Video Game Animation Work
- Sonic The Hedgehog CD (1993) (Opening and closing animation sequences) (co-production with Studio Junio)
- Dragon Ball Z: Ultimate Battle 22 (1995) (Opening sequence and bonus fighter animation sequence)
- Dragon Ball GT: Final Bout (1997) (Opening sequence)
- Chrono Trigger (1999, 2008, 2011) (extra video scenes in PlayStation, Nintendo DS, PlayStation 3, and Wii Virtual Console versions)
- Digimon Rumble Arena (2001) (2-D Elements in opening sequence)
- Dragon Ball Z: Budokai 2 (2003) (Opening sequence)
- Dragon Ball Z: Budokai 3 (2004) (Opening sequence)
- Dragon Ball Z: Ultimate Tenkaichi (2011) (2D animated sequences)
Read more about this topic: Toei Animation
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“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . todays children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)
“It is among the ranks of school-age children, those six- to twelve-year-olds who once avidly filled their free moments with childhood play, that the greatest change is evident. In the place of traditional, sometimes ancient childhood games that were still popular a generation ago, in the place of fantasy and make- believe play . . . todays children have substituted television viewing and, most recently, video games.”
—Marie Winn (20th century)
“Neighboring farmers and visitors at White Sulphur drove out occasionally to watch those funny Scotchmen with amused superiority; when one member imported clubs from Scotland, they were held for three weeks by customs officials who could not believe that any game could be played with such elongated blackjacks or implements of murder.”
—For the State of West Virginia, U.S. public relief program (1935-1943)
“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
—Freya Stark (b. 18931993)