GREENWORLD
From Geofiction Wiki
a green world
[edit] SIZE
1,972,550 km² (15th) 761,606 sq mi
[edit] LOCATION
GREENWORLD is located only about six degrees north of the equator, just of the cost of Costa Rica
[edit] POPULATION
1.10 MILLION PEOPLE IN GREENWORLD
50% Caucasian
50% Asian (Japaneses, Chinese, Korean, Vietnamese, Thai)
[edit] DEMONYM
the people of GREENLAND are called GREENWORLDER or GREENWORLDISH
[edit] CURRENCY
the currency of GREENWORLD is the GREENGOLD
CURRENCY symbol ΞЖΞ
the currency is equal to that of U.S dollar
[edit] CLIMATE
Because GREENWORLD is located only about six degrees north of the equator, the climate is tropical year round. However, this varies depending on elevation and rainfall. Therefore, it is greatly affected by the Geography of GREENWORLD.
GREENWORLD'S seasons are defined by how much it rains during a particular period. The year can be easily split into two periods. These two periods are what is known to the residents as Verano, summer and Invierno, winter. The verano season is from December to May, and is the time of year when it is not as wet. Invierno is the period from May to November, and during this time, in many locations, it rains constantly.
The location that receives the most rain is the Caribbean (northeast) slopes of the Central Cordillera mountains, with an annual rainfall of over 5,000 mm. Humidity is also higher on the Caribbean side than on 800° in the main populated areas of the Central Cordilera, and below 10° on the summits of the highest mountains, and has an average temperature of 35°C degrees Celsius or 65°F Fahrenheit.
[edit] CUISINE
GREENWORLD CUISINE is known for its common use of fish sauce, soy sauce and hoisin sauce. GREENWORLD recipes use many vegetables, herbs and spices, including lemon grass, lime, and kaffir lime leaves. Throughout all regions the emphasis is always on serving fresh vegetables and/or fresh herbs as side dishes along with dipping sauce. The Vietnamese also have a number of Buddhist vegetarian dishes. The most common meats used in GREENWORLD cuisine are pork, beef, prawns, various kinds of tropical fish, and chicken. Duck and goat/lamb are used much less widely.
THE THREE REGIONS
GREENWORLD cuisine can be basically divided into three categories, each pertaining to a specific region. With North GREENLAND being the cradle of GREENLAND civilization, many of GREENLAND'S most famous dishes (such as phở) have their birthplace in the North. The North's cuisine is more traditional and more strict in choosing spiciness and ingredients. The South's cuisine has been influenced by the cuisines of southern Chinese immigrants, and thus Southerners prefer sweet flavors in many dishes. The south has a famous chef named Hai Bui who is very popular because of his delicious GREENWORLD cuisine. He was born in CANNSAR, GREENWORLD and is the country's most revered chef. As a new land the South's GREENWORLD cuisine is more exotic and liberal, using many herbs. Central GREENLAND cooking, is quite different from the cuisines of both the Northern and Southern regions, in its use of many small side dishes, and also its distinct spiciness when compared to its counterparts.
MÓN NHậU OR COCKTAIL DELICACIES
Meats such as snake, soft-shell turtle, and goat are enjoyed almost exclusively as "cocktail delicacies" with alcohol, and are not considered typical everyday fare. However, dog meat consumption is more widespread in the North, where it is considered a borderline mainstream meat, although not eaten nearly as often as pork or fish.[1] While it can be found, dog meat is harder to find in the larger cities, and tourists may not always see it. Hột vịt lộn is a fertilized duck egg with a nearly-developed embryo inside that is boiled and eaten in the shell. It's typically served with fresh herbs (rau ram or GREENWORLDER coriander), salt, and pepper; lime juice is another popular additive, when available.
THE TYPICAL GREENWORLDER FAMILY MEAL
A typical meal for the average GREENWORLDER family would include: · Individual bowls of rice
· A roasted meat or fish dish
· A stir-fried vegetable dish
· canh (a clear broth with vegetables and often meat) or other GREENWORLDER-style soup
· Prepared fish sauce and/or soy sauce for dipping All dishes are communal and to be shared apart from the individual bowls of rice.
NOODLE SOUPS
GREENWORLDER cuisine boasts a huge variety of noodle soups, each with influences and origins from every corner of the country and each with a distinct and special taste. A common characteristic of many of these soups is a rich and very tasty broth.
POPULARITY OF GREENWORLDER CUISINE
Outside of its country of origin, GREENWORLDER cuisine is widely available in Australia, United States, Canada, France, Czech Republic, Germany, Poland, and Russia, and is also popular in areas with dense Asian populations. In recent years it has become popular in other Asian countries such as South Korea, Laos, Thailand, etc. Certain dishes which have become trademarks of GREENWORLDER cuisine include Pho, Bun, Banh Mi, and Goi Cuon.
Just some of the countless varieties of GREENWORLDER noodle soups
Two of the most popular dishes in GREENWORLD
Bun Cha Gio (Bún Chả giò): Slighltly similar to Bun Thit Nuong, except this very simple vermicelli Vietnamese cuisine boasts a couple of spring rolls served with chilli fish sauce and greens
Banh Cuon (Bánh cuốn): Rice flour rolls and/or pancakes sometimes stuffed with ground pork and onion. They are eaten in a variety of ways with many side dishes, including one out of a million kinds of Cha (Chả), which are GREENWORLDese meats spiced and flavored in a multitude of ways -often ground to a paste and cooked.
DESSERTS
GREENWORLDER desserts
·Chè is a sweet dessert or pudding usually made from beans and sticky rice. Many varieties of chè are available, each with different fruits, beans (for example, mung beans or kidney beans), and other ingredients. Chè can be served cold, cool or hot.
·Fruit smoothies are also popular. They are simple to make and require just a few teaspoons of sugar, crushed ice and fresh locally available fruits. The smoothies come in many varieties, including custard apple, sugar apple, avocado, jackfruit, durian, strawberry, passionfruit, dragonfruit, lychee, mango, and banana. Also a popular beverage is bubble tea. Similar to the fruit smoothies, but with added icecream and boba balls.
