This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Samurai Champloo (Japanese: サムライチャンプルー, Hepburn: Samurai Chanpurū) is a 2004 Japanese historicaladventureanime television series. The debut television production of studio Manglobe, the 26-episode series aired from May 2004 to March 2005. It was first partially broadcast on Fuji TV, then had a complete airing on Fuji Network System. It was licensed for North American broadcast on Adult Swim, and for commercial release first by Geneon Entertainment and later by Crunchyroll. It was also licensed for English releases in the United Kingdom by MVM Films, and in Australia and New Zealand by Madman Entertainment. A manga adaptation was serialized in Monthly Shōnen Ace during 2004, later released in North America by Tokyopop the following year.
The series is set in a fictionalized version of Edo period Japan, blending traditional elements with anachronistic cultural references, including hip hop. The series follows the exploits of tea waitress Fuu, vagrant outlaw Mugen, and ronin Jin. Fuu saves Mugen and Jin from execution, then forces the pair to aid in her quest to find a samurai who smells of sunflowers. Structured similar to a road movie, the series focuses on tolerance and acceptance of minorities contrasted against its setting, with a central theme being the portrayal and acceptance of death.
Director Shinichirō Watanabe began planning for the series in 1999, creating the characters and premise during his work on Cowboy Bebop: The Movie and The Animatrix, and began pre-production in 2002. The staff included character designer and animation director Kazuto Nakazawa and writers Shinji Obara and Yukihiko Tsutsumi of Office Crescendo. The music was composed by hip hop artists Shinji "Tsutchie" Tsuchida of Shakkazombie, Fat Jon, Nujabes and Force of Nature. The production was unstructured, with the scenario going through multiple revisions, and Watanabe bringing in multiple guest creators to ensure a high animation quality. Reception of the series has been positive, with praise focusing on its animation and music, and proved a commercial success in the West.
Samurai Champloo opens in a small town where Fuu, working as a tea waitress, is harassed by the son of the town's corrupt prefect. The outlaw Mugen arrives in town, and Fuu begs him for protection, which he gives in exchange for food. Meanwhile, the ronin Jin, also a new arrival, kills the prefect's bodyguards when they abuse a peasant, ending up in conflict with Mugen when the latter mistakes him for one of the prefect's men. The two's fight ends up destroying the teahouse. The pair are captured and sentenced to death, but Fuu saves them. The pair attempt to restart their battle, but Fuu tosses a coin, saying if it lands on heads then the pair can continue their battle, but if it lands on tails they postpone their battle to help her find a samurai who smells of sunflowers, whom she has sought for years. She wins the toss, and they embark on a series of adventures alongside Fuu's quest.
During the closing stories, the three finally arrive at the town of Ikitsuki, with each ending up in conflict with a group of assassins sent by the government to kill the "sunflower samurai", Fuu's father Seizo Kasumi. Fuu finds Kasumi, having wanted revenge for him abandoning her and her mother, but she relents as he is already dying from an illness. One of the assassins kills Kasumi before he is defeated by Jin. Mugen and Jin then have their duel, their swords shattering, but choose not to kill each other as they now consider each other friends. Fuu learns her father played a part in the Shimabara Rebellion and went away to protect her. Fuu also reveals she lied about the coin toss result, which briefly annoys Mugen and Jin. Recovered from their final fight, the three part ways grateful for their shared adventure.
