Dr. Robotnik, who pilots a vehicle, in a boss fight. After completing the sixth zone, the player continues directly to the \"Final Zone\" for the last encounter with Robotnik. The player is given three lives\u2014although powerups and rings give more\u2014which are lost when Sonic collides with hazardous enemies or objects while having no rings, falls off-screen, or exceeds an act's ten-minute time limit. Lampposts that act as checkpoints allow Sonic to return to the most recently activated post when he loses a life. If Sonic loses a life as a result of time running out but has another life, the time will reset to 0:00 when he returns to the checkpoint. If all lives are lost at any point in the game, the \"Game Over\" screen will appear, at which point the player can return to the beginning of the act with three lives if the player has any continues.\n\nWhen Sonic reaches the end of Act 1 or Act 2 of a zone while holding at least 50 rings, a large ring appears through which he can jump to enter a \"Special Stage.\" In the Special Stages, Sonic is continually curled up in his Spin Attack animation, and bounces off the bumpers and walls of a 360\u00b0 rotating maze. In these levels, the player earns a continue with each 50 rings found, but the main goal is to obtain the Chaos Emerald at the end of the maze without colliding with any of the \"goal blocks\" that instantly end the level. If the player collects all the Chaos Emeralds and completes the game, the most optimal ending sequence is shown. However, if not every Chaos Emerald is collected, a screen shows Robotnik taunting the player.\n\nIn 1990, Sega ordered its in-house development studio AM8 to develop a game featuring a mascot for the company; Sega president Hayao Nakayama wanted a character as iconic as Mickey Mouse. Sega had competition with Nintendo and its mascot Mario in mind; Nintendo was dominant at the time\u2014particularly after the release of the incredibly successful Super Mario Bros. 3 and Sega wanted to gain a foothold in the industry. Sega had achieved some success with Genesis ports of its arcade titles, but knew these would not be enough.\n\nAM8 developed ideas for characters while also developing an engine and basic gameplay mechanics. Development shifted toward emphasizing speed, so AM8 eliminated character designs not tied to animals considered to be fast, including kangaroos and squirrels. One idea was a rabbit able to grasp objects with its prehensile ears, but this proved too complicated for the hardware available at the time. The team narrowed its selection further to animals that can roll into balls, with the idea that this would constitute an attacking move. Designers then realized that this alone would not seem dangerous enough, so they focused on two creatures that also have spikes: armadillos and hedgehogs. The hedgehog prevailed, although the armadillo would later become the basis for the character Mighty the Armadillo, who first appeared in SegaSonic the Hedgehog in 1993.\n\nThe new chararacter was originally named \"Mr. Needlemouse\", but the 15-member AM8 changed his name to \"Sonic\" and their studio's to Sonic Team to match. Among the game's developers were character designer Naoto \u014cshima, game programmer Yuji Naka, and designer Hirokazu Yasuhara.\n\nAkira Watanabe, the illustrator of the character art featured on the game packaging, said that his sole goal was to depict the characters as \"colorful\" and to use clear, cutting lines and gradation to \"finish them neatly\". Watanabe said that the developers asked him to create a package design \"similar to pop art\". Watanabe aimed to create the design \"without being particular to conventional packages\". Watanabe intended to create an \"original, stylish pop game package\".", "genre": [1, 2], "company": 2}}, {"pk": 3, "model": "videogames.game", "fields": {"name": "Crash Bandicoot", "people": [3], "release_date": "1996-08-31T00:00:00Z", "copies": 6800000, "system": 3, "gamefaq": "http://www.gamefaqs.com/ps/196986-crash-bandicoot/faqs", "synopsis": "The protagonist of the story and the playable character is Crash Bandicoot, a heroic, agile and mutated marsupial who must save his girlfriend Tawna. The main antagonist is Doctor Neo Cortex, a mad scientist who was often ridiculed by the scientific community for his outlandish (but nearly workable) theories and is now motivated to prove his tormentors wrong by creating a mutated army of beasts to conquer the world. Cortex's henchman is Doctor Nitrus Brio, the insecure creator of the Evolvo-Ray. Crash's love interest is Tawna, a female bandicoot about to undergo experimentation by the Doctors. Helping Crash in his journey is an ancient witch doctor spirit named Aku Aku, who has scattered masks of himself throughout the islands to grant Crash special powers. The boss characters of the game include Papu Papu, the obese and short-tempered chief of the native village; Ripper Roo, a demented kangaroo with razor-sharp toenails; Koala Kong, a muscular but unintelligent koala; and Pinstripe Potoroo, the tommy gun-wielding bodyguard of Doctor Cortex.\n\nCrash Bandicoot is set on a trio of islands southeast of Australia, all owned by the evil scientist Doctor Neo Cortex. With the aid of his old friend and ingenious scientist, Doctor Nitrus Brio, he creates the Evolvo-Ray, which they use to evolve the various animals living on the islands into beasts with superhuman strength. One of their experiments is a peaceful bandicoot, Crash, who Cortex plans to be the military leader of his growing army of animal-based soldiers. Despite warnings from Doctor Brio, Cortex subjects Crash to the untested Cortex Vortex in an attempt to put him under his control. However, the experiment proves to be a failure as the Vortex rejects Crash. Seeing Crash as unworthy of his growing army of super-animals, Cortex chases Crash out of a window of the castle, causing him to plummet into the ocean below. Following Crash's escape, Cortex prepares a female bandicoot named Tawna for experimentation.\n\nDuring Crash's time in captivity, he had become attached to Tawna, and, resolving to defeat Cortex, clean up the pollution he had caused and rescue Tawna, he sets off. From the beach of N. Sanity Island, Crash makes his way through the nearby jungle and scales the wall of a giant wooden fortress, which is inhabited by the native tribe. Crash then enters the hut of tribe leader Papu Papu and is forced to defeat him in self-defense after inadvertently waking him from his nap. Riding on the back of a wild hog, Crash escapes the pursuing villagers and climbs over the opposite fortress wall.\n\nFrom there, Crash crosses to the second of Cortex's islands. Wumpa Island, hosting a large tree, has been long abandoned and there is nothing more than a jungle, a lizard-infested city, dilapidated bridges high in the mountains, and the ruins of an ancient temple. However, having discovered that Crash was making his way across the islands, Cortex stations another of his evolved mutants, the deranged Ripper Roo, on the island in a temple at the start of a creek. Crash manages to cross the river and, after avoiding contact with his razor-sharp toenails, knocks Ripper Roo out cold beside a waterfall due to repeated TNT explosions, and successfully makes his way through the city and the temples. He is then confronted by another of Cortex's mutants, the powerful Koala Kong, in a volcanic cave mine, but defeats him by deflecting rocks at him and finally crosses to the Cortex Island.\n\nCrash then enters the power plant, the Cortex Power station. As well as hosting many of Cortex's industrial experiments and seeming to be the main power source for Cortex Castle, the building's operations are causing pollution, dumping radioactive waste into the sea and destroying nearby plants as well. Crash makes his way through a gargantuan indoor wall of machinery, then goes from the main factory hallways to a generator room, which finally leads into the toxic waste dumping operations. At the factory core, Crash finds and battles the CEO of Cortex Power, mutant Pinstripe Potoroo. Despite fighting with a fully loaded Tommy gun, Pinstripe is eventually knocked through the window by Crash and his stray bullets destroy the core, causing the Power Station to fall into ruin as well as the pollution to quickly vanish.\n\nUnable to enter Cortex's castle after getting there via bridge, Crash climbs the tower walls, avoiding stormy weather along the way, and climbs in through the window he had previously smashed through. After making his way through the dark hallways and the Castle's many machines, Crash is confronted by Nitrus Brio inside his laboratory. After attacking Crash with several different chemicals, Brio resorts to mutating himself into a monster with the aid of these chemicals, but is defeated once more by Crash. The castle is set alight by some of the chemicals Brio was using but Crash manages to escape the tower passing the laboratory. As the building burns to the ground, he makes it to Cortex's airship, where he is confronted by the evil scientist. Cortex attacks him with a plasma gun, but Crash deflects his own projectiles against him and sends Cortex falling to his assumed demise. United with Tawna, they escape the burning castle on Doctor Cortex's airship. If Crash collects every Gem in the game, the final boss fight can be avoided by taking an alternate route in the Great Hall and escape from Cortex's Castle prematurely with Tawna.", "genre": [2, 3, 4], "company": 3}}, {"pk": 4, "model": "videogames.game", "fields": {"name": "Super Mario Bros. 3", "people": [4], "release_date": "1990-02-12T00:00:00Z", "copies": 18000000, "system": 1, "gamefaq": "http://www.gamefaqs.com/nes/525245-super-mario-bros-3/faqs", "synopsis": "Super Mario Bros. 3 is a two-dimensional platform game in which the player controls the on-screen protagonist (either Mario or Luigi) from a third-person perspective. The game shares similar game mechanics with previous titles in the series\u2014Super Mario Bros., Super Mario Bros.: The Lost Levels, and Super Mario Bros. 2\u2014but introduces several new elements. In addition to the running and jumping moves found in past games, the player can fly and float with the aid of special items, slide down slopes, and execute new types of jumps. Super Mario Bros. 3 is set after the events of previous games. Mario and Luigi embark on a mission on behalf of Princess Toadstool to stop Bowser and his children\u2014the Koopalings\u2014from terrorizing the kings of seven regions in the Mushroom World. The Koopalings stole the kings' magic wands and transformed them into animals. Each region serves as a game world that is divided into stage levels, and an eighth region is included as the final world, Dark Land. The eight worlds feature distinct visual themes; for example, the second world, \"Desert Land\", contains sand-covered levels with pyramids, while the levels in the fourth world, \"Giant Land\", are populated with obstacles and enemies four times as large as other worlds.\n\nSuper Mario Bros. 3 introduced several suits to alter the character's abilities. For example, Mario can use the \"Frog Suit\" to swim more easily in water, but will move more slowly on land. The player navigates through the game via two game screens: an overworld map and a level playfield. The overworld map displays an overhead representation of the current world and has several paths leading from the world's entrance to a castle. Paths connect to action panels, fortresses and other map icons, and allow players to take different routes to reach the world's goal. Moving the on-screen character to an action panel or fortress will allow access to that level's playfield, a linear stage populated with obstacles and enemies. The majority of the game takes place in these levels, with the player traversing the stage by running, jumping, flying, swimming, and dodging or defeating enemies.\n\nSuper Mario Bros. 3 featured a world map that would be seen again in future Mario titles. Completing stages allows the player to progress through the overworld map and to succeeding worlds. Each world features a final stage with a boss to defeat; the first seven worlds feature an airship controlled by one of the Koopalings, while the player battles Bowser in his castle in the eighth world. Other map icons include large boulders and locked doors that impede paths, and special minigames that provide the player a chance to obtain special power-ups. A new feature is the player's option to save power-up items obtained in minigames for later use via a menu accessible at the overworld screen.This is the only place power-ups can be given to small characters, as in levels this simply makes them bigger.\n\nIn addition to special items from previous games like the \"Super Mushroom\" and \"Fire Flower\", new power-ups are introduced that provide the player with new options. Items vary in scarcity; for example, 1-up mushrooms, which give the player an extra attempt to play after the character dies, are abundant, while the \"magic whistle\", which enables the player to bypass certain worlds, only appears three times in the game. The \"Super Leaf\" and \"Tanooki Suit\" give Mario racoon and tanuki appearances respectively and allow him to fly or turn into stone to avoid enemies for a short period of time. Changing into a Tanooki statue while jumping results in Mario pounding the ground and killing whatever enemies are directly under him; this marks the first appearance of the \"ground pound\" move in a Mario game, a move that was later given to Yoshi in Super Mario World 2: Yoshi's Island and that later became part of Mario's standard move set in Super Mario 64 and subsequent games. Other suits include the \"Frog Suit\", which increases the character's underwater speed and agility and improves jumping height on land, and the \"Hammer Suit\", which gives Mario the appearance of the Hammer Bro. enemy and allows him to throw hammers at enemies and resist fire attacks. Some abilities provided by the suits are intended to give the player more navigation options in stages. For example, the Frog Suit allows the player to access underwater pipes, and the Tanooki Suit can temporarily transform Mario into an invincible statue, reducing the threat of damage. Additionally in level 5-3 Mario can gain a power-up known as the Kuribo's boot or Goomba's Shoe. This item allows him to stomp on spiked enemies, munchers, which are common in levels with it, and terrain. However, Mario loses this item at the end of the level, as it is an item which Mario carries, rather than an intrinsic power-up.\n\nSuper Mario Bros. 3 includes a multiplayer option which allows two players to cooperatively play the game by taking turns at navigating the overworld map and accessing stage levels; the first player controls Mario, while the other controls Luigi. Through this mode, players can also access several minigames, including a remake of the original Mario Bros. arcade game, in which one player has the opportunity to steal the cards of another but may lose their turn if they lose the minigame.", "genre": [2], "company": 1}}, {"pk": 5, "model": "videogames.game", "fields": {"name": "Bomberman", "people": [5], "release_date": "1989-01-01T00:00:00Z", "copies": 1000000, "system": 1, "gamefaq": "http://www.gamefaqs.com/nes/563390-bomberman", "synopsis": "Bomberman is an arcade-style maze-based video game developed by Hudson Soft. The original home computer game Bomber Man was released in 1983 for the MSX, NEC PC-8801, NEC PC-6001, Sharp MZ-700 and FM-7 in Japan, and for the MSX and ZX Spectrum in Europe (in the UK as Eric and the Floaters, and in Spain as Don Pepe Y Los Globos). It had a Japanese sequel known as 3-D Bomberman, in which Bomberman navigates the maze in the first-person. In 1985, Bomberman was released for the Family Computer. It spawned the long-running series with many installments building on its basic gameplay. The earlier game Warp & Warp by Namco is most likely the inspiration for the Bomberman gameplay.\n\nIn the Famicom/NES release, the eponymous character, Bomberman, is a robot that must find his way through a maze while avoiding enemies. Doors leading to further maze rooms are found under rocks, which Bomberman must destroy with bombs. There are items that can help improve Bomberman's bombs, such as the Fire ability, which improves the blast range of his bombs. Bomberman will turn human when he escapes and reaches the surface. Each game has 50 levels in total. The original home computer games are more basic and have some different rules.", "genre": [5, 6], "company": 4}}, {"pk": 6, "model": "videogames.game", "fields": {"name": "Super Street Fighter II", "people": [6], "release_date": "1994-05-25T00:00:00Z", "copies": 6300000, "system": 2, "gamefaq": "http://www.gamefaqs.com/snes/588757-super-street-fighter-ii", "synopsis": "Super Street Fighter II: The New Challengers is a head-to-head fighting game produced by Capcom originally released as a coin-operated arcade game in 1993. It is the fourth game in the Street Fighter II sub-series of Street Fighter games, following Street Fighter II: Hyper Fighting. In addition to refining and balancing the existing character roster from the previous installments, Super Street Fighter II also introduced four new characters. It was also the first game to be developed on Capcom's CP System II hardware, which permitted more sophisticated graphics and audio over the original CP System hardware, used by the previous versions of Street Fighter II.\n\nAll of the stages, face artwork and even the HUD feature all new graphics. The original opening sequence which featured two generic characters fighting in front of a crowd was replaced by a new opening featuring lead character Ryu launching a Hadoken projectile towards the screen. New animation frames were drawn for all the characters for their basic and special moves, as well as new victory poses. For example, all four boss characters now have new animation frames for basic attacks (Vega and Sagat did not have jumping punches in the previous games, while many of their standing and crouching attacks shared the same animation; Bison and Balrog had new drawn artwork), while Chun-Li now has a new animation for her Kikoken projectile technique. The music and sound effects were also remade and a new announcer was introduced, who also recorded new voice samples for some of the characters (Ken, Guile and Sagat).\n\nSuper Street Fighter II features a new scoring system which kept track of combos, first attacks, reversals and recoveries made by the player and awards the player with bonus points by performing such deeds. Each character now has available eight color schemes, depending on which button is pressed to select the character. Players could choose between a character's original color scheme, their color schemes from Champion Edition and Hyper Fighting, or one of five new color schemes featured in the game. The faster game speed introduced in Hyper Fighting was reduced back to the same speed level as Champion Edition. The faster game speed would return in Super Turbo.\n\nIn addition to the standard single and two-player game modes, Super Street Fighter II also feature an exclusive eight-player single-elimination tournament mode dubbed Tournament Battle. This mode is only available when four Super Street Fighter II arcade game cabinets are connected together and all of them configured to \"Tournament\" mode. The Tournament Mode consists of three sets of four simultaneous matches: the initial eliminations, the semifinals and the finals. After the first set is over, the players are re-arranged accordingly based on their position: the winning players sent to either of the first two cabinets, whereas losing players sent to one of the other two. In the finals, the players competing for first place are sent to the first cabinet, the third-place players to the second cabinet, and so on.\n\nAll twelve characters from the previous Street Fighter II games returned, with many having their basic and special techniques refined to adjust the overall balance. Some of the characters received new special techniques such as Ryu's Fire Had\u014dken (renamed Shakunetsu Had\u014dken in the Street Fighter Alpha series), a flaming Shoryuken for Ken, Zangief's Atomic Buster and M. Bison's Devil Reverse.