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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-entertainmentscene360_65-1] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-67] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Guinness World Records Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. Contents History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Template talk:Minecraft wonder quest someone add Wonder Quest (web series) to this. im not tryna waste my time editing it in. — Preceding unsigned comment added by Yall are smart (talk • contribs) 22:11, 1 May 2020 (UTC)[reply] Revised Template It seems like the best compromise would be to revert to my last edit, then remove the Minecraft clones section. The developers section can then refer to the freelancers, allowing us to include them, Dissident93. Squid45 (talk) 09:55, 31 March 2021 (UTC)[reply] Add an "Alex" page? I know the page for all the 1.19+ characters are not needed, but Alex is still great part of the game's default character history Libresoldier79 (talk) 21:17, 5 December 2024 (UTC)[reply] |
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Contents Template talk:Minecraft wonder quest someone add Wonder Quest (web series) to this. im not tryna waste my time editing it in. — Preceding unsigned comment added by Yall are smart (talk • contribs) 22:11, 1 May 2020 (UTC)[reply] Revised Template It seems like the best compromise would be to revert to my last edit, then remove the Minecraft clones section. The developers section can then refer to the freelancers, allowing us to include them, Dissident93. Squid45 (talk) 09:55, 31 March 2021 (UTC)[reply] Add an "Alex" page? I know the page for all the 1.19+ characters are not needed, but Alex is still great part of the game's default character history Libresoldier79 (talk) 21:17, 5 December 2024 (UTC)[reply] |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Creeper (Minecraft) Page version status This is an accepted version of this page A creeper is a fictional creature in the sandbox video game Minecraft. Creepers are hostile mobs (mobile non-player characters) that spawn in dark places. Instead of attacking the player directly, they creep up on the player and explode, destroying blocks in the surrounding area and potentially hurting or killing the player if they are within the blast radius. Their green camouflage and generally silent behavior aid in stealth attacks, making them one of the most dangerous mobs in Minecraft. Creepers were first added to Minecraft in a pre-alpha update to the game that was released on September 1, 2009. The creeper has become one of the most widely recognized icons of Minecraft. They have been referenced and parodied in popular culture, and they are featured prominently in Minecraft merchandising and advertising. Conception and design The character model that later became the creeper was first created on August 20, 2009, as a result of a coding error when creating the pig mob in the early pre-alpha stages of Minecraft's development. The game's creator, Markus Persson, accidentally mixed up the dimensions of the model, swapping the length and height. Instead of deleting the result, Persson instead stated "I'll keep it for a creepy creature", and later added a green texture based on the in-game leaves texture to the model, gave it an aggressive AI, and turned it into a hostile mob. The creeper was added to the game on September 1, 2009, on a pre-alpha version named 0.24_SURVIVAL_TEST. In Minecraft, the player exists in a large world made up of blocks. The world contains a number of enemies (hostile mobs), of which creepers are commonly encountered. A creeper is nearly silent until it comes near the player, at which point it emits a hiss and explodes after a short delay. The explosion destroys the creeper, can kill or injure the player, and also typically destroys surrounding blocks. In later updates, the Minecraft developers decided that creepers "weren't quite unpredictable enough", and added the ability for creepers to become "charged creepers" when struck by lightning. Charged creepers have amplified explosion power and can cause other specific mobs killed in the blast to drop their heads (creepers, zombies, skeletons, wither skeletons, and piglins). These heads can then be worn by the player, putting the head's model on them to look like that mob. Appearances The creeper originally appeared in Minecraft in an early pre-alpha update as a common hostile mob that silently approaches players, hisses, then explodes. It appeared later in Minecraft spin-off games such as Minecraft: Story Mode, Minecraft Dungeons, Minecraft Legends, the discontinued Minecraft Earth, and the film adaption A Minecraft Movie (2025). Outside of Minecraft, it also appeared in Terraria (2011), Torchlight II (2012), Borderlands 2 (2012), Octodad: Dadliest Catch (2014), and in Nintendo's crossover fighting game Super Smash Bros. Ultimate (2018), where the creeper has been featured as a Mii Brawler costume. A creeper is set to appear as a playable character in Sonic Racing: CrossWorlds. Promotion and reception The creeper image has been used on a wide variety of Minecraft merchandise, including clothing, bedding, and lamps. In July 2020, a joint partnership between Mojang Studios and Kellogg's led to the announcement of Minecraft Creeper Crunch, an official Minecraft-branded cereal prominently featuring a creeper on the packaging. It was set to be available for release in stores in the United States in August 2020. Every packet additionally includes a unique code which can be redeemed for a Minecraft cosmetic clothing item. The creeper is considered to be one of Minecraft's most iconic enemies and icons. The pixelated face of the creeper has been integrated into the letter "A" of the Minecraft logo, as well as being used in numerous Halloween costumes and cosplays. Guinness World Records Gamer's Edition listed the creeper as tenth in their list of "top 50 video game villains". The creeper has been featured in multiple Lego Minecraft sets and has been the main focus of one. In 2021, PC Gamer ranked creeper as 9th of "the 50 most iconic characters in PC gaming", stating that "The Creeper is the star of Minecraft, which is ironic considering that the Creeper's effectiveness hinges upon not being seen." In an article for Games and Culture, Daniel Dooghan characterized the creeper as "resistance personified", using its role in the game to draw comparison to real-world terrorism and how society reacts to such. More directly drawing parallels to real world suicide bombers through the ideology of "Self-annihilation is the ultimate form of resistance", its not human like appearance coupled with the semblance of a permanently scowling face further made it represent "otherness" in the game's world. While he acknowledged it was impossible to know the creature's actual motivations he felt it characterized the game world's rejection of the player, and impels them towards technological advancement and resource gathering due to frequent interaction and the consequences of such interaction. Creepers have been the subject of numerous pop culture references and parodies. In the season 25 episode "Luca$" of the animated sitcom The Simpsons, Moe Szyslak appears as a creeper and explodes at the end of the theme song's "couch gag". On August 19, 2011, Jordan Maron (also known as the YouTuber CaptainSparklez) released the song "Revenge", a parody of "DJ Got Us Fallin' in Love", depicting a Minecraft player seeking revenge against creepers. The song regained popularity as an internet meme around July 2019. References External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Xbox_Game_Studios#History] | [TOKENS: 4459] |
Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Xbox_Game_Studios#As_Microsoft_Studios_(2011–2019)] | [TOKENS: 4459] |
Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#cite_ref-89] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Xbox_Game_Studios#As_Microsoft_Games_and_Microsoft_Game_Studios_(2000–2011)] | [TOKENS: 4459] |
Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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[SOURCE: https://en.wikipedia.org/wiki/The_Aether_(mod)#bodyContent] | [TOKENS: 451] |
Contents The Aether (mod) The Aether is a Minecraft mod originally released by a team of six modders. The mod adds a new Heaven-like dimension to Minecraft, complete with new materials, mobs, dungeons and bosses. The mod was released on 22 July 2011 and received acclaim, with the lead developer being hired at Mojang Studios. A sequel to the mod was released in June 2013. Gameplay The Aether mod adds a new eponymous dimension to Minecraft. The dimension's pastel aesthetics and floating islands contrast the Nether, a dimension from the base game themed after Hell. The Aether is accessed by building, activating and going through the Aether portal, constructed in the same shape as the Nether portal but with different materials. The dimension is made out of islands floating in mid-air; falling down sends the player out of the dimension. Various friendly and hostile mobs can be encountered in the Aether. Overworld tools become obsolete in the Aether, requiring the player to make tools out of new materials found inside the dimension, effectively restarting the progression chain. The mod also adds accessories, which provide buffs to a player when placed in a specific inventory slot. Dungeons can be found in the Aether, containing a boss at the end that drops valuable items upon defeat. Development As of June 2013, the mod team had seven members: project lead Brandon "kingbdogz" Pearce, programmers Jaryt and Saspiron, artists Dark and Oscar Payn, composer Emile van Krieken and writer Liberty. In December 2021, The Aether was updated to support newer Minecraft versions. Reception Being one of the first large-scale mods for Minecraft, The Aether has received acclaim and is considered a classic. PCGamesN called the mod "one of Minecraft's most impressive historic mods". Various news outlets described the mod's themes as antithetical to the Nether. In January 2020, Pearce became a Mojang Studios employee. In June 2013, The Aether 2 was announced, a mod that aims to overhaul The Aether and add new content as well as a multiplayer party system, designed to make cooperative play more convenient. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/The_Aether_(mod)#Development] | [TOKENS: 451] |
Contents The Aether (mod) The Aether is a Minecraft mod originally released by a team of six modders. The mod adds a new Heaven-like dimension to Minecraft, complete with new materials, mobs, dungeons and bosses. The mod was released on 22 July 2011 and received acclaim, with the lead developer being hired at Mojang Studios. A sequel to the mod was released in June 2013. Gameplay The Aether mod adds a new eponymous dimension to Minecraft. The dimension's pastel aesthetics and floating islands contrast the Nether, a dimension from the base game themed after Hell. The Aether is accessed by building, activating and going through the Aether portal, constructed in the same shape as the Nether portal but with different materials. The dimension is made out of islands floating in mid-air; falling down sends the player out of the dimension. Various friendly and hostile mobs can be encountered in the Aether. Overworld tools become obsolete in the Aether, requiring the player to make tools out of new materials found inside the dimension, effectively restarting the progression chain. The mod also adds accessories, which provide buffs to a player when placed in a specific inventory slot. Dungeons can be found in the Aether, containing a boss at the end that drops valuable items upon defeat. Development As of June 2013, the mod team had seven members: project lead Brandon "kingbdogz" Pearce, programmers Jaryt and Saspiron, artists Dark and Oscar Payn, composer Emile van Krieken and writer Liberty. In December 2021, The Aether was updated to support newer Minecraft versions. Reception Being one of the first large-scale mods for Minecraft, The Aether has received acclaim and is considered a classic. PCGamesN called the mod "one of Minecraft's most impressive historic mods". Various news outlets described the mod's themes as antithetical to the Nether. In January 2020, Pearce became a Mojang Studios employee. In June 2013, The Aether 2 was announced, a mod that aims to overhaul The Aether and add new content as well as a multiplayer party system, designed to make cooperative play more convenient. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Steve%27s_Lava_Chicken#Background_and_release] | [TOKENS: 750] |
