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This biography examines the life of electronic game designer, Satoshi Tajiri, who created Pokémon, one of the most popular computer games ever produced. This talent is the founder of the video game developer Game Freak.
In this title, readers will learn about the designer of Pokémon, Satoshi Tajiri. Follow the story of Tajiri as he founds Game Freak magazine which turned into Game Freak video-game development company and the creation of the Pokémon video games, trading cards, television series, and Pokémon Go! Aligned to Common Core Standards and correlated to state standards. Big Buddy Books is an imprint of Abdo Publishing, a division of ABDO.
Introduces the life and career of "the designer of Pokâemon, Satoshi Tajiri. [Follows] the story of Tajiri as he founds Game Freakmagazine which turned into Game Freak video-game development company and the creation of the Pokâemon video games, trading cards, television series, and Pokâemon Go!"--Publisher's website.
The place occupied by Japanese Americans within the annals of United States history often begins and ends with their cameo appearance as victims of incarceration after the bombing of Pearl Harbor. In this provocative work, David K. Yoo broadens the scope of Japanese American history to examine how the second generation—the Nisei—shaped its identity and negotiated its place within American society. Tracing the emergence of a dynamic Nisei subculture, Yoo shows how the foundations laid during the 1920s and 1930s helped many Nisei adjust to the upheaval of the concentration camps. Schools, racial-ethnic churches, and the immigrant press served not merely as waystations to assimilation but as tools by which Nisei affirmed their identity in connection with both Japanese and American culture. The Nisei who came of age during World War II formed identities while negotiating complexities of race, gender, class, generation, economics, politics, and international relations. A thoughtful consideration of the gray area between accommodation and resistance, Growing Up Nisei reveals the struggles and humanity of a forgotten generation of Japanese Americans.
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
In this bold book, A. Naomi Paik grapples with the history of U.S. prison camps that have confined people outside the boundaries of legal and civil rights. Removed from the social and political communities that would guarantee fundamental legal protections, these detainees are effectively rightless, stripped of the right even to have rights. Rightless people thus expose an essential paradox: while the United States purports to champion inalienable rights at home and internationally, it has built its global power in part by creating a regime of imprisonment that places certain populations perceived as threats beyond rights. The United States' status as the guardian of rights coincides with, indeed depends on, its creation of rightlessness. Yet rightless people are not silent. Drawing from an expansive testimonial archive of legal proceedings, truth commission records, poetry, and experimental video, Paik shows how rightless people use their imprisonment to protest U.S. state violence. She examines demands for redress by Japanese Americans interned during World War II, testimonies of HIV-positive Haitian refugees detained at Guantanamo in the early 1990s, and appeals by Guantanamo's enemy combatants from the War on Terror. In doing so, she reveals a powerful ongoing contest over the nature and meaning of the law, over civil liberties and global human rights, and over the power of the state in people's lives.
The Berlin Wall is arguably the most prominent symbol of the Cold War era. Its construction in 1961 and its dismantling in 1989 are broadly understood as pivotal moments in the history of the last century. In A Wall of Our Own, Paul M. Farber traces the Berlin Wall as a site of pilgrimage for American artists, writers, and activists. During the Cold War and in the shadow of the Wall, figures such as Leonard Freed, Angela Davis, Shinkichi Tajiri, and Audre Lorde weighed the possibilities and limits of American democracy. All were sparked by their first encounters with the Wall, incorporated their reflections in books and artworks directed toward the geopolitics of division in the United States, and considered divided Germany as a site of intersection between art and activism over the respective courses of their careers. Departing from the well-known stories of Americans seeking post–World War II Paris for their own self-imposed exile or traveling the open road of the domestic interstate highway system, Farber reveals the divided city of Berlin as another destination for Americans seeking a critical distance. By analyzing the experiences and cultural creations of "American Berliner" artists and activists, Farber offers a new way to view not only the Wall itself but also how the Cold War still structures our thinking about freedom, repression, and artistic resistance on a global scale.
Women and Experimental Filmmaking gathers essays by some of the top scholars in cinema studies dealing with women experimental filmmakers. Tracking the topic across racial, economic, geographic, and even temporal boundaries, Jean Petrolle and Virginia Wexman's selections refiect the deep diversity of methodologies and research. The introduction sets out by addressing the basic difficulties of both historiography and definition before providing a historical overview of how these particular filmmakers have helped shape moviemaking traditions. The essays explore the major theoretical controversies that have arisen around the work of groundbreaking women such as Leslie Thornton, Su Friedrich, Nina Menkes, and Faith Hubley. With the film- makers representations of women's subjectivity ranging across film, video, digital media, ethnography, animation, and collage, Women and Experimental Filmmaking represents the full spectrum of genres, techniques, and modes.