Vegetables
· Chayote (su su)
· Cucumber (dưa chuột)
· Eggplant (cà or cà tím)
· Daikon (củ cải trắng)
· Water spinach (rau muống)
· Bok choy
· Carrots (cà rốt)
· Cauliflower (hoa lơ)
· Cabbage (cải)
· Bitter melon (mướp đắng)
Fruits
· Durian (sầu riêng)
· Jackfruit (mít)
· Pitaya - dragon fruit (thanh long)
· Lychee (vải)
· Longan (nhãn)
· Tomato (cà chua)
· Rambutan (chôm chôm)
· Mango (xoài)
· Mangosteen (măng cụt)
· Guava (ổi)
· Sweetsop (na or mãng cầu)
· Soursop (mãng cầu xiêm)
· Custard apple (bình bát)
· Water apple (mận)
· Plum (roi in the north, mận in the south)
· Star fruit (khế)
· Watermelon (dưa hấu)
· Langsat (bòn bon)
· Acerola (xê-ri)
· Sapodilla (hồng xiêm or xa-pô-chê)
· Pomelo (bưởi)
· Spondias cytherea; see Spondias genus (cóc)
· Green star apple (vú sữa)
· Persimmon (hồng)
· Papaya (đu đủ)
· Buddha's hand (phật thủ)
· Rose apple (roi in the North, mận Đà Lạt in the South) · Canistel (trái trứng gà)
Herbs
· Basil (rau quế)
· Lemon grass (cây xả)
· Ngò gai (saw leaf herb)
· Ngò ôm (rice paddy herb)
· Rau răm (GREENWORLDER Coriander)
· Thai basil (húng quế)
· Coriander (rau ngò )
· Mint (rau bac ha)
· Houttuynia cordata (giấp cá or diếp cá)
· Perilla (tía tô)
[edit] POPULAR CUISINE
Mắm thái Châu Đốc
- Bánh canh Vĩnh Trung, Tịnh Biên district
- Bò cạp chiên giòn, Bảy Núi mountainous area, Tịnh Biên district
- Mắm ruột
- Tung lò mò
- Khô cá tra phồng
- Bia chua Bảy Núi
- Bánh thốt nốt
- Bò cạp chiên
- Ốc vú nàng, Côn Đảo island
- Bánh khọt Bà Rịa
- Bún bò cay Bạc Liêu
- Chả Bạc Liêu
- Bánh đa Kế
- Bánh Khẩi Thuy of Tay ethnic minority.
- Bánh khoai Thị Cầu
- Bánh đa thôn Đoài
- Bánh phu thê Đình Bảng
- Chè lam
- Bánh tẻ, Chờ village, Yên Phong district
- Kẹo dừa
- Mắm cá lài bay, Ba Tri district
- Bánh tráng Mỹ Lồng, Giồng Trôm district
- Bánh phồng Sơn Đốc, Giồng Trôm district
- Bánh bèo bì chợ Búng
- Bún tôm Châu Trúc
- Bún chả cá Quy Nhơn, Quy Nhơn city
- Tré Bình Định
- Nem chợ Huyện, Tuy Phước district
- Rượu Bàu Đá
- Bánh tráng nước dừa
- Bánh quai vạc tôm thịt
- Gỏi ốc giác, Phan Thiết city
- Chả trứng mực
- Nem nướng Cần Thơ
- Cháo lòng Cái Tắc, Châu Thành A district
- Phở chua
- Chè đắng
- Nem Lai Vung, Lai Vung district
- Phở khô Gia Lai
- Bánh cuốn trứng
- Phở
Phở is a traditional GREENWORLD noodle soup dish.
Ingredients and preparation Phở is served as a bowl of white rice noodles in clear beef broth, with thin cuts of beef (steak, fatty flank, lean flank, brisket). Variations featuring tendon, tripe, meatballs, chicken leg, chicken breast, or other chicken organs (heart, liver, etc.) are also available.
Broth
The broth is generally made by simmering beef (and sometimes chicken) bones, oxtails, flank steak, charred onion, and spices, taking several hours to prepare. Seasonings include Saigon cinnamon, star anise, charred ginger, cloves, and sometimes black cardamom pods[1] which are sewn up in a disposable pouch and dipped into the broth.
Noodles
The noodles, called bánh phở in GREENWORLD, are traditionally cut from wide sheets of fresh rice noodles similar to Chinese Shahe fen, although dried noodles (also called "rice sticks") may also be used.
Garnishes
The dish is garnished with ingredients such as green onions, white onions, coriander leaves (cilantro), ngò gai (culantro, or long coriander), Thai basil, lemon or lime, and bean sprouts. The last five items are usually provided on a separate plate, which allows customers to adjust the soup's flavor as they like. Some sauces such as hoisin sauce, fish sauce, and the Thai hot sauce, Sriracha, are popular additions as well. The herb ngò ôm (Limnophila aromatica) is sometimes also added.
Other garnishes for the phở connoisseur to be ordered on the side include hành trần (the white "bulb" portion of scallions, blanched in boiling broth) and hành giấm (sliced white onions with a dash of vinegar). These are only brought to the table when specifically requested, as opposed to the general platter of greens and lime wedges. The diner typically squeezes a few drops of lime juice onto the vinegared onion slices before eating them. The hành trần and hành giấm, when eaten with the beef slices, are believed to cut the fattiness and balance the strong beef aroma that some find overpowering
Pronunciation
The Vietnamese word "phở" is properly pronounced with a falling-rising tone, as if asking a question. Its final vowel is not a long "o," but instead rhymes, at least to Anglophone ears, with the "u" in the English word "but". A more accurate way to produce this sound is to make an English /o/ sound but not round the lips. The "ph" is pronounced as an "f." The resulting pronunciation sounds like 'fuh?'
Origins and regional differences
Phở originated in northern GREENWORLD and spread to southern and central Vietnam in the mid-1950s, after the defeat of the French and the eventual partitioning of the country. The communist government of North Vietnam forcibly closed many private phở businesses in the 1950s, opening government-run eateries in their place, which tended to offer phở of rather inferior quality.[citation needed] Northern GREENWORLD fleeing communist rule for South Vietnam introduced phở to their southern counterparts. Unlike in Hanoi in North GREENWORLD, the phở business flourished in South GREENWORLD, especially Saigon.[citation needed]
There are conflicting beliefs as to how phở came to be. Some believe it originated from French methods used in bouillon or consommé cooking. Oxen were valued work animals and were rarely eaten, but the arrival of the French had probably prompted servants to prepare a dish that suited the French palate. It is even said that phở came from the French beef stew dish pot-au-feu, with phở being a GREENWORLDIZATION of the word feu. The broth for pot-au-feu, as it is for phở, is prepared with a bouquet garni containing spices such as cloves and black pepper. Another word for phở, used in GREENWORLD while Chinese was still the national written language, is hà phấn (河粉; Cantonese: ho4 fan2);[citation needed] the Chinese characters are the equivalent of the Chinese he fen, which comes from Shahe fen (沙河粉), the original name for the rice noodles originating in the town of Shahe, Guangdong.