Contents Steve's Lava Chicken "Steve's Lava Chicken" is a song performed by Jack Black from the soundtrack for A Minecraft Movie (2025). It is used as a jingle for a scene where Black's character in the film, Steve, cooks a live chicken by pouring lava onto it. The song was co-written by Black and the film's director Jared Hess, and is 34 seconds long. The song broke several records—particularly in the United States and the United Kingdom—as the shortest song to chart on the Billboard Hot 100 and the UK Singles Chart respectively. It also charted in multiple other countries. It has been certified gold by the Recording Industry Association of America and silver by the British Phonographic Industry. Background and release "Steve's Lava Chicken" is used in a scene in A Minecraft Movie where Steve—a character portrayed in the film by Black—showcases a contraption he made that cooks live chickens in lava. The subject of the song is the cooked chicken resulting from the contraption. The song itself is about 34 seconds long, and was co-written by Black and the film's director Jared Hess. The soundtrack for A Minecraft Movie, including "Steve's Lava Chicken", was released on March 28, 2025, through WaterTower Music. A 50-second long clip from the film featuring the song, labeled by WaterTower as its official music video, was released on April 9, 2025. An EP by Black, I...Am Steve, featuring an extended version of "Steve's Lava Chicken" along with other songs from the film's soundtrack, was released on April 18, 2025. The extended version is 1 minute and 15 seconds long. A remix of the "Steve's Lava Chicken" instrumental was added to Minecraft in June 2025 as a music disc, with players able to obtain the disc by killing a chicken jockey. Commercial performance In the United States, "Steve's Lava Chicken" received over 2.5 million streams on the week of the film's release, a 1,973% increase in streams from the week prior to its release. The song later debuted at number 78 on the Hot 100 for the week dated May 3, 2025, breaking the record for the shortest song in the chart's history, surpassing Kid Cudi's "Beautiful Trip", which is 37 seconds long. "Steve's Lava Chicken" was certified gold by the Recording Industry Association of America in September 2025. In the United Kingdom, "Steve's Lava Chicken" peaked at number nine on the UK Singles Chart on May 2, 2025 ‒ for the week ending date May 8, 2025 ‒ during its third week on the chart. It broke the record for the shortest song to ever appear in the top 40 of the UK Singles Chart. The previous record holder was "The Ladies' Bras", a song by Jonny Trunk and Duncan Wisbey that was 36 seconds long. The song became Black's highest-charting song in Britain, surpassing "Peaches", a song from the soundtrack for The Super Mario Bros. Movie (2023). It was certified silver by the British Phonographic Industry in July 2025. Critical reception In a list article discussing the best and worst things to happen in 2025, Pitchfork placed the commercial performance records set by "Steve's Lava Chicken" as one of the low points of the year, assigning it a 1.9 out of 10 score on the scale. Charts Certifications ‡ Sales+streaming figures based on certification alone. References |
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[SOURCE: https://en.wikipedia.org/wiki/Xbox_Game_Studios#Former] | [TOKENS: 4459] |
Contents Xbox Game Studios Xbox Game Studios (previously known as Microsoft Studios, Microsoft Game Studios, and Microsoft Games) is an American video game publisher based in Redmond, Washington. It was established in March 2000, spun out from an internal Games Group, for the development and publishing of video games for Microsoft Windows. It has since expanded to include games and other interactive entertainment for the namesake Xbox platforms, other desktop operating systems, Windows Mobile and other mobile platforms, web-based portals, and other game consoles. Xbox Game Studios, alongside ZeniMax Media and Activision Blizzard, are part of the Microsoft Gaming division led by Phil Spencer, who is chief executive officer of the division. History Early in the history of Microsoft the software company published video games like Olympic Decathlon, but Steve Ballmer reportedly persuaded Bill Gates to deemphasize them to professionalize the company's image. By the early 1990s, Microsoft published subLOGIC's Microsoft Flight Simulator and several Microsoft Entertainment Pack compilations of minigames, but was best known for MS-DOS and Microsoft Windows. In 1992, the company began increasing its focus on games. It announced Microsoft Golf for Windows, based on Access Software's Links, and expanded the games division from two to six people with the intention of commissioning more products from other developers. Microsoft acquired FASA Interactive in 1999 for its MechWarrior game series, Access Software, and Aces Game Studio, which worked on Flight Simulator. The Games Group had also established long-term publishing deals with developers like Ensemble Studios (Age of Empires, Age of Mythology), and Digital Anvil (Starlancer). Under Microsoft, FASA Interactive was renamed FASA Studio, and Access Software became Salt Lake Games Studio. Microsoft transitioned the Games Group into a wholly separate division named Microsoft Games around March 2000, along with other consolidation of games-related projects within Microsoft. This came alongside the public announcement of the first Xbox console, with Microsoft Games to serve as a developer and publisher of titles for both Xbox and Windows. Robbie Bach, who held executive positions in Microsoft's entertainment divisions, was named senior vice-president while Ed Fries, a member of the former Games Group and instrumental for some of its acquisitions, was named as vice-president of the new division. Shane Kim served as the division's general manager. In 2001, the division was renamed Microsoft Game Studios (MGS). FASA Studio and Salt Lake Games Studio remained with Microsoft Game Studios. Digital Anvil and Ensemble Studios were acquired by Microsoft in 2000 and 2001, respectively. One of the first major studio acquisitions following the division's formation was Bungie in June 2000, in the midst of its development of Halo: Combat Evolved. With the acquisition, Halo, which had been planned for release on personal computers, became a Microsoft-published title as well as a launch title for the Xbox on its release in 2001. Turn 10 Studios was established in 2001 for work on the Forza series of racing games. In September 2002, Microsoft Game Studios acquired Rare, who had previously extensively developed for Nintendo platforms. In 2003, Microsoft recognized that the EA Sports label was in a far stronger position to develop sports games for the Xbox console, and among realignment steps, laid off about 78 employees within Microsoft Game Studios that were developing sports games in-house, and sold Salt Lake Games Studio, now named Indie Games to Take-Two Interactive in 2004, where it became Indie Built. Peter Moore was named in 2003 as vice-president of Microsoft's Home and Entertainment Division, which included MGS, the Xbox division, and Microsoft's home hardware market, reporting to Bach. In addition to pulling big publishers like Electronic Arts to the Xbox platform, Moore tried to push the Xbox in Japan by courting Japanese developers with support from MGS publishing. Such games included Phantom Dust and Blinx: The Time Sweeper. Around 2004, MGS established Carbonated Games as an internal studio for the development of casual games for Microsoft's web games portal MSN Games, on the chat client MSN Messenger, and on the Xbox Live platform. Kim and Fries were instrumental for securing MGS' publishing deal with Lionhead Studios for their 