Series director Shinichirō Watanabe defined the central theme of Samurai Champloo as the portrayal and acceptance around death, themes he had previously explored in his science fiction series Macross Plus (1994) and Cowboy Bebop (1998).[5] Another theme outlined in the series pitch was individuality and finding one's unique identity.[6] The series is set in Edo period Japan, roughly sixty years after the end of the Sengoku period.[7] While a historical time period, the anime does not focus on historical detail beyond minor inclusions and references, mainly using contemporary-style dialogue and behavior.[5][8] A conscious inclusion was emphasising cultural acceptance and tolerance of minorities including the indigenous Ainu people, foreigners, LGBT people, and Christians; the historical Edo period was a time when Japan was highly structured, conformist and isolationist.[5][9] Due to its Edo setting and incorporation of samurai culture and honor codes, Watanabe was worried the anime would be seen as nationalistic in tone, prompting its focus on minorities and tolerance.[10] Watanabe put in as much as he could manage of these themes and subjects, challenging earlier limitations imposed by a lack of historical information from the time and Japanese television codes restricting the portrayal of Japanese minorities in the period.[5]
The main cultural influence on the anime is the music and associated subculture of hip hop.[11] Watanabe had been a fan of hip hop music from his high school years, citing his first exposure as "The Message" by Grandmaster Flash and the Furious Five. He compared the samurai culture to hip hop through a similar philosophy of self-identity.[12] The use of hip hop also reinforced the series' focus on its minority and counter-cultural cast, creating a cultural reference by using one with the other.[13] Alongside his liking of hip hop, Watanabe attributed a large amount of the series' inspiration in the works of actor Shintaro Katsu, particularly his historical dramas. The narrative approach of the finished series was inspired by Katsu's notorious habit of directing projects without a set story structure.[5] The word "Champloo" in the title was derived from the Okinawan term chanpurū, with Watanabe comparing the blending of elements in the anime with the meaning of chanpurū.[14] The food depicted in the show was originally accurated to the Edo period, but eventually expanded to include anachronistic dishes such as okonomiyaki.[5]
The plot is structured like a road movie, with little connection between stories until the final three-part arc, contrasting against the serial structure of its contemporaries.[8] Watanabe particularly cited the movies about the blind samurai Zatoichi as an inspiration for this style. Other influences on the series included Enter the Dragon and Dirty Harry. One episode was based around the Chinese concept of Qi.[15] During early planning, the series' tone was far more serious, but after the first four episodes had been written, the staff were worried about the tone becoming bleak, prompting a greater focus on comedy.[5] Several episodes incorporate references, homages, and parodies of popular media.[16] The Japanese episode titles use four-character idioms referencing the theme of that episode's story. They drew from multiple sources, including Japanese and Western sayings (the first episode's title, "Shippu Doto", is a Japanese rendering of the German saying "Sturm und Drang"), philosophical concepts ("Inga Oho" references a proverb about the workings of karma), and pieces of classic media (the episode title "Anya Koro" references Naoya Shiga's novel of the same name). The English episode titles were created by translator Ryan Morris. Morris did not directly translate the Japanese titles, instead using alliteration to preserve the rhythm and meaning.[17]
The series follows the exploits of the three leads−Fuu, Mugen, and Jin−when they are drawn together by circumstance and end up traveling together to find the sunflower samurai.[18][10] The main cast was created by Watanabe,[18] who wanted a cast of heroes who were silly, immature, and dangerous, with "a touch of insanity".[5] He described Mugen and Jin as unconventional people not bound by the rules of the period.[19] The characters were designed by Kazuto Nakazawa, who had worked as both an artist and director on multiple projects including Ashita no Nadja and the anime segments of Kill Bill: Volume 1.[20] The early character drafts were more to Nakazawa's tastes than the wishes of the production team, resulting in numerous redrafts based on requests.[21] The voice recording included sessions with all three leads together, which caused occasional tensions due to their different work backgrounds.[22][23]
