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Manualsdownloadpopeye. History | history. Nintendo. is a superb and demanding platform game featuring characters from the famous King Features Syndicate cartoon show of the same name. The aim of the game is to rescue 's girlfriend, Olive Oyl.
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This is achieved by catching a set number of objects thrown down by Olive from the top of the screen; such as hearts, letters and musical notes. Brutus (originally known as Bluto). Brutus or grab some spinach and punch him off the screen (he will, of course, return). Should any of Olive Oyl's items fail to be caught, they will fall into the water at the bottom of the screen.
Several other characters also make an appearance in the game; namely Wimpy, Swee'Pea, the Sea Hag, and her vulture Bernard. The game's three levels are the dock scene, the street scene and the shipboard scene. These repeat with increasing difficulty.- TECHNICAL - Most machines were upright cabinets, but cocktails were also available. The upright was in the standard Nintendo cabinet, the same one used in "Donkey Kong", "Donkey Kong Junior", "Radar Scope", "Donkey Kong 3", and "Sky Skipper". Almost all other Nintendo titles used alternate versions of this same cabinet, "Mario Bros". Punch Out!!" was taller, etc., but they were still nearly identical. A dedicated machine will be blue, although you will sometimes see them in different colors (non- blue s are conversion cabinets).
Model No. TPP2- UPMain CPU : Z8. Mhz)Sound Chips : AY8.
Mhz)Screen orientation : Horizontal. Video resolution : 5. Screen refresh : 6. Hz. Palette colors : 2. Players : 2. Control : 4- way joystick. Buttons : 1 (PUNCH)- TRIVIA - Released in December 1.
Licensed to Atari for some distributions.* From Strip To Screen : the Sailor, one of the most enduring characters in animation history, began not in motion pictures but in E. C. 'Elzie' Segar's 'Thimble Theater' comic strip. Born in Illinois, Segar began cartooning in Chicago in 1. Graduating to his own strip for the Chicago American, Segar was then hired in 1. Hearst's New York Evening Journal to create the syndicated 'Thimble Theater' strip.
Thimble Theater' depicted the adventures of Ham Gravy, his girlfriend Olive Oyl and her brother Castor. The venture was a success, expanding to an additional Sunday color page in 1. Segar's comic strip used complex, rambling and frequently eerie narratives that attracted a devoted following, but it lacked strong central characters. In the 'Thimble Theater' of January 1. Ham and Castor decided to hire a crew to sail in search of the legendary Whiffle Hen.
Walking up to a grizzled one- eyed mariner on a dock, Castor asked him, "Are you a sailor?" "`Ja think I'm a cowboy?" came the reply, introducing to readers.* Move Over, Ham Gravy : Over a period of months, developed from a supporting character to the central figure in the hunt for the Whiffle Hen. When Segar finally brought the narrative to a close and tried to retire the sailor, outraged fans contacted the Hearst syndicate demanding more adventures with . Segar obliged them : the sailor replaced Ham as Olive's love interest, Castor Oyl was reduced to infrequent appearances, and the strip was renamed 'Thimble Theater, Starring '.
The early 1. 93. 0s was a period of keen competition among American animation studios for market share. Central to the business strategy of most studios was the development of cartoon 'stars' whose popularity would ensure bookings by major theater chains. Disney followed the success of Mickey Mouse by developing new characters like Donald Duck and Goofy up from supporting roles in Mickey Mouse cartoons. Similar strategies were tried at Warner Bros., where Bugs Bunny and Daffy Duck evolved from secondary roles in films starring other animated characters. One of the earliest examples of this took place at the Fleischer Studios, Inc. New York, where the unpopular starring canine character Bimbo was matched up with a girlfriend in Dizzy Dishes (1.
The girlfriend eventually developed into Betty Boop, the studio's major character. With the popularity of Betty Boop at a peak in 1. Max and Dave Fleischer decided to introduce a new film series which would include another character to grow into a star. Fleischer rival Van Beuren Corporation had already signed an agreement to bring Otto Soglow's strip 'The Little King' to the screen. Max Fleischer, who was a great fan of Segar's strip, approached Hearst's King Features Syndicate for the right to use . The two companies signed an agreement on November 1.
Betty introduces to the Big Screen : The production of the first film took place in secrecy. Veteran animator Roland Crandall was given space apart from the rest of the studio. There, he single- handedly animated the entire cartoon, aided only by the inclusion of some Shamus Culhane animation recycled from the earlier Betty Boop's Bamboo Isle (1. The results were so satisfying that even before the film was released, the Fleischers and King Features amended the agreement granting the studio the right to produce and release animated cartoons featuring for a five year period. Crandall's film 'Betty Boop Presents The Sailor' opened in the summer of 1.
