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Texas A&M University Corps of Cadets

The Texas A&M University Corps of Cadets (often The Corps of Cadets, or simply the Corps) is a student military organization at Texas A&M University. Established with the university in 1876, it is the oldest student organization on campus.

Students who elect to join the Corps must participate in mandatory Reserve Officer Training Corps (ROTC) courses and training for the first three semesters, but they are optional after that. All cadets are required to attend leadership classes in the School of Military Science coordinated by the Commandant's Office. Approximately 45 percent of the members of the Cadet Corps continue with the ROTC curriculum, contract with the military, and receive commissions as officers in the United States armed forces upon graduation. Juniors and seniors who do not have military contracts to receive commissions but wish to remain members of the Cadet Corps are classified as "Drill & Ceremonies" (D&C) cadets. As established under federal law, Texas A&M is one of six U.S. colleges classified as senior military colleges and is the largest.

Early years
The Corps of Cadets was founded in 1876 with the creation of the all-male, military-focused Agricultural and Mechanical College of Texas under the Morrill Act of 1862. The Morrill Act did not specify the extent of military training, leading many land-grant schools to provide only minimal training, Texas A&M was an exception. The only mention of military training is in Section 5: "...the leading object shall be, without excluding other scientific and classical studies, and including military tactics, to teach such branches of learning as are related to agriculture and the mechanic arts..."

In 1876, Robert Page Waller Morris, a 1872 graduate of Virginia Military Institute, joined the university staff and was assigned as the first Commandant of the Corps. In this role, he drafted the first set of Corps regulations and designed the first cadet uniform. Prior to joining Texas A&M, Morris served as a professor at the Texas Military Institute alongside John Garland James and Hardaway Hunt Dinwiddie, who were also VMI cadets. James and Dinwiddie both became future presidents of Texas A&M. Morris' experience at VMI and TMI influenced the foundation he laid for Texas A&M's interpretation of the Morrill Act of 1862.

In November 1879 the first administration was dismissed, including Morris. The board was not happy with the direction of the college and a great rift had developed in the faculty due to an event known as the "Crisp Affair." The four-day proceedings are well documented in the Galveston Daily News.

The board quickly restaffed the faculty, largely with members from the Texas Military Institute. John Garland James, then president of TMI, was named as the 2nd president of the university. One of James' first hires was John Waller Clark, a recent VMI graduate, to serve as the Assistant Commandant. During his tenure, James strongly advocated for the military training aspect of A&M's curriculum. The following is a quote from John Garland James regarding his beliefs about military training in an academic setting. "The military system of school government... tends to develop in the student a high sense of personal honor and moral responsibility, and to give him those habits of regularity, promptness, self-reliance, and respect for proper authority, which go far to make the good citizen and the successful man of business. It thus becomes a potent factor in the formation of true character."

In 1883, out of frustration, James resigned, and James Reid Cole was named 3rd president of the university. Cole served as president for only a few months when the board made a surprise move removing Cole from the office of president naming Hardaway Hunt Dinwiddie in the new position of Chairman of the Faculty. Dinwiddie was also VMI alumnus and a strong believer in military training. By the time of Dinwiddie's unfortunate passing in 1887, Texas A&M's military tradition was strongly instituted.

Through the first four administrations there were overtures to reduce the military aspect of Texas A&M. The first president, Thomas Gathright, was not a strong advocate and often had differences with Morris. James faced criticisms of the regimen from the state legislature, and Dinwiddie faced the pressures of strong competition from the newly formed University of Texas at Austin.

For the school's first thirty-one years, through the 1907–08 academic year, the Cadet Corps was organized into one battalion consisting of two to four companies, designated companies "A", "B", "C", and "D". Early on, these were designated "Infantry" companies, but the Commandant ensured that Artillery training was included in the military instruction. The Aggie Band was organized in 1894 as a permanent institution within the Corps. In 1908, with enrollment over 570, a second battalion was added. As enrollment climbed, the Cadet Corps continued to grow to multiple battalions, each with two to four companies, and the Corps became divided into multiple regiments.

The academic year 1916–17 saw the division of the Corps into two regiments. The following year, the two regiments had a total of six battalions composed of eighteen companies and a battery of field artillery. In 1918, enrollment surged to 1,284, almost a fifty percent increase over the previous year. In the 1919–20 school year, a Signal Corps battalion and a Mounted Cavalry battalion (later called a "cavalry squadron") with one cavalry troop were added. An Air Service squadron with one company-sized "flight" was added in the 1920–21 school year.

In the fall of 1923, the Cadet Corps, with a total of 2,091 cadets in twenty-three individual units, became divided between the Infantry Regiment and the Composite Regiment. The Composite Regiment included the Cavalry, Field Artillery, Air Service and Signal Corps units. The Air Corps Squadron (formerly Air Service Squadron) was phased out at the end of the 1927–28 school year. In the fall of 1928, with enrollment at 2,770 cadets, an Engineer Battalion was added, and the following year a third regiment was formed out of the expanded Field Artillery Battalion. A fourth battalion, the Coast Artillery, was added to the Composite Regiment in the fall of 1933. The Cadet Corps enrollment hit a peak of 2,770 in 1928, but the Great Depression took its toll, and by the fall of 1932 enrollment had fallen to 2,001. But as the Depression waned and the U.S. involvement in the war became imminent, enrollment climbed back to a pre-War total of over 6,500 in the fall of 1941. In 1935, swelling enrollment forced the formation of an Engineer Regiment and a Cavalry Regiment. With these two new regiments, added to the Infantry, Field Artillery and Composite regiments, the Cadet Corps, for the first time in its history, now had a total of 5 regiments, encompassing thirty-two individual units (companies, batteries and troops). That same year, a Chemical Warfare Service Company was added to the Composite Regiment, and the following year a second company warranted the formation of a Chemical Warfare Service Battalion. A sixth regiment, the Coast Artillery Regiment, was added in 1937. In 1939, the Band had grown to the point that it was now divided into two units, the Infantry and Artillery Bands.

In the fall of 1942, as citizens of Texas responded to America's need for military officers, the number of individual military units in the Cadet Corps hit an all-time high with a total of seven regiments of seventeen battalions comprising sixty companies, batteries, and troops, including the Band. The Cadet Corps at Texas A&M sent over 20,229 former cadets into World War II, 14,123 of them as commissioned officers, more than the combined totals of both military academies. By February 1943 enrollment dropped to less than 4,000 as Cadets left school to serve in the U.S. military. The 1944–45 school year saw enrollment drop to as low as 1,600 and the depletion of cadets forced the reorganization of the Corps down to only two regiments (Infantry and Composite) consisting of a total of only 17 companies, batteries and troops, including the two Band units. In 1943, the U.S. Army declared the Mounted Cavalry obsolete, although Cavalry units continued at Texas A&M as mechanized units until the end of the 1949–50 academic year.

