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Anime has to be licensed by companies in other countries in order to be legally released. While anime has been licensed by its Japanese owners for use outside Japan since at least the 1960s, the practice became well-established in the United States in the late 1970s to early 1980s, when such TV series as Gatchaman and Captain Harlock were licensed from their Japanese parent companies for distribution in the US market. The trend towards American distribution of anime continued into the 1980s with the licensing of titles such as Voltron and the 'creation' of new series such as Robotech through the use of source material from several original series. [106] In the early 1990s, several companies began to experiment with the licensing of less child-oriented material. Some, such as A. D.

[88][89] No. TitleLength1. "Opening"2:152. "A March Through the Snow"4:143. "Nikukai Fai~! Body Improvement Club Song~!"3:434. "Overeating"4:425. "A World Seen For the First Time"6:406. "How to Use Your Power"3:417. "Telepathy Life"4:548. "Telepathy Fairy-tale"3:379. "Body Improvement Club’s 3 Minute Cooking"3:4810.

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[36][37] Originally, the creator thought it would be difficult to portray the story in a television series format, and instead created the webcomic The Kingdom of the Gods alongside illustrator Yang Kyung-il in 2014. [1] While the series is adapted from the webcomic, they do not share much commonality other than their basic concepts. [38] Whilst working on television series, Phantom and Signal, Eun-hee continued to work on the project but encountered challenges in writing a period piece and securing investments for the project. Born out of an interest to explore opportunities for writing in a diverse range of genres and not limited by conventional choices in storytelling and censorship in publicly broadcast K-dramas, Eun-hee credited the success of Train to Busan, as the turning point for the revitalization of the interest in zombie films in the Korean media space. [39][40] In an online interview, Eun-hee stated that politics is integrated to the core of the series, noting that "It's about what politics is. Flawed politics created resentment, and there will be a consequence of gaining the plant that brings dead people to life". She added that the political environment drives many of the decisions, and propels the actions of characters in their journey, highlighting that "If we go deeper and deeper, it all boils down to politics. The pain that comes from politics, the price we have to pay for pain, they are the message that penetrates the series. "[41] Eun-hee further spoke about the importance of blending those genres and particularly focusing on the examination of the political elements covered in the series, citing that "politics and the living dead are not separate, but they rather come together as one. "[42] Adding to that, Eun-hee commented about the nature of politics, and its role in shaping the world of Kingdom. The series’ portrayal of political dynamics of corruption and power highlights the disparity of growing concerns against the bourgeoise, suffering in the midst of a plague. Retrieved August 19, 2022. ^ 異世界でチート能力を手にした俺は、現実世界をも無双する12 ~レベルアップは人生を変えた~ (in Japanese). Fujimi Shobo. Retrieved November 17, 2022. ^ 異世界でチート能力を手にした俺は、現実世界をも無双する13 ~レベルアップは人生を変えた~ [I obtained a cheat ability in another world, and now I'm peerless in the real world 13] (in Japanese). Fujimi Shobo.