Mugen (ムゲン) is a vagrant outlaw from the Ryukyu Islands who uses self-taught sword techniques. Having lived a harsh and solitary life since childhood, he has a deep mistrust and disdain of authority and lives to fight strong opponents.[24] Watanabe thought of Mugen as young and "a little stupid", putting him in stark contrast with Cowboy Bebop protagonist Spike Spiegel.[18] He also described Mugen as symbolizing "a rapper's ideal" of self-expression.[12] Mugen's Ryukyuen origins formed part of Watanabe's focus on inclusivity and tolerance within the narrative.[10] He is voiced in Japanese by Kazuya Nakai. His performance changed little from the audition, someone on the edge who did not follow rules. His performance reportedly improved during the soundchecks, which had a more relaxed atmosphere and emphasis on timing.[22] In English, Mugen is voiced by Steve Blum.[25]
Jin (ジン) is Mugen's antithesis, a calm and stoic ronin wandering Japan after being forced to kill his master and consequently wearing glasses to disguise himself. He is the best at sensing danger, and prone to risking his life to prove his worth.[24] He is a master of mujushinken, a style of kenjutsu created in the early Edo period by Harigaya Sekiun.[24][26] Jin was created as a foil for Mugen to stop the story from becoming one-dimensional.[18] A scrapped idea of Watanabe's was for Jin to be an anarchist, but otherwise his personality and design changed little during production.[8] He is voiced in Japanese by Ginpei Sato, at the time a stage actor who had not done voice roles previously after failing auditions for two other projects; his failed audition for Wolf's Rain prompted a staff member to recommend him to Watanabe.[5][23] He had to learn about voice acting on the job, including timing and getting into character, and during recording for later episodes got into trouble due to wanting to shift his portrayal of the character.[23] In English, Jin is voiced by Kirk Thornton.[25]
Fuu (フウ) is the one who brings Mugen and Jin together to help her. She is a cheerful and spirited young woman and a jack-of-all-trades due to her constant changing between part-time jobs, starting the series working as a tea waitress; she has a pet flying squirrel called Momo.[24] A recurring gag is Fuu temporarily becoming fat after eating a lot.[27] Out of the three characters, Fuu's personality changed the least from Watanabe's original series concept, though her character design underwent major revisions to become more conventionally beautiful.[8][21] She is voiced in Japanese by Ayako Kawasumi. Compared to her other roles, Kawasumi was asked not to overact her effort sounds outside scenes where her character was very expressive, making her more realistic. It was the first time she did not create a separate internal character to voice Fuu, being asked to be herself as far as possible. Her favorite episode was "Stranger Searching" when the fat Fuu first appeared, as she found voicing this version a challenge.[27] In English, Fuu is voiced by Kari Wahlgren.[25]
In the original plan, there were three semi-regular characters that would appear through the series. They were Rekku, a Dutchman claiming to be Japanese; Koku, a traveling priest acquainted with Jin's past; and Sara, a female ninja who falls in love with Mugen.[8] While their roles were reduced to one-off appearances, versions of the characters survived. Rekku became the character Joji in "Stranger Searching", the priest appeared in "Lethal Lunacy", while Sara was a central character in "Elegy of Entrapment".[8] An early antagonist is Ryujiro, the son of a corrupt government official who loses his arm to Mugen in the opening episode and later plots revenge against them.[28] Historical figures or character homages also appear, for example painter Hishikawa Moronobu; Joji, who is a fictionalized version of Isaac Titsingh; a version of American baseball player Alexander Cartwright; and Ando Uohori, who is a direct reference to Andy Warhol.[16][29][30]
Samurai Champloo was the debut television production of animation studio Manglobe, which was started in 2002 by Sunrise veteran Shinichirō Kobayashi.[8][31] The opening animation was contributed to by the studio Madhouse.[32] A production committee to support the project was formed by Victor Entertainment's Shirō Sasaki, partnering with Tokuma Shoten and North American company Geneon Entertainment.[8] Watanabe acted as the series director, in addition to creating the project. Kobayashi, Sasaki, Sanae Mitsugi and Hideki Goto were credited as planners and executive producers,[33] and the producers were Takatoshi Hamano, Takashi Kochiyama and Tetsuro Satomi.[34]