Post-World War II
World War II and the demands of the U.S. military took their toll on enrollment. But, with the end of the war, as enrollment surged in the fall of 1946, Texas A&M gained the use of Bryan Air Force Base, which was being closed, and converted a number of its buildings into dormitories. In 1947, all entering freshmen, approximately 1,500, were assigned to the Bryan Air Force Base "Annex" which became essentially a freshman campus. The Cadet Corps reorganized again to accommodate these unusual conditions. The 1947–48 Cadet Corps consisted of five regiments, a Headquarters Group, and the Band during that academic year. The five regiments (a combined Infantry and Veterans regiment, an Artillery regiment, a combined Air Force and Cavalry regiment, a combined Engineer and Composite regiment, and the "Training Regiment" consisting of nine companies of freshmen), the Headquarters Group and the Band were composed of a total of 35 individual military units. The 1951–52 academic year saw the organization of the Cadet Corps at is largest in number of individual units. Sixty-six units (companies, batteries and squadrons) were divided among 8 regiments (Infantry, Artillery, Armor/Engineers, First Air Force Wing, 2nd Air Force Wing, Composite Regiment, Seventh Regiment and the Eighth Freshman Training Regiment) consisting of 21 battalions and the Band.

During this post-war era and into the 1950s, the various units of the Corps continued to be identified by their military branch. The traditional branches (Infantry, Field Artillery, Cavalry, Engineers, Coast Artillery, Quartermaster, Ordinance, Signal Corps, Armor, Chemical Corps, Transportation, Army Security, and Army Air Force) continued to be represented. But the strength of air power and the rise of the importance of the U.S. Air Force during this era was evident in the organization of the Cadet Corps as Army Air Corps units became Air Force flights (later squadrons). Veterans companies and flights were formed to separate these older veterans from younger cadets. Beginning in 1948 athletes were organized into their own batteries (later companies) to accommodate special team practice schedules. That same year, 1948, the Freshman Regiment added a Band Company and four Air Force flights for a total of 12 units. The Eighth Freshman Training Regiment was moved to the main campus in the fall of 1950, and by 1951, it consisted of a total of 15 freshman companies, batteries and squadrons, each with a branch designation, attached to which was a Senior Battalion of four companies of cadet Seniors. During the 1953–54 school year, over one-third of the 57 Corps units, a total of 21, consisted of Freshmen. The following year, freshmen were incorporated back into the other Corps units. The 1954–55 school year, saw the Cadet Corps begin to take on the organization (two Army regiments and two Air Force wings, and the Band) that is familiar to most former cadets today. The Band, which in 1939 had divided itself into an Infantry company and an Artillery Battery (Field Artillery Band in 1940), dropped those branch designations in 1947 in favor of the two designations Maroon Band and White Band.

The first unit logos, which later evolved into the now common unit names, began to appear among the Air Force units in the 1955–56 Aggieland yearbook. A few of the Army units began to follow suit in the 1957-58 Aggieland. But, in the 1959–60 academic year, with the complete reorganization of the First and Second Brigades and the official abandonment of the Army Branch designations, the units in the two Army Brigades began to adopt unit nicknames and mascots, or "outfit logos," in earnest.

During the Vietnam War era, the Cadet Corps was composed of two to three Army Brigades, two to three Air Force Wings, and the Band. Each brigade was composed of two or three battalions of three to five companies each, and each Wing was composed of two groups of three to six squadrons each. During this period the Corps was composed of as many as 40 individual companies and squadrons, including the Band.

Texas A&M remained a primarily all-male military institution with mandatory membership in the Cadet Corps until 1964, when the school began admitting women. In 1965 Corps membership became voluntary for students.

The Corps first incorporated female members in the fall of 1974. At the time, the women were placed into a special unit, known as W-1. Harassment from their male counterparts was commonplace. Women were initially prohibited from serving in leadership positions or in the more elite Corps units such as the Band and the Ross Volunteers. These groups were opened to female participation in fall of 1985, following a federal court decision in a class-action lawsuit filed by a female cadet; five years later, female-only units were eliminated.

In 1977, Freshman Orientation Week was introduced for incoming fish, culminating in the tradition of the "Fish Review", which has occurred since 1988.

In 2007, the corps consisted of 3 Brigades, 2 Regiments, 2 Wings, the Aggie Band, and a task force of special units and veterans outfits.

Historical Service
Members of the Cadet Corps have served in every major conflict fought by the United States since the Spanish–American War. During World War II, Texas A.M.C. produced 20,229 Aggies who served in combat. Of those, 14,123 were commissioned as officers, more than the combined total of the United States Naval Academy and the United States Military Academy during the same timeframe. Over 250 Aggies have served as generals or flag officers, and eight alumni have been awarded the highest United States military award, the Medal of Honor:

 * Horace S. Carswell, Jr., class of 1938
 * Thomas W. Fowler, class of 1943
 * William G. Harrell, class of 1943
 * Lloyd H. Hughes, class of 1943
 * George D. Keathley, class of 1937
 * Turney W. Leonard, class of 1942
 * Eli L. Whiteley, class of 1941
 * Clarence E. Sasser, class of 1973*

* Sasser was not in the Corps and joined A&M after receiving his Medal of Honor

Modern corps
Today, the Cadet Corps is a coeducational institution, and all but eight of its units are gender-integrated. Over 2,500 students, including over 300 women are members of the Corps, and, although this is only a small percentage of the overall student population, the Corps remains a highly visible presence on campus, a reminder of the school's origins as an all-male military college. Cadets are active in many campus organizations and are renowned for their school spirit and have the moniker "Keepers of the Spirit".

All military branches are represented in the organization of the Cadet Corps and is composed of an Air Force/Space Force Wing, an Army Brigade, a Navy/Marine Regiment, as well as The Fightin' Texas Aggie Band whose members may be affiliated with any military branch.

In December 2018, the Corps of Cadets had the honor, and distinction, of saying their final farewell and salute to George H. W. Bush, the 41st President of the United States of America, as he was laid to rest alongside the late First Lady Barbara Bush and their daughter Robin at the George Bush Presidential Library on the Texas A&M campus.

In April 2022, the campaign "March to 3,000" was launched to grow the Corps of Cadets to 3,000 members from around 2,143 in the fall 2021.

Office of the Commandant
The Commandant is the Head of the School of Military Science. Along with his Chief of Staff and Assistant Commandants, they provide administrative and professional leadership for the Corps. Organizationally, the ROTC units are organized under the Commandant led by a representative of each of the military branches: the Professor of Military Science (Army ROTC), the Professor of Naval Science (Navy and Marine Corps ROTC), and the Professor of Aerospace Studies (Air Force and Space Force ROTC).

Corps Structure
The Corps of Cadets has its own cadet commander, a Cadet Colonel, the Deputy Corps Commander, the Chief of Staff, the Corps Sergeant Major and 21 other cadet officers and sergeants. The Corps of Cadets is organized and modeled after an army corps including Continental Staff positions in both the Corps leadership and the individual units.

