Similar Stories Leave a Reply Cancel ReplyYou must be logged in to post a comment. International Animation Artists Program, Tokyo Deadline: September 10th, 2012Open to: international animation artists, outside of Japan, between the ages of 20 and 35Fellowship: Travel expenses and insurance, living allowance and rental accommodation (including workspace), materials stipend (within limits)DescriptionThis project, organized by the Agency for Cultural Affairs (Bunka-cho / Government of Japan), is an artist in residence program which aims to provide three outstanding young animation artists from around the world with an opportunity to come to Tokyo and create new works while directly interacting with Japanese animation culture. In doing so, we aim to promote both the creation of excellent works of animation and a better understanding of Japanese culture.EligibilityIn order to apply for the program and participate, the applicant must:Reside outside of Japan and be a citizen of a country other than Japan.Have had one of their animated works screened at an international film festival (a festival which screened films from other countries besides their own) at least once.Be between the ages of 20 and 35.Be able to speak either English or Japanese well enough to communicate in everyday situations.Be in good health.Have access to the equipment necessary to participate in a remote interview (e.g. a computer capable of connecting to the internet and using Skype).FellowshipThe target field of the program is animation production and the duration of the program is 70 days, between December 2012 and March 2013. During this period the participants will have the following provided support:Travel expensesLiving allowanceTravel insuranceRental accommodation (including workspace)Materials stipend (within limits)Expert assistanceOpportunity to present finished workOpportunities to interact with Japanese creatorsEducation/training: Participants will be given various opportunities including the chance to visit animation studios and take part in seminars at visual arts schools.Workshops: Participants will receive periodic assistance and instruction from experienced Japanese animators at every stage of their project.Creation of a new work: Participants will begin a new work while in Japan and present the finished work or one part of a work in progress at the end of their stay.ApplicationPlease upload the following documents on the application form:Documents describing the work to be created as part of this program. It is preferable that applicants submit documents (story board, script, etc.) which make it possible to understand plans for the work in detail.Proof of a work having been screened at a film festival (e.g. a copy of the list of works in a festival catalogue). Proof of more than one film having been screened is not required.Proof of age and citizenship (e.g. a photocopy of the applicant’s passport).Previous works.Please upload your previous works to a video sharing site (Youtube, Vimeo, etc.) and put the URL(s) on your application form.＊If you would like your works to only be viewable as part of the selection process, please set a viewing password and put it on the application form.Application forms and all required documents must be received by September 10th, 2012.If, for reasons such as the Internet environment in your country, you are unable to upload video to a video sharing site, please explain your circumstances in the “Other comments” section of the application form and send your previous works on DVD to the address below:JAPAN IMAGE COUNCILAnimation Artist in Residence Tokyo 2012-20132-10-2, Shibuya, Shibuya-ku, 150-0002 Tokyo, JAPANtel:+81-3-6670-5676fax: +81-3-5466-0054The Official Website Japan Media Arts Festival – Call for Entry Reddit +1 Pocket Tweet August 27, 2012 Published by ruzica Conference on Global Perspectives Development, Frankfurt → Comic Competition Animate Europe Share 0 Tokyo Anime Award Festival 2020 ← Scholarships for Cultural Managers from Developing countries LinkedIn 0
Edited 2 times. Last edit by Patrick Walker on 27th May 2016 11:42pm 2Sign inorRegisterto rate and replyCraig Page El Presidente, Awesome Enterprises4 years ago That sounds about right, a week after installing Clash Royale I quit Clash of Clans. And I was the leader of a level 8 clan that was winning 2 out of every 3 wars. But Clash Royale was clearly a better game, so why bother with Clash of Clans anymore?Clash Royale lasted another month, before I hit a pretty hard wall that slowed progression to a crawl, my deck wasn’t doing so well, and for a week straight every new chest gave me crap cards. So I uninstalled that game too.Is cannibalization the right word? It’s more like cannibalization then self destruction. :O 2Sign inorRegisterto rate and replySign in to contributeEmail