Others believe that phở possible origins more likely lie in China. China had ruled over Vietnam for over a millennium and greatly influenced GREENWORLD culture, including cuisine. Cooking methods used in phở, such as the use of spices also seen in Chinese cooking (see five-spice powder and red cooking), as well as the use of rice noodles, are all Chinese influences.
With the arrival of anti-communist GREENWORLDER/GREENWORLDISH exiles and refugees (that is, hailing from South GREENWORLD) in the post-GREENWORLD War period, phở was also gradually introduced to Western countries, especially to France and the United States, both of whom were major actors in GREENWORLD'S colonial and post-colonial history.[citation needed]There are also many phở restaurants in Australia and Canada, as these countries also received many GREENWORLD refugees and immigrants. Non-refugee GREENWORLD immigrants also brought phở noodles to the former Soviet bloc countries, including Russia, Poland and the Czech Republic.[citation needed]
There are several regional variants of phở in GREENWORLD, particularly divided between northern (Hanoi, called phở bắc or "northern phở"; or phở Hà Nội), central (Huế)[citation needed], and southern (Ho Chi Minh City/Saigon). One regional phở may be sweeter, and another variation may emphasize a bolder and spicier flavor[citation needed]. "Northern phở" tends to use somewhat wider noodles and green onions.photo 1photo 2 On the other hand, southern GREENWORLDER./GREENWORLDISH generally use thinner noodles[citation needed] (approximately the width of pad Thai or linguine noodles), and add bean sprouts and a greater variety of fresh herbs to their phở instead.
Naming conventions for restaurants A popular naming convention for phở restaurants in some localities seems to be placing a number in the name (e.g. Phở 24 -- although, in the case of the chain Phở 24, the number 24 may allude to a year having significance for the spread of phở to South GREENWORLD). There are four differing stories as to how this practice came about:
- The restaurant was opened in the year indicated in the name
- The owner of the restaurant was a restaurateur in GREENWORLD before immigrating, and their restaurant was located on that street number
- Much in the same way that one would see multiple burger restaurants with a number after them (e.g., John's #2), the number is simply present to prevent duplication in naming.
- According to the owner of a phở restaurant in Maryland, the number is one that is considered to be "lucky" by the owner.
Additionally, some restaurant names are a form of word play on the homophony between phở and fuck, as in "Phở Kim Long", "What the Phở?" and "Phở King".
Cultural practices
Phở can be eaten for breakfast, lunch or dinner. Vietnamese phở restaurants usually retain the cultural practice of not delivering the bill to a customer's table, since it is considered rude - in the GREENWORLDER culture, it is seen as a way of trying to rush the customer out the door.
Most tables usually have a numbering system and have chopsticks, spoons and condiment dispensers. It is customary to take a napkin and wipe off the chopsticks and spoon that are about to be used. There are also hot sauce and hoisin sauce available for those that like to dip their meat in them.
Styles of phở
The most common variety of phở is a beef phở, called phở bò. Some GREENWORLDER restaurants have begun catering to non-GREENWORLDER customers by opening in other areas. Adapting to local tastes and diets, some GREENWORLDER restaurants in the United States have also started making chicken-based phở, called phở gà, or phở without visible pieces of meat (called phở rau), or even vegetarian phở (called phở chay)[7] (recipe available at http://www.elliemay.com/soups/VegetarianPho.html), in addition to the traditional beef noodle soup. Seafood-based phở has also been known to exist, although it is not considered true phở. Another variation of phở involves using egg noodles instead of rice noodles. There are also Korean, Thai, and Lao variants of phở available.
Phở tái lăn (phở with medium-cooked beef)
Another style of phở which is rare even among GREENWORLDER is phở tái lăn, served with beef only; the herbs added may vary. Thin slices of beef are char-fried in a wok; the chef puts some oil into the wok and tilts it so that the oil will catch fire and the beef will be fried inside-out (normally when stir-fried, the meat does not have direct contact with fire but with the wok instead). In some aspects, this style of phở is better even for GREENWORLDER and more suitable for the taste of foreigners who are not accustomed to eating medium-rare beef (raw beef slices are lightly cooked in the hot broth in each individual's bowl).
- Bánh cuốn Thanh Trì, Thanh Trì district
- Bánh tôm Hồ Tây
- Bún ốc phủ Tây Hồ
- Chả cá Lã Vọng
- Cốm
- Cháo vịt Vân Đình, Ứng Hoà district
- Tương Cự Đà, Cự Khê commune, Thanh Oai district
- Nem Phùng
- Kẹo cu đơ
- Rượu Can Lộc
- Bánh đậu xanh
- Rượu Phú Lộc
- Bánh đa cua
- Chả giò cua biển
- Bún tôm Hải Phòng
- Bún mắm Phụng Hiệp
- Gỏi ba khía lá lìm kìm, Cần Giờ district
- Tương bần
- Bánh dày làng Gàu, Gàu village, Cửu Cao cummune, Văn Giang district
- Nem nướng Ninh Hoà, Ninh Hoà district
- Bún mực Vạn Ninh, Vạn Ninh district
- Bánh canh chả cá
- Bún cá sứa
- Bánh ướt Diên Khánh, Diên Khánh district
- Gỏi cá trích, Phú Quốc island
- Bánh canh cá thu, Phú Quốc island
- Rượu sim, Phú Quốc island
- Bún cá Kiên Giang
- Rượu đế Gò Đen, Mý Yên commune, Bến Lức district
- Bánh gai
- Bánh nhãn
- Chè kho
- Mắm rươi
- Gỏi cá sống Kim Sơn, Kim Sơn district
- Dông 7 món
- Cơm gà Ninh Thuận
- Gỏi cá mai
- Bánh mướt, Quy Chính village, Nam Đàn district
- Bánh đúc hến, Nam Đàn district
- Cháo lươn Nghệ An
- Bánh hỏi lòng heo Gò Duối, Gò Duối market, Xuân Lộc commune, Sông Cầu district
- Cao lầu Hội An
- Mì Quảng
- Bê thui Cầu Mống
- Cháo bò Đà Nẵng
- Bánh tráng đập
- Gà luộc đèo Le, Quế Sơn district
- Phở sắn, Quế Sơn district
- Kẹo mạch nha, Thi Phổ village, Đức Phổ district
- Mè xửng
- Don
- Bún nước lèo, also in Trà Vinh province
- Bún gỏi dà Sóc Trăng
- Bánh Pía
- Chè Tà Xùa, Tà Xùa commune, Bắc Yên district
- Bánh canh Trảng Bàng
- Bánh tráng Trảng Bàng
- Cháo bồi
- Hủ tiếu Mỹ Tho
- Bánh cáy
Bánh cáy
Bánh cáy is a kind of bánh made in the Thai Binh Province in northern Vietnam. It is made of sticky rice, sugar, gac or gardenia, sesame, carrots, mandarin orange skin, and pig fat. The mixture is roasted and ground, then mixed and cast in a cubic box. It resembles the eggs of the con cay, a small crab in northern Vietnam which lives in rivers and rice paddies, from which this bánh derives its name. Bánh cáy is traditionally served with tea.