Corps Organization (2024-2025)
Key: * male-only unit, # historically STEM unit, ** Pre-professional unit. Note that "Company A-1" or "Squadron 2" are the official designations of the outfits in the Corps. The nicknames of the outfits are included as they are an integral part of the tradition and heritage of the Corps. Squadron 18, K-1, and D-1 are the (transfer) outfits for out-of-cycle cadets who will be completing their freshman year in one semester.

Special Units
The following are special units within the Corps of which cadets can additionally be members (for example a cadet in D-2 could be a member of the Ross Volunteers, but not the Band).

Ross Volunteers

The Ross Volunteer Company is the official Honor Guard for the Governor of the state of Texas, and, aside from the Cadet Corps itself, is the oldest student organization in the state of Texas. Started in 1887, the organization was named Scott Volunteers for the President of Texas A&M. In 1898, the company was renamed for Texas A&M President Lawrence Sullivan Ross.

The company is composed of junior and senior cadets. Cadets are chosen on a basis of honor, humility, and character. Each fall, approximately 72 junior cadets are selected into the company by the RV seniors. A critical voting process, undisclosed to outside sources, is conducted to select the new junior inductees. Once the juniors are inducted into the company, it is composed of those newly selected juniors and 35 seniors holding leadership positions. Seniors not selected for leadership positions retain their membership.

Today, the RV uniform is a distinctive white uniform, with yellow trim. Officers in the RV Company (Commanding Officer, Executive Officer, Administrative Officer, Operations Officer, and three Platoon Leaders) as well as one Non-Commissioned Officer (1st Sergeant) wear a silk red sash around the waist of the white uniform. The RV Company performs a 3-volley, 21-gun salute at the traditional Silver Taps ceremony and at the annual campus Muster event. In addition, the RV Company marches in several parades each year including the Rex Parade on Mardi Gras in New Orleans, Louisiana. The RVs serve as the honor guard of Rex, the king of Mardi Gras. Other duties include Texas Gubernatorial events, funerals, weddings, and campus events.

Fish Drill Team
This all-freshman precision rifle drill team represents Texas A&M and its Corps of Cadets in competition with other colleges at military drill meets around the nation. The team began when the freshmen were moved from the main campus to deal with the overcrowding and hazing issues that followed World War II and the return of war veterans to the A&M campus. The freshmen were moved to the Riverside Campus Annex and lived in the dorms of the retired Bryan Air Force Base twelve miles from campus. They were bussed to class each day, but primarily lived in isolation from the rest of the Corps. In order to "promote unity and focus on military precision", the freshmen organized themselves into the Freshman Drill Team in the fall of 1947

Over the following 75 years, the team earned dozens of national championships including every national title since 2004, except 2009, when the team placed 2nd. They were selected to portrayed the United States Marine Corps Silent Drill Platoon during the opening segment of the 1992 film A Few Good Men and served as army soldiers in training in Courage Under Fire.

Despite a successful record in drill competitions nationwide, in 1997 the Fish Drill Team was put on hiatus for four years due to leadership concerns and issues, most notably hazing of students. The team was reinstated in the spring of 2002.

Parsons Mounted Cavalry
Parsons Mounted Cavalry serves as the only mounted ROTC cavalry unit in the country. They were formed in the spring of 1973 to preserve the traditions of the Texas A&M cavalry through the 1930s. The unit represents the university at football games, parades, agricultural, and equestrian events throughout Texas. It is named after Colonel Thomas R. Parsons who oversaw the creation of the unit, former Commandant from 1972 to 1978 and the only active-duty Commandant at Texas A&M.

Within this special unit, Half Section (responsible for Field Artillery and Mule Team elements) maintains the "Spirit of '02", a field gun found in the fall of 1974 at a Aggie Bonfire cut site near Easterwood Airport. The cannon is driven by a 4 horse team and a restored caisson to Kyle Field and fired during all home football games, midnight yell practice, and other special events. While Aggie lore states the gun was the runaway that tumbled over a ridge in the film We've Never Been Licked, there is no conclusive evidence.

ROTC special units
There are many special units under the different ROTC programs and their cadet-led units: The Warrior Training Battalion, the Midshipmen Battalion and Air Force Detachment 805.

Other corps organizations

 * AMC Honor Guard
 * Arnold Air Society (Major Horace S. Carswell Jr. Squadron)
 * C.A.D.E.T (Cultural Awareness and Diversity Expansion Team)
 * Color Guard
 * Corps Center Guard
 * Corps Cybersecurity Special Unit
 * Gen. O.R. Simpson Honor Society
 * Major General T. G. Darling Recruiting Company
 * Summer Recruiting Company
 * Aggie Eagle Post. Cadets who have earned the Boy Scouts of America, Eagle Scout rank, or the Girl Scouts of the USA, Gold Award, are eligible to join. Members conduct community-wide and scout related service as well as participate in/lead various scouting events at both the state and local level. While the unit has held an active status with the university, the unit was formally reactivated/recognized by the Corps in the fall of 2015.

Class system
As a member of the Corps, a cadet climbs through four classes of seniority. The current Corps of Cadets uniform is unique among military schools, bearing a close resemblance to the US Army uniforms from after World War I to World War II known as Pinks and greens. There are slight differences in the uniform worn by each class year, noted below, including the Senior Boots, calf-skin riding boots harkening back to the US Army cavalry officer's uniform of World War I. All cadets wear the same basic Corps uniform regardless of service affiliation.

Freshmen
Freshman cadets are called fish. The first year, is analogous to the experiences of the Rooks at Norwich University, Knobs at The Citadel, Rats of the Virginia Tech Corps of Cadets and the Virginia Military Institute, Frogs at University of North Georgia, Doolies at the United States Air Force Academy, or Plebes at any of the other U.S. Federal Service Academies.

Both freshmen and sophomore cadets are required to wear metal taps on the heels of their shoes. In addition, male fish must maintain an extremely short hairstyle known colloquially as a "fish cut". Corps freshmen are not addressed by their first name; a freshman named John Smith would become fish Smith his freshman year in the Corps. A freshman whose last name is not known to the speaker is referred to by the generic name "fish Jones." Cadets who started in the same class year are known as buddies.

In addition to standardized answers, every fish is required to know the answers to a wide number of questions including, "What's for chow?", "How many days until Final Review?", and a long list of university history questions. Upon meeting an upperclassman fish must introduce themselves and learn the upperclassman's name. As the academic year progresses, some upperclassmen will begin to grant the fish permission to use his or her first name and speak more informally.

Sophomores
Sophomores in the Corps are known as pissheads, often bowdlerized as "head". A sophomore's duty in the Corps is to train and drill the freshmen through all their necessary duties and responsibilities through Final Review in May. They are graded by the performance of their freshmen. Much like drill sergeants, the pissheads are responsible for seeing that the fish adapt and excel in Corps life through rigorous, diligent, and sometimes intense instruction. Sophomores are expected to be the best example of cadets for their fish. It is generally considered bad form for a junior or senior to correct a sophomore in view of freshmen.

