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Archived from the original on February 9, 2017. Retrieved February 8, 2017. ^ Pereira, Chris (May 24, 2017). "First trailer for Castlevania Netflix". GameSpot. Archived from the original on June 26, 2017. Retrieved May 24, 2017. ^ "30 Years Later: From Nintendo to Netflix, 'Castlevania III: Dracula's Curse' Unfolds a New Legacy". Goomba Stomp. December 24, 2019. Retrieved January 24, 2020.

It's spinoff Cyberbots shares the same general artstyle. The Bionic Commando games star a soldier named Rad Spencer armed with a Grappling Hook arm. The NES title even had you battling Those Wacky Nazis, including who is definitely not Adolf Hitler (Named "Master D" In-game). Capcom's old mascot Captain Commando is likewise an Affectionate Parody of American superheroes. The company has long walked a middle ground between styles, taking it to a natural conclusion. Darkstalkers and its crazy cartoon violence. It looked and moved more like a cartoon than the actual American TV show. Devil May Cry stars a dual-wielding wisecracking mercenary named Dante battling demons and monsters in Gothic European and urban settings. It draws heavy influence from Western-themed works like The Divine Comedy. The Final Fight games takes place in major metropolitan city reminiscent of New York and Chicago and one of the player characters is a former-wrestler-turned-mayor named Mike Haggar. The Ghosts 'n Goblins series stars a medieval knight named Arthur (a clear reference to King Arthur), battling wicked demons and monsters, the majority based on European gothic horror and figures from Biblical mythology like Beezulbub and Satan.

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5 million copies. [146][147] It also currently holds the title of appearing on the list for a volume with 121 weeks. [148] Volume one was also number one on Nielsen BookScan's list of top 20 graphic novels in American bookstores for October 2013,[149] and for the month of September, the series had more volumes on the list than any other series. [150] The following table lists the annual content revenue from Attack on Titan media in Japan. Year Media content revenue in Japan Notes[c] Ref 2013 ¥14,700,000,000 ($151,000,000) Physical and digital media [151] 2014 ¥13,000,000,000 ($123,000,000) Physical and digital media [152] 2015 ¥7,308,359,519 ($60,377,697) Physical media only [153] 2016 ¥3,845,406,579 ($35,346,117) Physical media only [154] 2017 ¥4,196,052,143 ($37,409,258) Physical media only [155] 2018 ¥3,137,123,693 ($27,968,544) Physical media only [156] 2019 ¥2,598,783,077 ($23,839,933) Physical media only [157] 2020 ¥2,460,695,769 ($23,045,707) Physical media only [158] 2013 to 2020 ¥51,246,420,780+ ($482,716,387+) Critical response Many have analyzed Attack on Titan as representing "the hopelessness felt by young people in today's society". [2] Writer Mao Yamawaki called it a "coming-of-age story of the boys and girls at its core", with a new mystery every episode. It is these mysteries that critic Tomofusa Kure said amplifies readers' expectations. The artwork of the manga has been criticized as crude by some reviewers, with Isayama himself admitting his drawings are "amateurish". However, those same critics stated that after years of serialization, the art has been improving, and Kure believes that had the illustrations been "refined", it would not have conveyed the "eeriness" that is a key characteristic of the work. [2] In a short review, Jason Thompson noted how the characters conveniently receive "power-ups" to create plot twists, but concluded that these plot twists and the manga's post-apocalyptic world are "too good to miss". [159] Attack on Titan has gained a strong popularity not only in Japan, but also throughout the world. AnimeLand (in French). April 5, 2013. Archived from the original on April 10, 2013. Retrieved May 28, 2021. ^ EFE (November 3, 2013). "'Ataque a los titanes' y 'Fushigi Yugi' ganan los premios del Salón del Manga de Barcelona".