cute shadow heart 'CHIBI'. you guys should play this game, it's very artistic one !
Sunday, October 28, 2007
Shadow hearts covenant art
Ghost from cemetry
Ghost from cemetry, hmm... i like this series, i actually don't know when will michiru make this one as a manga !, i will try to ask her !
Trio bunny and Weird Whirly
TRIO bunny arts
Weird Whirly arts
Try to check our wallpaper section , you can find wallpapers of these weird whirly ! enjoy
Shikamaru love letter
shikamaru got his first love letter from temari ! hehehe.... she is hiding behind the tree
Michiru's pet detective
michiru said to once that she wanted to be sketched in form of a cute character, and then she finally drew it. so basically these picture resembles michiru and her friends. I think they are just like pet detective !
Random creature
these picture are random sketch, michiru really likes random sketch, but when she is preoccupied on something, her sketch will be related to that thing !
Persona Character gallery 2
Continued from before. enjoy. and i hope that after you look at these picture, you get curious with persona and shin megatensei series, believe me, We recommend that SAGA
Persona Character gallery 1
Persona 3 is totally ROCKS !!!! this sentational and controversial game has just accepted in us and uk ! congratulation ATLUS
Room decoration sketch !
These room sketch inspired by Sandy's house from Spongebob squarepants series. Who knows, I can create an adventure game with michiru's artworks...JUST WAIT ~!
Funny Hybrid artworks
A lot of funny creature in funny Hybrid series, actually you can see our wallpaper section to check a funny hybrid cute colorful wallpaper. enjoy
Fantastic swirdle new arts
fantastic swirdle is one of michiru's old artwork, just give her a lot of time to make this one into manga series ! hehe.. keep up the good work michiru ! support us ANIMEGAMECOMICAW
Tuesday, October 23, 2007
Otaku Nation: Anime's Effect on American
The modern age of Anime arrive in Japan in the 1960s, and over the course of the next decade or so boomed into the giant robot, space battle genre bender that we would soon recognize as the anime of today.
Evolving over the next 30 years or so, it reached a peak where it could begin to overtake and become an integral part of other cultures, much like the Hollywood of the 1930s quickly grew to encompass the rest of the world and inform their pop culture. In the same manner, American pop culture becomes increasingly informed by the trends and cult response to anime.
Anime first appeared in the US market in the 60s with shows like Kimba the White Lion and Astroboy. However, the national consciousness as to where these shows came from as well as the poor marketing of the shows made them forgettable and rather than a jumping in point, they act as a nostalgic reminder.
When Speed Racer arrived, the beginnings of a true consciousness that Japan was creating something new and exciting began to set in. The popularity of Speed Racer was never that of its American contemporaries, but it created in a set fanbase the willingness to devour newer offerings later on in Starblazers and Robotech (a convoluted perversion of multiple animes, but still a relative success in the states). Still, the affect was mostly underground.
In the 1980s, the introduction of Beta and VHS made it possible to join together with friends and watch more varying forms of anime. Truly it was the technological revolutions of the coming years that would make it truly possible for anime to perforate the American entertainment bubble. When Akira arrived in 1989, the effect was palpable. Receiving only a limited American screen release, few saw it in initial release, but the copying of VHS tapes and word of mouth made it something of a cult sensation. Those that knew of Akira were fans for life, eagerly awaiting their chance to partake more and more of the growing trends out of Japan.
For Japan’s part, this era was a period of major expansion, a veritable boom in the business. The 1980s saw the success of shows like Gundam and Dragon Ball overgrow the national consciousness and become runaway sensations. The explosion of the manga industry before hand, with serializations of works by Akira Toriyama and Katsuhiro Otomo in the early 80s simmered in the youth of Japan and finally seeing the commercial possibilities of these works, creating in the process a major conglomerate of companies in the Akira Committee to bring the massive budget of Akira to fruition.
By the 90s anime was the mainstream in Japan, and the result was the ramping up of production and increased output of shows. In part because of the simple, streamlined art style, multiple artist were able to work on a single project and create on episode a week for years at a time, resulting in monumental runs such as the case of Dragonball (156 episodes) and Dragonball Z (276 episodes). The ability to serialize and turn a story into something that millions of youths would tune into each and every week made companies billions (of yen) and secured the kinds of commercial sponsorships and funding necessary to undertake incredible projects that would require vast sums of money to complete.