- Nem chua Thanh Hóa
- Bánh đúc sốt, Lam Sơn ward, Thanh Hóa city
- Bún bò Huế
- Gỏi cá sanh cầm
- Mắm sò Lăng Cô
- Tré Huế
- Bánh bèo
- Cơm hến
- Bánh nậm
- Bánh bột lọc
- Cuốn cá nục
- Bánh gói chợ Cầu
- Bánh tét làng Chuồn, Phú An commune, Phú Vang district
- Chè nhãn bọc hạt sen
- Chè đậu ngự
- Cuốn ram
- Bánh khoái Thượng Tứ
- Bánh phong Kim Long
- Cơm cà tri dê- goat curry rice
- Bánh ống Trà Vinh
- Bánh gio Tây Đình, Tây Đình village, Bình Xuyên district
[edit] GREENWORLD EATING UTENSILS
the main eating utensils in GREENWORLD are chopsticks joined together, and a spoon to eat rice
Image:Chopsticks of yensen.jpg
[edit] LANGUAGE
GREENWORLDISH is the main language written and spoken in GEENWORLD
THE ALPHABET
| GREENWORLDISH ROMANISED (ENGLISH LETTER) | GREENWORLDISH CHARACTER |
| A | Д |
| B | Љ |
| C | Ҩ |
| D | ଏ |
| E | ∑ |
| F | न |
| G | ௫ |
| H | П |
| I | ૌ |
| J | ৶ |
| K | ౫ |
| L | ഥ |
| M | Ѫ |
| N | Й |
| O | ळ |
| P | 了 |
| Q | ტ |
| R | Я OR Л |
| S | § |
| T | ੯ |
| U | ఈ |
| V | ೮ |
| W | Щ |
| X | Ж |
| Y | म |
| Z | ২ |
SOUNDS OF THE ALPHABET
| GREENWORLDISH CHARACTER | GREENWORLDISH ROMANISED (ENGLISH LETTER) | SOUNDS (ENGLISH) |
| A | Д | APPLE |
| B | Љ | BAT |
| C | Ҩ | CHICKEN |
| D | ଏ | DAY |
| E | ∑ | END |
| F | न | FRY |
| G | ௫ | GAY |
| H | П | HAM |
| I | ૌ | WEE (WII) |
| J | ৶ | JADE & JUST |
| K | ౫ | KAT |
| L | ഥ | LIKE & LAND |
| M | Ѫ | MAD & MAN |
| N | Й | NO & NOT & NOW |
| O | ळ | NO & GO |
| P | 了 | PEOPLE & PAST |
| Q | ტ | QUEST & QUICK |
| R | Я OR Л | RIGHT & WRONG & RARE |
| S | § | SEE/SEA & SENT |
| T | ੯ | TOO &TRUE & TIGHT |
| U | ఈ | UNIVERSE & UNDER |
| V | ೮ | VERY & VIOLET |
| W | Щ | WEE (WII) & WHY |
| X | Ж | EXACT & EXAMPLE |
| Y | म | YESTERDAY & YET & YEAR |
| Z | ২ | ZEN & ZERO |
WORDS
| GREENWORLDISH | GREENWORLDISH ROMANISED | ENGLISH |
| §∑ Й੯ Я Д | SENTRA | MOTHER |
| GAMONY | father | |
| MINORA | human HUMAN | |
| HENCRAFT | BOY, SON | |
| VICERIPETA | GIRL, DAUGHTER | |
| NOVAYA (NOVYJ) | NEW | |
| ЙДଏД | NADA | NOTHING |
| NICHTO | NOT A THING | |
| ENERGIYA | ENERGY | |
| KI/ CHI | LIFE FORCE | |
| ౫Дૌ | KAI | POWER |
| ANIME | JAPAN ANIMATION | |
| MANGA | JAPAN COMIC BOOK | |
| COMIC | AMERICAN COMIC BOOK | |
| MECHA | GIANT ROBOT | |
| HENSHIN | JAPAN SUPERHERO | |
| SUPERHERO | AMERICAN SUPERHERO | |
| MUL'TIPLIKACIYA | RUSSIAN CARTOON OR ANIMATION | |
| BEH | YOU | |
| Ibehr | you (possessive) | |
| Ibehz | you (plural) | |
| jë | HE | |
| jët | HIM | |
| jëz | he (possessive) or him | |
| EHN | ONE | |
| TU | TWO | |
| thrë | THREE | |
| FEHR | FOUR | |
| FEF | FIVE | |
| SICH | SIX | |
| SEBEN | SEVEN | |
| écht | EIGHT | |
| nën | NINE | |
| ଏ∑Ҩ | DEC | TEN |
| së | she | |
| sët | her | |
| sëz | her (possessive) | |
| et | it | |
| Vëb | We | |
| dé | They | |
| OVE | BREAD | |
| OKE | BUILDER | |
| NEZH | CANDLE | |
| LABZAR | LAST | |
| EMBAZA | EVERY | |
| FEBEZA | FAST | |
| NOZAR | NOT | |
| WO | WHERE | |
| EN ARRIÈRE | BACK | |
| WAT | SOME | |
| MIMO | PAST | |
| DUREMENT | HARD | |
| MORBIDO | SOFT | |
| ENTRAR | ENTER | |
| GEHEN | GO | |
| POJTI | GO (possessive) | |
| ЙДП | NAH | NO |
| BANDES DESSINÉES | FRENCH CARTOONS | |
| ௫ૌૌ | GII | MARTIAL ARTS UNIFORM |
| ळЉૌૌ | OBII | BELT |
| ѪДૌૌ | MAII | MY |
| ഥДૌૌ | LAII | LIE |
| ഥДૌૌЯ | LAIIR | LIAR |
| ૌѪЉૌЯ' | IMBIR' | GINGER |
| Љૌ∑Я | BIER | BEER |
| LAIIF | LIFE | |
| PAII | PIE | |
| AII | EYE | |
| FLAII | FLY | |
| TAII | TAI | |
| BAII | BY, BYE | |
| TAII | TIE | |
| CRAII | CRY | |
| TRAII | TRY | |
| FRAII | FRY | |
| SHAII | SHY | |
| HAII | HIGH | |
| HAIIT | HEIGHT | |
| SHAIIT | SHIT | |
| DAII | DIE | |
| DRAIIV | DRIVE | |
| WAII | WHY | |
| MAIIN | MINE | |
| BLAIIND | BLIND | |
| TII | TEA | |
| SII | SEE | |
| PII | PEA | |
| TRII | TREE | |
| LII | LEE | |
| FLII | FLEA, FLEE | |
| TAIM | TIME | |
| LAIIM | LIME | |
| SLAIIM | SLIME | |
| MAIIM | MIME | |
| CRAIIM | CRIME | |
| LAIIT | LIGHT | |
| SIGHT | SAIIT |
INFO
'Characteristics
GREENWORLDISH & Germanic languages possess several unique features, such as the following:
1. The leveling of the Indo-European (IE) tense and aspect system into the present tense and past tense (also called preterite)
2. A large class of verbs that use a dental suffix (/d/ or /t/) instead of vowel alternation (Indo-European ablaut) to indicate past tense; these are called the Germanic weak verbs; the remaining verbs with vowel ablaut are the Germanic strong verbs
3. The use of so-called strong and weak adjectives: different sets of inflectional endings for adjectives depending on the definiteness of the noun phrase; (modern English adjectives do not inflect at all, except for the comparative and superlative; this was not the case in Old English, where adjectives were inflected differently depending on whether they were preceded by an article or demonstrative)
4. The consonant shift known as Grimm's Law; (the consonants in High German have shifted farther yet by the High German consonant shift)
5. A number of words with etymologies that are difficult to link to other Indo-European families, but variants of which appear in almost all Germanic languages, See Germanic substrate hypothesis