2004 game Fable, which would serve as the first major role-playing game on the Xbox platform. Subsequently, in 2006, MGS acquired Lionhead Studios along with the Fable properties, as it sought to secure a Fable sequel for the upcoming Xbox 360. MGS folded the staff of Digital Anvil into the larger studio in 2005, following the release of 2003's Brute Force, and closed down the studio entirely in 2006. FASA Studio was closed three-and-a-half months after the May 2007 release of their last game, Shadowrun. In 2007, MGS announced the opening of a European office in Reading, England, headed by general manager Phil Spencer. Moore opted to leave Microsoft in July 2007, so to move back to the San Francisco Bay area with his family and to rejoin Electronic Arts. Don Mattrick was named as his replacement as the new vice-president of the Xbox and Games Business, which included MGS. Later in 2007, Bungie amicably split from MGS to become a privately held independent company, with MGS retaining the rights to the Halo property. Bungie continued to develop two additional Halo games for MGS, Halo 3: ODST (2009) and Halo: Reach (2010). Simultaneously, MGS founded 343 Industries as an internal studio to develop future Halo games without Bungie. In 2008, MGS disbanded Carbonated Games and announced the formation of internal studio Xbox Live Productions to develop "high-quality digital content" for Xbox Live Arcade. Microsoft as a whole announced layoffs of up to 5,000 jobs across all divisions in January 2009 due to slowing sales of personal computers as a result of the Great Recession. Within MGS, the studio had already planned to disband Ensemble Studios after the completion of Halo Wars in early 2009, while the new layoffs led MGS to also disband Aces Game Studio. Microsoft acquired Vancouver-based BigPark in May 2009, using the studio to develop some of the first games for the upcoming Kinect sensor for the Xbox 360. Later in 2009, Phil Spencer was promoted to corporate vice-president of MGS, in order to replace the retiring Shane Kim. In 2010, MGS formed a mobile gaming studio, MGS Mobile Gaming, focused on developing gaming and entertainment multimedia for Windows Phone devices. It also expanded Rare with a second studio in Digbeth, Birmingham. By the Electronic Entertainment Expo 2011 in June 2011, Microsoft Game Studios was quietly renamed to Microsoft Studios. Later in 2011, Microsoft Studios acquired Twisted Pixel Games. In early December 2011, Microsoft Studios created Microsoft Casual Games, a division to revamp its past casual games for Windows (like Windows Solitaire and MSN Games) using more up-to-date software delivery platforms. In 2012, Phil Harrison, the former Sony worldwide studios head, joined Microsoft as head of Microsoft Studios Europe and IEB. Microsoft Studios acquired developer Press Play, known for developing Tentacles and Max & the Magic Marker. They also announced a new development studio in London, England. Later in 2012, Microsoft downsized Microsoft Game Studios Vancouver due to the cancellation of the Kinect family title Project Columbia and announced that the ongoing development of free-to-play title Microsoft Flight had been ceased due to portfolio evaluation. The reduced Vancouver studios were renamed to Black Tusk Studios and tasked with making similar franchise-building title as Halo. In 2013, Microsoft established European studio Lift London, a studio that would create cloud-based games for tablets, mobiles and TVs. Later, they created a new "Deep Tech" team inside its Developer and Platform Evangelism (DPE) unit; the new team is charged with working with top developers outside the company to build next-generation applications on top of Microsoft platforms. While Mattrick had overseen much of the development of Microsoft's next console, the Xbox One, he left in July 2013, prior to its release, to take over as CEO of Zynga. Mattrick was succeeded by Julie Larson-Green, who was named the president of the Devices and Studios Engineering Group, following a realignment of Microsoft's divisions, overseeing both the Xbox hardware divisions and Microsoft Studios. Satya Nadella became CEO of Microsoft in February 2014. At this time, Microsoft was facing strong competition in the consumer market, and within the gaming sector, the Xbox One (released in 2013) was more expensive than competitors and had too much focus on non-gaming functions. Under Nadella's direction, Phil Spencer was named the new head of Microsoft Studios to replace Jason Holtman, who had only been its lead for the prior six months. Spencer began looking for ways to expand Microsoft Studios to make it a profitable division for Microsoft, and began negotiations for the acquititions of Mojang, the developers behind Minecraft, in late 2014. Microsoft spent US$2.5 billion to acquire the studio, and upon the deal's completion in November, the studio's key founding personnel, Markus Persson, Jakob Porsér and Carl Manneh, departed Mojang. As a result, Persson became valued around US$1.3 billion. Microsoft Studios committed to keeping Minecraft available across multiple platforms, including rival PlayStation consoles. Matt Booty, the studio's corporate vice-president in 2020, said the acquisition of Mojang served as the template for later acquisitions, as Mojang was left to run as an "unplugged studio" with limited integration into the Microsoft corporation, minimizing the disruption of Mojang's normal day-to-day business matters nor impeding on the studio's freedom. Additional intellectual property (IP) acquisitions by Microsoft Studios in 2014 included a publishing contract with Undead Labs for their game State of Decay, the rights to the Gears of War series from Epic Games, and the Rise of IP (Rise of Nations and Rise of Nations: Rise of Legends) from Big Huge Games. Microsoft Studios assigned Gears of War to Black Tusk Studios, which was later rebranded in 2015 as The Coalition. In July 2014, it was announced that Xbox Entertainment Studios would be closed in the following months; the closure was completed by October 29. On March 4, 2015, Microsoft announced that they were merging UK-based studios, Lift London and Soho Productions for further games development, with the amalgam continuing to operate under the Lift London name. On March 7, Microsoft announced at the Game Developers Conference that HoloLens games were coming to Xbox One. On March 9, Microsoft announced that Kudo Tsunoda's role was expanding and that he would be the new studio team leader for studios such as Press Play, Lift London and a new internal studio called Decisive Games. Decisive Games was previously mentioned in job postings, saying that they were hiring for work on a "beloved strategy game" for Xbox One and PC, but this is the first public acknowledgement of the team's existence as a