Master One Of AKB48’s Dances In Konami’s Dance Evolution

By Spencer . August 18, 2013 . 11:03pm

Remember Konami’s Kinect enabled dancing game, Dance Evolution? It lives on in Japan as an arcade game and some arcades leave props for players to wear while dancing to Afronova Primeval.


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Dance Evolution will add AKB48’s latest song, "The Fall In Love Fortune Cookie in Love," on August 21. The song has the same choreography as the music video and you can also get costumes to dress your Dance Evolution avatar up like the AKB48 members.


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Just like the Xbox 360 game, the Dance Evolution arcade machine uses a Kinect sensor.



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  • Just Tim

    It looks like it’s safe to say that Konami Japan got an ongoing contract with Sony Japan, instead of continuing with only EMI/now Universal. To those not in the know/keeping up with the licenses, Sony Japan is distributing BEMANI albums in iTunes, while it also distributes King Records Japan’s lineup (which includes some AKB48), and just like how AVEX is the lion’s share source of ALL the licensed songs in IIDX since 1st Style (1999), EMI has been doing the same for DDR since 1998, via 1stMIX!

    I suspect that a couple of IIDX fans thought it’s a good idea to request “Fight For Your Right (To Party)”, by the Beastie Boys, to be put into DDR as a licensed song, back in the EMI days. For the record, the Beastie Boys themselves dislike that song so much, to the point they’ll NEVER play the song LIVE EVER AGAIN!

    Nice job pissing off the Beastie Boys, Eddie Lehecka AND Dan Dickinson!

    Oh, back on topic, why won’t Konami Japan go the whole mile and make a special AKB48 edition? Like I said before, MGS profits have been singlehandedly funding BEMANI, to the point Hideo Kojima is practically paying Tatsh to do commission work nowadays in and out of IIDX, by default.

    • Trevor Nicolaysen

      I’m too tired to understand any of this aside from the part where the Beastie Boys wrote a satire that’s worshiped by its source. Looks both informative and impressive though. Thanks for the information I think!

      • Everything he wrote is incorrect garbage. “I suspect” that someone has an active imagination.

        Also, what did I do to piss off the Beastie Boys?

        • Trevor Nicolaysen

          Yeah, I guess I kind of sleep skimmed over that. I assumed they were talking about the fact that fight for the right to party was a satire song on irresponsible partying that backfired terribly after the party goers loved it. How does it feel being popular enough that people blame you for stuff that had nothing to do with you? Sounds terrible. You have my sympathy sir.

          Edit: Where have I heard of you before? :l

          In a more aware state the entire thing seems like copyright info led to mass assumption of drivel. I’m not the person to ask though. I wouldn’t know, and I’m much more interested in US licensing that isn’t Beastie boys.

          • I’m the owner of and I won Konami’s Ultimate Fan Contest a few years back. I also worked for Pentavision Global for a little while and handled the US releases of DJMAX TECHNIKA 3 and TUNE, I’ve done some stuff with Konami directly in the past as well. I’ve been cited for all sorts of rhythm game stuff all over the internet too, it’s basically my forte, so you’ve probably just seen me attached to something. This isn’t the first time something like this has happened, it’s actually pretty funny when it does.

            As for the Beastie Boys thing, I don’t even know where that’s coming from. They’ve never been attached to a Konami music gaming project. This guy is making a lot of assumptions about the way Konami licenses music and contracts independent artists. The only time there has ever been any kind of issue with a US recording artist and one of Konami’s franchises was EPMD when they found out that their song “Strictly Business” was licensed by EMI Japan for use in DDR without their prior knowledge.

            Labels don’t solely control licensing for music, especially when it comes to sync licensing (the kind that’s required for music games). All rights holders (usually the producer, writers, publishing company, and artist) are supposed to be given the right to veto any project their music is going to be used for that involves synchronizing it to something else. I went through some of the process for licensing music when I was working at Pentavision and I can tell you, it’s not a very cut and dry process.

            The whole Beastie Boys thing makes even less sense when you consider that Toshiba-EMI licensed a bunch of older Dancemania tracks to Konami again for use in DDR X1, X2, and X3 over the past couple years. Konami’s also licensed plenty of music from Avex, Warner Japan, and other labels for use in their other music game franchises. Sony handling distribution for their game OSTs has nothing to do with how Konami licenses music for their games. Like I said, I could write some crazy fleshed out response debunking everything he said even more, but it would be a pretty big waste of time.

            Another thing, Hideo Kojima has nothing to do with the Bemani franchise at all. Kojima Productions is an entirely separate development studio within Konami. If Tatsh has been used for any of his projects, it would be completely unrelated to the use of his songs in IIDX (which is the decision of whoever the sound producer for that particular version of the game is, not Hideo Kojima or any other party at Konami).

  • wariomona

    Konami please stop keeping bemani games arcade only. How am I ever supposed to play them?

    • Just Tim

      Blame these following factors:

      –artist exclusivity. Despite what Bemanistyle would like to have you believe, BEMANI games DID have so many exclusive commission artists. Remember Atsushi Shindo? Commission artist that’s EXCLUSIVE to pop’n music, until his contract expired. Has good-cool composed anything that debuted FOR DDR? NEVER!

      –vocal minority that won’t put money where their mouths are. Last decade alone, I witnessed IIDX fans, both online and in real life, celebrating, when BeForU broke up, despite the fact that girl band DID bring in MORE fans to DDR AND the fact they were pissed at the fact that Konami couldn’t and didn’t bring an arcade-PERFECT IIDX game to the US. Even then, the US IIDX HIGH AND ALMIGHTY FANBASE whined when Konami Japan decided to test them, via beatmania USA, despite the fact Konami Japan NEEDED reassurance that a possible IIDX US release is financially viable. And guess what happened?

      –Record labels. It doesn’t help the fact that AVEX has virtually ZERO (read: doesn’t officially market their own stuff in the US, yet their US presence was ONLY for sending Cease and Desist notices on YouTube) US marketing presence, for starters. Meanwhile, DDR had then-EMI, until some IIDX fan thought it’s a good idea to piss off one of the label’s bands. Really, why did Konami Japan sell out BeForU to a Japan-ONLY label that’s the lion’s share source of ALL the licensed songs in IIDX since its inception, especially when EMI has Hikaru Utada?

      • Tim_at_where you LITERALLY have absolutely no idea what you’re talking about. There is not a single factual point in any of your replies so far. That is unless of course this is all just satire, in which case all I’ll say is “good job”.I would write a more fleshed out response, but it would pretty much be a huge waste of time.

        Wariomona, the core of it is they don’t make console bemani games anymore because the market for them is insanely small. Arcades are plentiful in Japan (thanks Round1!), and when you look at the sales history it just didn’t make sense for them to continue with it.

        As for US bemani releases, it’s also a numbers game. DDR did well enough for a while but sales started dropping drastically over the last couple years so the franchise has been shelved. That doesn’t mean they won’t do any more music game releases in the US of course, but right now the management at KOA doesn’t see the profitability in them.

  • sakusakusakura_nyo

    I love this song!

    • Mimi

      its a nice song but it does not have that killer chorus that there singles usually have

  • Mimi

    i woulds read the comments but they’r all so Loooooooong and i’m tired ;-)

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