\n\nFour new characters were also introduced to the game in addition to the returning roster, expanding the number of playable characters to sixteen. The new characters include T. Hawk, an indigenous warrior from Mexico whose ancestral homeland was taken from him by Shadaloo; Cammy, a 19-year-old female special forces agent from England with a mysterious past tied to M. Bison; Fei Long, a Hong Kong movie star who wishes to test his martial arts against real opponents; and Dee Jay, a kickboxing musician from Jamaica seeking inspiration for his next song.\n\nThe number of opponents fought in the single-player mode against the computer remained unchanged. As in the previous game, the player fought against eight initial opponents, followed by the Four Devas (Balrog, Vega, Sagat, and M. Bison). Because of this, not all the characters featured in the game would be fought by the player. The bonus rounds from previous versions were still featured in the game.", "genre": [7], "company": 5}}, {"pk": 7, "model": "videogames.game", "fields": {"name": "The Legend of Zelda: A Link to the Past", "people": [4], "release_date": "1992-04-21T00:00:00Z", "copies": 4610000, "system": 4, "gamefaq": "http://www.gamefaqs.com/snes/588436-the-legend-of-zelda-a-link-to-the-past/faqs", "synopsis": "The Legend of Zelda: A Link to the Past, known as Zelda no Densetsu: Kamigami no Triforce in Japan, is a 2D action-adventure video game developed and published by Nintendo for the Super Nintendo Entertainment System video game console. It is the third installment in The Legend of Zelda series and was released in 1991 in Japan and 1992 in North America and Europe. Shigeru Miyamoto and his team were solely responsible for this game's development.\n\nThe plot of A Link to the Past focuses on Link as he travels on a journey to save Hyrule, defeat Ganon and rescue the seven descendants of the Sages. A Link to the Past uses a 3/4 top-down perspective similar to that of the original The Legend of Zelda, dropping the side scrolling elements of Zelda II: The Adventure of Link. A Link to the Past introduced elements to the series that are still commonplace today, such as the concept of an alternate or parallel world, the Master Sword and other new weapons and items.\n\nInstead of continuing to use the side-scrolling perspective introduced to the series by Zelda II: The Adventure of Link, A Link to the Past reverts to an overhead perspective similar to that of the original. While A Link to the Past still uses mechanics and concepts from the original game, it also introduces new elements and innovations. For instance, arrows are now separate items, as bombs are in the original, instead of using a Rupee to fire an arrow. A Link to the Past also takes concepts from The Adventure of Link, such as the magic meter, which is used by items such as the Lamp. Control of Link is more flexible than in previous games, as he can walk diagonally and can run with the aid of the Pegasus Boots (Pegasus Shoes in the GBA version). Link's sword attack was improved to swing sideways instead of merely stabbing forward; this gives his sword a broader range and makes combat easier. Link swings his sword as the default attack in future Zelda games, although stabbing is also possible in the later 3D incarnations.\n\nRecurring items and techniques were introduced for the first time in A Link to the Past, such as the Hookshot, the Master Sword, the Spin Attack technique, the Ocarina, and the Pegasus Boots. Heart Containers that increase the player's maximum health (hit points) in the earlier two games are present, but many are split into \"Pieces of Heart\", four of which make up one Heart Container. Most of them are well hidden, adding replay value to the game. All dungeons are multi-level, requiring Link to walk between floors and sometimes fall through holes to land on lower levels.\n\nA Link to the Past is the first appearance of what would subsequently become a major Zelda trademark: the existence of two parallel worlds between which the player travels. The first, called the Light World, is the ordinary Hyrule where Link grew up with his uncle. The second is what was once the Sacred Realm, but became the Dark World when Ganon acquired the Triforce. The Dark World is a corrupted version of Hyrule; the water is a dark, unpleasant blue-green color, the grass is dead, skulls replace rocks and pots, and trees have faces. People change forms in the Dark World based on their nature; without an item to prevent it (in this case, the Moon Pearl), Link turns into a pink rabbit. Each location in the Light World corresponds to a similar location in the Dark World, usually with a similar physical structure but an opposite nature (e.g. a desert in the Light World corresponds to a swamp in the Dark World, a peaceful village in the Light World corresponds to a dilapidated town of thieves in the Dark World).\n\nLink can travel from the Dark World to the Light World at almost any outside location by using the Magic Mirror, and can travel back to the Dark World again from the same location using a temporary portal left behind on the map at the point where he reappears in the Light World. Otherwise, Link must use hidden warp locations throughout the Light World to travel from the Light World to the Dark World. Travel between worlds allows for puzzles in A Link to the Past that exploit structural differences between the Light and Dark Worlds, as Link may travel to otherwise inaccessible areas in one world by warping from parallel but accessible locations in the other world.\n\nA Link to the Past is a prequel to the original The Legend of Zelda and Zelda II: The Adventure of Link. At the beginning of the game, a young boy named Link is awakened by a telepathic message from Princess Zelda, who says that she is locked in the dungeon of nearby Hyrule Castle. As the message closes, Link finds his uncle ready for battle, telling Link to remain in bed. After his uncle leaves, however, Link ignores his uncle's command and follows him to the dungeons under Hyrule Castle. When he arrives, he finds his uncle mortally wounded. Link's uncle tells Link to rescue Princess Zelda from her prison, giving him his sword and shield. Link navigates the castle and rescues Zelda from her cell, and the two escape into a secret passage through the sewers that leads to a sanctuary.\n\nLink is told by a man in the sanctuary that Agahnim, a wizard who has usurped the throne, is planning to break a seal made hundreds of years ago by the Seven Sages. The seal was placed to imprison a dark wizard named Ganon in the Dark World, a near-mirror of Hyrule which was once known as the Sacred Realm before Ganon invaded it, obtained the legendary Triforce held there, and used its power to turn the realm into a land of darkness. Agahnim intends to break the seal by sending the descendants of the Seven Sages who made the seal into the Dark World. The only thing that can defeat Agahnim is the Master Sword, a sword forged to combat evil. To prove that he is worthy to wield it, Link needs three magic pendants, hidden in dungeons guarded by mythical defenders. On his way to retrieve the first, he meets an elder, Sahasrahla, who becomes Link's mentor offering hints and advice at key stages of the journey. After retrieving the pendants, Link takes them to the resting place of the Master Sword. As Link draws the sword from its pedestal, Zelda telepathically calls him to the Sanctuary, informing him that soldiers of Hyrule Castle have arrived. Link arrives at the Sanctuary moments after the soldiers have vacated, where he learns from the dying Sanctuary keeper that Zelda has been taken to Hyrule Castle. Link goes to rescue her but arrives too late; Agahnim sends Zelda to the Dark World. Link then faces Agahnim in battle and defeats him, but Agahnim's last act is to send Link to the Dark World as well.\n\nTo save Hyrule, Link is required to rescue the seven descendants of the Seven Sages from dungeons scattered across the Dark World. Once the seven maidens are freed, they use their power to break the barrier around Ganon's Tower, where Link faces Agahnim, who creates two ghostly specters each as powerful as he is. After Link defeats Agahnim for a second time, Ganon rises up from Agahnim's body, turns into a bat, and flies away. Link chases him, finally confronting him inside the Pyramid of Power at the center of the Dark World. After a battle resulting in Ganon's demise, Link touches the Triforce and restores both the Dark World and Hyrule to their state before Ganon intervened.", "genre": [8], "company": 1}}, {"pk": 8, "model": "videogames.game", "fields": {"name": "Donkey Kong Country", "people": [7], "release_date": "1994-11-21T00:00:00Z", "copies": 9300000, "system": 4, "gamefaq": "http://www.gamefaqs.com/snes/588282-donkey-kong-country", "synopsis": "Donkey Kong Country is a platform game where players must complete forty different side-scrolling levels and recover the Kongs' banana hoard, which has been stolen by the Kremlings. Each level is uniquely themed and consists of varying tasks such as swimming, riding in mine carts, launching out of barrel cannons, or swinging from vine to vine. Players lose a life if they get hit by any enemy or fall off the screen. To defeat an enemy, players can either execute a roll, jump or groundslam (a move reserved only for Donkey Kong). However, some enemies cannot be taken down like this, so the player must throw a barrel or use the assistance of an animal. Enemies vary in difficulty, usually becoming tougher to take down as the game progresses. When the player has lost all their lives, the game is over. However, the player can gain additional lives by collecting items scattered throughout the levels, including bananas; golden letters that spell out K\u2013O\u2013N\u2013G; extra life balloons; and golden animal tokens that lead to bonus levels. There are also many secret passages that can lead to bonus games where the player can earn additional lives or other items.\n\nPlayers of Donkey Kong Country control one of two characters: Donkey Kong or his nephew Diddy. The player can switch between characters if they are both on the screen. Donkey is the larger and stronger of the two, and can defeat enemies more easily. Diddy is faster and more agile, but not as powerful. In several levels, players can gain assistance from various animals, who are found by breaking open crates. These helpers include Rambi the Rhino, Expresso the Ostrich, Enguarde the Swordfish, Winky the Frog, and Squawks the Parrot. Each animal can be found in an appropriately themed level: for example, Enguarde can only be found underwater, and Squawks will be found in caves. Some animals can also give players access to bonus games.\n\nThe game offers single-player and multiplayer game modes. Multiplayer allows two players to play alternatively in one of two different modes: the competitive \"Contest\" mode or the cooperative \"Team\" mode. In Contest mode, each player controls a different set of Kongs and take turns playing each level as quickly as possible; the objective is to complete the most levels in the fastest time. In Team mode, each player takes the role of one of the two Kongs and play as a tag team: the active player's Kong will control the progression of the two players while the other player is dormant; the other player takes control if the active player loses his Kong from damage or if the active decides to switch out.\n\nDonkey Kong Country uses a series of map screens to track the players' progress. Between each level, players control their character on the map screen, navigating to the next level they want to play. Each level on the map is marked with an icon: unfinished levels are marked by Kremlings (the game's main enemy), while friendly areas are marked by members of the Kong family. Every individual world map screen has one boss enemy at the end of the course, which must be defeated to travel back to the main map screen of the whole island. It is possible to access previous world maps without defeating the boss by finding Funky Kong and borrowing his barrel plane. Players use this ability to select the world from the main screen, then the level within it. During play the game interface hides most game-related information, such as the number of bananas, letters, and animal tokens collected, as well as the number of lives remaining. When an item is collected, the relevant information briefly appears on the screen.\n\nIn Donkey Kong Country, Donkey Kong, together with his nephew and sidekick Diddy Kong, must recover his stolen hoard of bananas from King K. Rool and the Kremlings. Upon investigating the empty \"Kong's Banana Hoard\", located directly underneath his home in the Kongo Jungle, Donkey Kong embarks on an adventure throughout his native Donkey Kong Island. While collecting bananas on the island's vastly different regions, Donkey Kong must defeat many enemies, including the reptilian Kremlings, and other hazardous creatures native to the island. Aiding him in his quest are some of the other Kongs: Diddy accompanies Donkey Kong on his quest, Cranky provides hints (and comic relief), Candy operates the island's save points, and Funky offers a means of transportation around the island. Also assisting Donkey Kong at times are various 'animal buddies' (Rambi the rhino, Expresso the ostrich, Enguarde the swordfish, Winky the frog, and Squawks the parrot), each with their own unique abilities. After progressing through the island's different areas, Donkey Kong ultimately arrives at a pirate ship called Gangplank Galleon, where Donkey Kong's nemesis and the leader of the Kremlings, King K. Rool, awaits with Donkey Kong's Banana Hoard. Upon his defeat, the game ends with a final shot of Donkey Kong's Banana Hoard restored to its former glory, filled with bananas once again.", "genre": [2], "company": 6}}, {"pk": 9, "model": "videogames.game", "fields": {"name": "Mortal Kombat II", "people": [8], "release_date": "1994-09-09T00:00:00Z", "copies": 1780000, "system": 2, "gamefaq": "http://www.gamefaqs.com/genesis/563224-mortal-kombat-ii/faqs", "synopsis": "The gameplay system of Mortal Kombat II is an improved version of that from the original Mortal Kombat. There are several changes in standard moves: a crouching punch and turnaround kick were added, low and high kicks had greater differentiation (be they crouching or standing up), the roundhouse kick was made more powerful (knocking an opponent across the screen, like the game's uppercut), and it is easier to perform a combo due to reduced recovery times for attacks. Returning characters also gained new special moves, including some to be used in mid-air, and the game plays almost twice as fast as the original. However, all characters in the game still share generic attributes (such as speed, power and jump height) and all normal moves are also the same between each character.\n\nAs with its predecessor, matches are divided into rounds, and the first player to win two rounds by fully depleting their opponent's life bar is the winner; at this point the losing character will become dazed and the winner is given the opportunity of using a finishing move. Mortal Kombat II lacks the \"Test Your Might\" bonus games and point system from the first game, in favor of a consecutive win tally where wins are represented by icons.\n\nThe game marked the introduction of multiple Fatalities (post-match animations of the victorious characters executing their defeated foes) as well as additional, non-lethal finishing moves to the franchise: Babalities (turning the opponent into a crying baby), Friendships (a non-malicious interaction, such as dancing or giving a gift to the defeated opponent) and additional stage-specific Fatalities (the winner uppercutting his or her opponent into an abyss below, spikes in the ceiling, or a pool of acid in the background). Finishing moves, however, cannot be performed against the defeated bosses and secret characters who do not have finishing moves.te 1]\n\nPlotit]\nFollowing his failure to defeat Liu Kang in the Mortal Kombat tournament, the evil Shang Tsung begs his master Shao Kahn, supreme ruler of Outworld and the surrounding kingdoms, to spare his life. He tells Shao Kahn that if they hold it in Outworld the invitation for the next Mortal Kombat cannot be turned down, and the Earthrealm warriors must attend. Kahn agrees to this plan and also restores Shang Tsung's youth. He then extends the invitation to the thunder god and Earthrealm's protector, Raiden, who gathers his warriors and takes them into Outworld. The new tournament is much more dangerous, as Shao Kahn has the home field advantage, and an Outworld victory will allow him to subdue Earthrealm.\n\nAccording to the Mortal Kombat series' canon, Liu Kang won this tournament as well, defeating Shao Kahn and his bodyguard Kintaro. The game's story mode can be also finished using any other playable character, resulting in different non-canonical endings for each of them.", "genre": [7], "company": 7}}, {"pk": 10, "model": "videogames.game", "fields": {"name": "John Madden Football '92", "people": [11], "release_date": "1992-01-01T00:00:00Z", "copies": 1700000, "system": 2, "gamefaq": "http://www.gamefaqs.com/genesis/366816-john-madden-football-92", "synopsis": "John Madden Football '92, released as Pro Football in Japan, is a football video game. It features John Madden on the cover. Madden Football '92 is the sequel to John Madden Football. New aspects of this version include instant replay, two-player cooperative play, quarterback injuries, review and overturn pass interference calls, and more audibles. There are also new play modes, such as pre-season games, regular season games, playoffs, and sudden death. Quarter lengths have been adjusted in this version to be set at 5, 10, or 15 minutes. As in previous versions of the video game, there are no NFL or NFLPA licenses for authentic teams, player names, and stadia. Teams are organized by city name and colors.\n\nMegaTech gave the game 95% and a Hyper Game Award, saying that \"you'll enjoy it, even if you don't care much for the sport\". In October 1992, Mega placed the game at #1 in their Top Mega Games of All Time.\n\nJohn Madden Football '92 had one of the most popular in-jokes in a Madden game, the ambulance. Whenever a player on the field was injured, it would come speeding onto the field, indiscriminately running over any player that happened to be in its path. Fans have repeatedly called for the return of this humorous feature. Its last appearance was Madden NFL 2001.", "genre": [10], "company": 8}}, {"pk": 11, "model": "videogames.game", "fields": {"name": "Final Fantasy", "people": [9], "release_date": "1987-12-17T00:00:00Z", "copies": 1990000, "system": 1, "gamefaq": "http://www.gamefaqs.com/nes/522595-final-fantasy/faqs", "synopsis": "Final Fantasy is a fantasy role-playing video game created by Hironobu Sakaguchi, developed and first published in Japan by Square (now Square Enix) in 1987. It is the first game in Square's Final Fantasy series. Originally released for the Family Computer/NES, Final Fantasy was remade for several video game consoles and is frequently packaged with Final Fantasy II in video game collections.\n\nThe story follows four youths called the Light Warriors, who each carry one of their world's four elemental orbs which have been darkened by the four Elemental Fiends. Together, they quest to defeat these evil forces, restore light to the orbs, and save their world.\n\nThe game received generally positive reviews, and it is regarded as one of the most influential and successful role-playing games on the Nintendo Entertainment System, playing a major role in popularizing the genre. Critical praise focused on the game's graphics, while criticism targeted the time spent wandering in search of random battle encounters to raise the player's experience level. By March 2003, all versions of Final Fantasy have sold a combined total of two million copies worldwide.\n\nFinal Fantasy has four basic game modes: an overworld map, town and dungeon maps, a battle screen, and a menu screen. The overworld map is a scaled-down version of the game's fictional world, which the player uses to direct characters to various locations. The primary means of travel across the overworld is by foot, but a canoe, a ship, and an airship become available as the player progresses. With the exception of some battles in preset locations or with bosses, enemies are randomly encountered on field maps and on the overworld map when traveling by foot, canoe, or ship, and must either be fought or fled from.