The story was composed by Shinji Obara and Yukihiko Tsutsumi of Office Crescendo, with scripts written by Obara, Dai Satō, Touko Machida, Keiko Nobumoto, Seiko Takagi, Ryota Sugi, and Watanabe.[8][33][34][35] Nakazawa wrote and storyboarded episode 15, being credited as Uwadan Shimofuwato in the former role.[21][34] Nakazawa also acted as both character designer and chief animation director. The art director was Takeshi Waki, the storyboard director was Kazuki Akane, and coloring was led by Eri Suzuki.[8][33] Additional characters were created by Hideto Komori.[5] Weapon designs were co-created by Mahiro Maeda and Manglobe managing director Hidero Okamoto.[5][33] The cinematographer was Kazuhiro Yamada, with Syuichi Kakesu as lead editor.[33] Numerous guest creators were also brought in for different episodes as artists or animation directors, including Shūkō Murase Takeshi Yoshimoto, Naoko Nakamoto, Hiroyuki Imaishi and Tensai Okamura.[36]
The concept for Samurai Champloo was created by Watanabe in 1999, then known for his work on Cowboy Bebop. He wanted to create a series antithetical to the largely calm and mature atmosphere of Cowboy Bebop, wanting a complete change due to fatigue after working on one project for such a long period.[18][5] The success of Cowboy Bebop meant he was permitted to develop whatever he wanted for his next project.[37] As with his other projects, he drew inspiration from music, then matched a narrative to it.[38] His approach was combining two of his favorite things, classic samurai adventure films and series and hip hop music, into a single work.[12] He created the concept for Samurai Champloo during this period, but work on it was delayed due to his work on Cowboy Bebop: The Movie and his segments of The Animatrix at Studio 4°C.[5][8] Kobayashi had invited Wanatabe to work on an original project at Manglobe when it was founded in February 2002, and Watanabe sent the Samurai Champloo pitch in May of that year.[8] The pitch included the central concepts for the series, and draft designs for the lead characters.[8][6] Watanabe invited Nakazawa on board as he was a fan of his work and wanted the opportunity to work with him. Obara, known more for his work on live-action movies and television dramas, was brought in through a mutual friend at Office Crescendo.[5]
The eventual unstructured production style was unheard of in anime, and at the outset Obara created a series structure. The three-episode finale was not planned ahead, emerging naturally as part of the design approach.[5] As the project evolved, Watanabe pushed for this structured approach to be discarded aside from the lead characters and premise, and Obara agreed to the new approach. The lack of a structure meant that the series narrative was constructed piece by piece, with few plot details being decided in advance.[8] The fates of the three characters were also undecided during this stage. Watanabe originally planned for all three to survive, but at one point the team considered Jin and Mugen dying respectively in the final two episodes.[5] Even the identity of the sunflower samurai was unknown to Watanabe during the early stages.[15] Due to this approach, pre-production on the series lasted a year.[8] Watanabe had a great deal of creative control and input, including on music selection and editing.[19]
The first episode took a long time to polish, being completed around the beginning of 2004, but it and subsequent episodes had an animation quality higher than other series of the time. This was attributed to the working environment of Manglobe allowing for easy communication between staff members, and Watanabe's passion for the project prompting famous staff from other notable anime projects to come on board. The non-standard style of production left some members of staff including Sasaki skeptical that the series would be finished. For the sound mixing, Watanabe wanted the same approach and quality as Cowboy Bebop: The Movie, bringing in sound engineer Masashi Yabuhara who had worked with Yoko Kanno on the sound design of Cowboy Bebop.[8] The fight scenes were choreographed to appear more realistic than other period dramas, which featured a clashing of swords which in reality would chip them.[5] Unique eyecatch artwork was created for each episode based on its themes and content. Woodblock prints portraying the characters, designed by former shojo manga creator Tsubaki Anna, were shown at various points through the series. Nakazawa created the illustration use for sponsor announcements.[39]