Back in America, a few executives were beginning to see the effect these shows were having in Japan. Slowly and very carefully they began taking the most popular, Dragonball Z and Sailormoon for example and finding timeslots very early in the day, before the daily retinue of American cartoons, testing the waters of marketability. In 1995, the trickle of anime into the states was just that, a relative trickle. Sailormoon aired every morning in syndication, but chopped up and missing key seasons to relate the endings of important storylines. Dragonball Z ran an equally mild run early on Saturdays in syndication that was abruptly cut when the rights to the show were lost by the initial company and purchased by Funimation.
All the while, works from Japanese masters like Hayao Miyazaki were being overlooked, passing unnoticed through limited release in the states, while making him a God of his craft in Japan. All the while companies like Manga, Funimation, and Viz were buying up licenses and releasing little known, untraceable shows that no one knew the origin of. The shows were treated poorly, often dubbed and cut up to match American audiences. Viz even launched the first Anime magazine in 1993 with Animerica, primarily reviewing their own products but still giving a view of the culture that no one knew anything about.
But, in 1995, the release of the shows in America along with the premiere and rave reviews of Neon Genesis Evangelion in Japan, Otaku interest abroad began to spike. Otaku is a bid of a misnomer as it’s a bit of an insult in Japan, a mean spirited way to call someone a nerd. Here though, it generally means a purveyor of Japanese pop-culture and with the Otaku so in style right now it’s less of an insult than a clique. The import and fan subbing of shows began in earnest via VHS editing software that few if anyone had access to. The early 90s was a time of massive growth of interest in the little known import of Anime though, and the American marketplace wasn’t slow to react.
In 1997, television networks made broad sweeping moves to bring shows to the mainstream. The Sci-Fi channel had always had a small niche in its latenight line up for cult classics like Vampire Hunter D, but Warner Bros finally brought the genre to primetime. Funimation finally got their licensing figured out and Dragonball Z saw its triumphant return to the Cartoon Network, with new episodes to follow a year and a half later. And in 1998, a little known video game for the Gameboy exploded in the American market, bringing along with it its entire arsenal of marketing ploys, including the overwhelmingly childish, but enormously popular Pokemon anime. Finally, children across the nation were gluing themselves to the television set as earnestly as their Japanese counterparts had for nearly a decade before hand.
Miyazaki’s new film played to better reception, receiving a proper release via Miramax. Princess Mononoke was a success in the terms of the time, even receiving the coveted two thumbs up (let alone a review at all) from Siskel and Ebert. Films began to arrive in America more liberally, still finding limited release, but release at least. And the shows began to pour in. At the time, the fansub scene was more or less the only way to get access to some of the more obscure titles being released in Japan. But as the market boomed, so did the licensing by major companies, and it actually started to become illegal to fansub certain shows because they might be released by a company eventually.
Thus began the final and full assimilation of Japanese pop culture into American. The DVD format sped up the process, as more episodes of a show could be packed into a disc than a VHS and production costs plummeted, removing a lot of the financial risk of an untested foreign product in the American marketplace. Cartoon Network debuted its Toonami afternoon cartoon slot, in which they featured anime that had been around for a little while, but managed to appeal to a much larger demographic and spread the word about these great story driven cartoons from across the ocean. An entire generation grew into the growing popularity and became entranced by the epic storylines, amazing storytelling and ability to show in a cartoon what many considered adult themes and much more mature perspectives on things like competition and personal success. The Japanese ability to cross genre and the extremely high production values that started to go into shows made in the late 90s and beyond meant amazing shows that appealed not just to children but to adults and beyond.
What started as a crossover, slowly began to actually change the way in which American’s marketed their television to children. Shows with more adult content appeared, and in some cases emulated the Japanese format. The writers at Pixar crafted brilliant, more maturely themed cartoons without the silly musicals of Disney past, and Disney even dissolved their tried format in favor of more mature, complete stories. The devolution of American quality in cartoons though as they attempted to match the output meant even more Japanese entries in the market. Now, if you turn on Fox kids in the morning you’ll find over half of the shows on are animes. And Cartoon Network still presents multiple entries themselves, with more mature offerings in their Adult Swim block late at night. Spirited Away won the Oscar for best animation in 2003 and South Park, the quintessential American barometer of cultural trends at first knocked the trend with their Chinpokemon episode, later to embrace it (while still mocking it) via changing their own art style in the Weapons episode just a couple years ago.