\n\nThe game's plot develops as the player progresses through towns and dungeons. Some town citizens offer helpful information, while others own shops that sell items or equipment. Dungeons appear in areas that include forests, caves, mountains, swamps, underwater caverns and buildings. Dungeons often have treasure chests containing rare items that are not available in most stores. The game's menu screen allows the player to keep track of their experience points and levels, to choose which equipment their characters wield, and to use items and magic. A character's most basic attribute is their level, which can range from one to fifty, and is determined by the character's amount of experience. Gaining a level increases the character's attributes, such as their maximum hit points (HP), which represents a character's remaining health; a character dies when they reach zero HP. Characters gain experience points by winning battles.\n\nCombat in Final Fantasy is menu-based: the player selects an action from a list of options such as Fight, Magic, and Item. Battles are turn-based and continue until either side flees or is defeated. If the player's party wins, each character gains experience and gold; if it flees, it is returned to the map screen; and if every character in the party dies, the game is over. Final Fantasy was the first game to show the player's characters on the right side of the screen and the enemies on the left side of the screen, as opposed to a first-person view.\n\nThe player begins the game by choosing four characters to form a party, and is locked into that choice for the duration of the game. Each character has an \"occupation\", or character class, with different attributes and abilities that are either innate or can be acquired. There are six classes: Fighter, Thief, Black Belt, Red Mage, White Mage, and Black Mage. Later in the game, the player has the option to have each character undergo a \"class upgrade\"; whereby their sprite portraits mature, and some classes gain the ability to use weapons and magic that they previously could not use. The game contains a variety of weapons, armor, and items that can be bought or found to make the characters more powerful in combat. Each character has eight inventory slots, with four to hold weapons and four to hold armor. Each character class has restrictions on what weapons and armor it may use. Some weapons and armor are magical; if used during combat, they will cast spells. Other magical artifacts provide protection, such as from certain spells. At shops, the characters can buy items to help themselves recover while they are traveling. Items available include potions, which heal the characters or remove ailments like poison or petrification; Tents and Cabins, which can be used on the world map to heal the player and optionally save the game; and Houses, which also recovers the party's magic after saving. Special items may be gained by doing quests.\n\nMagic is a common ability in the game, and several character classes use it. Spells are divided into two groups: White, which is defensive and healing, and Black, which is debilitating and destructive. Magic can be bought from White and Black magic shops and assigned to characters whose occupation allows them to use it. Spells are classified by a level between one and eight, with four White and four Black spells per level. Each character may learn only three spells per level. White and Black Mages can potentially learn any of their respective spells, while Red Mages, the Ninja and the Knight cannot use most high-level magic.\n\nFinal Fantasy takes place in a fantasy world with three large continents. The elemental powers on this world are determined by the state of four orbs, each governing one of the four classical elements: earth, fire, water, and wind. The world of Final Fantasy is inhabited by numerous races, including Humans, Elves, Dwarves, Mermaids, Dragons, and Robots. Most non-Human races have only one \"town\" in the game, although individuals are sometimes found in Human towns or other areas as well. Four hundred years prior to the start of the game, the Lefeinish people, who used the Power of Wind to craft airships and a giant space station (called the Floating Castle in the game), watched their country decline as the Wind Orb went dark. Two hundred years later, violent storms sank a massive shrine that served as the center of an ocean-based civilization, and the Water Orb went dark. The Earth Orb and the Fire Orb followed, plaguing the earth with raging wildfires, and devastating the agricultural town of Melmond as the plains and vegetation decayed. Some time later, the sage Lukahn tells of a prophecy that four Light Warriors will come to save the world in a time of darkness.\n\nThe game begins with the appearance of the four youthful Light Warriors, the heroes of the story, who each carry one of the darkened Orbs. Initially, the Light Warriors have access to the Kingdom of Coneria and the ruined Temple of Fiends. After the Warriors rescue Princess Sara from the evil knight Garland, the King of Coneria builds a bridge that enables the Light Warriors' passage east to the town of Pravoka. There the Light Warriors liberate the town from Bikke and his band of pirates, and acquire the pirates' ship for their own use. The Warriors now embark on a chain of delivery quests on the shores of the Aldi Sea. First they retrieve a stolen crown from the Marsh Cave for a king in a ruined castle, who turns out to be the dark elf Astos. Defeating him gains them the Crystal, which they return to the blind witch Matoya in exchange for a herb needed to awaken the Elf Prince cursed by Astos. The Elf Prince gives the Light Warriors the Mystic Key, which is capable of unlocking any door. The key unlocks a storage room in Coneria Castle which holds TNT. Nerrick, one of the Dwarves of the Cave of Dwarf/Dwarf Village, destroys a small isthmus using the TNT, connecting the Aldi Sea to the outside world.\n\nAfter visiting the near-ruined town of Melmond, the Light Warriors go to the Earth Cave to defeat a vampire and retrieve the Star Ruby, which gains passage to Sage Sarda's cave. With Sarda's Rod, the Warriors venture deeper into the Earth Cave and destroy the Earth Fiend, Lich. The Light Warriors then obtain a canoe and enter Gurgu Volcano and defeat the Fire Fiend, Kary. The Floater from the nearby Ice Cave allows them to raise an airship to reach the northern continents. After they prove their courage by retrieving the Rat's Tail from the Castle of Ordeal, the King of the Dragons, Bahamut, promotes each Light Warrior. A kind gesture is repaid by a fairy, receiving special liquid that produces oxygen, and the Warriors use it to help defeat the Water Fiend, Kraken, in the Sunken Shrine. They also recover a Slab, which allows a linguist named Dr. Unne to teach them the Lefeinish language. The Lefeinish give the Light Warriors access to the Floating Castle that Tiamat, the Wind Fiend, has taken over. With the Four Fiends defeated and the Orbs restored, a portal opens in the Temple of Fiends which takes them 2000 years into the past. There the Warriors discover that the Four Fiends sent Garland (now the archdemon Chaos) back in time and he sent the Fiends to the future to do so, creating a time loop by which he could live forever. The Light Warriors defeat Chaos, thus ending the paradox, and return home. By ending the paradox, however, the Light Warriors have changed the future to one where their heroic deeds remain unknown outside of legend.", "genre": [9], "company": 9}}, {"pk": 12, "model": "videogames.game", "fields": {"name": "The Lion King", "people": [10], "release_date": "1994-12-08T00:00:00Z", "copies": 1270000, "system": 2, "gamefaq": "http://www.gamefaqs.com/sms/570292-the-lion-king/faqs", "synopsis": "The game is a side-scrolling platform game, with the controlled character having to leap, climb, run and descend from platform to platform. There is an exception during the level The Stampede, where Simba is running towards (or in the Game Boy version, running with the camera looking straight down on top of him, while the Game Gear version is a side scrolling platformer like the other stages) the camera dodging wildebeest and leaping over rocks.\n\nIn most versions of the game two bars appear on the HUD. To the left is the roar meter, which must be fully charged for Simba's roar to be effective. To the right is the health bar which decreases when Simba is hurt. At the bottom left of the screen is a counter showing how many lives Simba has remaining. Bugs of various shapes and sizes can be collected, restoring health or granting bonuses. Some rare health-damaging bugs also exist.\n\nThe player controls Simba (first as a cub, then later as an adult) in the main levels and either Timon or Pumbaa in the bonus levels.\n\nCub Simba can roar, jump on enemies and roll. All three are used to combat enemies and have different effects. Rolling can also be used to access hidden areas and dodge attacks.\n\nAdult Simba is stronger, can slash and maul, and he can throw enemies to the side instead of just jumping on them. He also has a more formidable roar, but can no longer roll.\n\nDuring the course of the game there are two bonus stages. In the first bonus stage, players control Pumbaa, eating bugs dropped by Timon without letting any good ones touch the floor. In the second bonus stage, players control Timon, searching the area for bugs within a time limit. Both will end prematurely if they come into contact with a bad bug (a spider).\n\nThe sprites and backgrounds were drawn by Disney animators themselves at Walt Disney Feature Animation, and the music was adapted from songs and orchestrations in the soundtrack.\n\nThe Sega Genesis version of the game does not have background vocals unlike the Super Nintendo version, but the Super Nintendo version has less background particles than the Genesis version. This is evident in the Elephant Graveyard and Stampede levels, as well as on the title screen. The MS-DOS version contains background vocals when the game is played with a SoundBlaster sound card. The vocals are missing when the game is using an AdLib sound card due to AdLib's inability to play digital sound.\n\nThe Windows 3.1 version relied on the WinG graphics engine, but a series of Compaq Presarios were not tested with WinG, which caused the game to crash while loading. The crashes caused game developers to be suspicious of Windows as a viable platform and instead many stuck with MS-DOS. To prevent further hardware/software compatibility issues, Direct X was created. This also led to the Windows 95 port of Doom to try to regain developers' faith in Windows.\n\nThe Lion King received mostly positive reviews, including an 8/10 from Electronic Gaming Monthly, and sold well. Gameplayers awarded the game Sega Genesis Game of the Year over Sonic the Hedgehog 3 and Sonic and Knuckles and wrote on their November 1994 issue that \"even on the easy setting, the game is hard for an experienced player\".", "genre": [2], "company": 10}}, {"pk": 1, "model": "videogames.person", "fields": {"name": "Yoshio Sakamoto", "DOB": "1959-07-23T00:00:00Z", "residence": "Kyoto, Japan", "twitter": "451874066975059968", "companies": [1], "description": "A key member in the development of the Metroid series, as he was its co-creator. Sakamoto grew up with Nintendo toys, which he noted to be inventive and occasionally 'strange'. The company hired him in 1982, when he came out of art college. His first projects at Nintendo were the design of pixel art for the Game & Watch handheld Donkey Kong, and the arcade game Donkey Kong Jr. He turned to the Nintendo Entertainment System afterward, for which he designed the games Wrecking Crew, Balloon Fight and Gumshoe. Sakamoto co-directed and created characters for Metroid (under the aliases 'Yamamoto' and 'Shikamoto'), and was a game designer on Kid Icarus. He also directed and wrote Super Metroid, Metroid Fusion, Metroid: Zero Mission, and Metroid: Other M. Sakamoto's design work is also found in various other Nintendo titles and franchises, including Balloon Kid (1990), Kaeru No Tame Ni Kane Wa Naru (1992, Japan only), Teleroboxer (1995), Galactic Pinball (1995), Game & Watch Gallery (1997), Wario Land 4 (2001), Super Smash Bros. Melee (2001), Wario World (2003), WarioWare, Inc.: Mega Microgame$! (2003), WarioWare: Smooth Moves (2006) and Card Hero DS (2008). He is one of the most prominent members of Nintendo's former Research and Development 1 division."}}, {"pk": 2, "model": "videogames.person", "fields": {"name": "Naoto Oshima", "DOB": "1964-01-26T00:00:00Z", "residence": "Japan", "twitter": "", "companies": [2], "description": "Naoto Oshima is a Japanese national and former Sega employee who designed and created the characters of Sonic the Hedgehog and Dr. Eggman. However, Yuji Naka and Hirokazu Yasuhara often get the credit for his work on the Sonic series, because of their close association with the Sonic name. \u014cshima gained renown at Sega's Sonic Team for creating characters and playing integral roles in the development of games like Phantasy Star, Sonic CD, Nights into Dreams..., and Sonic Adventure.\n\nAfter leaving Sonic Team, he formed an independent game company called Artoon. Since then he has stepped down from the position of president in the company and was replaced by Yutaka Sugano. There he went on to work on such games as Pinobee and Blinx: The Time Sweeper, and in 2004, the sequel to Blinx, Blinx 2: Masters of Time & Space. In 2010, Artoon was absorbed into AQ Interactive.\n\nHe is occasionally credited under the nickname \"Big Island\" (or \"Bigisland\"), which is a literal translation of his family name.\n\nIn 2010, he and other key members of Artoon left to form Arzest."}}, {"pk": 3, "model": "videogames.person", "fields": {"name": "Andy Gavin", "DOB": "1970-06-11T00:00:00Z", "residence": "Santa Monica, California", "twitter": "451877718234112000", "companies": [3], "description": "Andrew Scott Gavin aka Andy Gavin (born 1970) is an American video game programmer, designer, entrepreneur, and novelist. In the video game industry he is notable for co-founding the video game company Naughty Dog with childhood friend Jason Rubin in 1986. Naughty Dog's games (most famously, Jak & Daxter and Crash Bandicoot) are known for their combination of exceptional technology, sharp graphics, and polished gameplay. The sophistication of Naughty Dog technology is often credited to Gavin's background in LISP at the MIT Artificial Intelligence Laboratory.\n\nGavin earned his Bachelor of Science degree in Neurobiological Science from Haverford College. Gavin studied for his Ph.D. at the Massachusetts Institute of Technology, where he carried out research for the Jet Propulsion Laboratory on the Mars Rover Vision Project, under his advisor Rod Brooks. While still a student, Gavin learned the computer programming language LISP. Influences from M.I.T. and his own work lead him to develop a number of custom programming languages that improved the quality of graphics, controls, sounds and artificial intelligence in Naughty Dog video games.\n\nGavin and Rubin sold their first video game, Math Jam, in 1985. In 1989, they sold Keef the Thief to Electronic Arts. In the early '90s, their fighting game, Way of the Warrior, led to a multi-title deal with Universal Interactive Studios. It was under the auspices of this Universal deal that they produced the multi-million selling Crash Bandicoot series from 1994 until 1999, and later segued into the successful Jak and Daxter series of games. At the end of 2000, Rubin and Gavin sold Naughty Dog to Sony Computer Entertainment America (SCEA). All in all, they created 14 Naughty Dog games including Math Jam (1985), Ski Crazed (1986), Dream Zone (1987), Keef the Thief (1989), Rings of Power (1991), Way of the Warrior (1994), Crash Bandicoot (1996), Crash Bandicoot 2: Cortex Strikes Back (1997), Crash Bandicoot 3: Warped (1998), Crash Team Racing (1999), Jak and Daxter: The Precursor Legacy (2001), Jak II (2003), Jak 3 (2004), and Jak X: Combat Racing (2006). Together these games have sold over 35 million units and generated over $1 billion in revenue.\n\nWhile at Naughty Dog, Gavin developed two LISP dialects for use in game development, GOOL (Game Object Oriented Lisp) and its successor GOAL (Game Oriented Assembly Lisp). These represented a departure from the mainstream in terms of language choice, and featured some innovations in design.\n\nShortly after leaving Naughty Dog in 2004, Gavin co-founded a new Internet startup called Flektor with his former business partner, Jason Rubin, and former HBO executive Jason R. Kay. In May 2007, the company was sold to Fox Interactive Media, which is a division of News Corp. Fox has described the company as: \u201ca next-generation Web site that provides users with a suite of Web-based tools to transform their photos and videos into dynamic slideshows, postcards, live interactive presentations and video mash-ups.\u201d In October 2007, Flektor partnered with its sister company, MySpace, and MTV to provide instant audience feedback via polls for the interactive MySpace / MTV Presidential Dialogues series with then-presidential candidate Senator Barack Obama.\n\nGavin left Fox Interactive Media in 2008. In 2009 he announced a return to the video game business with his Naughty Dog co-founder Jason Rubin. They have formed a new social game startup called Monkey Gods that is working on a new version of Snood along with a casual word game called MonkWerks .\n\nIn recent years Gavin has turned to novel writing. His first novel, the dark historical fantasy, The Darkening Dream, was published in December 2011. His second novel Untimed, which involves time travel, was released on December 19, 2012."}}, {"pk": 4, "model": "videogames.person", "fields": {"name": "Shigeru Miyamoto", "DOB": "1952-11-16T00:00:00Z", "residence": "Kyoto, Japan", "twitter": "", "companies": [1], "description": "Shigeru Miyamoto is a Japanese video game designer and producer. He is best known as the creator of some of the best-selling, most critically acclaimed, most enduring, and most influential games and franchises of all time.\n\nMiyamoto joined Nintendo in 1977, when the company was beginning its foray into video games and starting to abandon the playing cards it had made starting in 1889. His games have been seen on every Nintendo video game console, with his earliest work appearing on arcade machines. Franchises Miyamoto has created include Mario (the best-selling video game franchise of all time), Donkey Kong, The Legend of Zelda, Star Fox, F-Zero, Pikmin, and the Wii series. Noteworthy games include Super Mario Bros., one of the most famous sidescrolling platformers; Super Mario 64, an early example of 3D control schemes; The Legend of Zelda: Ocarina of Time, which is considered one of the greatest games ever made; and Wii Sports, the second best-selling game of all time. He currently manages the Nintendo Entertainment Analysis and Development branch, which handles many of Nintendo's top-selling titles.\n\nMiyamoto was born and raised in Kyoto Prefecture; the natural surroundings of Kyoto inspired much of Miyamoto's later work. Miyamoto was born in the Japanese town of Sonobe, a rural town northwest of Kyoto, on November 16, 1952. His parents were of \"modest means,\" and his father taught English. From an early age, Miyamoto began to explore the natural areas around his home. On one of these expeditions, Miyamoto came upon a cave, and, after days of hesitation, went inside. Miyamoto's expeditions into the Kyoto countryside inspired his later work, particularly The Legend of Zelda, a seminal video game.\n\nMiyamoto graduated from Kanazawa Municipal College of Industrial Arts with a degree in industrial design but no job lined up. He also had a love for manga and initially intended to become a professional manga artist before considering a career in video games, where the manga influence in his work would later be evident. The title that inspired him to enter the video game industry was the 1978 arcade hit Space Invaders. Western genre television shows had a major influence on Miyamoto.\n\n1977\u20131984: Arcade beginnings; Donkey Kong\n\nNintendo, a relatively small Japanese company, had traditionally sold playing cards and other novelties, although it had started to branch out into toys and games in the mid 1960s. Through a mutual friend, Miyamoto's father arranged an interview with Nintendo president Hiroshi Yamauchi. After showing some of his toy creations, Miyamoto was hired in 1977 as an apprentice in the planning department.