Samurai Champloo was Obara's first time working on an anime series, and Watanabe attributed him with bringing a new style of narrative and pacing to the series.[5][8] Sato had worked with Watanabe before on Macross Plus.[8] He described the process of discussing plot concepts with Watanabe and building upon voiced ideas, treating his own contributions like sample discs that might be accepted or rejected.[40] The script meetings were unusually long, beginning with the synopsis and ending up with the final form, alongside off-topic conversation that was sometimes incorporated into that episode's plot.[8] Due to Watanabe's reputation and the success of his projects in the West, the anime was created with a Western audience in mind with the expectation that it would be more successful outside Japan. This resulted in more overt references to Western culture being included.[41] An assassin character who appeared in the second episode was intended to appear during the finale, but he was cut due to time constraints and a general lack of people remembering his earlier appearance.[5]
Nakazawa had trouble getting a feel for the characters, with Mugen's design still going through adjustments when production on the first episode began. For the animation of Mugen's fighting style, the team used gymnastic footage as a reference alongside incorporating breakdancing moves. For Jin, Nakazawa "ignored all of the conventions" for sword fighting and kept his fighting style inconsistent throughout the series, basing his reactions and tactics on combat sports. He broke animation conventions to make these techniques work, confusing the animation team. For his work as art director after joining during production of the first episode, Waki was instructed to create extremes of light and darkness in scenes, creating a realistic impression of the period when artificial light sources were scarce and expensive. The variety and more contemporary elements prevented Waki from growing bored with the Edo setting.[21] The approach to the animation, lacking an overarching plan, was described as a reflection of the lead characters' non-conformist personalities.[19]
Nakazawa designed the men's kimono to resemble contemporary jackets, incorporating homages to sports designs such as Adidas and Puma. Many secondary characters were designed based on both the series' voice actors and staff members.[29] During the production of the second half of the series, it became increasingly difficult for Nakazawa to design all guest characters, resulting in Komori being brought in. Due to most of these characters being older men, when the early plan was for a young cast with several female characters, Komori felt disappointed by his workload. Maeda was brought on for weapon designs when the plan was to have strong antagonists with unique weapons for each episode, but the plan never came about, and when Maeda moved to working on Gankutsuou: The Count of Monte Cristo, the design work shifted to Okamoto.[5] The incorporation of graffiti was suggested by Sato to further enhance the hip hop aesthetic and tone. He also suggested the inclusion of references to Warhol and Jean-Michel Basquiat.[40]
The music for Samurai Champloo was collaboratively composed by Shinji "Tsutchie" Tsuchida of Shakkazombie, Fat Jon, Nujabes and Force of Nature. All were artists from the hip hop music genre, with Tsutchie being a friend of Watanabe.[42] A number of guest artists contributed to different episodes.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
An apple is a round, edible fruit produced by an apple tree (Malus spp., among them the domestic or orchard apple; Malus domestica). Apple trees are cultivated worldwide and are the most widely grown species in the genusMalus. The tree originated in Central Asia, where its wild ancestor, Malus sieversii, is still found. Apples have been grown for thousands of years in Eurasia and were introduced to North America by European colonists. Apples have religious and mythological significance in many cultures, including Norse, Greek, and European Christian tradition.
Apples grown from seed tend to be very different from those of their parents, and the resultant fruit frequently lacks desired characteristics. For commercial purposes, including botanical evaluation, apple cultivars are propagated by clonal grafting onto rootstocks. Apple trees grown without rootstocks tend to be larger and much slower to fruit after planting. Rootstocks are used to control the speed of growth and the size of the resulting tree, allowing for easier harvesting.
There are more than 7,500 cultivars of apples.[3] Different cultivars are bred for various tastes and uses, including cooking, eating raw, and cider or apple juice production. Trees and fruit are prone to fungal, bacterial, and pest problems, which can be controlled by a number of organic and non-organic means. In 2010, the fruit's genome was sequenced as part of research on disease control and selective breeding in apple production.