Betty Boop' series. After a prologue in which newspapers herald the sailor's film debut, and sings 'I'm the Sailor Man', the film featured what was to be the standard '' series plot, re- enacted with variations by the Fleischers for the next decade. Olive waits for to disembark from his ship at the dock. Bluto follows the couple to a fairground, where the two sailors compete for Olive's attentions through feats of strength. Bluto abducts Olive and ties her to a train track. As the locomotive approaches, and Bluto fight. Bluto, and, through the magical powers of spinach, is able to stop the train and save Olive Oyl.
Here, we see the essential difference between the Segar and Fleischer sense of narrative. Segar reveled in picaresque plots that coursed in unexpected directions for up to two years, exploring every novel twist and nuance of narrative.
In anticipation of post- modernism, the very concept of plot was old- fashioned to the Fleischers. Hackneyed and ritualized story conventions were torn apart, recombined in odd juxtapositions, and satirized in endless variations.
The Fleischer cartoons were an instant success. It might have been just a fluke, a lucky break, that the Segar characters fit the Fleischer style so well", recalls former animator Myron Waldman. The animation of Olive Oyl in the mid- 1.
It fit her. The character had no elbows and the most prominent knees. When she spoke, the voice fit too. This was character. That's what made her so good".* Step Aside, Mickey : Segar's characters were not the only things consistent with the Fleischer style. Both Segar and the Fleischer staff shared a fondness for a poetically improvisational language. When 's original voice artist, William 'Red Pepper Sam' Costello, left after the first few pictures, he was replaced by a studio in- betweener named Jack Mercer.
Much of the dialogs of the cartoons was post- synched with little attention to synchronized mouth action. Mercer, Mae Questel (Olive's voice, except for the 1.
Margie Hines was the voice artist) and William Penell or Gus Wickie, who voiced Bluto, often ad- libbed dialogs during recording sessions, particularly 's 'asides' and pun- filled conversations. Added to this was a progressive softening and increased complexity of 's character, paralleling changes in the strip. Fleischers' leading attraction. By 1. 93. 8, replaced Mickey Mouse as the most popular cartoon character in America. The Fleischers rummaged through the Segar strip for supporting characters. Bluto, the animated series' antagonist, was a minor character in the Segar strip, appearing only in 1. The Eighth Sea'. Longer- lived strip characters that joined on the screen included hamburger maven J.
Wellington Wimpy, Swee'Pea, Eugene the Jeep and Poopdeck Pappy. While in the comic strip, gained his great strength from rubbing the Whiffle Hen, the Fleischers added the gimmick of 's power being largely dependent on the ingestion of spinach.
Farmers in America's self- styled 'spinach capital' of Crystal City, Texas set up a statue of in gratitude for the publicity. As early as 1. 93. Fleischers sought backing for a feature- length animated film from their distributor Paramount. Paramount refused to risk money on a feature. In an attempt to persuade the company that longer animated films could be profitable, Max Fleischer initiated the production of three two- reel color 'specials' starring , beginning with ' The Sailor Meets Sinbad The Sailor' (1. Although these 'specials' were often billed over their accompanying feature, Paramount still refused to back the animated feature. Conditions changed after the success of Disney's 'Snow White And The Seven Dwarfs' (1.
Fleischers received money for the eighty minute Gulliver's Travels. According to some sources, the film was originally to have in the role of Gulliver, but the idea was scrapped early in the planning stages. Perhaps this was unwise. According to internal Paramount correspondence, the shorts were far more profitable to Paramount than Disney's films were to his distributor, RKO. The sailor's box- office appeal might have helped the Fleischer features.
Gulliver's Travels (1. Mr. Bug Goes To Town (1. Fleischer Studios, Inc.* Post- Fleischer : The successor company, Famous Studios, continued with the production of cartoons. Many of these were remakes of earlier Fleischer films.
Much of the supporting cast of the Fleischer versions were replaced by new characters, such as identical nephews Pip- Eye, Peep- Eye, Poop- Eye and Pup- Eye. A redesign of the major characters included white U.
S. Navy uniforms for Bluto and (in keeping with their war- time service in the armed forces), and more comely fashions for Olive. Upgraded technology, including the introduction of color to the series in 1.