\n\nMiyamoto went on to become the company's first artist. He helped create the art for the company's first original coin-operated arcade video game, Sheriff. He first helped the company develop a game with the 1980 release Radar Scope. The game achieved moderate success in Japan, but by 1981, Nintendo's efforts to break it into the North American video game market had failed, leaving the company with a large number of unsold units and on the verge of financial collapse. In an effort to keep the company afloat, Nintendo president Hiroshi Yamauchi decided to convert unsold Radar Scope units into a new arcade game. He tasked Miyamoto with the conversion (Miyamoto has said \"no-one else was available\" to do the work). Nintendo's head engineer, Gunpei Yokoi, supervised the project.\n\nMiyamoto imagined many characters and plot concepts, but eventually settled on a love triangle between a gorilla, a carpenter, and a girl. He meant to mirror the rivalry between comic characters Bluto and Popeye for the woman Olive Oyl, although Nintendo could not gain the rights to a Popeye adaptation. Bluto evolved into an ape, a form Miyamoto claimed was \"nothing too evil or repulsive\". This ape would be the pet of the main character, \"a funny, hang-loose kind of guy.\" Miyamoto also named \"Beauty and the Beast\" and the 1933 film King Kong as influences. Donkey Kong marked the first time that the formulation of a video game's storyline preceded the actual programming, rather than simply being appended as an afterthought. Miyamoto had high hopes for his new project, but lacked the technical skills to program it himself; instead, he conceived the game's concepts, then consulted technicians on whether they were possible. He wanted to make the characters different sizes, move in different manners, and react in various ways. However, Yokoi viewed Miyamoto's original design as too complex. Yokoi suggested using see-saws to catapult the hero across the screen; however, this proved too difficult to program. Miyamoto next thought of using sloped platforms and ladders for travel, with barrels for obstacles. When he asked that the game have multiple stages, the four-man programming team complained that he was essentially asking them to make the game repeat, but the team eventually successfully programmed the game. When the game was sent to Nintendo of America for testing, the sales manager hated it for being too different from the maze and shooter games common at the time. When American staffers began naming the characters, they settled on \"Pauline\" for the woman, after Polly James, wife of Nintendo's Redmond, Washington, warehouse manager, Don James. The playable character, initially \"Jumpman\", was eventually named for Mario Segale, the warehouse landlord. These character names were printed on the American cabinet art and used in promotional materials. The staff also pushed for an English name, and thus it received the title Donkey Kong.\n\nDonkey Kong was a success, leading Miyamoto to work on sequels Donkey Kong Jr. and Donkey Kong 3. His next game was based on the character from Donkey Kong. He reworked the character Jumpman into Mario, and gave him a brother: Luigi. He named the new game Mario Bros.. Yokoi convinced Miyamoto to give Mario some super human abilities, namely the ability to fall from any height unharmed. Mario's appearance in Donkey Kong\u2014overalls, a hat, and a thick mustache\u2014led Miyamoto to change aspects of the game to make Mario look like a plumber rather than a carpenter. Miyamoto felt that New York City provided the best setting for the game, with its \"labyrinthine subterranean network of sewage pipes\". The two-player mode and other aspects of gameplay were partially inspired by an earlier video game entitled Joust. To date, Mario Bros. has been released for more than a dozen platforms.\n\n1985\u20131989: NES/Famicom; Super Mario Bros. and The Legend of Zelda\n\nMiyamoto's Super Mario Bros. was bundled with NES in America. The game and the system are credited with helping bring the US out of the slump of 1983's game industry crash. As Nintendo released its first home video game console, the Family Computer (known in North America as the Nintendo Entertainment System), Miyamoto made two of the most momentous titles for the console and in the history of video games as a whole: Super Mario Bros. (a sequel to Mario Bros.) and The Legend of Zelda (an entirely original title). In both games, Miyamoto decided to focus more on gameplay than on high scores, unlike many games of the time. Super Mario Bros. largely took a linear approach, with the player traversing the stage by running, jumping, and dodging or defeating enemies. By contrast, Miyamoto employed nonlinear gameplay in The Legend of Zelda, forcing the player to think their way through riddles and puzzles. The world was expansive and seemingly endless, offering \"an array of choice and depth never seen before in a video game.\" With The Legend of Zelda, Miyamoto sought to make an in-game world that players would identify with, a \"miniature garden that they can put inside their drawer.\" He drew his inspiration from his experiences as a boy around Kyoto, where he explored nearby fields, woods, and caves; each Zelda title embodies this sense of exploration. \"When I was a child,\" Miyamoto said, \"I went hiking and found a lake. It was quite a surprise for me to stumble upon it. When I traveled around the country without a map, trying to find my way, stumbling on amazing things as I went, I realized how it felt to go on an adventure like this.\" He recreated his memories of becoming lost amid the maze of sliding doors in his family home in Zelda's labyrinthine dungeons. In February 1986, Nintendo released the game as the launch title for the Nintendo Entertainment System's new Disk System peripheral.\n\nMiyamoto worked on various different games for the Nintendo Entertainment System, including Ice Climber, Kid Icarus, Excitebike, and Devil World. He also worked on sequels to both Super Mario Bros and The Legend of Zelda. Super Mario Bros. 2, released only in Japan at the time, reuses gameplay elements from Super Mario Bros., though the game is much more difficult than its predecessor. Nintendo of America disliked Super Mario Bros. 2, which they found to be frustratingly difficult and otherwise little more than a modification of Super Mario Bros. Rather than risk the franchise's popularity, they cancelled its stateside release and looked for an alternative. They realized they already had one option in Yume Kojo: Doki Doki Panic (Dream Factory: Heart-Pounding Panic), also designed by Miyamoto. This game was reworked and released as Super Mario Bros. 2 (not to be confused with the Japanese game of the same name) in North America and Europe.\n\nThe successor to The Legend of Zelda, Zelda II: The Adventure of Link bears little resemblance to the first game in the series. The Adventure of Link features side-scrolling areas within a larger world map rather than the bird's eye view of the previous title. The game incorporates a strategic combat system and more RPG elements, including an experience points (EXP) system, magic spells, and more interaction with non-player characters (NPCs). Link has extra lives; no other game in the series includes this feature. The Adventure of Link plays out in a two-mode dynamic. The overworld, the area where the majority of the action occurs in other The Legend of Zelda games, is still from a top-down perspective, but it now serves as a hub to the other areas. Whenever Link enters a new area such as a town, the game switches to a side-scrolling view. These separate methods of traveling and entering combat are one of many aspects adapted from the role-playing genre. The game was highly successful at the time, and introduced elements such as Link's \"magic meter\" and the Dark Link character that would become commonplace in future Zelda games, although the role-playing elements such as experience points and the platform-style side-scrolling and multiple lives were never used again in the official series. The game is also looked upon as one of the most difficult games in the Zelda series and 8-bit gaming as a whole. Additionally, The Adventure of Link was one of the first games to combine role-playing video game and platforming elements to a considerable degree.\n\nSoon after, Super Mario Bros. 3 was developed by Nintendo Entertainment Analysis and Development; the game took more than two years to complete. The game offers numerous modifications on the original Super Mario Bros., ranging from costumes with different abilities to new enemies Bowser's children were designed to be unique in appearance and personality; Miyamoto based the characters on seven of his programmers as a tribute to their work on the game. The Koopaling's names were later altered to mimic names of well-known, Western musicians in the English localization. In a first for the Mario series, the player navigates via two game screens: an overworld map and a level playfield. The overworld map displays an overhead representation of the current world and has several paths leading from the world's entrance to a castle. Moving the on-screen character to a certain tile will allow access to that level's playfield, a linear stage populated with obstacles and enemies. The majority of the game takes place in these levels.\n\n1990\u20132000: SNES and N64; Super Mario 64 and Ocarina of Time\n\nA merger between Nintendo's various internal research and development teams led to the creation of Nintendo Entertainment Analysis and Development (Nintendo EAD), which Miyamoto headed. Nintendo EAD had approximately fifteen months to develop F-Zero, one of the launch titles for the Super Nintendo Entertainment System. Miyamoto worked through various games on the Super Nintendo Entertainment System, one of them Star Fox. For the game, programmer Jez San convinced Nintendo to develop an upgrade for the Super Nintendo, allowing it to handle three-dimensional graphics better: the Super FX chip. Using this new hardware, Miyamoto and Katsuya Eguchi designed the Star Fox game with an early implementation of three-dimensional graphics.\n\nMiyamoto produced two major Mario titles for the system. The first, Super Mario World, was a launch title and was bundled with Super Nintendo Entertainment System consoles. It featured an overworld as in Super Mario Bros. but introduced a new character, Yoshi, who would go on to appear in various other Nintendo games. The second Mario game for the system, Super Mario RPG: Legend of the Seven Stars, went in a somewhat different direction. Miyamoto led a team consisting of a partnership between Nintendo and Square Co.; it took nearly a year to develop the graphics. The story takes place in a newly rendered Mushroom Kingdom based on the Super Mario Bros. series.\n\nMiyamoto also created The Legend of Zelda: A Link to the Past for the Super Nintendo Entertainment System, the third entry in the series. Dropping the side-scrolling elements of its predecessor, A Link to the Past introduced to the series elements that are still commonplace today, such as the concept of an alternate or parallel world, the Master Sword, and other new weapons and items.\n\nShigeru Miyamoto mentored Satoshi Tajiri, guiding him during the creation process of Pocket Monsters: Red and Green (released in English as Pok\u00e9mon Red and Blue), the initial video games in the Pok\u00e9mon series. Pok\u00e9mon would go on to be one of the most popular entertainment franchises in the world, spanning video games, anime, and various other merchandise.\n\nMiyamoto made several games for the Nintendo 64, mostly from his previous franchises. His first game on the new system, and one of its launch titles, was Super Mario 64, for which he was the principal director. In developing the game, he began with character design and the camera system. Miyamoto and the other designers were initially unsure of which direction the game should take, and spent months to select an appropriate camera view and layout. The original concept involved a fixed path much like an isometric type game, before the choice was made to settle on a free-roaming 3D design.\n\nUsing what he had learned about the Nintendo 64 from developing Super Mario 64 and Star Fox 64, Miyamoto produced his next game, The Legend of Zelda: Ocarina of Time, leading a team of several directors. Its engine was based on that of Super Mario 64 but was so heavily modified as to be a somewhat different engine. Individual parts of Ocarina of Time were handled by multiple directors\u2014a new strategy for Nintendo EAD. However, when things progressed slower than expected, Miyamoto returned to the development team with a more central role assisted in public by interpreter Bill Trinen. The team was new to 3D games, but assistant director Makoto Miyanaga recalls a sense of \"passion for creating something new and unprecedented\". Miyamoto went on to produce a sequel to Ocarina of Time, known as The Legend of Zelda: Majora's Mask. By re-using the game engine and graphics from Ocarina of Time, a smaller team required only 18 months to finish Majora's Mask."}}, {"pk": 5, "model": "videogames.person", "fields": {"name": "Takahasi Meijin", "DOB": "1952-11-16T00:00:00Z", "residence": "Sapporo, Japan", "twitter": "451879723635716096", "companies": [4], "description": "Takahashi Meijin, real name Toshiyuki Takahashi (born May 23, 1959 in Sapporo, Hokkaido) is a former executive of Hudson Soft.\n\nTakahashi became famous for his fast trigger finger speed of 16 shots per second during the 1980s and is particularly known for his use of this skill in the game Star Soldier and the Family Computer version of Star Force.\n\nLater on his life, his trigger speed was reduced to 130 presses per ten seconds. In the 2005-12-8 edition of Yaguchihitori show, he was only able to fire 12 shots per second. During the Star Soldier R challenge event in 2008-3-28, he fired at 12.3 shots per second.\n\nIn various fiction featuring Takahashi Meijin, the \"16 shots per second\" milestone became a key plot element."}}, {"pk": 6, "model": "videogames.person", "fields": {"name": "Kenzo Tsujimoto", "DOB": "1940-12-15T00:00:00Z", "residence": "Nara, Japan", "twitter": "", "companies": [5], "description": "Kenzo Tsujimoto was born in Nara in 1940. After completing Unebi high-school (part-time), he joined the family food wholesaling business while studying accounting in his spare time. He left the family business at the age of 22 to open his own confectionery products store in the city Osaka in 1966. Next, he started selling cotton candy machines.\n\nAround 1970, he started selling gaming machines after seeing a pachinko machine designed for children. He was soon serving customers throughout Japan. This success led to the 1974 establishment of a gaming machine production and sales company called \"IPM Co., Ltd.\". Sales of the popular invader game made the company very successful, but performance dropped sharply after the invader game boom ended.\n\nTsujimoto then turned his attention to developing game software by founding Capcom in 1983. Initially, the company developed mostly arcade machines. Capcom soon began developing software for home video games as sales of \"Nintendo Entertainment System (NES)\" took off around the world. Capcom developed \"Mega Man\", \"Street Fighter\" and a number of game series that were big hits in Japan and other countries. Capcom became publicly owned in 1990. Under Tsujimoto's leadership, the company then grew into one of the world's leading video game publishers after enacting structural reforms on a number of occasions. In 2007, he became chairman and chief executive officer in order to focus exclusively on the management of Capcom."}}, {"pk": 7, "model": "videogames.person", "fields": {"name": "Daniel Owsen", "DOB": "1966-08-27T00:00:00Z", "residence": "Detroit, Michigan", "twitter": "451880540644184064", "companies": [6], "description": "Daniel \"Dan\" Owsen is a software developer, most known for his prolific work as an employee of Nintendo of America (NOA) in the translation and localization of many Nintendo video games, including playing a large role in the translation of The Legend of Zelda series. He is also known for his now-discontinued \"Ask Dan\" column on Nintendo's official website.\n\nDan Owsen started at NOA in 1989. He started in Consumer Service during the days of the Nintendo Entertainment System, and has since moved from department to department, first going to Publications, then to Product Development, then back to Publications to work in the on-line area. Some of the more notable things he has had a chance to do at Nintendo include working with Shigeru Miyamoto's R&D team, writing screen text for Super Nintendo Entertainment System and Game Boy Zelda and recording his voice. Owsen is one of the first English voices used in any Nintendo console. His voice can be heard in Star Fox, at the beginning of Super Metroid - \"The last Metroid is in captivity... the galaxy is at peace.\" and in Star Fox 64 3D as ROB 64."}}, {"pk": 8, "model": "videogames.person", "fields": {"name": "Ed Boon", "DOB": "1964-02-22T00:00:00Z", "residence": "Chicago, Illinois", "twitter": "451881402200375296", "companies": [7], "description": "Ed \"Noob\" Boon (born as Edward J. Boon on February 22, 1964 in Chicago, Illinois) is an American video game programmer and director who had been employed for over 15 years at Midway Games and currently works for Warner Bros. Interactive Entertainment in its subsidiary company NetherRealm Studios. He is best known of the Mortal Kombat series, which Boon created with John Tobias.\n\nBoon graduated high school from Loyola Academy in Wilmette, Illinois. He graduated from University of Illinois at Urbana-Champaign with a Bachelor of Science degree in mathematics and computer science.\n\nBoon is best known as a co-creator of the Mortal Kombat fighting game series, along with John Tobias. During the 1990s, Boon was generally credited as the series' lead programmer while Tobias was lead designer. One of Mortal Kombat characters is named Noob Saibot, after Boon and Tobias' last names spelled backwards. Boon also named the characters Sonya Blade and Tanya after his sisters Sonya and Tanya. He was ranked #100 in IGN's 2009 list of \"Top 100 Game Creators\" for his involvement in the Mortal Kombat series.\n\nBoon continues to work on the ongoing Mortal Kombat media franchise, including games, movies and shows. He has also provided voice acting and motion capture for the games, most notably providing the voice of Scorpion in all of the games as well as both feature films. For this, the 2008 edition of Guinness World Records Gamer's Edition awarded him a world record for the \"longest-serving video game voice actor\"."}}, {"pk": 9, "model": "videogames.person", "fields": {"name": "Nasir Gebelli", "DOB": "1957-01-01T00:00:00Z", "residence": "Iran", "twitter": "", "companies": [9], "description": "Nasir Gebelli is an Iranian-American programmer and video game developer. Gebelli co-founded Sirius Software, created his own company Gebelli Software, and worked for Square (now Square Enix). He became known in the early 1980s for producing 3D shooters and other games for the Apple II computer, and later became known for his work at Square, where he produced the early Final Fantasy games alongside Hironobu Sakaguchi, as well as 3-D WorldRunner, Rad Racer, Secret of Mana, and other titles.\n\nBorn in Iran, Gebelli later moved to the United States to study computer science. In 1980, Gebelli started Sirius Software with Jerry Jewell. While part of Sirius Software, Gebelli developed advanced graphics techniques for the Apple II. Gebelli's first project for the Apple II was EasyDraw, a logo and character creation program which he used for his later games. At this time, Gebelli gained a reputation for producing games at a rapid pace, sometimes as many as twelve in a year. Among those games produced were his best-selling personal computer games, Space Eggs and Gorgon. Gorgon in particular had sold 23,000 copies within a year, making it one of the best-selling computer games up until 1982.\n\nIn 1981, Gebelli left Sirius to establish his own software company, Gebelli Software, through which he released the 1982 Apple II game Horizon V, which was an early example of a first-person shooter for a home system and featured an early radar mechanic. That same year, he released the Apple II game Zenith, a similar first-person shooter with the addition of allowing the player's ship to be rotated. However, his company didn't prove very successful, and the video game crash of 1983 sounded the death knell for Gebelli Software.