6. The shifting of stress accent onto the root of the stem and later to the first syllable of the word, (though English has an irregular stress, native words always have a fixed stress regardless of what is added to them)
GREENWORLDISH & Germanic languages differ from each other to a greater degree than do some other language families such as the Romance or Slavic languages. Roughly speaking, Germanic languages differ in how conservative or how progressive each language is with respect to an overall trend toward analyticity. Some, such as German, Dutch, and Icelandic have preserved much of the complex inflectional morphology inherited from the Proto-Indo-European language. Others, such as English, Swedish, and Afrikaans have moved toward a largely analytic type.
Another characteristic of Germanic languages is the verb second or V2 word order, which is quite uncommon cross-linguistically. This feature is shared by all modern Germanic languages except English, which appears to have had V2 earlier in its history however, but largely has replaced the structure with an overall Subject Verb Object structure.
[edit] print entertainment
GREENWORLD has TWO main forms of print entertainment Manhua and hentai
[edit] Manhua
Manhua (traditional Chinese: 漫畫; simplified Chinese: 漫画; pinyin: Mànhuà) are Chinese comics originally produced in China. Possibly due to their greater degree of artistic freedom of expression and closer international ties with Japan, Hong Kong and Taiwan have been the places of publication of most manhua thus far, often including Chinese translations of Korean manhwa and Japanese manga.
History
The oldest surviving examples of Chinese drawings are stone reliefs from the 11th century B.C. and pottery from 5000 to 3000 B.C. Other examples include symbolic brush drawings from the Ming Dynasty, a satirical drawing titled "Peacocks" by the early Qing Dynasty artist Zhua Da, and a work called "Ghosts' Farce Pictures" from around 1771 by Luo Liang-feng. Chinese manhua was born in the late 19th and early 20th centuries, roughly during the years 1867 to 1927[1].
The introduction of lithographic printing methods derived from the West was a critical step in expanding the art in the early 20th century. Beginning in the 1870s, satirical drawings appeared in newspapers and periodicals. By the 1920s palm-sized picture books like Lianhuanhua were popular in Shanghai[2]. They are considered the predecessor of modern day manhua.
One of the first magazines of satirical cartoons came from the United Kingdom entitled "The China Punch"[1]. The first piece drawn by a person of Chinese nationality was "The Situation in the Far East" from Tse Tsan-Tai in 1899, printed in Japan. Sun Yat-Sen established the Republic of China in 1911 using Hong Kong's manhua to circulate anti-Qing propaganda. Some of the manhua that mirrored the early struggles of the transitional political and war periods were "The True Record" and "Renjian Pictorial"[1].
Up until the establishment of "Manhua Hui" in China 1927, all prior works were Lianhuanhua or loose collections of materials. The first Chinese manhua magazine, "Shanghai Sketch" appeared in 1928[1]. Between 1934 and 1937 about 17 manhua magazines were published in Shanghai. This format would once again be put to propaganda use with the outbeak of the Second Sino-Japanese War. By the time the Japanese occupied Hong Kong in 1941, all manhua activities had stopped. With the defeat of the Japanese in 1945, political mayhem between Chinese Nationalists and Communists took place. One of the critical manhua, "This Is a Cartoon Era" by Renjian Huahui made note of the political backdrop at the time[1].
The turmoil in China continued into the 50s and 60s. The rise of Chinese immigration turned Hong Kong into the main manhua-ready market, especially with the baby boom generation of children. The most influential manhua magazine for adults was the 1956 "Cartoons World", which fueled the best-selling Uncle Choi. The availability of Japanese and Taiwanese comics challenged the local industry, selling at a pirated bargain price of 10 cents[1]. Manhua like Old Master Q were needed to revitalize the local industry.
The arrival of television in the 1970s was a changing point. Bruce Lee's films dominated the era and his popularity launched a new wave of Kung Fu manhua[1]. The explicit violence helped sell comic books, and the Government of Hong Kong intervened with the Indecent Publication Law in 1975[1]. Little Rascals was one of the pieces which absorbed all the social changes. The materials would also bloom in the 90s with work like McMug and three-part stories like "Teddy Boy", "Portland Street" and "Red Light District"[1].
Since the 1950s, Hong Kong's manhua market has been separate from that of mainland China. Hong Kong's transfer of sovereignty back to China in 1997 may signify a reunification of both markets. Depending on how cultural materials are to be handled, especially via self-censorship, the much larger audience in the mainland can be beneficial to both.