Juniors
As a junior, the cadet is called a "sergebutt" or more commonly just butt. The nickname is a result of a junior privilege to purchase tailor made the serge uniforms which were easier to maintain and required less ironing. The Corps juniors, wearing a white braid on their garrison caps and white cotton belts, run the daily operations of the Corps. They hold the rank of cadet sergeant through cadet sergeant major, depending on the position attained.

Seniors
Senior cadets are often referred to as "zips" (short for "zipperheads"), referring to the black and gold "zipper" braid on the garrison cap. A senior may also be referred to as an "elephant," which derives from the senior class Elephant Walk tradition held the week before the last regularly scheduled football game of the year. Seniors hold cadet officer rank, from Cadet 2nd Lieutenant to Cadet Colonel of the Corps.

Senior cadets, like all seniors at Texas A&M, may also order an Aggie Ring, the symbol of the university and one's graduating class.

A senior cadet is easily recognized by the distinctive brown calf-skin leather boots, known as senior boots, sabre, and gold braid on the garrison cap. Seniors are the only class allowed to wear their bider without a break or fold in the top seam.

Corps Life
Today, cadets no longer occupy all of the student housing on campus. The Corps is housed only in the dorms located in what is now called " the Quadrangle, a.k.a. "the Quad". They are divided into companies, batteries, and squadrons, and serve as the basic units of the Corps of Cadets. These units are aligned by ROTC affiliation under a Navy/Marine Regiment, an Air Force Wing, an Army Brigade, a veteran's company, and the Combined Band.

There are normally two Corps formations each day—one in the morning and one in the evening to observe the raising and lowering of the American Flag before marching to Duncan Dining Hall for chow. In addition to college classes, cadets participate in daily Corps activities. These can range from intramural sport events, helping the local community, and unit physical fitness to school football games, trips to military bases, and marksmanship instruction at the rifle range.

Corps Brass
Following the Corps reorganization and dropping of Army branch designations, cadets required a new symbol to be used. The solution to this was the Corps Brass, the class gift from the Class of 1960. Created by cadets from Company F-1, it is used as the symbol for earning full membership in the Corps. All cadets go through the process of earning it during their first year. It is a shield with knight's helm on it with a sword and fasces crossed behind it and scrollwork over the top that says "Per Unitatem Vis," translating to "Through Unity, Strength." These elements represent how one of the first presidents of the university, Lawrence Sullivan Ross, was described: Soldier (sword), Statesman (fasces), and Knightly Gentleman (knight's helm). To distinguish themselves, cadets in the band do not wear Corps Brass, instead wearing a small brass lyre device. In recent years, bandsmen often combine the lyre insignia with those of the U.S. Army infantry and field artillery branches (crossed rifles and crossed cannons, respectively) on some uniforms to reflect their affiliation with the Infantry or Artillery Bands (these designations having been reintroduced in 1976).

Corps Athletics
Corps athletic teams compete against university club teams across the nation in baseball, basketball, golf, lacrosse, marathon, soccer, tennis, and triathlon. Additionally, the Corps of Cadets Marksmanship Unit (CCMU) is the Corps competitive shooting team, partaking in competitions throughout the state of Texas and across the country. They compete in a wide variety of shooting fields, including the following: SASP, 3gun, Trap and Skeet, and USPSA. The selection process for new freshmen is very strenuous, with over 200 applicants and less than 15 are selected (some with no shooting experience). That being said, in the team's 8 years of being active, they have accumulated over 8 national titles against colleges across the country, including West Point.

Unit awards
The following major awards are given annually in connection with the Corps Awards Program:

 * Lieutenant General Ormond R. Simpson Award for Most Outstanding Color Guard
 * United Services Automobile Association Award for Most Outstanding Major Unit Staff
 * Commandant's Award and Flag for University Activity
 * Robert M. Gates Public Service Award
 * J.J. Sanchez Award and Flag for Recruiting and Retention
 * George P. F. Jouine Award and Flag for Scholastic Achievement
 * Major General Bruno A. Hochmuth Award and Flag for Military Achievement
 * Taylor A. Gillespie Award and Flag for Most Improved Unit
 * President's Award and Flag for the Most Outstanding Major Unit
 * General George F. Moore Award, Plaque, and Flag for the Outstanding Unit

All awards are presented at the annually in the spring semester. Units awarded these honors are allowed to wear a citation cord and carry a flag to all events. At graduation, cadets may choose to wear any citation cord earned during their matriculation.

Senior boots
Within the Texas A&M Corps of Cadets, seniors are given the privilege to wear distinctive brown leather boots, known as "senior boots." These boots are one of the most visible and recognizable institutions of the Aggie Corps, and remain one of the lasting images of Texas A&M University.

The tradition of senior boots came about in 1914, when the Corps of Cadets changed uniforms from the West Point style. The seniors wanted a way to differentiate themselves from the other classes, so they began wearing officer boots, which evolved into the senior boots worn today. By 1925, the boot style was integrated into the official cadet uniform, as a "knee-height officer boot, of a light brown or tan." Lucchese's bootery in San Antonio became the main supplier of boots.

By 1932, competition closer to campus sprang up. Joseph Holick, founder of the Fightin' Texas Aggie Band, opened Holick's that year, and his competition soon included Victor's, Russell's, and others. The average price for a pair of boots in 1932 was $32.50. During World War II, due to the leather diversion to the war effort, Aggie seniors had to buy or inherit their boots from former cadets. By 1977, the price had risen to $200. Today, senior boots are normally ordered during freshman year and cost $700 to $1,900, but 85% of seniors in the Corps still purchase them. Seniors also have the option to apply to borrow a donated pair of boots through prior-worn boots donations from former cadets.

To assist in removing their boots, seniors are allowed to yell "I need a fish!" at which point all available freshmen in the senior's outfit will race—and sometimes fight—to assist.

Uniforms
A variety of uniforms are issued to a cadet, including summer and winter versions of daily uniforms, dress uniforms and field uniforms. The "Uniform of the Day" depends on the weather. For special occasions and events, the uniform is specified in the Field Order or invitation for the event. Special Corps units have special uniforms, such as the Ross Volunteers, the Fish Drill Team and Parsons Mounted Cavalry.

Rank
The rank structure of the Cadet Corps is generally based on the Army ROTC cadet rank structure. Today, the ranks are divided by class and, unlike at some other military schools, at Texas A&M a cadet can never be demoted such that a person of a lower class outranks him/her, although this has not always been true. Up through the early 1950s many senior and junior cadets held private rank, although they were accorded privileges and respect commensurate with their class rather than by their rank. Unlike most of the personnel in the U.S. Armed Forces, the rank is always a piece of metal approximately 1 square inch in size affixed to the uniform much like a tie tack, but is never cloth rank sewn onto the fabric.