Nowadays, you’ll find anime oriented t-shirts everywhere, an entire aisle devoted to DVD releases in Best Buy (compared to the one row only seven years ago) and the success of the Anime Network, a channel solely devoted to Anime programming. Magazines like Newtype, a Japanese trade magazine for the Anime industry is now translated and released in America every month with previews of new shows, and American directors like James Cameron are looking to direct live action versions of manga like Battle Angel Alita.
Now, we see new releases from Japan within six months, and the fansub community has to scramble to keep up with what’s legal and what’s not legal to offer via their online services. The internet itself has made it a huge community, where a show can be recorded on Japanese television, ripped and subbed, then uploaded within a couple hours for the world to view. There’s no lay over, and new shows are immediately available. And it’s evident in the universities too. Japanese is one of the most sought after languages, filling up immediately with a yard long waiting list every year, and more sections being added every year.
Japanese pop culture managed to tap a certain perspective that American counterparts were unable to do themselves and in so doing, cornered and grew in a market that few thought existed in America.
I'm a self avowed unemployed writer, working on semi-constant basis to try and overcome the need to go and work a real job. I've written more than 200 articles and reviews and am constantly scouring the internet for any and all excuses and methods to make myself less dependent on corporate pay days. Visit my website at TheChatfield.com Article Source: http://EzineArticles.com/?expert=Anthony_Chatfield |  |
Sunday, October 7, 2007
Crytek still not ruling out its FPS on Xbox 360 and PS3, explains how it would shape the game for console
Crysis dev Crytek has revealed that a success for the super-hyped shooter on PC would urge it to seriously consider delivering console versions of the title.
"...first we want to see how the game is received, publicly and critically... We believe it will be received at least as strong as Far Cry. I hope personally a 5% average increase... That would give us an argument to [say], 'OK, let's see how we can bring Crysis to consoles,'" Crytek boss Cevat Yerli has told Game Informer in an interview.
Yerli explained that Crytek's CryEngine 2 is running on consoles right now, so there's no reason why Crysis couldn't be brought over, although he said currently "there is no development on consoles."
Big Screen, Main Screen
However, that didn't stop him talking about how the developer would go about porting the FPS and shaping it for console platforms.
"In order to make Crysis's gameplay [on console] you would have to make a derivative Crysis and optimize it for the Xbox 360 and PS3. In fact, if we do it, we'll optimize it for each platform," he said.
He continued, "If we would bring it to console we would keep the sophistication. We would just make it so people could play it with the joypad and that it would be a great time. We would not dumb down the experience. We would make sure people stay completely immersed. The AI and our gameplay dynamic is our heart. We can't change that. If you change that, you lose Crysis."
"So you have to work it on the UI level, on the level design, but do not change the heart. If the game is too difficult, make sure the UI can compensate for it. Or if the AI is too difficult make sure the level design offers more leeway and covers for the player.
"But the core gameplay is intensive, smart and still challenging."
[Source: Game Informer]
Courtesy of CVG.
Thursday, October 4, 2007
comic - Hair exchange
Michiru has just created a strip manga guys, here is 2 pages comic strip called "Hair Exchange", this one is inspired by the infamous manga Full Metal Alchemist. Have a take look.
comic - How to defeat star shaman
ok all of you, this is one page comic called "How to defeat star shaman ", it's inspired from anime/manga shaman king. enjoy
Own self sketch Just a picture
ok , this one is michiru own self sketch charater art, she really wants to created a manga based on her own self and her friends in form of cutes char, well let's hope that she creates it.
Pet edge Distant Pet sketch(cover)
guys, here is a sketch art made for distant pet, well maybe you might call it a manga cover, call it whatever you wish, there are lila, zere, ichizen and akao, distant pet chapter 3 still in progress, i hope that i can release it a couple next day just wait guys.
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