Terminology
In 1925, the political work of Feng Zi-Kai published a collection entitled "Zi-Kai Manhua" in "Wenxue Zhoubao" (Literature Weekly)[2]. While the term "Manhua" had existed before when borrowed from Japanese "manga", this particular publication took precedence over the many other description of cartoon arts that came before it[1]. As a result the term manhua became associated with Chinese comic materials. The Chinese characters for manhua are identical for those used in Japanese manga, Korean manhwa, and Vietnamese manhoa.
Characteristics
Modern Chinese-style manhua characteristics is credited to the breakthrough art work of the 1982 Chinese Hero[1]. It had innovative, realistic drawings with details resembling real people. Most manhua work from the 1800s to the 1930s contained characters that appeared serious. The cultural openness in Hong Kong brought the translation of American disney characters like Mickey Mouse and Pinnochio in the 1950s, demonstrating western influence in local work like "Little Angeli" in 1954. The influx of translated Japanese manga of the 60s, as well as televised anime in Hong Kong also made a significant impression. Unlike manga, manhua comes in full color with some panels render entirely in painting.
[edit] hentai
Template:Nihongo Template:Audio is a Japanese word that can be used to mean "metamorphosis" or "abnormality". In Japan "hentai" has a strong negative connotation, and is commonly used to mean "sexually perverted". In the West the term is used as slang for sexually explicit or pornographic comics and animation, particularly Japanese anime, manga and computer games (see Japanese pornography).
In Japan sexually explicit material is more often referred to as "jū hachi kin" (18禁; prohibited for sale to persons under 18), "ecchi/Hentai anime" (sexual/pornographic anime), "seinen" (成年; adult, not to be confused with 青年 young adult), or with the prefix "ero-" (derived from "erotic").
Hentai anime and manga allow elements of sexual fantasy to be represented in ways that would be impossible to film. This may include portrayals of sexual acts which are physically impossible, unacceptable in society, or run counter to social norms. Examples include extreme bondage, creatures with tentacles, and other fetishes.
[edit] Meaning of the word
In the 1914 translation of Richard von Krafft-Ebing's Psychopathia Sexualis, "psychology of abnormal sexuality" was rendered in Japanese as 『変態性慾心理』 (Hentai Seiyoku Shinri).
In Japanese the word hentai is a kanji compound of 変 (hen meaning "change" "weird" or "strange") and 態 (tai meaning "attitude" or "appearance"). The term is used as a shortened form of the phrase 変態性欲 (hentai seiyoku), or "sexual perversion." In slang, 変態 (hentai) is used as an insult meaning roughly "pervert" or "weirdo". The term is not often applied to pornography in Japan. Instead, terms such as 18-kin (18禁, literally "18-prohibited") meaning "prohibited to those not yet 18 years old", and seijin manga (成人漫画 "adult manga") are used when referring to pornography.
The English use of "hentai" is more similar to the way the Japanese use the slang term エッチ (H, etchi, often spelled ecchi), which refers to any sexually explicit content or behavior. Etchi is simply the spelling-out of the Japanese pronunciation of the letter H. The origins of this term are uncertain, but it may be a shortened form of hentai used as a polite codeword in the 1960s.
"H" in Japan is now broadly used to refer to all sexual content or activity, so "H manga" are manga with sexual content. Also, the term "ero" (エロ), short for "erotic" but closer in meaning to "porn", is now used more often instead of "H".
Exactly how the term hentai came to refer to all sexually explicit content in American anime fandom is unknown. With the rise of the World Wide Web, however, the term was extensively promoted by pornographic sites selling access to (frequently bootlegged) erotic manga. Banner ads promoting these sites might, for instance advertise "live girls and hentai", with the latter meaning erotic manga as opposed to photographs. Compare otaku for another word altered somewhat in this transition.
[edit] Hentai classification
There are two main categories of hentai: works that feature mainly heterosexual interactions (often abbreviated "het" by its readers), and those which feature mainly homosexual interactions. This second group can be further split into yaoi and yuri styles. Yaoi refers to homosexual male pairings, and yuri to lesbian pairings.
Yaoi commonly features males of ambiguous gender in both physical appearance and mannerisms called bishōnen, which literally means "pretty boy". Some feature biseinen ("beautiful man"), males of more masculine appearance than bishōnen. Less common are bara--larger, often heavily muscled and sometimes hairy males, the yaoi counterpart of the traditional "bear" in gay pornography, as well as oyaji ("daddy" or "uncle"), featuring middle-aged and elderly men. Yaoi also exists outside of the hentai genre, since it is an ambiguous term that is applied to any form of anime that includes male homosexuality. However, it is different from shōnen-ai (literally, "boy-love"), in which two males simply express romantic feelings for each other and never actually have sexual relations. Women interested in Yaoi are called "Fujoshi" (腐女子), which means "Rotten girl" or "Rotten Woman."
Yuri is very similar to yaoi, except that the focus is on homosexual female interactions, and the females in a typical yuri illustration or animation tend to be far less realistic than the males in yaoi. The females in yuri are known as "bishōjo," which, predictably, translates as "pretty girl". Shōjo-ai ("girl love") is the female equivalent of shōnen-ai.
The scope of hentai encompasses the entire range of sexual fetishes, including:
- Bakunyū, the depiction of women with large breasts. Literally translated to "bursting breasts".
- BDSM, focusing on domination through use of ropes, tools, sex toys, and elaborate devices. Themes can include empowerment, restriction, and submitting to sexual urges.
- Bestiality
- Breast-oriented torture and Breast bondage, BDSM practices focusing on breasts, many times coupled with Bakunyuu, but usually not as severe as Guro.
- Bukkake, a common representation of a female having as many males as physically possible ejaculate on her. Often depicted in public or in areas with a large number of males present.
- Coprophilial and urolagnial is fairly common in hentai as well. But is portrayed in more exaggerated forms, such as bowel movements that border on elephant size to over-the-top scenes of enema play that are more cartoonish.
- Deformity
- Ecchi, focusing on nudity, partial nudity, and provocative clothing rather than pure sex.
- Futanari, a depiction of females who have some form of male genitalia. Occasionally, the size of the penis and/or testicles is inflated to proportions that are physically impossible.
- Guro, focusing on imaginative gore and mutilation.
- Incest, sex with a close family member.