From 2014 to 2023, there have been an average of 78 million tonnes of apples globally produced per year. In 2023, the worldwide production of apples was 83 million tonnes, with China accounting for nearly half of the total.[4]
As late as the 17th century, the word also functioned as a generic term for all fruit, including nuts. This can be compared to the 14th-century Middle English expression appel of paradis, meaning a banana.[6]
The apple is a deciduous tree, generally standing 2 to 4.5 metres (6 to 15 feet) tall in cultivation and up to 9 m (30 ft) in the wild. When cultivated, the size, shape and branch density are determined by rootstock selection and trimming method. The leaves are alternately arranged dark green-colored simple ovals with serrated margins and slightly downy undersides.[7]
Blossoms are produced in spring simultaneously with the budding of the leaves and are produced on spurs and some long shoots. The 3-to-4-centimeter (1-to-1+1⁄2-inch) flowers are white with a pink tinge that gradually fades, five petaled, with an inflorescence consisting of a cyme with 4–6 flowers. The central flower of the inflorescence is called the "king bloom"; it opens first and can develop a larger fruit.[7][8]
The fruit is a pome that matures in late summer or autumn, and cultivars exist in a wide range of sizes. Commercial growers aim to produce an apple that is 7 to 8.5 cm (2+3⁄4 to 3+1⁄4 in) in diameter, due to market preference. Some consumers, especially in Japan, prefer a larger apple, while apples less than 5.5 cm (2+1⁄4 in) are generally used for juicing and have little fresh market value.
The groundcolor of ripe apples is yellow, green, yellow-green or whitish yellow. The overcolor of ripe apples can be orange-red, pink-red, red, purple-red or brown-red. The overcolor amount can be 0–100%.[9] The skin may also be wholly or partly russeted (i.e. rough and brown). The skin is covered in a protective layer of epicuticular wax.[10] The exocarp (flesh) is generally pale yellowish-white,[9] though pink, yellow or green exocarps also occur.
The apple as a species has been given a number of alternative scientific names, or synonyms. In modern times, Malus pumila and Malus domestica are the two main names in use. M. pumila is the older name, but M. domestica has become much more commonly used starting in the 21st century, especially in the western world. Two proposals were made to make M. domestica a conserved name: the earlier proposal was voted down by the Committee for Vascular Plants of the IAPT in 2014, but in April 2017 the Committee decided, with a narrow majority, that the newly popular name should be conserved.[13] The General Committee of the IAPT decided in June 2017 to approve this change, officially conserving M. domestica.[2]
Nevertheless, a number of publications published after 2017 still use M. domestica as the correct name, under an alternate taxonomy.[14]
The original wild ancestor of Malus domestica was Malus sieversii, found growing wild in the mountains of Central Asia in southern Kazakhstan, Kyrgyzstan, Tajikistan, and northwestern China.[7][15] Cultivation of the species, most likely beginning on the forested flanks of the Tian Shan mountains, progressed over a long period of time and permitted secondary introgression of genes from other species into the open-pollinated seeds. Significant exchange with Malus sylvestris, the crabapple, resulted in populations of apples being more related to crabapples than to the more morphologically similar progenitor Malus sieversii. In strains without recent admixture the contribution of the latter predominates.[16][17][18]
Apples are diploid (though triploid cultivars are not uncommon), have 17 chromosomes and an estimated genome size of approximately 650 Mb. Several whole genome sequences have been completed and made available. The first one in 2010 was based on the diploid cultivar 'Golden Delicious'.[19] However, this first whole genome sequence turned out to contain several errors[20] in part owing to the high degree of heterozygosity in diploid apples which, in combination with an ancient genome duplication, complicated the assembly. Recently, double- and trihaploid individuals have been sequenced, yielding whole genome sequences of higher quality.[21][22]