\n\nAfter Gebelli Software went bankrupt, Gebelli went on a long vacation traveling the world. He resurfaced in 1986 and went to visit his friend Doug Carlston, owner of Br\u00f8derbund. Gebelli was interested in developing games again; Carlston told him about the rise of the Nintendo Entertainment System and that Nasir should start programming on it. Gebelli was interested, and so Doug offered to fly to Japan with Nasir and introduce him to his friends at Nintendo and Square. Nasir met with Shigeru Miyamoto at Nintendo and several people at Square. Nintendo was apparently uninterested; the programmers at Square, especially Hironobu Sakaguchi (a long-time fan of Gebelli's work), however, were aware of Nasir's reputation and were excited to have him join. Gebelli arrived at Square around the same time Akitoshi Kawazu and Takashi Tokita became employed there. Along with Sakaguchi, their combined appearance culminated in the separation of the \u201cSquare\u201d label from parent software company Denyuusha.\n\nWhile at Square, Nasir first programmed the game Tobidase Daisakusen for the Famicom Disk System, which released in the U.S. as 3-D WorldRunner for the NES. It was released in early 1987. Using a similar forward-scrolling effect to Sega's 1985 third-person rail shooter Space Harrier, 3-D WorldRunner was an early forward-scrolling pseudo-3D third-person platform-action game where players were free to move in any forward-scrolling direction and had to leap over obstacles and chasms. It was also notable for being one of the first stereoscopic 3-D games. His second Square project was Rad Racer, an early stereoscopic 3-D racing game also designed for the Famicom 3D System in 1987. He would also program its sequel, Rad Racer II, in 1990.\n\nGebelli then teamed up with Sakaguchi, Nobuo Uematsu and Yoshitaka Amano as part of Square's A-Team to produce Final Fantasy, the first entry in the popular Final Fantasy series. A role-playing video game released for the NES in 1987, it featured several unique features, including an experimental character creation system that allowed the player to create their own parties and assign different character classes to party members; the concept of time travel; side-view battles, with the player characters on the right and the enemies on the left, which soon became the norm for numerous console RPGs; and the use of transportation for travel by ship, canoe and flying airship."}}, {"pk": 10, "model": "videogames.person", "fields": {"name": "Frank Klepacki", "DOB": "1974-05-25T00:00:00Z", "residence": "Las Vegas, Nevada", "twitter": "451882622075953153", "companies": [10], "description": "Frank Klepacki was raised by a family of musicians of Polish and Italian descent who played on the Las Vegas strip. He drew art as a hobby, but music prevailed in his early interests. He received his first drumset at age 8 and began performing professionally by age 11. Among his early influences were electronica and heavy metal groups, including Depeche Mode, Afrika Bambaataa, AC/DC, and Iron Maiden. Seeking to master guitar, bass, and keyboards, he formed local bands and created a demo tape of original material by age 17. His impetus for diversifying his instrumental abilities was \"not being able to communicate with other band members on ideas...for original songs.\" His first piece of audio gear was a TASCAM 4-track cassette recorder, which he used to record demos, band practices, and live shows.\n\nAfter learning to program BASIC on a Tandy 1000 and becoming interested in computer and video games, he applied for a job as a game tester at Westwood studios. He submitted his demo tape\u2014described as \"an acoustic guitar song with electric guitar leads and keyboard strings, and raining sound effects\"\u2014to the company's audio director. The growing company enlisted him as a composer for the NES port of DragonStrike and the computer game Eye of the Beholder II. He later composed with MIDI sequencing for several other Dungeons & Dragons games. In 1992, he helmed the audio of Dune II, attempting to complement the music of the original Dune. He later noted that he pushed the sequencing program on his Amiga to the limit while scoring the game. While working on Disney's The Lion King in 1994, he and the Westwood team were shown sketches of the unfinished feature film. Film composer Hans Zimmer later praised Klepacki for reworking his scores. After finishing The Legend of Kyrandia III, Frank Klepacki met with Westwood leaders to discuss the upcoming game Command & Conquer\u2014the first in a series which would bring him wider fame and critical acclaim.\n\nIn 1994, Frank Klepacki met with Westwood Studios developers to discuss the soundtrack of the company's next project\u2014Command & Conquer. To define the game's style, Klepacki listened to a number of bands, including Nine Inch Nails and Ministry, which would supply the iconic industrial style found in the majority of the songs. He combined various elements of this music and added his own touch to create a unique sound. With the company's recent shift to 22 kHz audio, Klepacki composed with an ASR-10 sampler, a Roland S760 sampler, a Roland JD 990 synth module, and an electric guitar. The first few songs he composed for Command & Conquer contained voice samples\u2014including the notable pieces Act on Instinct and No Mercy (which featured wild declarations from Bill & Ted's Bogus Journey). The samples were later found to interfere with the game's spoken audio, and were replaced with versions lacking the voices, although the original versions (and several other unused pieces) can still be found on the DOS C&C and Covert Operations discs. Complete versions of the songs later appeared on the game's commercial soundtrack. He would continue to sample clips from film and other media throughout his career, using a quote from The Brain from Planet Arous in the Yuri song Brainfreeze, for example. Klepacki next composed instrumental pieces for Command & Conquer, drawing influences from orchestral, house, heavy metal, and hip hop music. For the credits, Klepacki wrote Airstrike, featuring a hook later used in Command & Conquer: Tiberian Sun for the Global Defense Initiative. Conversely, the Brotherhood of Nod ending used the song Destructible Times written by Klepacki's local band, I AM. Developers requested the song because it \"reflected the war aspect and bad-ass vibe of Nod's side.\" The C&C expansion pack The Covert Operations featured seven new ambient pieces, all of which were also included on the disc in high quality CD Audio format. Though the soundtrack was not released through retail, Westwood sold it by special order through its website and in game catalogues.\n\nWhile working on Covert Operations, Frank Klepacki composed Hell March from the idea of \"a rock tune to marching boots,\" finishing the song in one day after inventing the guitar riff. Upon listening, director Brett Sperry insisted this song be used as the signature theme of Command & Conquer: Red Alert. Originally intended for use with the Brotherhood of Nod, it features militaristic samples\u2014including marching, industrial sounds, and a commander shouting orders. Klepacki initially scored Red Alert with sci-fi camp in mind, but early songs were shelved. He switched gears to write gritty pieces, prompting the Red Alert team to expand upon the style of Command & Conquer. In preparing to compose, Klepacki acquired new sample libraries for unique and strange sounds. Particular creative moods would result in a few songs at a time. He first wrote heavy songs like Workmen and Crush, then composed neutral, synthesizer-laden music, such as Vector and Roll Out. Klepacki scored Fogger and Mud, one of his personal favorites, before finishing with Militant Force and Radio 2. He took breaks from working to make cameo appearances as a Soviet soldier killed by Kane and an Allied commander in the cut scenes of Red Alert. He previously appeared as a Nod soldier and the voice of the commando in Command & Conquer and would voice bit parts in future Westwood games."}}, {"pk": 11, "model": "videogames.person", "fields": {"name": "John Madden", "DOB": "1936-04-10T00:00:00Z", "residence": "Austin, Minnesota", "twitter": "451883121030332416", "companies": [8], "description": "John Earl Madden is a former American football player in the National Football League, a former Super Bowl-winning head coach with the Oakland Raiders in the American Football League and later the NFL, and a former color commentator for NFL telecasts. In 2006, he was inducted into the Pro Football Hall of Fame in recognition of his coaching career. He is also widely known for the long-running Madden NFL video game series he has endorsed and fronted since 1988. Madden broadcast with Pat Summerall in the 1980s and 1990s, on CBS and later Fox. He was also the last color commentator for ABC's Monday Night Football, teaming with Al Michaels, before it moved to ESPN in 2006. His last regular role was as a commentator for NBC's Sunday Night Football, also with Michaels. During his career, he worked as the main color commentator for all four major networks.\n\nMadden has also written several books and has served as a commercial pitchman for various products and retailers. He retired from broadcasting on April 16, 2009 in order to spend more time with his family.\n\nJohn Madden lends his voice, personality and name to the Madden NFL series of football video games, published by EA Sports/Electronic Arts since 1988. Entries in the series have consistently been best-sellers, to the extent that they have even spawned TV shows featuring competition between players of the games. Despite Madden's retirement as a broadcaster in 2009, he still continues to lend his name and provide creative input to the game.\n\nMadden has viewed the game as an educational tool on football. Even during initial planning conversations with Electronic Arts founder Trip Hawkins in 1984, Madden envisioned the program as a tool for teaching and testing plays. And during a 2012 interview, he stated that Madden NFL was \"a way for people to learn the game football and participate in the game at a pretty sophisticated level.\""}}, {"pk": 1, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/k98jxdn", "name": "Nintendo", "webpage": "http://www.nintendo.com/", "twitter": "451876952840753152", "founded": "1889-01-01T00:00:00Z", "location": "Kyoto, Japan", "description": "In 1956, Hiroshi Yamauchi, grandson of Fusajiro Yamauchi, visited the U.S. to talk with the United States Playing Card Company, the dominant playing card manufacturer there. He found that the world's biggest company in his business was only using a small office. This was a turning point when Yamauchi realized the limitations of the playing card business. He then gained access to Disney's characters and put them on the playing cards to drive sales. In 1963, Yamauchi renamed Nintendo Playing Card Co. Ltd. to Nintendo Co., Ltd. The company then began to experiment in other areas of business using newly injected capital. During this period of time between 1963 and 1968, Nintendo set up a taxi company, a love hotel chain, a TV network, a food company (selling instant rice, similar to instant noodles) and several other things. All of these ventures eventually failed, and after the 1964 Tokyo Olympics, playing card sales dropped, and Nintendo's stock price plummeted to \u00a560. In 1966, Nintendo moved into the Japanese toy industry with the Ultra Hand, an extendable arm developed by its maintenance engineer Gunpei Yokoi in his free time. Yokoi was moved from maintenance to the new \"Nintendo Games\" department as a product developer. Nintendo continued to produce popular toys, including the Ultra Machine, Love Tester and the Kousenjuu series of light gun games. Despite some successful products, Nintendo struggled to meet the fast development and manufacturing turnaround required in the toy market, and fell behind the well-established companies such as Bandai and Tomy. In 1973, its focus shifted to family entertainment venues with the Laser Clay Shooting System, using the same light gun technology used in Nintendo's Kousenjuu series of toys, and set up in abandoned bowling alleys. Following some success, Nintendo developed several more light gun machines (such as the light gun shooter game Wild Gunman) for the emerging arcade scene. While the Laser Clay Shooting System ranges had to be shut down following excessive costs, Nintendo had found a new market. Nintendo's first venture into the video gaming industry was securing rights to distribute the Magnavox Odyssey video game console in Japan in 1974. Nintendo began to produce its own hardware in 1977, with the Color TV Game home video game consoles. Four versions of these consoles were produced, each including variations of a single game (for example, Color TV Game 6 featured six versions of Light Tennis). A student product developer named Shigeru Miyamoto was hired by Nintendo at this time. He worked for Yokoi, and one of his first tasks was to design the casing for several of the Color TV Game consoles. Miyamoto went on to create, direct and produce some of Nintendo's most famous video games and become one of the most recognizable figures in the video game industry. In 1975, Nintendo moved into the video arcade game industry with EVR Race, designed by their first game designer, Genyo Takeda, and several more titles followed. Nintendo had some small success with this venture, but the release of Donkey Kong in 1981, designed by Miyamoto, changed Nintendo's fortunes dramatically. The success of the game and many licensing opportunities (such as ports on the Atari 2600, Intellivision and ColecoVision) gave Nintendo a huge boost in profit and in addition, the game also introduced an early iteration of Mario, known then as Jumpman, the eventual mascot of the company. In 1980, Nintendo launched Game & Watch\u2014a handheld video game series developed by Yokoi where each game was played on a separate device\u2014to worldwide success. In 1983, Nintendo launched the Family Computer home video game console in Japan (abbreviated \"Famicom\" and known outside Japan as the Nintendo Entertainment System or NES) alongside ports of its most popular arcade titles. In 1985, the NES launched in North America, and was accompanied by Super Mario Bros., one of the best-selling video games of all time. The Famicom was followed by the Super Famicom in 1990, released outside Japan in 1991 and 1992 as the Super Nintendo Entertainment System (SNES). This was Nintendo's console of the 16-bit 4th generation, boasting superior graphics, game speed, and sound over the Famicom of the 8-bit 3rd generation, and whose main rival was the Sega Mega Drive (known in North America as Sega Genesis). A console war between Sega and Nintendo ensued during the early 1990s. Although relatively late to market, the SNES considerably outsold the Mega Drive."}}, {"pk": 2, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/m9rglja", "name": "Sega", "webpage": "http://www.sega.com/", "twitter": "451878858002673664", "founded": "1960-06-03T00:00:00Z", "location": "Honolulu, Hawaii", "description": "Sega Corporation, pronounced /\u02c8se\u026a\u0261\u0259/ (US/Canada/UK/New Zealand/Australia) and usually styled as SEGA, is a Japanese multinational video game developer, publisher, and hardware development company headquartered in Tokyo, Japan, with multiple offices around the world. Sega developed and manufactured numerous home video game consoles from 1983 to 2001, but the financial losses incurred from their Dreamcast console caused the company to restructure itself in 2001, and focus on providing software as a third-party developer, exiting console manufacturing completely. However, arcade development would continue unaffected.tation needed Sega, along with their many software studios, are known for multi-million-selling game franchises including Sonic the Hedgehog, Virtua Fighter, Phantasy Star, Yakuza, and Total War.\n\nSega's head offices, as well as the main office of its domestic division, Sega Corporation (Japan), are located in \u014cta, Tokyo, Japan. Sega's European division, Sega Europe Ltd., is headquartered in the Brentford area of London in the United Kingdom. Sega's North American division, Sega of America Inc., is headquartered in San Francisco, having moved there from Redwood City, California in 1999. Sega Publishing Korea is headquartered in Jongno, Seoul, Korea. Sega's Australian & European operations outside of the United Kingdom closed on July 1, 2012 due to world economic pressures. Distribution of Sega products in Australia as of 1 July 2012 is handled by Five Star Games, made up of all the redundant employees from Sega Australia.\n\nSEGA Diamond 3 Star\nSega's roots can be traced back to a company based in Honolulu, Hawaii named Service Games, which began operations in 1940. In 1951, Raymond Lemaire and Richard Stewart moved the company to Tokyo, Japan to develop and distribute coin-operated jukeboxes, games, and slot machines. Within a few years Service Games began importing these machines to American military bases throughout Japan.\n\nIn 1954, David Rosen, an American officer in the Air Force, launched a two-minute photo booth business in Tokyo. This company eventually became Rosen Enterprises, and in 1957 began importing coin-operated games to Japan. By 1965, Rosen Enterprises grew to a chain of over 200 arcades, with Service Games its only competitor. Rosen then orchestrated a merger between Rosen Enterprises and Service Games, who by then had their own factory facilities, becoming chief executive of the new company, Sega Enterprises, which derived its name from the first two letters of SErvice GAmes.\n\nWithin a year, Sega began the transition from importer to manufacturer, with the release of the Rosen designed submarine simulator game Periscope. The game at that time sported innovative light and sound effects, eventually becoming quite successful in Japan. It was soon exported to both Europe and the United States, becoming the first arcade game in America to cost 25\u00a2 per play.\n\nIn 1969, Rosen sold Sega to Gulf+Western (now known as Viacom), remaining on however as CEO of the Sega division. Under Rosen's leadership, Sega continued to grow and prosper, and in 1972 G&W made Sega Enterprises a subsidiary, and took the company public. Sega's current logo dates back to 1976. In 1976, they released a large screen TV, Sega-Vision (not to be confused with their portable media player, Sega Vision). Sega prospered heavily from the arcade gaming boom of the late 1970s, with revenues climbing to over $100 million by 1979.\n\nEntry into the home console market (1982\u20131989)\n\nIn 1982, Sega's revenues would eclipse $214 million, and they introduced the industry's first three-dimensional game, SubRoc 3D. The following year, an overabundance of arcade games led to the video game crash, causing Sega's revenues to drop to $136 million. Sega then pioneered the use of laser disks in the video game Astronbelt, and designed and released its first home video game console, the SG-1000 for the second generation of home consoles. Despite this, G&W sold the U.S. assets of Sega Enterprises that same year to pinball manufacturer Bally Manufacturing Corporation, and in January 1984 Rosen resigned his post with the company.\n\nThe Japanese assets of Sega were purchased for $38 million by a group of investors led by Rosen, Robert Deith, and Hayao Nakayama, a Japanese businessman who owned Esco Boueki (Esco Trading) an arcade game distribution company that had been acquired by Rosen in 1979. Nakayama became the new CEO of Sega, Robert Deith Chairman of the Board, and Rosen became head of its subsidiary in the United States.\n\nIn 1984, the multibillion dollar Japanese conglomerate CSK bought Sega, renamed it to Sega Enterprises Ltd., headquartered it in Japan, and two years later, shares of its stock were being traded on the Tokyo Stock Exchange. David Rosen's friend, Isao Okawa, the chairman of CSK, became chairman of Sega.\n\nIn 1986, Sega of America was poised to take advantage of the resurgent video game market in the United States.\n\nSega Master System\nSega would also release the Sega Master System and the first Alex Kidd game, who would be Sega's unofficial mascot until 1991, when Sonic the Hedgehog took over. While the Master System was technically superior to the NES, it failed to capture market share in North America and Japan due to highly aggressive strategies by Nintendo and ineffective marketing by Tonka (which marketed the console on behalf of SEGA in the United States). However, the Master System was highly successful in the UK, Australia, New Zealand, and Brazil with games still being sold well into the 1990s alongside the Megadrive and Nintendo's NES and SNES.