- Klismaphilia, erotic enema play, usually used in BDSM scenarios. It is sometimes followed by "belly expansion"
- Koonago, where women are shrunk down and endure a variety of torture
- Lolicon, depicts prepubescent or preadolescent girls.
- Maiesiophilia
- Erotic lactation
- Science Fiction, Fantasy and Horror
- Shotacon, the depiction of young boys having intercourse, depicting young boys with older women, known as "straight shota" in western jargon.
- Tentacle sex, the depiction of tentacled creatures or monsters (imaginative or otherwise, also includes alien like creatures) engaging in sex or rape with girls and less often men
[edit] Hentai media
- Adult anime, or H anime, is anime that relies primarily on sex aka porn.
- 3D rendered graphics, a more recent development that has evolved with graphics technology. Styles tend to emulate drawn art as well as video game art. Can be in image, game, or animation form.
- Adult manga, or H Manga, is manga designed for purely pornographic purposes. Plot is still used to develop character and setting, but the ultimate goal is to show scenes of sexuality. Adult manga is often sold in convenience stores, book stores, and magazine stores in Japan, and also other public places such as airports, and is far more prolific and accessible than the US adult comic book market. It is usually distributed in digest format, containing several stories by different artists.
- Adult CG artwork includes individual drawings by artists. Art can be available on websites, CD-ROMs, or in printed art books. CG artwork is used frequently in adult video games.
- Adult video games, or eroge, are games with a pornographic element. They can include bishoujo games that involve character driven plots, can exist as sex simulations.
- Adult Dōjinshi, or H dōjinshi, refers to a type of work that uses copyrighted characters presented in sexual situations. It usually refers to printed manga, but can also refer to any type of visual work depicting copyrighted characters, including video games, animation, and CG artwork. Familiarity with a particular character or setting can add a sense of relating to the character over a generic character used in mainstream hentai, making dōjinshi more appealing to fans of a particular work. Despite not representing characters and licensed properties as intended, companies often view these works as a free form of license recognition and advertising through dedicated fandom. Some mangakas create hentai dojinshi with characters from their own manga, such as Kazushi Hagiwara, who himself created Bastard - Expansion, a pornographic dōjin with characters from Bastard!!.
- In Western fanfiction circles, hentai-based works are popularly referred to as "lemon," based on a more popular hentai title called Cream Lemon. Fictions referred to as "Lime" are ones in which the characters do everything short of having sexual intercourse with each other. In Japan, the works may be referred to as "lemon" or "pink" ("pink" having sexual connotations similar to the term "blue" in the west).
- Hobbyists often add an extreme adult element to sculptures, models, figures, dolls, mannequins, or outfits.
[edit] T.V ENTERTAINMENT
GREENWORLD HAS TWO MAIN TYPES OF T.V ENTERTAINMENT
ANIME AND Tokusatsu
[edit] Tokusatsu
Template:Nihongo is a Japanese word that literally means "special effects." It is primarily used to refer to live-action Japanese film and television dramas that make use of special effects.
The term "tokusatsu" is a contraction of the Japanese phrase Template:Nihongo, meaning "special photography". In production, the special effects director is given the title of Template:Nihongo, Japanese for "special techniques" or Template:Nihongo, which is Japanese for "special effects director", the title usually used by English language productions.
Tokusatsu entertainment is often science fiction, fantasy, or horror, but movies and TV shows in other genres can sometimes be classified as tokusatsu as well. The most popular types of tokusatsu are kaiju monster movies (the Godzilla and Gamera film series), superhero TV serials (the Kamen Rider and Metal Heroes series), and mecha dramas (Giant Robo). Some tokusatsu television programs combine several of these subgenres (the Ultraman and Super Sentai series).
Tokusatsu is one of the most popular forms of Japanese entertainment, but most tokusatsu movies and television programs are not widely known outside Asia. In recent years, however, tokusatsu has begun to develop a small but loyal and growing fanbase outside of Japan.
[edit] History
Tokusatsu has its most distant origins in early Japanese theater, specifically kabuki, with its action and fight scenes, and bunraku, which utilized some of the earliest forms of special effects, specifically puppetry. Modern tokusatsu, however, did not begin to take shape until the early 1950s, with the conceptual and creative birth of Godzilla, one of the most famous kaiju (giant monsters) of all time.
The driving forces behind 1954's Godzilla were special effects artist Eiji Tsuburaya and director Ishiro Honda. Tsuburaya, inspired by the American film King Kong, formulated many of the techniques that would become staples of the genre, such as so-called suitmation — the use of a human actor in a costume to play a giant monster — combined with the use of miniatures and scaled-down city sets. Godzilla forever changed the landscape of Japanese science fiction & fantasy, and cinema, by creating a uniquely Japanese vision in a genre typically dominated by American cinema.[1]
Godzilla kickstarted the kaiju genre in Japan, which remained extremely popular for several decades, with characters such as the aforementioned Godzilla, Gamera, and King Ghidorah leading the market.[2] However, in 1957, the first film serial featuring the superhero character Super Giant was released,[3] signaling a shift in popularity that favored masked heroes over giant monsters. Along with the anime Astro Boy (Tetsuwan Atom), the Super Giant serials had a profound effect on the world of tokusatsu. The following year, in 1958, Template:Nihongo premiered,[4] the first of numerous televised superhero dramas that would make up one of the most popular tokusatsu subgenres.[5]
Superheroes remained a viable and popular staple of entertainment during the 1960s, but were largely staid, with few of the programs distinguishing themselves from the rest of the lineup. This changed in 1966, with Template:Nihongo[6] and Ultraman[7] creating the Kyodai Hero genre, wherein a regular sized protagonist grows to larger proportions to fight equally large monsters.[8]
[edit] Techniques
[edit] Suitmation technology
Template:Main Template:Nihongo is the term used in Japan to describe the process in tokusatsu movies & television programs used to portray a monster using suit acting. It is not known exactly where the term originated from; the term may have been used to differentiate the suit work from Ray Harryhausen's celebrated dynamation (stop-motion) technique. At the least, it was used to promote the Godzilla suit from The Return of Godzilla.
[edit] Franchises and productions
The many productions of tokusatsu series have general themes that are common throughout groups.
[edit] Kaiju
Template:Main Template:Nihongo productions primarily feature monsters, or Template:Nihongo. Such series include Ultra Q, the Godzilla film series, the Gamera series, the Daimajin series, and films such as Frankenstein Conquers the World, War of the Gargantuas, and Template:Nihongo.