The first whole genome assembly was estimated to contain around 57,000 genes,[19] though the more recent genome sequences support estimates between 42,000 and 44,700 protein-coding genes.[21][22] The availability of whole genome sequences has provided evidence that the wild ancestor of the cultivated apple most likely is Malus sieversii. Re-sequencing of multiple accessions has supported this, while also suggesting extensive introgression from Malus sylvestris following domestication.[23]
The apple is thought to have been domesticated 4,000–10,000 years ago in the Tian Shan mountains, and then to have travelled along the Silk Road to Europe, with hybridization and introgression of wild crabapples from Siberia (M. baccata), the Caucasus (M. orientalis), and Europe (M. sylvestris). Only the M. sieversii trees growing on the western side of the Tian Shan mountains contributed genetically to the domesticated apple, not the isolated population on the eastern side.[23]
Chinese soft apples, such as M. asiatica and M. prunifolia, have been cultivated as dessert apples for more than 2,000 years in China. These are thought to be hybrids between M. baccata and M. sieversii in Kazakhstan.[23]
Among the traits selected for by human growers are size, fruit acidity, color, firmness, and soluble sugar. Unusually for domesticated fruits, the wild M. sieversii origin is only slightly smaller than the modern domesticated apple.[23]
At the Sammardenchia-Cueis site near Udine in Northeastern Italy, seeds from some form of apples have been found in material carbon dated to around 4000 BCE.[25] Genetic analysis has not yet been successfully used to determine whether such ancient apples were wild Malus sylvestris or Malus domesticus containing Malus sieversii ancestry.[26] It is generally also hard to distinguish in the archeological record between foraged wild apples and apple plantations.
There is indirect evidence of apple cultivation in the third millennium BCE in the Middle East. There was substantial apple production in the European classical antiquity, and grafting was certainly known then.[26] Grafting is an essential part of modern domesticated apple production, to be able to propagate the best cultivars; it is unclear when apple tree grafting was invented.[26]
Winter apples, picked in late autumn and stored just above freezing, have been an important food in Asia and Europe for millennia.[27]
Of the many Old World plants that the Spanish introduced to Chiloé Archipelago in the 16th century, apple trees became particularly well adapted.[28] Apples were introduced to North America by colonists in the 17th century,[7] and the first apple orchard on the North American continent was planted in Boston by Reverend William Blaxton in 1625.[29] The only apples native to North America are crab apples, which were once called "common apples".[30]
Apple cultivars brought as seed from Europe were spread along Native American trade routes, as well as being cultivated on colonial farms. An 1845 United States apples nursery catalogue sold 350 of the "best" cultivars, showing the proliferation of new North American cultivars by the early 19th century.[30] In the 20th century, irrigation projects in Eastern Washington began and allowed the development of the multibillion-dollar fruit industry, of which the apple is the leading product.[7]
Until the 20th century, farmers stored apples in frostproof cellars during the winter for their own use or for sale. Improved transportation of fresh apples by train and road replaced the necessity for storage.[31][32]Controlled atmosphere facilities are used to keep apples fresh year-round. Controlled atmosphere facilities use high humidity, low oxygen, and controlled carbon dioxide levels to maintain fruit freshness. They were first used in the United States in the 1960s.[33]
Many apples grow readily from seeds. However, more than with most perennial fruits, apples must be propagated asexually to obtain the sweetness and other desirable characteristics of the parent. This is because seedling apples are an example of "extreme heterozygotes", in that rather than inheriting genes from their parents to create a new apple with parental characteristics, they are instead significantly different from their parents, perhaps to compete with the many pests.[34]Triploid cultivars have an additional reproductive barrier in that three sets of chromosomes cannot be divided evenly during meiosis, yielding unequal segregation of the chromosomes (aneuploids). Even in the case when a triploid plant can produce a seed (apples are an example), it occurs infrequently, and seedlings rarely survive.[35]