\n\nExpansion (1989\u20132001)\nMega Drive\n\nWith the introduction of the Sega Genesis in America, Sega of America launched an anti-Nintendo campaign to carry the momentum to the new generation of games, with its slogan \"Genesis does what Nintendon't.\" This was initially implemented by Sega of America President Michael Katz. When Nintendo launched its Super Nintendo Entertainment System in 1991, Sega changed its slogan to \"Welcome to the next level.\"\n\nThe same year, Sega of America's leadership passed from Michael Katz to Tom Kalinske, who further escalated the \"console war\" that was developing. As a preemptive strike against the release of the SNES, Sega re-branded itself with a new game and mascot, Sonic the Hedgehog. This shift led to a wider success for the Genesis and would eventually propel Sega to 65% of the market in North America for a brief time. Simultaneously, after much previous delay, Sega released the moderately successful Mega-CD as an add-on feature, allowing for extra storage in games due to their CD-ROM format, giving developers the ability to make longer, more sophisticated games, the most popular of which was Sega's own Sonic CD. Sonic the Hedgehog 2 was also released at this time, and became the most successful game Sega ever made, selling six million copies as of June 2006."}}, {"pk": 3, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/lseu8tq", "name": "Naughty Dog", "webpage": "http://www.sega.com/", "twitter": "451878706437296128", "founded": "1989-01-01T00:00:00Z", "location": "Santa Monica, California", "description": "Naughty Dog, Inc. (known as Jam Software before renaming in 1989) is an American video game developer based in Santa Monica, California. Founded by Andy Gavin and Jason Rubin in 1984 as an independent developer, the studio was acquired by Sony Computer Entertainment in 2001. Gavin and Rubin produced a sequence of progressively more successful games, including Rings of Power for the Sega Genesis/Mega Drive and Way of the Warrior for the 3DO. The latter \u2014 a very low-budget but still plausible offering \u2014 prompted Universal Interactive Studios to sign the duo to a three-title deal and fund the expansion of the company.\n\nMark Cerny, who was a programmer for Sonic the Hedgehog 2 for Sega, convinced Naughty Dog to focus its new resources on creating a character-based platform game that would fully exploit the 3D capabilities of the new systems. Ultimately, this led to the release of Crash Bandicoot for the PlayStation on August 31, 1996. Naughty Dog developed three Crash Bandicoot sequels over the next several years. In January 2001, it was announced Sony would acquire Naughty Dog. After developing Crash Team Racing, the company began working on Jak and Daxter for the PlayStation 2.\n\nIn 2004, Naughty Dog's studio president and co-founder, Jason Rubin, left the company to work on a new project named Iron and the Maiden. In addition to their inhouse game team, Naughty Dog is also home to the ICE Team (Initiative for a Common Engine Team), one of SCE Worldwide Studios's central technology groups. The company's first PlayStation 3 title, Uncharted: Drake's Fortune, was released in 2007, its sequel, Uncharted 2: Among Thieves, in 2009, and Uncharted 3: Drake's Deception in November 2011. Naughty Dog was known for having a history of not only developing one game at a time, but only one franchise per console; a trend that has garnered criticism from fans. This lasted until Naughty Dog announced a new intellectual property called The Last of Us at the Spike Video Game Awards on December 10, 2011 for the PlayStation 3, which was in development by a second team at the studio and was released in June 2013 to overwhelming critical acclaim.\n\nHigh school students, Jason Rubin and Andy Gavin, having experimented with Lisp and C++, teamed up to create video games and founded \"Jam Software\" in 1984. Rubin and Gavin chose to only create software for the Apple II and decided to create a skiing game for their second title. During production of the game, Gavin accidentally copied bootleg games over the only copy of the skiing game they had. Rubin then created a new skiing game called Ski Crazed (originally titled Ski Stud) within the weekend. Because the game played slowly, Gavin reprogrammed the game to play quicker. The game was later picked up and published by Baudville, who bought the game from Jam Software for $250. Rubin and Gavin then created an Apple IIGS graphic adventure game titled Dream Zone, which was released in 1988 and ported to the Atari ST, Amiga and personal computer.\n\nIn 1989, Rubin and Gavin released another game titled Keef the Thief, which was published by Electronic Arts for the Apple IIGS, Amiga and personal computer. To make a fresh start and to dissolve their relationship with Baudville, Rubin and Gavin renamed Jam Software as Naughty Dog. In the early 90's, Naughty Dog created Rings of Power, which was published by Electronic Arts for the Mega Drive/Genesis in 1991. The company's character in the logo is a grinning dog wearing goggles. By that time, Rubin and Gavin were in college and Naughty Dog was bankrupt.\n\nRubin and Gavin (along with friends) then produced the 3DO Interactive Multiplayer title Way of the Warrior and presented it to Mark Cerny of Universal Interactive Studios (later Vivendi Games, now defunct). Cerny was pleased with Way of the Warrior and signed Naughty Dog on to Universal Interactive Studios for three additional games. Rubin and Gavin devised a plan to create a three-dimensional action-platform game. Because the player would be forced to constantly look at the character's rear, the game was jokingly codenamed \"Sonic's Ass Game\".\n\nProduction of the game began in 1994, during which Naughty Dog expanded its number of employees and invented a development tool called \"Goal Oriented Object LISP\", to create the characters and gameplay. Cartoonists Charles Zembillas and Joe Pearson were recruited to create the characters of the game, which resulted in the titular character Crash Bandicoot. After 14 months of development, the game was shown to Sony Computer Entertainment, who then signed on to publish the game. Crash Bandicoot was shown to the public for the first time at E3 and went on to become one of the highest-selling titles for the PlayStation console, selling over 6.8 million copies to date.\n\nSince 2007, Naughty Dog has worked on the Uncharted series, and thus made their first official approach to realistic worlds and characters, in contrast to their Crash Bandicoot and Jak and Daxter series, which featured fantastical worlds set in a completely fictional setting. The Uncharted franchise has been universally praised for its cinematic quality and technical proficiency, and has sold nearly 17 million copies worldwide as of April 2012.\n\nDuring the 2011 Spike TV Video Game Awards, Naughty Dog unveiled a new intellectual property, The Last of Us, described as a \"post-apocalyptic third-person action-adventure game\", following the plight of a teenage girl, Ellie, and her adult protector, Joel, in a post-apocalyptic United States overrun with humans infected with a disease reminiscent of the infection caused by Cordyceps unilateralis. The Last of Us received universal acclaim upon release.\n\nIn 2012 and 2013, Naughty Dog teamed with Mass Media Inc. to release the Jak and Daxter Collection. The collection contains high-definition ports of the original PlayStation 2 trilogy and was released for PlayStation 3 and PlayStation Vita respectively.\n\nOn November 14, 2013, during the PS4 All Access Launch Event on Spike, Naughty Dog revealed two teaser trailers. The first unveils The Last of Us's single-player DLC (a premiere for Naughty Dog), Left Behind, starring Ellie and Riley, a girl that she met during the events of the American Dreams prequel comic series. The second teaser revealed the studio's first PlayStation 4 title, the next installment of Uncharted, making the series their first IP to sprawl across two home console generations (excluding HD remakes).\n\nOn November 23, 2013, Corrinne Yu, principal engine architect at Microsoft's Halo 4 developer 343 Industries, announced that she had joined Naughty Dog.\n\nOn December 7, 2013, during the first edition of Spike's VGX award show, Naughty Dog won the Studio of the Year award for their work on The Last of Us.\n\nOn March 4, 2014, Uncharted lead writer Amy Hennig left the studio."}}, {"pk": 4, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/mbye7kh", "name": "Hudson Soft", "webpage": "https://www.konami.com/", "twitter": "451877431423418368", "founded": "1973-05-18T00:00:00Z", "location": "Tokyo, Japan", "description": "Hudson Soft Co., Ltd, commonly known by its brand name Hudson, was a Japanese video game publisher. It was headquartered in the Midtown Tower in Tokyo Midtown, Akasaka, Minato, Tokyo, Japan, with an additional office in the Hudson Building in Sapporo.\n\nHudson Soft was founded on May 18, 1973. Initially, it dealt with personal computer products, but later expanded to the development and publishing of video games, mobile content, video game peripherals and music recording. Hudson is best known for developing game series such as Bomberman, Adventure Island, and Bonk's Adventure.\n\nHudson Soft ceased to exist as a company on March 1, 2012 and was merged with Konami Digital Entertainment. Products and services will continue to be provided under the Hudson brand through Konami.\n\nHudson Soft Ltd. was founded in Sapporo, Japan on May 18, 1973 by brothers Yuji and Hiroshi Kudo. The founders grew up admiring trains, and named the business after their favorite, the Hudson locomotives (called the \"4-6-4\", and (especially Japanese C62). Hudson began as a shop called CQ Hudson (CQ\u30cf\u30c9\u30bd\u30f3), selling radio telecommunications devices and art photographs. In September 1975, Hudson Soft began selling personal computer-related products, and in March 1978 started developing and selling video game packages.\n\nIn the late 1970s and early 1980s, Hudson Soft favored a quantity over quality approach for the marketing of video games. At one point, the company released up to 30 different computer softwares per month; none of which were hugely successful. Things changed in late 1983, when Hudson started to prioritize quality over quantity. Hudson became Nintendo's first third-party software vendor for the Famicom and its title for this console, Lode Runner, sold 1.2 million units after its 1984 release.\n\nThe business continued developing video games on the Famicom and computer platforms (MSX, NEC PC-8801, ZX Spectrum, among others), and was reorganized as Hudson Soft Co., Ltd. in July 1985. A caravan was held at sixty venues throughout Japan, a first for the video game industry. Bomberman was released in December of this year on the Famicom and was considered a \"big hit\" by Hudson Soft.\n\nIn July 1987, Hudson developed the \"C62 System\" and collaborated with NEC to develop the PC Engine video game console. It achieved a second-best success to Famicom in Japan, but its release as the TurboGrafx-16 in North America had less market share than Nintendo's new Super Nintendo or Sega's new Genesis. Throughout 1990, Hudson Soft developed and published video games for an array of systems. In 1994, the 32-bit semiconductor chip \"HuC62\" was independently developed by Hudson and used in NEC's PC-FX video game console.\n\nHudson Soft's head office was transferred to Tokyo in 2005. But the original Sapporo headquarters remained in operation as a secondary office.\n\nHudson Soft lost several key people starting in the mid-2000s. Co-founder Hiroshi Kudo left the company in November 2004 following financial losses. Shinichi Nakamoto, who was with the company since 1978 and creator of the Bomberman series, followed suit in 2006. Veteran Takahashi Meijin resigned in May 2011; he had joined Hudson Soft in 1982. Around 2010-2011, many employees migrated to Nintendo's restructured Nd Cube studio which is headed by Hidetoshi Endo, himself a former Hudson Soft President.\n\nThe relation between Hudson Soft and Konami can be traced back as early as 1985, when Hudson ported Konami's arcade game Pooyan to the Famicom. Moreover, Konami was a third party publisher for Hudson Soft's PC Engine in Japan. But the acquisition process of Hudson Soft by Konami would only begin in 2001.\n\nHudson Soft was severely hit by the collapse of its main bank Hokkaido Takushoku. Seeking new financing alternatives, Hudson Soft entered the stock market for the first time in December 2000, listing on the NASDAQ Japan Exchange. This led to Konami purchasing a stock allocation of 5.6 million shares in August 2001, becoming the company's largest shareholder. Within the terms of this purchase, Hudson acquired the Sapporo division of Konami Computer Entertainment Studio, renaming it Hudson Studio.\n\nIn April 2005, capital was increased via an allocation of 3 million shares from a third party. Konami Corporation, holding 53.99% of all Hudson stock, became Hudson's majority shareholder and parent company. Hudson continued to self-publish in Japan, but working closely with Konami.\n\nIn January 2011, Hudson Soft became a wholly owned subsidiary of Konami. On April 1, 2011, Konami liquidated Hudson Entertainment (the subsidiary of Hudson Soft in California).\n\nOn March 1, 2012, Hudson Soft officially ceased to exist as it merged with Konami Digital Entertainment, with its music business being absorbed into Konami Music Entertainment. The move had been approved by Hudson shareholders at a board meeting held in January 12, 2012. The main reason for the dissolution of Hudson Soft is the consolidation of the operations of Hudson and Konami into a single company. Products and services will continue to be developed and offered under the Hudson brand through Konami Digital Entertainment. Furthermore, Hudson still has its own website."}}, {"pk": 5, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/mftvtff", "name": "Capcom", "webpage": "https://www.konami.com/", "twitter": "451879444815171585", "founded": "1973-05-18T00:00:00Z", "location": "Osaka, Japan", "description": "The original companies that spawned Capcom's Japanese branch were I.R.M Corporation founded on May 30, 1979, as well as its subsidiary Japan Capsule Computers Co., Ltd., both of which were devoted to the manufacturing and distribution of electronic game machines. The two companies underwent a name change to Sambi Co., Ltd. in September 1981, while Capcom Co., Ltd. itself was first established on June 11, 1983, for the purpose of taking over the internal sales department.\n\nIn January 1989, the old affiliate company Capcom Co., Ltd. merged with Sambi Co., Ltd., resulting in the current Japanese branch. The name Capcom is a portmanteau of \"Capsule Computers\", a term coined by the company to describe the arcade machines it solely manufactured in its early years, designed to set themselves apart from personal computers that were becoming widespread at that time. The word capsule alludes to how Capcom likened its game software to \"a capsule packed to the brim with gaming fun\", as well as to the company's desire to protect its intellectual property with a hard outer shell, preventing illegal copies and inferior imitations.\n\nWhile Capcom's first product was the coin-operated Little League from July 1983, its first real video game, the arcade title Vulgus, was released in May 1984. Beginning with a Nintendo Entertainment System port of 1942 published in December 1985, the company started to venture into the market of home console video games, which became its main business segment a few years later. Since then, Capcom created 15 multi-million-selling game series, the most successful of which is Resident Evil.\n\nIn 1994, Capcom adapted its Street Fighter series of fighting games into a film of the same name. While commercially successful, the production received almost universal criticism. A 2002 adaptation of its Resident Evil series faced similar criticism but was also successful in theaters. The company sees films as a way to build sales for its video games.\n\nIn the first few years after its establishment, the Japanese branch of Capcom had three development groups referred to as \"Planning Rooms\", led by Tokuro Fujiwara, Takashi Nishiyama and Yoshiki Okamoto, respectively. Later, games developed internally used to be created by several numbered \"Production Studios\", each assigned to different games. Starting in 2002, the development process was reformed to better share technologies and expertise, and all of the individual studios were gradually restructured into bigger departments responsible for different tasks. While there are self-contained departments for the creation of arcade, pachinko and pachislo, online, and mobile games, the Consumer Games R&D Division instead is an amalgamation of subsections in charge of various game development stages.\n\nIn addition to these internal teams, Capcom also commissions outside development studios to ensure a steady output of titles. However, following poor sales of Dark Void and Bionic Commando, the company's management has decided to limit outsourcing to sequels and newer versions of installments in existing franchises, reserving the development of original titles for its in-house teams. The production of games, budgets, and platforms supported are decided upon in development approval meetings, attended by the company management and the marketing, sales, and quality control departments."}}, {"pk": 6, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/lpldo4g", "name": "Rare", "webpage": "http://www.rareusa.com", "twitter": "451879857543081984", "founded": "1985-01-01T00:00:00Z", "location": "Leicestershire, England", "description": "Rare Ltd. is a British video game developer located in Twycross, Leicestershire, England. The company was established in 1985 by Ultimate Play the Game founders Tim and Chris Stamper. During its early years, Rare primarily concentrated on Nintendo Entertainment System games, creating successful titles such as Wizards & Warriors, Battletoads, and R.C. Pro-Am. Rare became a second-party developer for Nintendo in 1994. They achieved critical acclaim and commercial success with their subsequent releases, which included Donkey Kong Country, Killer Instinct, GoldenEye 007, Banjo-Kazooie, Perfect Dark, Conker's Bad Fur Day, and Star Fox Adventures.\n\nOn September 24, 2002, the company was wholly purchased by Microsoft and has since focused on developing games exclusively for Microsoft video game consoles. Rare since then has developed Kameo: Elements of Power, the Viva Pi\u00f1ata series, and the Kinect Sports series, among others. On 2 January 2007, founders Tim and Chris Stamper left the company to pursue \"other opportunities\". Rare's current Studio Creative Director is Simon Woodroffe, who previously worked at several studios including Midway Games, Ubisoft, and Sega.\n\nRare evolved from Ashby Computers & Graphics Ltd., better known by the trade name Ultimate Play the Game, and founded by ex-arcade game developers Tim and Chris Stamper. Unsatisfied with their games for 8-bit personal home computers such as the ZX Spectrum, the Stampers became interested in the development of Nintendo Entertainment System games out of Japan. By that time, they sold off part of the Ultimate Play the Game label to U.S. Gold and formed in 1985 a sub-division inside Ashby Computers and Graphics Ltd. named Rare Ltd. Having convinced Nintendo to allow them to develop games for their video game console, Rare released their first title, Slalom, a skiing game that was originally released for the Nintendo Vs. System in 1986 and later for the NES in 1987.\n\nThroughout the following four years, the company went on to produce over 40 NES games as well as several additional Game Boy conversions, including Wizards & Warriors, R.C. Pro-Am, Captain Skyhawk, Snake Rattle 'n' Roll and Battletoads. According to Ste Pickford, who was part of the team at Rare throughout the late 80s and into the early 90s, they just \"wanted to make as many games as they could in their 'window of opportunity'\". When the Super Nintendo Entertainment System was conceived, Rare limited their releases to some Battletoads games and decided to invest their significant NES profit in purchasing expensive Silicon Graphics workstations. This move made Rare the most technologically advanced developer in the UK, and situated them fairly high internationally.