Freshmen are considered Cadet Privates and, as such, wear no rank, just a brass "A.M.U." symbolizing their affiliation with Texas A&M University. Sophomores hold the ranks of Cadet Private First Class, Cadet Corporal or Cadet Sergeant. Juniors are given cadet NCO rank (Sergeant through Sergeant Major of the Corps) and seniors are Cadet Officers (from Cadet 2nd Lieutenant through Cadet Colonel of the Corps).

The highest-ranking member of the Corps is the school's official mascot, Reveille X. By decree from the US Army after World War II, Reveille holds the honorary rank of Cadet General. The female American collie is the "First Lady" of Texas A&M and is present at all Texas A&M football games and also attends other A&M functions.

Texas Aggie Corps of Cadets Association
The Corps of Cadets Association is designed to provide funds to maintain its programs. The Ross Volunteer Association, and the Fish Drill Team Association. The Corps Recruiting Program was established in 1988 by order of Major General Thomas Darling as the first organized and professional recruiting for the Corps. Four years later, funds were raised to create the Corps Leadership Outreach Program which would support for the program. On 21 April 1993, the CLO was converted to the Corps of Cadets Association (CCA), receiving its state charter from the State of Texas and being established as a non-profit organization in 1995.

Texas Aggie Band Association (TABA)
The Texas Aggie Band Association was formed in the 1970s for the primary purpose of supporting the FTAB with private money. It is a 501(c)(3) non-profit organization, membership-based and led by volunteers. Intensely focused on supporting the Band, the TABA funds Texas A&M Foundation scholarships for bandsmen, sponsors certain Band-unique events, and provides direct financial aid to the Office of the Director of Bands.

In the past year the TABA has funded: $120,000 endowment for Bugles & Banners, almost $40k in scholarships, tutoring, band sweaters, senior awards, & dinner, fish practice t-shirts & travel polos, BQ Ball, drum major's brass plating, and more.

title: Texas A&M University Corps of Cadets


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70th Academy Awards

The 70th Academy Awards ceremony, organized by the Academy of Motion Picture Arts and Sciences (AMPAS), took place on March 23, 1998, at the Shrine Auditorium in Los Angeles beginning at 6:00 p.m. PST / 9:00 p.m. EST. During the show, AMPAS presented Academy Awards (commonly referred to as Oscars) in 24 categories honoring films released in 1997. The ceremony, which was televised in the United States by ABC, was produced by Gil Cates and directed by Louis J. Horvitz. Actor Billy Crystal hosted the show for the sixth time. He had first hosted the 62nd ceremony held in 1990, and most recently the previous year's awards. Nearly a month earlier in an event held at the Regent Beverly Wilshire Hotel in Beverly Hills, California on February 28, the Academy Awards for Technical Achievement were presented by host Ashley Judd.

Titanic won 11 awards, including Best Picture, a number that is tied with Ben-Hur and The Lord of the Rings: The Return of the King. Other winners included As Good as It Gets, Good Will Hunting, and L.A. Confidential with two awards, and Character, The Full Monty, Geri's Game, The Long Way Home, Men in Black, A Story of Healing, and Visas and Virtue with one. The telecast garnered more than 57 million viewers in the United States, making it the most-watched Oscars broadcast in history.

Winners and nominees
The nominees for the 70th Academy Awards were announced on February 10, 1998, at the Samuel Goldwyn Theater in Beverly Hills, California, by Robert Rehme, president of the academy, and actress Geena Davis. Titanic received the most nominations with a record-tying fourteen (1950's All About Eve, and later 2016's La La Land, also achieved this distinction); Good Will Hunting and L.A. Confidential came in second with nine apiece.

The winners were announced during the awards ceremony on March 23, 1998. With eleven awards, Titanic tied with Ben-Hur for the most Academy Awards in Oscar history. It also became the first film to win Best Picture without a screenwriting nomination since 1965's The Sound of Music. Jack Nicholson became the fourth performer to win at least three acting Oscars. Both Nicholson and Helen Hunt won for their roles in As Good as It Gets, making it the seventh film to win both lead acting awards. Nominated for their performances as Rose DeWitt Bukater in Titanic, Best Actress nominee Kate Winslet and Best Supporting Actress nominee Gloria Stuart became the first pair of actresses nominated for portraying the same character in the same film. At age 87, Stuart also became the oldest performer nominated for a competitive Oscar.

Awards

Winners are listed first, highlighted in boldface, and indicated with a double dagger (‡).

Academy Honorary Award

 * Stanley Donen

Films with multiple nominations and awards
The following 16 films received multiple nominations:

The following four films received multiple awards:

Presenters and performers
The following individuals presented awards or performed musical numbers.

Ceremony information

In December 1997, the academy hired veteran Oscar telecast producer Gil Cates to oversee the 1998 ceremony. "Gil has become the consummate Oscar show producer, consistently garnering top television ratings for the telecast," said AMPAS President Robert Rehme in a press release announcing the selection. "His shows are full of wit, charm and surprise." A few days later, actor and comedian Billy Crystal was chosen to emcee the upcoming telecast. Cates explained his reason to bring back the veteran comedian saying, "Billy's performance last year was spectacular. There is nobody like him." In an article published in USA Today he initially requested to Cates and AMPAS five months after the previous year's ceremony that he would like to take a break from hosting duties. However, pressure from the academy, Cates, and several friends and family members made him reconsider his decision. His sixth stint would make him second only to Bob Hope in number of ceremonies hosted.

To commemorate the seventieth anniversary of the Academy Awards, 70 actors who have received both competitive and honorary awards appeared seated onstage together during a segment called Oscar's Family Album. Each former winner was acknowledged by announcer Norman Rose with the films he or she won for. At the end of the segment newly minted winners Kim Bassinger, Helen Hunt, and Robin Williams joined them. This marked the largest gathering of former winners since the 50th ceremony held in 1978.

Several others participated in the production of the ceremony. Bill Conti served as musical director for the telecast. Dancer Daniel Ezralow choreographed a dance number showcasing the nominees for Best Original Comedy or Musical Score. Bart the Bear made a surprise appearance during the presentation of the Best Sound Effects Editing award with Mike Myers.

Box office performance of nominees
At the time of the nominations announcement on February 10, the combined gross of the five Best Picture nominees was $579 million with an average of $116 million per film. Titanic was the highest earner among the Best Picture nominees with $338.7 million in domestic box office receipts. The film was followed by As Good as It Gets ($92.6 million), Good Will Hunting ($68.9 million), L.A. Confidential ($39.7 million), and finally The Full Monty ($38.7 million).

Of the top 50 grossing movies of the year, 40 nominations went to 15 films on the list. Only Titanic (1st), As Good as It Gets (16th), Good Will Hunting (20th), and In & Out (24th) were nominated for directing, acting, screenwriting, or Best Picture. The other top 50 box office hits that earned nominations were Men in Black (2nd), The Lost World: Jurassic Park (3rd), Air Force One (5th), My Best Friends Wedding (7th), Face/Off (9th), Con Air (12th), Contact (13th), Hercules (14th), The Fifth Element (25th), Anastasia (30th), and Starship Troopers (34th).