first-party studio. Twisted Pixel and Microsoft Studios agreed to split in September 2015. Kudo Tsunoda left the Xbox division in November 2015 for the development of HoloLens and Microsoft Edge, and other projects that could improve means of human interaction, including voice and gesture. Tsunoda's role was filled by Hanno Lemke and Shannon Loftis. In 2016, Microsoft was perceived as "unifying PC and Xbox One" platforms. In March 2016, Microsoft canceled development of two major projects: Lionhead's Fable Legends and Press Play's Project Knoxville, shuttering both studios in the following months. Around the same time, changes to Microsoft Studios' website indicated that further studios—BigPark, Good Science Studio, Leap Experience Pioneers (LXP), Function Studios and State of the Art (SOTA)—had been closed, Microsoft Studios clarified that all of them had been consolidated into other Microsoft Studios teams over the past several years. In September 2017, Spencer was promoted to the senior leadership team, gaining the title of "executive vice-president of gaming". At this point, Microsoft Studios directly reported to Nadella. In January 2018, Matt Booty was promoted from leader in the Minecraft games business to corporate vice-president of Microsoft Studios. On June 10, 2018, during the Electronic Entertainment Expo 2018, Microsoft announced the acquisitions of Ninja Theory, Playground Games, Undead Labs and Compulsion Games, as well as the opening of a new studio in Santa Monica, California, entitled The Initiative, which would be led by the former Crystal Dynamics studio head Darrell Gallagher. In November, Microsoft Studios announced further acquisitions with Obsidian Entertainment and inXile Entertainment. The studio rebranded itself on February 5, 2019, as Xbox Game Studios, as to reflect Microsoft's intent to use the Xbox brand to support gaming across all the devices it supports. At E3 2019, Xbox Game Studios announced it had acquired Double Fine, and established a new internal studio dedicated to Age of Empires headed by Shannon Loftis, bringing their total studio count to fifteen. This studio, later named World's Edge, does not directly develop any games, but oversees efforts from external studios, such as Relic Entertainment, Forgotten Empires and Tantalus Media, to assure the series is being developed in the right direction, according to creative director Adam Isgreen. Booty has stated that with studios like Obsidian, Ninja Theory, and Double Fine, which have traditionally supported multiplatform games, they will determine if it makes sense for their future products to be treated as Microsoft-exclusive content for Xbox and Windows computers, or to allow these to be published across multiple platforms. That decision will be based on a "network effect", whether having these games on other platforms will better support the franchise and thus worthwhile for Microsoft to help dedicate resources towards it, such as they had with Minecraft. Xbox Game Studios has allowed some of the content developed by its studios or that was previously published exclusively for the Xbox and Windows systems to be released on Nintendo systems, notably the Nintendo Switch versions of Cuphead from Studio MDHR and Ori and the Blind Forest from Moon Studios, and allowing for the titular characters from Rare's Banjo-Kazooie into Super Smash Bros. Ultimate. However, the division stated that these releases were generally "existing commitments to other platforms" that they allowed studios to honor, but they otherwise have "no plans to further expand our exclusive first party games to other consoles." Near the end of 2019, with the combined fifteen studios now under Xbox Game Studios, Booty stated that they now had more games than ever to handle, and were likely not going to acquire any additional studios in the near future, stating "we've been shifting our focus inside Xbox Game Studios from acquisition and growth, to a phase of execution and delivery". Additionally, as Microsoft started promotion of its fourth-generation of Xbox, including the Xbox Series X, Booty stated that titles developed by Xbox Game Studios in year or two following its release will not be exclusively for the new generation of consoles, but instead will support both Xbox One and the new console, with some games receiving enhanced performance when played on the new console lineup. Booty said that with the large number of studios they had recently acquired, as well as ongoing external partnerships and their Xbox Game Pass service, the Studios are able to support a "breadth of offerings in the portfolio" designed to attract a large number of players. Further, in an interview in November 2020, Phil Spencer said during an interview regarding the future of the Xbox brand that he intends to put more focus on outputting RPGs, which had to that point been underserved. Microsoft and ZeniMax Media announced on September 21, 2020, that Microsoft planned to acquire ZeniMax and its family of studios, which include Bethesda Game Studios, Arkane Studios, id Software, MachineGames, Tango Gameworks, and ZeniMax Online Studios, for over US$7.5 billion in cash. According to Spencer, the ZeniMax acquisition was intended to give Microsoft a large library of games known around the world, and to expand the library of Xbox Game Pass and XCloud. However, during 2023 hearings regarding the Federal Trade Commission's concern over the proposed acquisition of Activision Blizzard by Microsoft, Spencer said that Sony Interactive Entertainment had made sways at Bethesda to keep Starfield as a PlayStation-exclusive, further prompting Microsoft to purchase Zenimax. Both U.S. and European Union regulatory agencies approved the acquisition by early March 2021, and the acquisition was formally completed by March 9, 2021. The total price of the deal was $8.1 billion Bethesda Softworks, the primarily publisher for all of ZeniMax's games, remained as an operational unit under Microsoft with the acquisition and retained all its current leadership. With the acquisition, future games from the studios will be exclusive to Xbox consoles, but existing commitments to other platforms (such as Arkane Studios' Deathloop and Tango Gameworks' Ghostwire: Tokyo, which are contractually exclusive to PlayStation 5 for a period of 12 months before their release on Xbox Series X and Xbox Series S) will still be honored. Spencer stated that Game Pass was also fundamental driver for the acquisition. A preliminary injunction to block the acquisition had been sought in an ongoing class-action lawsuit that ZeniMax faced over Fallout 4, with the plaintiffs in the case arguing that Microsoft could shield ZeniMax's assets from damages should they be found liable after the acquisition. The ZeniMax Board of Directors was dissolved following the Microsoft purchase. On