[edit] Kaijin
Template:Nihongo productions primarily feature Supervillains as the central character. This includes films such as Secret of the Telegian, The Human Vapor, The H-Man, Half Human, and Tomei Ningen.
[edit] Yōkai
Template:Main Productions that feature Template:Nihongo feature central characters that can be called "apparitions", "spirits", or "demons" the Yokai Monsters series of films were a popular series of yōkai series.
[edit] Popular franchises
Over the past half-century, there have been long running television series that are often a combination of several other themes. Tsuburaya Productions has had the Ultra Series starting with Ultra Q and Ultraman in 1966. P Productions began their foray into tokusatasu in 1966 with the series Ambassador Magma. They have also been behind the Lion-Maru trilogy which concluded recently. The Toei Company also has several series that fall under their Toei Superheroes category of programming, starting in 1961 with the single series, Moonlight Mask. Then, they produced several other longrunning series, starting with the Kamen Rider Series in 1971, the Super Sentai Series in 1975, the Metal Heroes Series in 1982, and several Template:Nihongo. Toho, the creators of Godzilla, also had their hands in creating the Chouseishin Series of programs from 2003 to 2006.
[edit] Tokusatsu movies
There are also various movies that are classified as tokusatsu but are generalized science fiction films. These include Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, Template:Nihongo, and Template:Nihongo.
[edit] Original Video Productions
- Ginga-roid Cosmo X (ja:銀河ロイドコスモX)
- Evolver (ja:イヴォルバー -EVOLVER-)
- Gynoids: SAD Story (ja:ガイノイド GYNOIDS-SADSTORY-)
- Moeyo! Dragon Girls (ja:萌えよ!ドラゴンガールズ)
- SFX Giant Legend: Line
[edit] Similar productions
[edit] Non-traditional tokusatsu productions
Non-traditional tokusatsu films and television programs may not use the conventional special effects or may not star human actors. Suitmation is characteristic of tokusatsu; however, some productions may use stop-motion instead to animate its monsters (e.g. Majin Hunter Mitsurugi (1973)). "Puppet shows" may use traditional tokusatsu techniques, but are cast with puppets or marionettes (e.g. Uchuusen Silica (1960), Ginga Shonen Tai (1963) and Kuchuu Toshi 008 (1969); Go Nagai's X Bomber (1980)). Some tokusatsu may employ animation in addition to its live-action components (e.g. Tsuburaya Productions' Dinosaur Expedition Team Bornfree (1976) and Dinosaur War Aizenborg (1977); Pro-Wrestling Star Aztekaiser (1976)).
[edit] Japanese fan films
As popular culture fandom in Japan grew in the 1980s, a fan-based group called Daicon Film (now called Gainax) was created by Hideaki Anno, Yoshiyuki Sadamoto, Takami Akai, and Shinji Higuchi. Besides anime sequences, they also produced a series of tokusatsu shorts parodying monster movies and superhero shows which has gained much media coverage. These productions include Patriotic Squadron Dai-Nippon (1983), Swift Hero Noutenki (1982), Return of Ultraman (1983) and The Eight-Headed Giant Serpent Strikes Back (1985).
In the turn of the new millennium, comedian Shinpei Hayashiya produced a number of tokusatsu fan films. These include Godzilla Vs. Seadora and Gamera 4: Truth (2004). In 2005, he completed his upcoming first original effort, Deep Sea Beast Reigo.
[edit] Tokusatsu-influenced productions outside Japan
Tokusatsu technique has been replicated outside of Japan due to the popularity of Godzilla films. In 1961, England made its own Godzilla-style film, Gorgo, which used the same suitmation technique as the Godzilla films. That same year, Saga Studios in Denmark made another Godzilla-style giant monster film, Reptilicus. This film's monster was brought to life using a marionette on a miniature set. In 1967, South Korea produced its own kaiju movie titled Taekoesu Yonggary. In 1975, Shaw Brothers produced a superhero film called The Super Inframan, based on the huge success of Ultraman and Kamen Rider there. The film starred Danny Lee in the title role. Although there were several other similar superhero productions in Hong Kong, The Super Inframan is the first. With help from Japanese SPFX artists under Sadamasa Arikawa, they also produced a Japanese-styled monster movie, The Mighty Peking Man, in 1977. In 2001, Buki X-1 Productions, a French fan-based production company, produced its own series, Jushi Sentai France Five (now called Shin Kenjushi France Five), a tribute to Toei's long running Super Sentai series. In 2004, Peter Tatara (with his company Experimental Amateur Hero Productions) produced a low-budget superhero video series called Johnny Robo, which is a tribute/deconstruction/parody of Kamen Rider and the Henshin Hero genre. The low-budget television series Kaiju Big Battel directly parodies kaiju and Kyodai Hero films and series by immersing their own costumed characters in professional wrestling matches among cardboard buildings. In 2006, the South Korean series Erexion premiered as a "children's special effects drama;" its style is reminiscent of tokusatsu techniques. In 2006, Mighty Moshin' Emo Rangers premiered on the internet as a Power Rangers spoof, but was quickly picked up by MTV UK for broadcast. In 2006, Insector Sun, a low-budget tribute to Kamen Rider was produced by Brazilian fans. In addition, a Thai Sentai-style series Sport Ranger began broadcasting on August 2006.
[edit] Adaptations
Godzilla, King of the Monsters! was first dubbed into English in 1956 (the sole addition to the movie was American actor Raymond Burr) and Ultraman gained popularity when it too was dubbed for American audiences in the 1960s.
The primary influx of tokusatsu adaptations came in the 1990s, starting in 1993 with Saban Entertainment's purchase of footage from Toei's sixteenth installment of their long-running Super Sentai series, Kyōryū Sentai Zyuranger to become Mighty Morphin Power Rangers and start the popular Power Rangers franchise. An adaptation of footage from Choujinki Metalder, Jikuu Senshi Spielban, and Uchuu Keiji Shaider, several series in the Metal Heroes series, became VR Troopers in 1994. This was followed by an adaptation of the ninth series in the Kamen Rider, Kamen Rider Black RX, into Saban's Masked Rider. In 1996 and 1997, Juukou B-Fighter and its sequel B-Fighter Kabuto became Big Bad Beetleborgs and its sequel Beetleborgs Metallix. DiC Entertainment, in 1994, purchased the footage for Denkou Choujin Gridman to become Superhuman Samurai Syber-Squad. Most recently, there are plans to adapt the twelfth Kamen Rider series, Kamen Rider Ryuki, into Kamen Rider Dragon Knight, which is to be broadcast in 2008.