Critical response
The show received a positive reception from most media publications. Television critic Howard Rosenberg of the Los Angeles Times lauded Crystal's performance writing that he "would earn top billing as that unusual comedian as artful at doing musical comedy as jokes." San Francisco Chronicle columnist John Carman raved,"It was the best Oscar show in two decades." He also gave high marks for the host, commenting, "But last night, Crystal was back in razor form." The Seattle Times television editor Kay McFadden praised Crystal commenting that "he possesses nearly impeccable timing and judgment." In addition, she noted that while the ceremony dragged on, "Last night was one of television's smartest live ceremonies in recent memory."

Some media outlets were more critical of the show. Ray Richmond of Variety complained that the ceremony proved to be a "Yawner of an Oscarcast." He added that Crystal's "off-the-cuff one-liners sank faster than the great ship herself." Boston Globe television critic Matthew Gilbert bemoaned,"There was hardly a spontaneous moment during last night's Oscarcast." Film critic Carrie Rickey from The Philadelphia Inquirer lamented that the inevitable Titanic sweep "sank a telecast loaded with montages of previous years' Oscar highlights."

Ratings and reception
The popularity of Titanic greatly increased television ratings for the ceremony. The American telecast on ABC drew in an average of 57.25 million people over its length, which was a 29% increase from the previous year's ceremony. An estimated 87.50 million total viewers watched all or part of the awards. The show also earned higher Nielsen ratings compared to the previous ceremony with 35.32% of households watching over a 55.77 share. In addition, it garnered a higher 18–49 demo rating with a 24.90 rating over a 44.30 share among viewers in that demographic. It overtook the network's own telecast of the 1983 Academy Awards to become, as it remains to date, the highest viewership for both an Academy Award telecast (since figures were compiled beginning with the 46th ceremony in 1974) and any live awards show airing in U.S. television history.

In July 1998, the ceremony presentation received eight nominations at the 50th Primetime Emmys. Two months later, the ceremony won five of those nominations for Outstanding Individual Performance in a Variety or Music Program (Billy Crystal), Outstanding Directing for a Variety or Music Program (Louis J Horvitz), Outstanding Lighting Direction (Electronic) for a Drama Series, Variety Series, Miniseries, or Movie (Bob Barnhart, Robert Dickinson, Matt Ford, Andy O'Reilly), Outstanding Music Direction (Bill Conti), and Outstanding Sound Mixing for a Variety Series or Special (Patrick Baltzell, Robert Douglass, Edward J. Greene, Tommy Vicari).

In Memoriam
The annual In Memoriam tribute was presented by actress Whoopi Goldberg. The montage featured an excerpt of "Appassionata" from The Passage composed by Michael J. Lewis.

 * Lloyd Bridges - Actor
 * Richard Jaeckel - Character actor
 * Saul Chaplin – Composer/Musical Director
 * Stanley Cortez – Cinematographer
 * William Hickey - Actor
 * Paul Jarrico – Screenwriter
 * Dorothy Kingsley – Screenwriter
 * Sydney Guilaroff – Hairstylist
 * William H. Reynolds – Editor
 * Billie Dove - Actress
 * Jacques Cousteau – Filmmaker
 * Stubby Kaye - Actor, comedian
 * Red Skelton - Comedy entertainer
 * Dawn Steel – Executive
 * Toshiro Mifune - Japanese actor
 * Brian Keith - Actor
 * Chris Farley - Actor, comedian
 * Leo Jaffe – Executive
 * Samuel Fuller – Director
 * Burgess Meredith - Actor
 * J. T. Walsh - Character actor
 * Robert Mitchum - Actor
 * James Stewart - Actor

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: 70th Academy Awards


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User:C3k

I can't figure it all out tonight, sir, so I'm just gonna hang with your daughter.

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Production I.G

Production I.G (株式会社プロダクション・アイジー) is a Japanese animation studio.

Headquartered in Musashino, Tokyo Production I.G was founded on December 15, 1987, by producer Mitsuhisa Ishikawa and character designer Takayuki Goto as I.G Tatsunoko, a branch studio of the animation giant Tatsunoko Production, changing its name to the current Production I.G in September 1993. The letters I and G derive from the names of the company founders. Since 2007, Production I.G is a subsidiary of the IG Port holding company. Ishikawa was president and CEO of the studio until August 2022 when that position was given to George Wada with Ishikawa remaining as chairman of the company.

Production I.G went through a number of structural changes, not only stepping up from subcontractor to prime contractor to financier of animation production, but also changing the very scheme of the animation business in Japan. The studio has implemented a series of measures that break with industry norms, such as investing in productions that are unprecedented for a animation studio, entering the copyright business, establishing a finance company, establishing overseas subsidiaries, and negotiating directly with major Hollywood movie studios. The studio established a holding company, IG Port, which owns Production I.G itself as well as animation studios Wit Studio and Signal.MD. And the studio has continued to change and expand its business format, merging with publisher Mag Garden, establishing electronic content distribution company Lingua Franca, and forming a comprehensive business alliance with Netflix. While other major studios are being acquired one after another by large companies and placed under their umbrella, The studio has remained independent (as of 2024).

Since its inception, Production I.G has produced many of Japan's leading creators, including Mamoru Oshii and Kenji Kamiyama. It has also produced a number of acclaimed feature films, television series, OVAs (Original Video Animations), ONAs (Original Net Animations), and video games. Its representative works include the Ghost in the Shell series, the Psycho-Pass series, Blood: The Last Vampire and its derivative works such as Blood+, the animation sequences of Kill Bill Vol. 1, Eden of the East, Guilty Crown, Kuroko's Basketball, and Haikyu!! It is also known in the video game industry for developing intros, cut-scenes and artwork for games such as Bandai Namco's Tales series. Furthermore, it has also spawned such influential animation studios as Wit Studio and Signal.MD, and its influence on the Japanese animation industry is immeasurable.

Production I.G's works have received critical acclaim outside of Japan, with Mamoru Oshii's Ghost in the Shell reaching #1 on the U.S. Billboard Top Video Sales Charts in 1996, and Ghost in the Shell 2: Innocence was the first Japanese animation film to be nominated in Competition at the Cannes Film Festival. Hiroyuki Okiura's Jin-Roh: The Wolf Brigade and Hiroyuki Kitakubo's Blood: The Last Vampire have also been highly acclaimed. Those works have also influenced famous Hollywood creators. As a result, it was decided that The Matrix, directed by Lana and Lilly Wachowski, would be produced, and Production I.G produced the animation sequences for Quentin Tarantino's Kill Bill Vol. 1. When pitching the idea for The Matrix to producer Joel Silver, The Wachowskis showed him Ghost in the Shell anime film and told him they wanted to make a similar movie. Quentin Tarantino liked Blood: The Last Vampire so much that he himself visited the studio and asked Production I.G to participate in the production of the film. However, Production I.G was very busy at the time and was in no condition to accept the request, so Ishikawa initially declined the request. Then Tarantino began sending drafts of screenplays to the studio one after another without asking. As Ishikawa read them, he gradually became interested in the film and eventually accepted the request.