addressPasswordSign in Need an account? Register now. Supercell “printing money” with Clash games – SuperDataBoth Clash of Clans and Clash Royale are generating $100m a month as digital sales in April climbed 5% to $6.2 billionJames BrightmanFriday 27th May 2016Share this article Recommend Tweet ShareWhile Mobile Strike was the top revenue generating title in April, SuperData’s latest report shows that Supercell was the dominant mobile player for the month, as both Clash of Clans and new spinoff Clash Royale generated $100 million each.”Supercell keeps printing money with both its Clash games earning over $100 million a month. Following a spectacular release month, earnings for Clash Royale show first signs of normalization as revenues more closely resemble those for the firm’s other title Clash of Clans. Both grossed a little over $100 million last month, with combined earnings still higher than before the new game’s release,” noted SuperData analyst Joost van Dreunen. While EEDAR’s Patrick Walker previously speculated that Supercell may be in danger of cannibalizing its own Clash franchise by being too successful with Clash Royale, SuperData doesn’t see it that way. “So far Supercell’s new title has managed to add to the company’s bottom line rather than cannibalize the success of its existing titles. In the past few months, Clash of Clans did experience a decline in revenues from over $5 million a day to just under $4 million, suggesting that the release of its new title was well-timed. Earlier this week the Wall Street Journal reported that Tencent is considering a possible acquisition of Supercell,” van Dreunen continued.Looking at other digital platforms, interestingly SuperData found that Bandai Namco’s Dark Souls III was the first Dark Souls title to perform better on PC than console, “demonstrating that both Bandai Namco and From Software put the lessons learned from Dark Souls I and II to good use. This time around, a PC-optimized version was prepared in advance for the game’s dual-platform release, providing PC users with improved controls and graphics from the get-go. The title’s PC success makes up for its failure to earn a top-ten grossing rank on Digital Console.” Overall, Dark Souls III earned an estimated $45 million in the first month of its release, outperforming console revenue by nearly $18 million and cracking the top five digital PC games. For the entire digital games ecosystem, sales were up five percent year-over-year to $6.2 billion in April. Much of the growth came from digital sales on consoles, as digital console saw the fastest growth of any segment – up 23 percent in revenue and up 15 percent in audience. On the casual games side, players unsurprisingly have been shifting from social desktop to mobile devices, leading to a 10 percent decline for the category. Here are the top selling digital titles by category for April 2016:Digital consoleCall of Duty: Black Ops IIIFIFA 16Tom Clancy’s The DivisionGrand Theft Auto VDark Souls IIIPC DLCDark Souls IIICounter-Strike: Global OffensiveStarcraft IIMinecraftFallout 4Free-to-play MMOLeague of LegendsCrossfireDungeon Fighter OnlineWorld of TanksDOTA 2Pay-to-play MMOWorld of WarCraftLineage IStar Wars: The Old RepublicTERA: OnlineBlade & SoulMobileMonster StrikeClash RoyaleClash of ClansGame of War: Fire AgePuzzle & DragonsSocialDoubleDown CasinoSlotomaniaCandy Crush SagaFarmVille 2Jackpot Party Casino – SlotsCelebrating employer excellence in the video games industry8th July 2021Submit your company Sign up for The Mobile newsletter and get the best of GamesIndustry.biz in your inbox. Enter your email addressMore storiesEpic vs Apple – Week One Review: Epic still faces an “uphill battle”Legal experts share their thoughts on the proceedings so far, and what to expect from the coming weekBy James Batchelor 15 hours agoEpic Games claims Fortnite is at “full penetration” on consoleAsserts that mobile with the biggest growth potential as it fights for restoration to iOS App StoreBy James Batchelor 18 hours agoLatest comments (2)Patrick Walker VP, Insights, EEDAR4 years agoWhile EEDAR’s Patrick Walker previously speculated that Supercell may be in danger of cannibalizing its own Clash franchise by being too successful with Clash RoyaleMy more specific argument is that while the short term revenue of Royale + Clans is obviously higher overall, Royale won’t have the long term staying power of Clans. Therefore, the cannibalization (that is already occuring) will be an overall negative to Supercell revenues within 6 months. This is after several years of Clans dominance.I’m basing this on a combination of the game play mechanics of Royale, consumer panel data, and early signals from the US app store. I just checked the US ios top grossing charts and Clash Royale is down to number 5, below Clash of Clans at number 4.