\n\nPartnership with Nintendo (1994\u20132001)\n\nTheir progress with the 3D graphics on the SGI systems impressed Nintendo's Genyo Takeda, and in 1994, Nintendo bought a 49% stake in the company, turning Rare into a Nintendo second-party developer. In this period, Rare started selling their games under the trademark name \"Rareware\" and the slogan \"Rare: Designs on the Future\". The company was considered one of Nintendo's key developers and had enough recognition that Nintendo offered them their catalogue of characters to create a 3D CGI game. The Stampers asked for Donkey Kong. The resulting game, Donkey Kong Country, was a critical success and sold over eight million copies worldwide, making it the second best-selling game in the SNES library. The game received several Game of the Year honors and was followed by two sequels and several hand-held spin-offs. Prior to the release of the Nintendo 64, Rare also developed a CGI arcade fighting game, Killer Instinct, on their own custom-built hardware."}}, {"pk": 7, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/mdlqzuq", "name": "Midway", "webpage": "http://www.rareusa.com/", "twitter": "", "founded": "1988-01-01T00:00:00Z", "location": "Chicago, Illinois", "description": "Midway Games is an American company that was formerly a major video game publisher and developer. Following a bankruptcy filing in 2009, it is no longer active and is in the process of liquidating all of its assets. Midway's titles included Mortal Kombat, Ms. Pac-Man, Spy Hunter, Tron, Rampage, the Cruis'n series, NFL Blitz and NBA Jam. Midway also acquired the rights to video games that were originally developed by Williams Electronics and Atari Games, such as Defender, Joust, Robotron 2084, Gauntlet and the Rush series.\n\nThe company's predecessor was founded in 1958 as Midway Manufacturing, an amusement game manufacturer. In 1973 it moved into the interactive entertainment industry, developing and publishing arcade video games. The company scored its first mainstream hit with the U.S. distribution of Space Invaders in 1978. Midway was purchased and re-incorporated in 1988 by WMS Industries Inc. After many years as a leader in the arcade segment, Midway moved into the growing home video game market beginning in 1996, the same year that it made its initial public offering of stock. In 1998, WMS spun off its remaining shares of Midway. Midway was ranked as the fourth largest-selling video game publisher in 2000.\n\nAfter 2000, Midway continued to develop and publish video games for home and handheld video game machines, but it experienced large annual net losses and engaged in a series of stock and debt offerings and other financings and borrowings. Sumner Redstone, the head of Viacom/CBS Corporation, increased his stake in Midway from about 15%, in 1998, to about 87% by the end of 2007. In December 2008, Redstone sold all his stock and $70 million of Midway debt to Mark Thomas, a private investor, for $100,000.\n\nIn February 2009, Midway Games filed in Delaware for bankruptcy. Warner Bros. purchased most of Midway's assets (including Mortal Kombat), and Midway settled with Mark Thomas to relinquish his Midway stock and debt. The U.S. District Court in Chicago dismissed a lawsuit alleging that former officers of Midway misled shareholders while selling their own stock. In 2010, the bankruptcy court dismissed claims against Redstone concerning his sale of the company to Thomas and approved Midway's plan of liquidation. Midway terminated the public registration of its securities in June 2010. In March 2011, the court dismissed a lawsuit challenging the sale of assets to Warner. As of 2014, a liquidating trust continues to collect and distribute any proceeds and other assets to Midway's remaining creditors and pursues avoidance actions on behalf of the creditors.\n\nMidway Mfg. Co. began in 1958 as an independent manufacturer of amusement equipment. It was purchased by Bally in 1969. Bally, at that time, was a leader in the manufacture of slot machines. After some years making mechanical arcade games such as puck bowling and simulated western shoot-out, Midway became in 1973 an early American maker of arcade video games. Throughout the 1970s, Midway formed a close alliance with Japanese video game publisher Taito, with both companies regularly licensing their games to each other for distribution in their respective country. Midway entered the consumer market in 1977 by releasing the Bally Home Library Computer, eventually renamed Bally Astrocade. This was the only home game system ever to be developed by the company and was discontinued in 1985.\n\nMeanwhile, Midway's breakthrough success came in 1978, with the licensing and distribution of Taito's seminal arcade game Space Invaders in America. This was followed by Midway's licensing and distributing the hit U.S. version of Namco's Pac-Man in 1980, and its unauthorized sequel, Ms. Pac-Man, in 1981. Also in 1981, Bally merged its pinball division with Midway to form the Bally/Midway Manufacturing division. Three games released that year, including Satan's Hollow, were the first to feature the Bally/Midway brand. From the late 1970s through the late 1980s, Midway was the leading producer of arcade video games in the United States.\n\nThe Bally/Midway division of Bally was purchased and reincorporated in 1988 by the arcade and pinball game company Williams Electronics Games through its holding company WMS Industries Inc. Midway moved its headquarters from Franklin Park, Illinois to Williams's then-headquarters in Chicago, and WMS reincorporated Midway as a Delaware corporation. Although WMS retained many of Midway's R&D employees, only two game designers were retained: Rampage designers Brian Colin and Jeff Nauman. WMS obtained the right from Bally to use the \"Bally\" brand for its pinball games since Bally had completely left the arcade/pinball industry to concentrate on casinos and slot machines.\n\nUnder WMS ownership, Midway initially continued to produce arcade games under the Bally/Midway label, while producing pinball tables under the \"Bally\" brand. In 1991, however, Midway absorbed Williams' video game division and started making arcade games under its own name again, without the \"Bally\" part. In 1992, the company's The Addams Family machine became the best selling pinball game of all time. In 1996, WMS purchased Time-Warner Interactive, which included Atari Games, a part of the former giant Atari Inc.. Also in 1996, Midway changed its original corporate name, Midway Manufacturing, to Midway Games Inc., due to its entrance in the home console market. The original arcade division of the company became Midway Amusement Games and the newly created home division was named Midway Home Entertainment.\n\nIn 1996, WMS made a public offering of Midway stock and, at the same time, WMS transferred its video game copyrights and trademarks, including Defender, Robotron: 2084 and Joust, to Midway. In 1998, WMS spun off its remaining 86.8% interest in Midway to the WMS shareholders, making Midway an independent entity for the first time in almost 30 years. Midway kept Atari Games as a wholly owned subsidiary as part of this spin-off. Midway retained or shared some of the WMS executive staff and used some common facilities with WMS for a few more years. Over several years, Midway gradually terminated all material agreements and executive overlap with WMS and had a declining number of common members of its Board of Directors, until it shared only one with its former parent company.\n\nBy 1999, Midway left the pinball industry (it had earlier transferred most of its pinball assets to WMS in 1996 in exchange for video game assets of WMS) to concentrate on video games. In January 2000, Midway changed the name of its \"Atari Games\" subsidiary to Midway Games West to avoid confusion with the other Atari company, then owned by Hasbro Interactive. In June 2001, Midway closed its arcade division due to financial losses. In February 2003, Midway closed Midway Games West, ending what was left of the original Atari. After losing money each year since 2000, Midway's losses accelerated in 2003, as it lost $115 million on sales of about $93 million. Despite these losses, the company was able to finance its business with stock and debt offerings and various credit arrangements. In 2003, Sumner Redstone, a significant minority shareholder since the company's spinoff, began to increase his stake in the company and soon owned 80% of the stock.\n\nIn 2004, in an effort to expand its market share, Midway began a purchasing spree of independent video game development studios to strengthen its product development teams In April 2004, Midway acquired Surreal Software of Seattle, Washington. In October 2004, it acquired Inevitable Entertainment of Austin, Texas (which became Midway Austin). In December 2004, it acquired Paradox Development of Moorpark, California. On August 4, 2005, Midway acquired privately held Australian developer Ratbag Games. The studio was renamed Midway Studios\u2014Australia. Four months later, on December 13, Midway announced to its employees there that it was shutting the studio down, leaving its employees based at that studio without a job. Two days later, on December 15, the studio was closed and their Adelaide premises emptied. During 2004 and 2005, Midway lost $20 million on sales of $162 million, and $112 million on sales of $150 million, respectively. Redstone voted his shares to elect his daughter Shari Redstone to Midway's board of directors and later as the chair of the board.\n\nMidway was ranked as the #4 video game publisher by sales in 2000. It was ranked as the #19 video game publisher in 2005 and had fallen to #20 in 2006, according to the magazine Game Developer.\n\nIn 2006 and 2007, Midway lost a further $77 million on sales of $166 million and $100 million on sales of $157 million, respectively. It continued to finance its business with debt offerings and other credit arrangements. As of 2007, Midway Games was engaged in a legal battle with Mindshadow Entertainment for the Psi-Ops video game rights. Mindshadow alleged that Midway copied Psi-Ops's story from a screenplay written and owned by their client. On December 2, 2008 Judge Florence-Marie Cooper of the United States District Court for the Central District of California issued a ruling granting summary judgment on all counts in Midway's favor. Judge Cooper found no evidence of copyright infringement.\n\nOn March 6, 2007, Midway reported that it had entered into a new $90m credit agreement with National Amusements, a company controlled by Sumner Redstone. Midway's CEO, David Zucker, stated that the introduction of Unreal Tournament 3, and the company's growing success in mass-market games, were setting it up for a \"significant 2008\". On March 21, 2008, Zucker resigned as CEO. He was the third executive to resign from the company in three months. Succeeding Zucker as CEO was former Senior Vice President Matt Booty. During the summer of 2008, in an effort to trim costs, Midway closed its Los Angeles and Austin studios. These closures left Midway with four studios, in Chicago, Seattle, San Diego and Newcastle, England. In November 2008, Midway reported that its cash and other resources \"may not be adequate to fund... working capital requirements\" and that it \"would need to initiate cost cutting measures or seek additional liquidity sources\". On November 20, 2008, Midway retained Lazard to assist it \"in the evaluation of strategic and financial alternatives\". The next day, Midway received a NYSE delisting notice, after its stock's price fell below one dollar.\n\nOn December 2, 2008, Sumner Redstone sold his 87 percent stake in Midway Games to Mark Thomas, a private investor, through his company MT Acquisition Holdings LLC. Thomas's company paid approximately $100,000, or $0.0012 per share. Thomas also received $70 million of Midway's debt owed to Redstone. National Amusements took a significant loss on the sale, although the loss allowed it to benefit from tax losses. In December 2008, Midway disclosed that it might default on $240 million of debt after the sale of stock to Thomas triggered clauses in two bond issues totalling $150 million of debt that allowed the bondholders to demand full repayment.\n\nIn 2008, Midway lost $191 million on sales of $220 million, and Redstone's sale of his shares to Thomas eliminated Midway's ability to take advantage of accumulated net operating losses and other tax assets potentially worth more than $700 million. On February 12, 2009, Midway and its U.S. subsidiaries filed for bankruptcy protection under Chapter 11 of the U.S. Bankruptcy Code. The company began to operate as a Debtor in possession. A company spokesperson said, \"We felt this was a logical next step for our organization, considering the change in control triggered the acceleration of the repayment options ... we're looking to reorganize and to come out on the other side stronger.\"\n\nMidway announced on May 21, 2009 that it had received a takeover bid from Warner Bros., valued at more than $33 million, to acquire most of the company's assets, including Midway's Chicago and Seattle studios and rights to the Mortal Kombat and Wheelman series. The offer did not include the San Diego and Newcastle studios or the TNA video game series. Midway had previously worked with Warner Bros. on several games including Mortal Kombat vs. DC Universe. Midway announced on May 28, 2009 that it would \"accept binding offers up to June 24, 2009, to acquire some or all of the Company's assets.\" An auction was to be held on June 29, followed by a court hearing to approve the sale to the winning bidder or bidders. However, no other bids were placed for Midway's assets, and so the auction was canceled. On July 1, 2009, the bankruptcy court approved the sale of most of the company's assets to Warner Bros. subject to the intellectual property claims of a third party, Threshold Entertainment, which produced two Mortal Kombat films and some other Mortal Kombat entertainment properties.\n\nOn July 8, 2009, Midway disclosed that it intended to close the San Diego studio by September. However, on August 19, 2009, THQ purchased the San Diego studio for $740,000 and extinguished Midway obligations to it. On July 10, 2009, pursuant to the terms of the Settlement Agreement that was approved by the bankruptcy court, Midway agreed to pay to affiliates of its majority owner, Mark Thomas, approximately $4.7 million in full satisfaction of all Midway debt to Thomas and his affiliates, and Thomas and his affiliates granted to Midway's Creditors' Committee an irrevocable proxy to vote his controlled shares of common stock in Midway and forever relinquished the right to vote or dispose of the shares. The settlement reduced Thomas's claims by 93 percent, and Midway continued to operate as a Debtor in Possession. Also on July 10, 2009, the sale of assets to Warner Bros. was completed. The total gross purchase price for the sale was approximately $49 million, including receivables, and Warner Bros. assumed liabilities. The sale also triggered payments under Midway's Key Employee Incentive Plan of approximately $2.4 million to company executives. The Midway Chicago studio, responsible for the Mortal Kombat series and other games, became part of Warner Bros. Interactive Entertainment and was later rebranded NetherRealm Studios. The Seattle-based Surreal Software merged with Monolith Productions in 2010.tation needed\n\nOn July 14, 2009, Midway announced that it had closed the Newcastle studio and terminated 75 employees. On August 19, 2009, Midway sold its French and German subsidiaries to holding companies called Spiess Media Holding UG and F+F Publishing GmbH, respectively. Speiss also purchased Midway's London publishing subsidiary on the same day. The European sales resulted in cash proceeds of $1.7 million and the elimination of related intercompany claims. In September 2009, Midway shut down its Chicago headquarters and terminated all but a few of its remaining employees. Many of the former Midway employees at the Chicago studio acquired by Warner Bros. were retained by Warner Bros. On October 2, 2009 Midway and two of its subsidiaries, Midway Home Entertainment and Midway Studios Los-Angeles, sold intellectual property assets, including Midway's TNA video game licenses, to SouthPeak Games for $100,000 and the assumption of related liabilities. Midway was no longer selling games in October 2009 and had disposed of all fixed assets by that time.\n\nIn October 2009, the U.S. District Court in Chicago dismissed a lawsuit against former officers of Midway alleging that they had misled shareholders while selling their own stock. The judge ruled that Midway's shareholders had not shown that the executives \"said or did anything more than publicly adopt a hopeful posture that its strategic plans would pay off\". On January 29, 2010, the bankruptcy court dismissed claims brought by Midway creditors for fraud and breach of duty against Sumner Redstone, Shari Redstone and Midway's other directors, concerning his 2008 loans to the company and his subsequent sale of his 87% stake in the company to Mark Thomas, which increased Midway's net debt and wiped out the company's net operating losses and other tax assets. Judge Kevin Gross wrote that his decision was \"not an endorsement of any of the defendants' actions. ... The defendants oversaw the ruin of a once highly successful company, only to hide behind the protective skirt of Delaware law, which the court is bound to apply.\" The court permitted other creditor claims to continue.\n\nIn February 2010, Midway filed its proposed plan of liquidation with the bankruptcy court. Under the plan, intercompany claims would be extinguished and a partial recovery would be allowed to the unsecured creditors of Midway Games (who held $155 million of claims) to the extent of about 16.5%, and to the unsecured creditors of Midway's subsidiaries (who held $36.7 million of claims) of about 25%. Any settlement amount under the lawsuit against National Amusements was to be paid to the two groups of unsecured creditors in the same ratio. Holders of secured and priority claims were to be paid in full, National Amusements would not receive any payment under its Subordinated Loan Agreement, and the equity holders would not receive any payment. On May 21, 2010, the bankruptcy court approved the plan of liquidation. Unsecured creditors of Midway shared approximately $25.5 million, and unsecured creditors of the company's subsidiaries shared about $9.2 million. A liquidating trust, administered by Buchwald Capital Advisors LLC as the Trustee, was created to pursue any remaining rights of Midway's bankruptcy estate and distribute any proceeds to Midway's remaining creditors.\n\nOn June 9, 2010, the company filed a Form 15 with the Securities and Exchange Commission, terminating the public registration of its securities. The creditors' settlement of their lawsuit against Redstone's company, National Amusements, in the total amount of $1 million, was approved by the bankruptcy court on June 21, 2010. This ended the outstanding claims against Redstone and his companies. Since December 2010, the trustee for the liquidating trust of the company, Buchwald Capital Advisors LLC, has filed 57 avoidance actions seeking to recover a total of $2,936,736 in transfers made by Midway to creditors prior to its bankruptcy filing. In March 2011, the court dismissed the adversary proceeding by Threshold Entertainment."}}, {"pk": 8, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/mvl8jov", "name": "Electronic Arts", "webpage": "http://www.ea.com/", "twitter": "451880314411810817", "founded": "1982-05-02T00:00:00Z", "location": "Redwood, California", "description": "Electronic Arts, Inc. (EA) is an American developer, marketer, publisher and distributor of video games headquartered in Redwood City, California, USA. Founded and incorporated on May 28, 1982 by Trip Hawkins, the company was a pioneer of the early home computer games industry and was notable for promoting the designers and programmers responsible for its games. In 2011 Electronic Arts was the world's third-largest gaming company by revenue after Nintendo and Activision Blizzard.