History
On December 15, 1987, Mitsuhisa Ishikawa, a producer at Tatsunoko Production, established IG Tatsunoko Ltd., the predecessor of Production IG, with Takayuki Goto, who had organized Studio Chime. It was in the form of an independent Tatsunoko production branch led by the staff who participated in the Tatsunoko-produced TV series Zillion. Japan was experiencing a booming economy at that time thanks to the economic bubble, but it was a difficult time for the animation industry to create new anime. Original animation projects that may or may not be successful were particularly difficult to pass, and there were few opportunities for young talent to demonstrate their abilities. Ishikawa therefore planned Zillion to provide them with a place to play an active role. Ishikawa, already a freelancer, was entrusted with the work as a Tatsunoko Production branch separated from the company. Takashi Nakamura, Kōichi Mashimo, Takayuki Goto (later Production I.G board member), Hiroyuki Okiura and Kazuchika Kise (later Production I.G board member) who were at Anime R and Mu in Osaka at the time, as well as Mizuho Nishikubo and Mamoru Oshii helped in the production. Kyoto Animation also participated in the production. After Zillion, he could have disbanded the team, but he sensed that everyone wanted to continue working together with this group, so he started I.G Tatsunoko. The company was formed by merging the Zillion production team and Studio Chime, which was run by Takayuki Goto, who designed its characters, with the cooperation of Kyoto Animation. Animator Kazuchika Kise also joined the studio early on. Hideaki Hatta, President and CEO of Kyoto Animation, who encouraged Ishikawa to become president, supported him in establishing the company and even invested in it. The company name "I.G" was named by Takayuki Goto, after the initials "I" of Ishikawa, the head of the production team, and "G" of Goto, the head of the animation studio. It was Ishikawa's idea to put Tatsunoko in the company name because he thought it would make it easier to get work and out of consideration for Tatsunoko, which had trained him. The company name was changed to Production I.G in 1993.

After becoming independent, I.G's work was mainly subcontracted to other studios for a while. Soon after becoming independent, I.G received an offer from Studio Deen to subcontract the production of Mamoru Oshii's Patlabor OVA and the movie, and with these hits, I.G solidified its position in the industry. However, Ishikawa began to feel dissatisfied with the fact that even though his company, a subcontractor, actually produced the works, it was only credited as a production partner in the end credits, while the name of the main contractor came to the forefront, and he also began to think that the studio would not be able to survive on low-budget subcontract work in the future. Ishikawa therefore founded Ing Co., Ltd. in 1990, a planning and production company that handles copyright business. In the anime industry, studios cannot make a profit if they only subcontract production. Ishikawa therefore established Ing with the idea of earning income not only from anime production but also from copyrights, and the studio invested in its works. During his time at Tatsunoko Productions, Ishikawa had seen how the company generate revenue through the operation of the copyrights for original works, so he decided to follow suit. However, he chose a name that was as unobtrusive as possible and not reminiscent of I.G, so as not to alarm the large companies that were already in the copyright business. For Patlabor, Production I.G was a subcontractor for the first film in 1989, but was promoted to prime company for the second film in 1993, and even invested in the film. After that, Ishikawa continued to use Ing as a company responsible for matters related to contracts and funding, and invested in I.G works under the Ing name. Neon Genesis Evangelion was the only non-I.G studio's work that Ing invested in, and Ishikawa said that investing in this blockbuster work turned out to be a very good result for the studio.

Production I.G produced the film Ghost in the Shell, which was released in Japan in 1995. When this video was released in the U.S., it was ranked No. 1 in the U.S. Billboard magazine's Sell Video category in 1996, and the studio became known as one of the top animation studios in the world, both in name and reality. The film would go on to spawn a Ghost in the Shell franchise that includes sequel and reboot films, television series, original video animation, and original net animation. Ishikawa says this work was the biggest turning point for the studio. In Japanese anime production, manufacturers which are involved in the manufacturing, sale and distribution of video software, television stations, publishers and advertising agencies form a production committee, and animation studios generally join after the committee is formed. Since this would not be profitable enough for the studio, Ishikawa decided that the studio needed to move from being the one who was given permission to produce works to being the one who had the right to grant permission. He approached Kodansha, the publisher of the original Ghost in the Shell manga, and obtained permission to produce three forms of production: an anime TV series, a movie, and a video game. Since Production I.G has a direct contract with Kodansha for the rights to produce anime adaptations from the original manga, it is able to take the initiative when forming the production committee, including the ability to issue usage licenses to each of the participating companies. This allows Production I.G to develop a wide range of Ghost in the Shell anime franchises, including animation TV series, games, and movies. Ishikawa's decision was successful and brought in a fairly large amount of money for Production I.G, and the studio subsequently expanded its activities. After that, Production I.G began to get involved in the copyright business and grew into a company that was not just a production company, but also an investor. In the 2004 film Ghost in the Shell 2: Innocence, Ishikawa took a major risk to change the scheme of the Japanese animation business. He planned to make Production I.G, which had become a prime contractor and could invest somewhat, but was still just an animation production company, cut into a client position previously dominated by TV stations, publishing companies, and advertising agencies. Traditionally, it has been common knowledge that once an animation studio produces and delivers a work and receives payment for it, its relationship with the work ends, and any further profits are monopolized by the publishing company, television station, or advertising agency that has invested in the work and holds the copyrights. Anime studios need a lot of money to continue to produce high-quality works and to pay their animators, directors, and other staff appropriately, but it was impossible to do so under such conditions. Therefore, Ishikawa decided to become an investor. Ishikawa decided to produce Ghost in the Shell 2: Innocence on the studio's own, rather than relying on the publisher or other companies in Japan. In order to obtain production financing from major Hollywood film companies, he and Director Oshii traveled to the U.S. with a screenplay and negotiated directly with them without going through a major Japanese advertising agency. Ishikawa narrowed down the list of negotiating partners to DreamWorks, Warner Bros., and 20th century Fox, and finally signed a contract with DreamWorks, founded by Steven Spielberg, and succeeded in raising a huge amount of money and securing a promise of worldwide distribution. On the other hand, advertising and publicity in Japan was entrusted to Toshio Suzuki, a producer at Studio Ghibli. Suzuki's power made possible a large-scale advertising campaign that I.G. would not have been able to carry out alone, but it also created some difficulties. Ishikawa's strategy was to first work with a major global distributor to make Ghost in the Shell 2 a hit in the U.S., where the first Ghost in the Shell video sold well, and then import it back to Japan, but Suzuki rejected this. He suggested that the film be a hit in Japan before the rest of the world and that the studio forget about the success of the previous film and make it not as a sequel but as a completely new film. As a result, the Japanese title was changed from Ghost in the Shell 2 to Innocence. Furthermore, most of the investors have changed from the original lineup. This was an unthinkable situation, and the project could have been scrapped, but Ishikawa was able to renegotiate the contract with his remarkable negotiating skills.