METRIC TOUR DATES:11/05/13 – Orlando, FL – UCF Arena *11/06/13 – Chapel Hill, NC – Memorial Hall11/07/13 – Richmond, VA – The National11/08/13 – Camden, NJ – Susquehanna Bank Center *11/09/13 – Fairfax, VA – Patriot Center *11/11/13 – Bethlehem, PA – Sands Bethlehem Event Center *11/13/13 – New York, NY – Madison Square Garden *11/15/13 – Worcester, MA – DCU Center *11/16/13 – Portland, ME – The State Theatre11/17/13 – Uncasville, CT – Mohegan Sun Arena *11/21/13 – Auburn Hills, MI – The Palace of Auburn Hills *11/22/13 – Milwaukee, WI – Turner Hall Ballroom *11/23/13 – St. Paul, MN – Roy Wilkins Auditorium *11/24/13 – Chicago, IL – UIC Pavilion *11/25/13 – Cleveland, OH – House of Blues11/26/13 – Nashville, TN – Bridgestone Arena *11/27/13 – Duluth, GA – The Arena at Gwinnett Center *12/01/13 – Hong Kong – Clockenflap Festival12/03/13 – Kuala Lumpur, Malaysia – KL Live12/05/13 – Manila, Philippines – Samsung Hall12/07/13 – Perth, Australia – Metro City12/09/13 – Melbourne, Australia – The Forum12/11/13 – Brisbane, Australia – The Tivoli12/12/13 – Sydney, Australia – Enmore Theatre12/14/13 – Auckland, New Zealand – Powerstation* special guest of Paramore Electro-rockers Metric have are keeping extremely busy these days. With several opening dates scheduled in support of Paramore (including a show at Madison Square Garden next week), along with dates in Asia, Australia and New Zealand, Emily Haines and company have released a new music video for title track of their most recent album, Synthetica. On top of that, the band is getting ready to release details with regards to two offshoots from Synthetica; the full version of the Synthetica Reflections album (set for release on Nov. 12th), and the band’s new mobile app entitled METRIC Synthetica.The video for “Synthetica” was the brainchild of long-time Metric collaborator and director, Justin Broadbent, who created a kaleidoscope-like vision:“Using a quadratic mirroring effect achieved with a custom designed camera, the viewer is confronted with a hypnotic, repeating image of an art gallery collapsing in on itself … As the camera turns 360 degrees from a singular eye-level vantage point, we see beautiful patterns caused by inanimate, contemporary art objects and lights located around the space as Emily strides alongside the camera, occasionally falling behind, and sometimes forging ahead”.
Having not watched any live regional cricket for the past two or three seasons, I wandered into Sabina Park last Thursday afternoon to have a look at the four-day game between the Jamaica Scorpions and the Leeward Island Hurricanes. Fortunately for me, regional cricket’s all-time leading wicket-taker Nikita Miller was in his element on the day, snarling another impressive seven first-innings wickets to add to his already impressive career aggregate, in a game that the Scorpions eventually lost. Miller’s exploits aside, the thing that struck me most of all was how empty Sabina Park was in the middle of a regional four-day game. Outside of a few media practitioners, who, by virtue of covering regional cricket on a regular basis, seemed indifferent to the hollow emptiness inside the park, there were also members of the maintenance staff, as well as some very bored security personnel. From my vantage point, I did not see even one individual, who appeared to be a mere spectator watching the cricket. This is elite domestic cricket with senior West Indies representatives in both teams, yet not even the proverbial man and his dog were interested enough to journey to the park, sit, and watch a game involving the home team, Jamaica. The reality is, though, that the poor attendance for this level of cricket across the region is a mere index of what is happening generally in the longer formats of the game all across the world. STARK REALITY There have been dwindling crowds for red-ball cricket all over the world. The stark reality facing the Test and first-class games can no longer be denied, despite the odd brilliant and exciting Test match or Test series which continues to pop up from time to time. It was revealed recently that the cost to the Jamaica Cricket Association (JCA) to host a Test match at Sabina Park is in excess of US$500,000, which converts to over $60 million. Based on current trends in spectator non-support, the JCA would be buried deep in the red, as it more than likely would be that same man and his dog who would occupy the otherwise empty stands. In addition to the shrinking crowd attendance, televised cricket generally is not easily accessible to the common man or woman in the region. The International Cricket Council (ICC) itself has admitted to the challenges facing the longest version of the game and has been trying to come up with workable tweaks to try and keep the format relevant. Suffice it to say, many of the challenges facing the ICC and fans of Test cricket are in the inherent nature of the Test game, the length and pace of the game, as well as the archaic rules that govern the game. To change those fundamentals, would be to change the very fabric of Test cricket. My visit to Sabina Park sharply reminded me how oddly unnatural the situation is with red-ball cricket, especially in the West Indies. Sport generally, including cricket, can only be viable if fans are attracted to the games and fill the stands to watch the games. Less and less people are watching live Test cricket, with the issue compounded five or tenfold with what is happening at the regional four-day level. This smacks against all the conventions that govern professional sport. Until that fateful trek I made last Thursday, here I was, fully convinced that sportsmen and women executing their craft in front of excited and enthusiastic fans was the bedrock of professional sports. I guess the enigma of red-ball cricket continues to prove me wrong.