\n\nCurrently, EA develops and publishes games under several labels including EA Sports titles, Madden NFL, FIFA, NHL, NCAA Football, NBA Live, and SSX. Other EA labels produce established franchises such as Battlefield, Need for Speed, The Sims, Medal of Honor, Command & Conquer, as well as newer franchises such as Dead Space, Mass Effect, Dragon Age, Army of Two and Star Wars: Knights of the Old Republic, produced in partnership with LucasArts. EA also owns and operates major gaming studios, Tiburon in Orlando, EA Canada in Burnaby, BioWare in Edmonton as well as Montreal and DICE in Sweden.\n\nOriginally, EA was a home computer game publisher. In the late 1980s, the company began developing games in-house and supported consoles by the early 1990s. EA later grew via acquisition of several successful developers. By the early 2000s, EA had become one of the world's largest third-party publishers. On May 4, 2011, EA reported $3.8 billion in revenues for the fiscal year ending March 2011, and on January 13, 2012, EA announced that it had exceeded $1 billion in digital revenue during the previous calendar year. In a note to employees, EA CEO John Riccitiello called this \u201can incredibly important milestone\u201d for the company. EA began to move toward direct distribution of digital games and services with the acquisition of the popular online gaming site Pogo.com in 2001. In 2009, EA acquired the London-based social gaming startup Playfish, and in June 2011, EA launched Origin, an online service to sell downloadable games directly to consumers. In July 2011, EA announced that it had acquired PopCap Games, the company behind hits such as Plants vs. Zombies and Bejeweled.\n\nEA continued its shift toward digital goods in 2012, folding its mobile-focused EA Interactive (EAi) division \"into other organizations throughout the company, specifically those divisions led by EA Labels president Frank Gibeau, COO Peter Moore, and CTO Rajat Taneja, and EVP of digital Kristian Segerstrale.\"\n\nIn February 1982, Trip Hawkins arranged a meeting with Don Valentine of Sequoia Capital to discuss financing his new venture, Amazin' Software. Valentine encouraged Hawkins to leave Apple Inc., in which Hawkins served as Director of Product Marketing, and allowed Hawkins use of Sequoia Capital's spare office space to start the company. On May 28, 1982, Trip Hawkins incorporated and established the company with a personal investment of an estimated US$200,000. Seven months later in December 1982, Hawkins secured US$2 million of venture capital from Sequoia Capital, Kleiner Perkins Caufield & Byers, and Sevin Rosen Funds.\n\nFor more than seven months, Hawkins refined his Electronic Arts business plan. With aid from his first employee (with whom he worked in marketing at Apple), Rich Melmon, the original plan was written, mostly by Hawkins, on an Apple II in Sequoia Capital's office in August 1982. During that time, Hawkins also employed two of his former staff from Apple, Dave Evans and Pat Marriott, as producers, and a Stanford MBA classmate, Jeff Burton from Atari for international business development. The business plan was again refined in September and reissued on October 8, 1982. Between September and November, employee headcount rose to 11, including Tim Mott, Bing Gordon, David Maynard, and Steve Hayes.tation needed Having outgrown the office space provided by Sequoia Capital, the company relocated to a San Mateo office that overlooked the San Francisco Airport landing path. Headcount rose rapidly in 1983, including Don Daglow, Richard Hilleman, Stewart Bonn, David Gardner, and Nancy Fong.\n\nHe recruited his original employees from Apple, Atari, Xerox PARC, and VisiCorp, and got Steve Wozniak to agree to sit on the board of directors.\n\nHawkins was determined to sell directly to buyers. Combined with the fact that Hawkins was pioneering new game brands, this made sales growth more challenging. Retailers wanted to buy known brands from existing distribution partners. After more flyers were handed out, former CEO Larry Probst arrived as VP of Sales in late 1984 and helped the company sustain growth into US$18 million in its third full year. This policy of dealing directly with retailers gave EA higher margins and better market awareness, key advantages the company would leverage to leapfrog its early competitors.\n\nIn December 1986, David Gardner and Mark Lewkaspais moved to the UK to open a European headquarters. Up until that point publishing of Electronic Arts Games, and the conversion of many of their games to compact cassette versions in Europe was handled by Ariolasoft.\n\nMost of the early employees of the company disliked the Amazin' Software name that Hawkins had originally chosen when he incorporated the company.tation needed While at Apple, Hawkins had enjoyed company offsite meetings at Pajaro Dunes and organized such a planning offsite for EA in October 1982.\n\nHawkins had developed the ideas of treating software as an art form and calling the developers, \"software artists\". Hence, the latest version of the business plan had suggested the name \"SoftArt\". However, Hawkins and Melmon knew the founders of Software Arts, the creators of VisiCalc, and thought their permission should be obtained. Dan Bricklin did not want the name used because it sounded too similar (perhaps \"confusingly similar\") to Software Arts. However, the name concept was liked by all the attendees. Hawkins had also recently read a best-selling book about the film studio, United Artists, and liked the reputation that company had created. Early advisers Andy Berlin, Jeff Goodby, and Rich Silverstein (who would soon form their own ad agency Goodby, Silverstein & Partners) were also fans of that approach, and the discussion was led by Hawkins and Berlin. Hawkins said everyone had a vote but they would lose it if they went to sleep.tation needed\n\nHawkins liked the word \"electronic\", and various employees had considered the phrases \"Electronic Artists\" and \"Electronic Arts\". Other candidates included Gordon's suggestion of \"Blue Light\", a reference from the Disney film Tron.tation needed When Gordon and others pushed for \"Electronic Artists\", in tribute to the film company United Artists, Steve Hayes opposed, saying, \"We're not the artists, they are...\" meaning that the developers whose games EA would publish were the artists. This statement from Hayes immediately tilted sentiment towards Electronic Arts and the name was unanimously endorsed.tation needed\n\nA novel approach to giving credit to its developers was one of EA's trademarks in its early days. This characterization was even further reinforced with EA's packaging of most of their games in the \"album cover\" pioneered by EA because Hawkins thought that a record album style would both save costs and convey an artistic feeling. EA routinely referred to their developers as \"artists\" and gave them photo credits in their games and numerous full-page magazine ads. EA also shared lavish profits with their developers, which added to their industry appeal. Because of this novel treatment, EA was able to easily attract the best developers.tation needed The square \"album cover\" boxes (such as the covers for 1983's M.U.L.E. and Pinball Construction Set) were a popular packaging concept by Electronic Arts, which wanted to represent their developers as \"rock stars\".\n\nIn the mid-1980s Electronic Arts aggressively marketed products for the Commodore Amiga, mistakenly believing that its low price and sophistication would cause the computer to supplant the Apple Macintosh. PC compatibles instead became the dominant personal computer. In 1990 Electronic Arts began producing console games for the Nintendo Entertainment System, after previously licensing its computer games to other console-game publishers. Eventually, Trip Hawkins left EA to found the now defunct 3DO Company."}}, {"pk": 9, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/mevs64j", "name": "Square", "webpage": "http://na.square-enix.com/us/home", "twitter": "451881292959723520", "founded": "1986-09-01T00:00:00Z", "location": "Tokyo, Japan", "description": "The Square Company, Limited was a Japanese video game company founded in September 1986 by Masashi Miyamoto. It merged with Enix in 2003 and became part of Square Enix. The company sometimes used Squaresoft as a brand name to refer to their games, and the term is occasionally used to refer to the company itself. In addition, \"Squaresoft, Inc\" was the name of the company's American arm before the merger, after which it was renamed to \"Square Enix, Inc\".\n\nSquare was founded in Yokohama in September 1986 by Masashi Miyamoto after he graduated from Waseda, one of Japan's top universities. Back then, Square was a computer game software division of Den-Yu-Sha, a power line construction company owned by Miyamoto's father. While at the time game development was usually conducted by only one programmer, Miyamoto believed that it would be more efficient to have graphic designers, programmers and professional story writers working together on common projects. Square's first two titles were The Death Trap and its sequel Will: The Death Trap II, both designed by part-time employee Hironobu Sakaguchi and released on the NEC PC-8801.\n\nDespite an initial reluctance to develop for video game consoles, Square entered the Nintendo Famicom market in December 1985 with the porting of Thexder. In September 1986, Square spun off from Den-Yu-Sha and became an independent company officially named Square Co., Ltd. Sakaguchi then became a full-time employee as the Director of Planning and Development of the company. After releasing several unsuccessful games for the Famicom, Square relocated to Ueno, Tokyo in 1987 and developed a role-playing video game titled Final Fantasy, inspired by Enix's success with the genre, Dragon Quest (later released in North America as Dragon Warrior). With 400,000 copies sold, Final Fantasy spawned multiple sequels over the years and became Square's main franchise.\n\nSquare has also made other widely known games such as Chrono Trigger, Chrono Cross, Secret of Mana, Legend of Mana, Xenogears, Brave Fencer Musashi, Parasite Eve, Parasite Eve 2, Saga Frontier, Romancing Saga, Vagrant Story, Kingdom Hearts (done in collaboration with Disney Interactive), and Super Mario RPG: Legend of the Seven Stars (done under the guidance of Shigeru Miyamoto).\n\nSquare was one of the many companies that had planned to develop and publish their games for the Nintendo 64, but with the cheaper costs associated with developing games on CD based consoles such as the Sega Saturn and the Sony PlayStation, Square decided to develop titles for latter system. Final Fantasy VII was one of these games, and it sold 9.8 million copies, making it the second best selling game for the PlayStation.\n\nOn February 8, 2001, due to its first quarterly loss since going public, \"the company implemented a restructuring plan for its Japanese corporate staff. Three key figures have been moved around in the company ranks. \"Resigning\" from their current positions in order to take responsibility for the losses, and have been reassigned to different positions. Hironobu Sakaguchi, the father of the Final Fantasy series, will no longer be vice president, and will instead be known as an \"executive producer.\" Additionally, company president Tomoyuki Takeshi will become a contractual consultant for the company, with director Masahi Hiramatsu now taking the role of executive consultant.\".\n\nA merger between Square and its competitor Enix was in consideration since at least 2000; however, the financial failure of the movie Final Fantasy: The Spirits Within made Enix hesitant to join with a company which was losing money,. With the company in its second year of financial loss, Square approached Sony for a capital injection and on October, 8th 2001, Sony Corp purchased 18.6% stake in Square to bandage their loss.\n\nIn an interview with GIA.com in 2001, when asked \"Are you ever worried that Square will become too heavily dependent on the Final Fantasy name?\" Hironobu Sakaguchi responded that \"Avoiding that has actually been one of Square's goals for a long time. It is our aim to try and develop a few more major franchises for the company; that has always been on our minds.\"\n\nOn November 26, it was reported that Square CEO Hisashi Suzuki was to step down as the company's President and that COO Yoichi Wada was to replace him in December with a restructuring plan for the company.\n\nOn May 28, 2002 it was detailed that in Wada's restructuring of the company, that \"while Square formally took a development style where teams were formed and dispersed per project, developers will now be fixed into divisions. Source codes and resources will be shared for efficiency, and employees will receive varying bonuses depending on the profit of their division. By settling developers into groups, Square also aims for the developers to re-use the titles they have developed, making game development more cost efficient. Development costs- originally 2-3 Billion yen, are expected to fall to 1 Billion yen.\" In addition, the company revealed plans to release two Final Fantasy X spinoffs that would later become Final Fantasy X-2.\n\nFollowing the success of both Final Fantasy X and Kingdom Hearts,. the company recovered to stability and the company recorded the highest operating margin in its history in fiscal year 2002. It was announced on November 25, 2002 that Square and Enix's previous plans to merge were to officially proceed. As described by Yoichi Wada \"Square has also fully recovered, meaning this merger is occurring at a time when both companies are at their height.\". Despite this, some shareholders had doubts about the merger, notably Square's original founder & largest shareholder: Masashi Miyamoto, who would find himself holding significantly less if the two RPG behemoths go through with the deal. Other criticism came from Takashi Oya of Deutsche Securities who expressed doubts about the benefits of such a merger. \"Enix outsources game development and has few in-house creators, while Square does everything by itself. The combination of the two provides no negative factors but would bring little in the way of operational synergies, he said.\" Eventually Masashi Miyamoto's issue was eventually resolved, by altering the exchange ratio of one Square share for 0.81 Enix shares, thus greenlighting the merger and on April 1, 2003, Square-Enix was founded."}}, {"pk": 10, "model": "videogames.company", "fields": {"mapimage": "http://tinyurl.com/knkyxdf", "name": "Westwood Studios", "webpage": "http://en.wikipedia.org/wiki/Westwood_Studios", "twitter": "451881654756188160", "founded": "1985-01-01T00:00:00Z", "location": "Las Vegas, Nevada", "description": "Westwood Studios was an American video game developer, based in Las Vegas, Nevada. It was founded by Brett Sperry and Louis Castle in 1985 as Westwood Associates and was renamed Westwood Studios when it merged with Virgin Interactive in 1992. The company was bought from Virgin Interactive by Electronic Arts (EA) in 1998, and closed by EA in 2003.\n\nWestwood is best known for developing real-time strategy, adventure and role-playing genres. It was listed in Guinness World Records for selling more than 10 million copies of Command & Conquer worldwide. Electronic Arts continues to develop games based on Westwood's Command & Conquer series. The last former Westwood employee quit working for Electronic Arts after the release of Command & Conquer: Generals in 2003.\n\nThe company's first projects consisted of contract work for companies like Epyx and Strategic Simulations, Inc. (SSI), porting 8-bit titles to 16-bit systems like Commodore Amiga and Atari ST. Proceeds from contract work allowed the company to expand into designing its own games in-house. Their first original title was Mars Saga, a game developed for Electronic Arts and released in 1988. They laid the foundations for the real-time strategy genre with the release of real-time tactics game BattleTech: The Crescent Hawk's Revenge, one of the more literal translations of the classic tabletop game BattleTech. One of the company's first great successes was Eye of the Beholder (1990), a real-time role-playing video game based on the Dungeons & Dragons license, developed for SSI. Other publishers of early Westwood games included Infocom and Disney. Their company was eventually acquired by Virgin Interactive in 1992.\n\nWell-known Westwood titles from the early 1990s include Dune II, the game that set the template for subsequent real-time strategy games, as well as The Legend of Kyrandia and Lands of Lore. Westwood's greatest commercial success, however, came in 1995 with the release of the real-time strategy game Command & Conquer. Building on the gameplay and interface ideas of Dune II, it added pre-rendered 3D graphics for gameplay sprites and video cinematics, an alternative pop/rock soundtrack with techno elements streamed from disk, and modem play. Command & Conquer, Kyrandia, and Lands of Lore all spawned multiple sequels.\n\nIn August 1998, Westwood was acquired by Electronic Arts for $122.5 million in cash. At the time, Westwood had 5% to 6% of the PC game market. In response to EA's buyout, many long-time Westwood employees quit and left Westwood Studios. Because of this and EA's newly imposed demands, games being developed by Westwood Studios at the time were rushed and left unfinished upon their release, namely Command & Conquer: Tiberian Sun. All the subsequent games developed by Westwood were also heavily subjected to increased control by Electronic Arts, with some of them being cancelled.\n\nAlong with Westwood, EA had also acquired Virgin Interactive's development studio based in Irvine, California. It was managed by Westwood and became known as Westwood Pacific, and later EA Pacific. Westwood Pacific developed or co-developed games like Nox and Command & Conquer: Red Alert 2, which takes place in an alternate universe to that of the original title Command & Conquer. One of the last games released by Westwood, Command & Conquer: Renegade (an action game, which mixed elements from first-person shooters and real-time strategy games) failed to meet consumer expectations and commercial goals Electronic Arts had set for it. In March 2003, Westwood Studios (along with EA Pacific) was liquidated by EA, and all willing staff were assimilated into EA Los Angeles. Their last video game was Earth & Beyond, a massively multiplayer online role-playing game (MMORPG).\n\nAt the time of its liquidation, Westwood employed a third of the original Westwood Studios personnel, some of which formed Petroglyph Games in April 2003, along with three of them (Brett Sperry, Adam Isgreen and Rade Stojsavljevic) forming Jet Set Games development studio in 2008, both based in Las Vegas, Nevada."}}, {"pk": 1, "model": "auth.permission", "fields": {"codename": "add_logentry", "name": "Can add log entry", "content_type": 1}}, {"pk": 2, "model": "auth.permission", "fields": {"codename": "change_logentry", "name": "Can change log entry", "content_type": 1}}, {"pk": 3, "model": "auth.permission", "fields": {"codename": "delete_logentry", "name": "Can delete log entry", "content_type": 1}}, {"pk": 4, "model": "auth.permission", "fields": {"codename": "add_permission", "name": "Can add permission", "content_type": 2}}, {"pk": 5, "model": "auth.permission", "fields": 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"Can add genre", "content_type": 10}}, {"pk": 29, "model": "auth.permission", "fields": {"codename": "change_genre", "name": "Can change genre", "content_type": 10}}, {"pk": 30, "model": "auth.permission", "fields": {"codename": "delete_genre", "name": "Can delete genre", "content_type": 10}}, {"pk": 31, "model": "auth.permission", "fields": {"codename": "add_system", "name": "Can add system", "content_type": 11}}, {"pk": 32, "model": "auth.permission", "fields": {"codename": "change_system", "name": "Can change system", "content_type": 11}}, {"pk": 33, "model": "auth.permission", "fields": {"codename": "delete_system", "name": "Can delete system", "content_type": 11}}, {"pk": 34, "model": "auth.permission", "fields": {"codename": "add_game", "name": "Can add game", "content_type": 12}}, {"pk": 35, "model": "auth.permission", "fields": {"codename": "change_game", "name": "Can change game", "content_type": 12}}, {"pk": 36, "model": "auth.permission", "fields": {"codename": 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