In May 1995, Production I.G established a subsidiary studio, Xebec. In 1997, Production I.G invested in Bee Train, a studio founded by Kōichi Mashimo, and also established Production I.G.,LLC, an overseas subsidiary based in Los Angeles. The company co-developed and co-produced the television series IGPX, directed by Mitsuru Hongo, with Cartoon Network in 2005. This was the first collaboration between an American cable network and a Japanese anime studio.

Production I.G was recapitalized and became a joint-stock company from a limited company in April 1998, and merged with Ing in September 2000.

In 2000, Production I.G produced the movie Blood: The Last Vampire, the first full-digital animation in Japan. This was the first time for Production I.G to acquire the original rights to a work.

In the 2000s, Production I.G began to produce more TV series, especially those based on popular manga series published in magazines such as Shōnen Jump. This was the result of Ishikawa's focus on creating a business scheme and leaving the animation production site to younger staff and producers, giving priority to their wishes.

In 2004, Bee Train acquired the shares held by Production I.G and ceased to be an equity method affiliate of Production I.G. Mitsuhisa Ishikawa also resigned from Bee Train's board.

In 2005, Production I.G. Inc. went public on the JASDAQ stock exchange. With the funds raised through the IPO, Production I.G founded a new studio capable of producing the latest 3DCG animation at the time, and co-founded FILM LIP, a studio capable of digital editing, with Fuji Television.

In 2007, Production I.G, Inc. changed its trade name to IG Port Inc. and at the same time established a new subsidiary under the name Production I.G. Inc. The company name and its function as an anime studio were taken over by the subsidiary, and the listing was maintained under the name IG Port. Mitsuhisa Ishikawa was also the representative director of Production I.G and IG Port. In the same year, IG Port acquired Mag Garden, a publisher specializing in comics, which publishes the monthly Comic Blade, as a subsidiary. The norm in the animation industry is for anime studios to obtain permission from major publishers such as Shueisha, Kodansha, Shogakukan, and Kadokawa to adapt popular manga into anime, and then produce anime adaptations based on the original manga. Because of this, none of the animation studios wanted to have a publishing division, but Mag Garden was the perfect publisher for Production I.G to add to its group because it was not large enough to make those major publishers wary or hostile.

In September 2010, Production I.G moved its headquarters to Musashino, Tokyo.

In 2010, IG Port acquired an 11.2% stake in Tatsunoko Production and Mitsuhisa Ishikawa became a non-executive director of the company.

On June 1, 2012, Wit Studio, I.G's subsidiary animation studio, was founded, with the studio's first project being Attack on Titan, which I.G assisted in producing. IG Port invested 66.6%, while George Wada and Tetsuya Nakatake who were in the planning section of Production I.G invested 21.6% and 10.0%, respectively.

In 2017, IG Port created Lingua Franca, an electronic distribution service company, as a wholly owned subsidiary, with Kyohei Shinpuku as its president.

On June 5, 2017, Production I.G launched Tate Anime (vertical anime), an anime distribution app optimized for viewing on smartphones. It was completely renewed in 2018 and replaced with a new app, Anime Beans, with expanded functions, including the ability to deliver Yoko anime (horizontal anime), and more content available for viewing. The service was launched on December 18 worldwide except for China. The app ended service on March 31, 2023.

In 2018, Production I.G and Wit Studio entered into a comprehensive business partnership with Netflix for anime productions.

On November 20, 2018, IG Port sold Xebec to Sunrise. Prior to that, Xebeczwei, a subsidiary of Xebec, was transferred to Production I.G on January 12, 2018, becoming a subsidiary and changing its name to IGzwei accordingly.

On August 30, 2022, George Wada, who founded Wit Studio, was promoted from Executive Vice President of Production I.G to CEO, while Ishikawa resigned as CEO to become Chairman. Wada also continued to serve as president of Wit Studio.

Live-action series

 * K-tai Investigator 7 (2008–2009)
 * Stay Tuned! (2019)
 * Dragons of Wonderhatch (2023, animated scenes)

Music videos

 * m-flo: Quantum Leap (2000)
 * Linda: Chains & Rings (2003)
 * Mylène Farmer: Peut-être toi (2006)
 * Maaya Sakamoto: Universe (2007)
 * Re:vale: NO DOUBT (2017)
 * Valorant: 二律背反 REFLECTIONS (2023)

Video games

 * Power Pros (1994)
 * Tales series (1995–2009)
 * Grandia (1997, CG support)
 * Ghost in the Shell (1997, animated sequences)
 * The Granstream Saga (1997, animated sequences)
 * Yarudora Series Vol. 1: Double Cast (1998, animated cutscenes)
 * Yarudora Series Vol. 2: Kisetsu o Dakishimete (1998, animated cutscenes)
 * Yarudora Series Vol. 3: Sampaguita (1998, animated cutscenes)
 * Yarudora Series Vol. 4: Yukiwari no Hana (1998, animated cutscenes)
 * Tekken 3 (1998, pre-rendered CGI cutscenes and animated cutscene)
 * Xenogears (1998, traditionally animated cutscenes and pre-rendered CGI cutscenes)
 * Sakura Wars 2: Thou Shalt Not Die (1998)
 * Ace Combat 3: Electrosphere (1999)
 * Love & Destroy (1999)
 * Psychometrer Eiji (1999)
 * Valkyrie Profile (1999, character design)
 * Wild Arms 2 (1999)
 * Summon Night (2000)
 * Sakura Wars 3: Is Paris Burning? (2001)
 * Sakura Wars 4: Fall in Love, Maidens (2002)
 * Silk to Cotton (2002, character design)
 * Surveillance Kanshisha (2002)
 * Sakura Wars V Episode 0 (2004)
 * Lethal Enforcers 3 (2004)
 * Popolocrois Monogatari II (2000, opening and animated cutscenes)
 * Fire Emblem: Path of Radiance (2005, CG animated cutscenes)
 * Namco × Capcom (2005)
 * Sonic Riders (2006, opening animation)
 * Children of Mana (2006, animated cutscenes)
 * Valkyrie Profile 2: Silmeria (2006)
 * Fire Emblem: Radiant Dawn (2007, CG animated cutscenes)
 * Star Ocean: First Departure (2007)
 * Star Ocean: Second Evolution (2008)
 * Wario Land: Shake It! (2008, cutscenes and character animation)
 * Sands of Destruction (2008)
 * The Sky Crawlers: Innocent Aces (2008, CG animated cutscenes)
 * Infinite Space (2009, short promotional film produced with studio Gonzo)
 * Valkyria Chronicles III (2011, opening animation)
 * Kid Icarus: Uprising (2012, Thanatos rising shorts)
 * BlazBlue: Central Fiction (2016, opening animation)
 * Persona 5 (2016, animated cutscenes, with Domerica)
 * Persona 5 Royal (2019, animated cutscenes, with Domerica)
 * Another Eden (2020, opening animation)

title: Production I.G