Looney Tunes: Space Race

Looney Tunes: Space Race is a 2000 kart-racing video game developed by Infogrames, Inc. It was announced as a Nintendo 64 game in 1998, but was moved to the Dreamcast, it was ported to PlayStation 2 in 2002 with a new tournament mode. Billy West as Bugs Bunny, Pepe Le Pew, Elmer Fudd Maurice LaMarche as Yosemite Sam Bill Farmer as Foghorn Leghorn Bob Bergen as Porky Pig June Foray as Granny Joe Alaskey as Daffy Duck, Sylvester the Cat, Marvin the Martian, Tweety Bird Kath Soucie as Lola Bunny Jim Cummings as Taz The Dreamcast version was met with positive reviews upon release while the PlayStation 2 version received mixed reviews. GameRankings and Metacritic gave it a score of 77.77% and 83 out of 100 for the Dreamcast version, 62.63% and 62 out of 100 for the PlayStation 2 version. Looney Tunes: Space Race on IMDb Looney Tunes: Space Race at MobyGames

Manga outside Japan

Manga, or Japanese comics, have appeared in translation in many different languages in different countries. France represents about 40% of the European manga market and in 2011 manga represented 40% of the comics being published in the country. In 2007, 70% of the comics sold in Germany were manga. In the United States, manga comprises a small industry when compared to the inroads that Japanese animation or Japanese Video Games have made in the USA. One example of a manga publisher in the United States, VIZ Media, functions as the American affiliate of the Japanese publishers Shogakukan and Shueisha; the UK has fewer manga publishers than the U. S. Since written Japanese fiction flows from right to left, manga artists draw and publish this way in Japan; when first translating various titles into Western languages, publishers reversed the artwork and layouts in a process known as "flipping", so that readers could follow the books from left-to-right. However, various creators did not approve of the modification of their work in this way, requested that foreign versions retain the right-to-left format of the originals.

Soon, due both to fan demand and to the requests of creators, more publishers began offering the option of right-to-left formatting, which has now become commonplace in North America. Left-to-right formatting has gone from the rule to the exception. Translated manga includes notes on details of Japanese culture that foreign audiences may not find familiar. One company, TOKYOPOP, produces manga in the United States with the right-to-left format as a publicized point-of-difference; the Chinese Ministry of Culture announced in 2015 that it has blacklisted 38 Japanese anime and manga titles from distribution in China, including popular series like Death Note and Attack on Titan online or in print, citing "scenes of violence, pornography and crimes against public morality." Manga in India is published by VIZ Media. Manga in Indonesia is published by Elex Media Komputindo, Level Comic, M&C and Gramedia, has influenced Indonesia's original comic industry; the wide distribution of scanlations contributes to the growth of publication of bootleg manga, printed in lower quality.

One of the most notable publisher is Seventh Heaven. Many popular titles, such as Bleach, Magister Nagi, Rose Hip Zero, Kingdom Hearts, have been pirated, which draws controversy toward manga readers in Indonesia. Manga in Pakistan is imported and sold in bookstores countrywide, it is published in English by Yen Press and Seven Seas Entertainment. Manga in the Philippines were imported from the US and were sold only in specialty stores and in limited copies; the first manga in Filipino language is Doraemon, published by J-Line Comics and was followed by Case Closed. A few local publishing companies like VIVA-PSICOM Publishing feature manga created by local artists whose stories are based from popular written books from the writing site Wattpad and are read from left to right instead of the usual right-to-left format for Japanese manga; the first commercial local manga is She Died, an adaptation of the book written by Wattpad writer HaveYouSeenThisGirl. The art was done by Enjelicious. In 2015, VIVA-PSICOM Publishing has announced that they will start publishing manga titles in the Filipino language with the line-up starting with Hiro Mashima's Fairy Tail and Isayama Hajime's Attack on Titan.

In 2015, Boy's Love manga became popular through the introduction of BL manga by printing company BLACKink. Among the first BL titles to be printed were Poster Boy and Sprinters, all were written in Filipino. BL manga have become bestsellers in the top three bookstore companies in the Philippines since their introduction in 2015; the company Chuang Yi publishes manga in Chinese in Singapore. Singapore has its own official Comics Society, led by manga artist Wee Tian Beng, illustrator of the Dream Walker series. In Thailand, before 1992 all available manga were fast, poor quality bootlegs. However, due to copyright laws, this has changed and copyrights protect nearly all published manga. Thailand's prominent manga publishers include Nation Edutainment, Siam Inter Comics and Bongkoch. Many parents in Thai society are not supportive of manga. In October 2005, there was a television programme broadcast about the dark side of manga with exaggerated details, resulted in many manga being banned; the programme issued an apology to the audience.

In 2015, Boy's Love manga have become popular in mainstream Thai consumers, leading to television series adapted from BL manga stories since 2016. France has a strong and diverse manga market. Many works published in France belong to genres not well represented outside Japan, such as too adult-oriented drama, or too experimental and avant-garde works. Early editors like Tonkam have published Hong-Kong authors or Korean authors in their manga collection during 1995/1996, quite uncommon; some Japanese authors, such as Jiro Taniguchi, are unknown in other western countries but received much acclaim in France. Since its introduction in the 1990s, manga publishing and anime broadcasting have become intertwined in France, where the most popular and exploited shōnen, shōjo and seinen TV series were imported in their paper version. Therefore, Japanese books were and accepted by a large juvenile public who wa