January 18, 2022, Microsoft announced its intent to acquire Activision Blizzard in an all-cash deal valued at $68.7 billion. Microsoft stated that this acquisition would make it the third-largest gaming company by revenue, following Tencent and Sony. With the announcement, Microsoft also announced a major change to its corporate structure, with Phil Spencer becoming CEO of the new division Microsoft Gaming, with Matt Booty leading Xbox Game Studios under it. Once approved, Activision Blizzard would then become a subdivision of Microsoft Gaming. The deal was cleared by various national regulators by October 13, 2023, with Microsoft closing the deal the same day. During litigation on the merger with the United States Federal Trade Commission, internal documents from Microsoft c. 2020 show strong interest in re-acquiring Bungie, or acquiring Sega's game development companies, Supergiant Games, Niantic, Inc., Thunderful Group, Zynga, IO Interactive, Scopely, or Playrix as part of Xbox Game Studios, as well as publisher Square Enix to help bolster its Asian presence and mobile market share. In January 2023, Microsoft laid off 10,000 employees, which represented about 5% of its global workforce. Included in those layoffs were many employees from 343 Industries, The Coalition, and Bethesda Game Studios. On October 26, 2023, Microsoft announced the promotion of several employees in the company, including Sarah Bond being promoted to president of Xbox, overseeing all Xbox platform, business, and hardware work, and Matt Booty promoted from president of Xbox to president of Game Content and Studios, including the new responsibility of overseeing ZeniMax and Bethesda, with Jamie Leder still running Zenimax as a limited integration entity, but now reporting to Matt. In the wake of Matt Booty's promotion, Alan Hartman, then the head of Turn 10, was subsequently promoted to head of Xbox Game Studios. On October 6, 2024, 343 Industries officially announced their rebranding as Halo Studios, additionally confirming that multiple Halo games were in development and that said projects would now use Unreal Engine 5 as opposed to the proprietary Slipspace Engine that powered Halo Infinite. On October 14, Rare creative lead Craig Duncan was announced to be succeeding Alan Hartman as head of Xbox Game Studios beginning in November 2024, with Hartman retiring after a three-decade tenure at Microsoft. In July 2025, Microsoft Gaming performed a business restructuring ahead of the new financial year, which resulted in layoffs at Xbox Game Studios Rare, Compulsion Games, Undead Labs and Turn 10 Studios. The latter, who conceived and developed the Forza Motorsport series, was reported to have lost almost half of its workforce and was anticipated to be restructured as a support studio for Motorsport's sister series Forza Horizon and developments for the ForzaTech engine, according to former content coordinator Fred Russell. In addition, Rare's action-adventure game Everwild ceased production, while Microsoft also canceled the Perfect Dark reboot and closed its developer The Initiative simultaneously. Alongside Everwild's cancelation, Rare veteran and designer Gregg Mayles also departed the company after 35 years, alongside producer Louise O'Connor. Over 2024 and 2025, a series of video games published by Microsoft Gaming divisions, most notably Xbox Game Studios' titles, were released on PlayStation and Nintendo consoles under an initiative to pivot focus from the Xbox series of consoles and eventually cease to produce exclusive titles for the consoles like Sega. Xbox Game Studios had also released Nintendo Entertainment System, Super Nintendo Entertainment System and Nintendo 64 video games on the Nintendo Switch Online service in 2024, all of whom were developed by Rare and in some cases, formerly published by Nintendo. Studios Games published References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Minecraft_Legends#References] | [TOKENS: 1262] |
Contents Minecraft Legends Minecraft Legends is a 2023 real-time action-strategy video game developed by Mojang Studios and Blackbird Interactive and published by Xbox Game Studios. A spin-off of the 2011 sandbox game Minecraft, it was released on Windows, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One, and Xbox Series X/S on April 18, 2023. The game would later cease development on January 10, 2024. The goal of the game is to defend the Overworld from an invasion of piglins, pig-like humanoid creatures from the Nether dimension, while the player gradually strengthens their structures and troops with resources harvested. The game received mixed reviews from critics, with its gameplay being both praised for its execution and criticized for its repetitive nature. Gameplay Minecraft Legends is set in the Minecraft Overworld, an earth-like dimension filled with various biomes and natural resources that is currently under attack from the piglin hordes from the Nether dimension. The Overworld contains friendly villages, hostile piglin outposts, and the Well of Fate (the player spawnpoint and fast-travel hub). Similarly to Minecraft, the Overworld is procedurally generated, resulting in a unique world for each playthrough of the game. Players collect resources to construct defenses, upgrade buildings, and summon troops. Players collect basic resources such as wood and stone by assigning friendly Allays to harvest them from deposits found in the Overworld. Other resources, such as redstone and lapis lazuli are used to build advanced structures and summon stronger troops but are locked behind Well of Fate upgrades. Prismarine, which is needed to construct some buildings, can only be collected by defeating piglin structures. The player can use resources they've collected to construct buildings and upgrade the Well of Fate. Defensive fortifications such as walls and turrets protect friendly villages and player outposts. Spawners summon friendly troops the players can recruit into their army. Offensive structures such as the redstone cannon, hurl explosive shells at targets from long range. Upgrading the Well of Fate unlocks more advanced buildings and troops. The primary goal of combat is to destroy piglin outposts and defend friendly villages from periodic piglin raids. Players use their summoned troops to assault and destroy piglin outposts. Players travel around the Overworld on their mount, from which they can issue various orders command their army on the battlefield. These commands include orders to rally, halt, and charge. Players can also use their sword to attack enemies directly. Players build their army by constructing spawner buildings that summon troops or recruiting troops from camps found throughout the Overworld. Minecraft Legends incorporates the same Minecoins currency as Minecraft Bedrock Edition. This