Because apples are not true breeders when planted as seeds, although cuttings can take root and breed true, and may live for a century, grafting is usually used. The rootstock used for the bottom of the graft can be selected to produce trees of a large variety of sizes, as well as changing the winter hardiness, insect and disease resistance, and soil preference of the resulting tree. Dwarf rootstocks can be used to produce very small trees (less than 3.0 m or 10 ft high at maturity), which bear fruit many years earlier in their life cycle than full size trees, and are easier to harvest.[36]
Dwarf rootstocks for apple trees can be traced as far back as 300 BCE, to the area of Persia and Asia Minor. Alexander the Great sent samples of dwarf apple trees to Aristotle's Lyceum. Dwarf rootstocks became common by the 15th century and later went through several cycles of popularity and decline throughout the world.[37] The majority of the rootstocks used to control size in apples were developed in England in the early 1900s. The East Malling Research Station conducted extensive research into rootstocks, and their rootstocks are given an "M" prefix to designate their origin. Rootstocks marked with an "MM" prefix are Malling-series cultivars later crossed with trees of 'Northern Spy' in Merton, England.[38]
Most new apple cultivars originate as seedlings, which either arise by chance or are bred by deliberately crossing cultivars with promising characteristics.[39] The words "seedling", "pippin", and "kernel" in the name of an apple cultivar suggest that it originated as a seedling. Apples can also form bud sports (mutations on a single branch). Some bud sports turn out to be improved strains of the parent cultivar. Some differ sufficiently from the parent tree to be considered new cultivars.[40]
Since the 1930s, the Excelsior Experiment Station at the University of Minnesota has introduced a steady progression of important apples that are widely grown, both commercially and by local orchardists, throughout Minnesota and Wisconsin. Its most important contributions have included 'Haralson' (which is the most widely cultivated apple in Minnesota), 'Wealthy', 'Honeygold', and 'Honeycrisp'.
Apples have been acclimatized in Ecuador at very high altitudes, where they can often, with the needed factors, provide crops twice per year because of constant temperate conditions year-round.[41]
Apples are self-incompatible; they must cross-pollinate to develop fruit. During the flowering each season, apple growers often utilize pollinators to carry pollen. Honey bees are most commonly used. Orchard mason bees are also used as supplemental pollinators in commercial orchards. Bumblebeequeens are sometimes present in orchards, but not usually in sufficient number to be significant pollinators.[40][42]
Cultivars are sometimes classified by the day of peak bloom in the average 30-day blossom period, with pollinizers selected from cultivars within a 6-day overlap period. There are four to seven pollination groups in apples, depending on climate:
Group A – Early flowering, 1 to 3 May in England ('Gravenstein', 'Red Astrachan')
Cultivars vary in their yield and the ultimate size of the tree, even when grown on the same rootstock. Some cultivars, if left unpruned, grow very large—letting them bear more fruit, but making harvesting more difficult. Depending on tree density (number of trees planted per unit surface area), mature trees typically bear 40–200 kg (90–440 lb) of apples each year, though productivity can be close to zero in poor years. Apples are harvested using three-point ladders that are designed to fit amongst the branches. Trees grafted on dwarfing rootstocks bear about 10–80 kg (20–180 lb) of fruit per year.[40]
Some farms with apple orchards open them to the public so consumers can pick their own apples.[44]
Crops ripen at different times of the year according to the cultivar. Cultivar that yield their crop in the summer include 'Gala', 'Golden Supreme', 'McIntosh', 'Transparent', 'Primate', 'Sweet Bough', and 'Duchess'; fall producers include 'Fuji', 'Jonagold', 'Golden Delicious', 'Red Delicious', 'Chenango', 'Gravenstein', 'Wealthy', 'McIntosh', 'Snow', and 'Blenheim'; winter producers include 'Winesap', 'Granny Smith', 'King', 'Wagener', 'Swayzie', 'Greening', and 'Tolman Sweet'.[30]
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
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