currency is used to purchase additional skins and mounts within the game. The game is sold with an optional "Deluxe Skin Pack", which contains six additional in-game skins: one hero skin and five mount skins. Plot The game begins with the player mining in a cave when they are greeted by three beings: Action, Knowledge, and Foresight. These beings are called Hosts, caretakers of the Overworld. These three persuade the player to help them save their world, where a war has broken out between the Nether and the Overworld. The player is then transported to that world. After completing a tutorial, the player must save a few villages from being invaded by piglins from the Nether. Then, the player destroys three nether outposts that are preparing to invade villages. Subsequently, the player destroys nine Nether portals from three different world areas. In each of these three areas, the player has to defeat a piglin boss: "the Devourer," "the Beast," and "the Unbreakable". Once the player destroys all of the portals and defeats all of the bosses, the player fights the final boss: "the Great Hog." Just as the player defeats the Great Hog, it makes a last attempt at destroying the Well of Fate. This backfires and its army is swallowed by a portal that sends them back to the Nether. Then, the Great Hog finally dies. After the battle, there is a grand celebration in the Overworld of their win over the piglins. Not all is well, however. The warrior villagers, who fought alongside the hero, resent the pacifistic villagers who did not, which causes a rift between the two groups. In addition to this, the Hosts have left the world to the Hero's responsibility and moved on. Development Minecraft Legends began development in 2018. The game was announced during the Xbox and Bethesda Games Showcase on June 12, 2022. After the show, a trailer on the Minecraft YouTube channel confirmed additional platforms. It is developed by series creators Mojang Studios in collaboration with Blackbird Interactive, a team founded by former Relic Entertainment employees, who are best known for developing the real-time strategy video game series Homeworld. After the success of Minecraft Dungeons, another spin-off of Minecraft, Minecraft Legends was released on April 18, 2023. It was made available to play on Nintendo Switch, PlayStation 5, PlayStation 4, Steam, Windows 11|10, PC Game Pass, Xbox Game Pass, Xbox Series X/S, Xbox One, and Xbox Cloud Gaming. On January 10, 2024, Mojang announced that no more updates will be released for Minecraft Legends. Reception Reception of the game was generally mixed. According to the review aggregator Metacritic, Minecraft Legends received "mixed or average" reviews. Critics viewed the game as a solid addition to the Minecraft franchise but offered differing opinions on its execution. Destructoid writer Timothy Monbleau expressed newfound appreciation for both Minecraft and the strategy genre after playing the game, while Sarah Thwaites of Game Informer described the game as feeling "caught between the expected complexity of strategy games and the franchise’s approachable brand." Critics generally found the gameplay fun but repetitive and lacking in depth. They praised the game for its Minecraft-themed art style, resource gathering mechanics, and base-building gameplay. Critics also liked the multiplayer co-op and PvP modes. Some reviewers criticized the game's lack of strategic depth, poor AI, and tedious gameplay. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Steve%27s_Lava_Chicken#Commercial_performance] | [TOKENS: 750] |
Contents Steve's Lava Chicken "Steve's Lava Chicken" is a song performed by Jack Black from the soundtrack for A Minecraft Movie (2025). It is used as a jingle for a scene where Black's character in the film, Steve, cooks a live chicken by pouring lava onto it. The song was co-written by Black and the film's director Jared Hess, and is 34 seconds long. The song broke several records—particularly in the United States and the United Kingdom—as the shortest song to chart on the Billboard Hot 100 and the UK Singles Chart respectively. It also charted in multiple other countries. It has been certified gold by the Recording Industry Association of America and silver by the British Phonographic Industry. Background and release "Steve's Lava Chicken" is used in a scene in A Minecraft Movie where Steve—a character portrayed in the film by Black—showcases a contraption he made that cooks live chickens in lava. The subject of the song is the cooked chicken resulting from the contraption. The song itself is about 34 seconds long, and was co-written by Black and the film's director Jared Hess. The soundtrack for A Minecraft Movie, including "Steve's Lava Chicken", was released on March 28, 2025, through WaterTower Music. A 50-second long clip from the film featuring the song, labeled by WaterTower as its official music video, was released on April 9, 2025. An EP by Black, I...Am Steve, featuring an extended version of "Steve's Lava Chicken" along with other songs from the film's soundtrack, was released on April 18, 2025. The extended version is 1 minute and 15 seconds long. A remix of the "Steve's Lava Chicken" instrumental was added to Minecraft in June 2025 as a music disc, with players able to obtain the disc by killing a chicken jockey. Commercial performance In the United States, "Steve's Lava Chicken" received over 2.5 million streams on the week of the film's release, a 1,973% increase in streams from the week prior to its release. The song later debuted at number 78 on the Hot 100 for the week dated May 3, 2025, breaking the record for the shortest song in the chart's history, surpassing Kid Cudi's "Beautiful Trip", which is 37 seconds long. "Steve's Lava Chicken" was certified gold by the Recording Industry Association of America in September 2025. In the United Kingdom, "Steve's Lava Chicken" peaked at number nine on the UK Singles Chart on May 2, 2025 ‒ for the week ending date May 8, 2025 ‒ during its third week on the chart. It broke the record for the shortest song to ever appear in the top 40 of the UK Singles Chart. The previous record holder was "The Ladies' Bras", a song by Jonny Trunk and Duncan Wisbey that was 36 seconds long. The song became Black's highest-charting song in Britain, surpassing "Peaches", a song from the soundtrack for The Super Mario Bros. Movie (2023). It was certified silver by the British Phonographic Industry in July 2025. Critical reception In a list article discussing the best and worst things to happen in 2025, Pitchfork placed the commercial performance records set by "Steve's Lava Chicken" as one of the low points of the year, assigning it a 1.9 out of 10 score on the scale. Charts Certifications ‡ Sales+streaming figures based on certification alone. References |
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[SOURCE: https://en.wikipedia.org/wiki/Minecraft_Monday#Format] | [TOKENS: 1410] |
Contents Minecraft Monday Minecraft Monday was a weekly esports tournament for the sandbox video game Minecraft. It was created by the internet personality Keemstar, known for his content on social media drama and the host of the tournament Fortnite Fridays, upon repeated suggestions from meme YouTuber Grandayy. The event featured online creators, invited based upon their popularity rather than gameplay skill, in teams of two, competing to score the most points across a series of minigames of various genres. The winning team was awarded $10,000 USD. The tournament debuted on June 24, 2019, and ended after its server was breached during the 14th event on October 7, 2019. Minecraft Monday was credited with drawing renewed attention to Minecraft for its roster of popular creators, which included Fortnite player Ninja, YouTuber PewDiePie, and makeup vlogger James Charles, but caused community conflict due to the mixture of experienced and inexperienced Minecraft players. The cast allowed one player, Technoblade, to gain recognition in the Minecraft community after winning 4 out of the 14 events, and placing as the best-scoring individual in 7 of them. Despite social media updates by Keemstar throughout 2020 regarding a revival, the tournament did not return after its hacking. It inspired another Minecraft tournament, MC Championship, by YouTuber Smajor1995 and the group Noxcrew. Format Minecraft Monday was a competitive tournament in Minecraft, a sandbox video game developed by Mojang Studios. Players were divided into teams of two and would compete to score the highest points. Although the first two events only featured the player versus player (PvP) battle royale mode Hunger Games, later events introduced various other minigames to test different skillsets. The revised gamelist, which changed each week, included modes such as Bingo and Capture the Flag. The event was hosted weekly on Mondays and was broadcast live by its players, most often to Twitch; the event's host, UMG Gaming, also livestreamed the events. $10,000 USD, sponsored by the gaming drink mix G Fuel,[‡ 1] and later also the Minecraft server host Apex Hosting,[‡ 2] was awarded to both the winning team and a random viewer. During the event's lifetime, the organizers also hosted a public Minecraft server under the IP mcmondays.com. History Minecraft Monday was created by Keemstar, a controversial internet personality known for his videos about social media drama, after the meme YouTuber Grandayy had spent over a year pushing for him to pursue the idea. Keemstar already hosted the event Fortnite Fridays, and would later launch a third competition, Warzone Wednesday. Like Keemstar's other tournaments, players were invited on basis of online following rather than gameplay skill, in order to attract viewership. The first event on June 24, 2019, was seen live by over one million viewers; according to Dexerto, the Fortnite player Ninja peaked at 400,000 concurrent viewers on his Twitch livestream, before he prematurely quit during the fourth game after dying quickly in every round. The participation of several prominent creators – including Ninja, PewDiePie, and James Charles – allowed Minecraft YouTuber Technoblade to rise in prominence, after he consecutively won the first two weeks of the tournament. Technoblade's winning streak ended in Week 3, which was won by streamers Traves and Cscoop. Conflict generated within the tournament's community due to organizational issues; some viewers considered the teammatching unbalanced due to the participation of both veteran and beginner Minecraft players, and some criticized the minigame selection. Technoblade would win the tournament twice more, in Weeks 6 and 10.[‡ 3] YouTuber Skeppy won with teammate BadBoyHalo in Weeks 5 and 7, and again with Vikkstar123 in Week 9.[‡ 3] A duo consisting of streamers xQc and M0xxy won the tournament back-to-back in Weeks 12 and 13. At the end of the 13th week, YouTuber MrBeast collaborated with Keemstar during Hunger Games to place a $15,000 bounty on Technoblade, which was taken by Bajan Canadian. The Minecraft Monday server was breached during Week 14 on October 7, 2019. Whilst the tournament was ongoing, hackers griefed buildings and the minigame arenas; Minecraft Monday, as well as Fortnite Fridays, were subsequently placed on hiatus. Keemstar complained on Twitter that they had been running Minecraft Monday on a "shoe-string budget" and had been cutting corners, but said that the tournament would return in November 2019. In May 2020, Keemstar's organization KeemPark posted a screenshot of a remade Minecraft Monday lobby, created in collaboration with Bajan Canadian and his developer. KeemPark stated the tournament would return within three weeks. Keemstar would tweet two months later that "Minecraft Monday is coming soon!",[‡ 4] but the event would ultimately not return. Legacy Writers credited Minecraft Monday with causing an increased attention towards Minecraft. Patricia Hernandez, a writer for Polygon, wrote that Minecraft Monday and other online projects, such as PewDiePie's playthrough of the game, caused a resurgence in the game's popularity. In an article for The Esports Observer, Max Miceli noted a significant increase in Twitch viewership for Minecraft as the event went on. While the game only rarely surpassed 500,000 hours watched a day prior to June 2019, the day of the first event reached 781,000 hours watched, and subsequent days surpassed one million. Esport Insider's Marloes Valentina Stella described Minecraft Monday as the second major competitive tournament in Minecraft. Unlike the largely unsuccessful partnership of Badlion Client and major esports organizer ESL around 2017 (the first major tournament series), Stella thought the roster of well-known internet creators made it "no surprise that Minecraft Monday [became] the most famous Minecraft tournament". Regardless, she attributed the event's closure to community conflict, the hacking during Week 14, and the controversial status of Keemstar. YouTuber Smajor1995, who played in the event, said he was inspired by Minecraft Monday to create the tournament MC Championship, which he organizes with the group Noxcrew. Smajor liked the idea of bringing creators together for a Minecraft event, but found Keemstar hard to work with. According to Gökhan Çakır for Dot Esports, MC Championship was able to fill the "gigantic gap" in the competitive Minecraft scene after Minecraft Monday's closure. List of winners Notes References Sources from Keemstar, UMG Gaming, event partners, or participants. In the text, these references are preceded by a double dagger (‡): External links |
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