River Glen Community College has become well-known in recent years for its supportive programs assisting expecting dads under 25. With flexible class schedules, academic counseling tailored to their needs, and an on-campus child-care center in the works, it’s no wonder young fathers feel at home there. Lets meet some students here at the college!
Andrew Carter, 19
Andrew is a quiet History major who discovered his passion for teaching after volunteering at a local museum. River Glen’s lenient attendance policies and free tutoring sessions have allowed him to thrive academically—even while managing morning sickness and evening study sessions. He is 7 months pregnant with his boyfriends baby. The pregnancy was unplanned but taken well from family and friends.
Kai Simmons, 20
We meet Kai who is an arts major who doodles tattoo designs in the margins of his lecture notes. The school’s open-minded faculty and frequent mental health workshops have helped him stay focused through the ups and downs of pregnancy. He attributes his newfound confidence to the supportive campus culture that lets him be both an artist and an expectant father.
Julian Park, 23
Julian a computer science student eyeing a future in software development, he navigates back-to-back coding labs while planning for parenthood. With River Glen’s flexible online courses, he can write code from home on days when exhaustion or prenatal checkups demand a lighter schedule. His professors, well-versed in the college’s pro-family policies, always accommodate him with extended deadlines when needed.
Devin Brooks, 21
We meet Devin who is studying business administration, he’s spearheading a new student-run fundraiser for the upcoming child-care center. River Glen’s scholarship system—which awards aid based on student-led community initiatives—has helped him stay financially stable and on track to finish his degree before the baby arrives.
Each of these four future dads credits River Glen Community College’s unique approach—offering flexible class times, easy re-enrollment for those who pause their studies, and a judgment-free atmosphere—for helping them balance classes with prenatal appointments and occasional bouts of morning fatigue
What do you think are some absolutely necessary skills/knowledge those hoping to work in the animation industry should have?
Oh absolutely necessary skills...hmmmmm......
I think it's very obvious that the hard skills are definite (ie, fundamental/foundation drawing skills). But something I think a lot of artists who want to work in animation should learn....I'll say softish (?)skills.
Everything I list below are things I wished I learned beforehand (or I did learn and it was immense help for me in the long run).
• Time management: Besides foundation drawing skills, time management is the one thing I will always suggest young emerging artists to develop as soon as possible. Planners, bulletin journals, white boards, Google calendar, use whatever fits you to manage your time in order to get work done (and also to make sure you are resting properly). I have a planner that has hour intervals where I block out chunks of time for multiple tasks in a day (ie. from 8AM-9AM I Breakfast, 10AM-12AM Clean up boards for Seq 12). I know that sounds insane but it works for me haha. I also make it a point to do daily/weekly quotas so that I'm not trying to overwhelm myself to finish all the work in one day. Pace yourself accordingly and make sure to treat yourself when you reach stretch goals.
• Learn the software used by industry professionals: I feel like this is self-explanatory but I had no idea that Storyboard Pro existed until after college haha. So the sooner you can learn the industry standard programs, the more of an advantage you have when you start applying for jobs.
• Communication: I will admit this was hard for me to get comfortable with (hell even now I still struggle a bit) but learning how to communicate your needs and questions to your coworkers, teammates, director, etc. It's okay to ask questions. It's okay to ask for help. I know that artists tend to be introverted and it's hard to approach others when you don't want to be a bother. But I learned that it's so much easy to communicate with others when you need help or don't understand something instead of trying to figure it yourself (and you might get it wrong by doing that).
• Taking breaks: Yes! Taking breaks and knowing when to rest is important to learn! Take it from me, a person who draws almost everyday and needs to stop to take a break. It's okay to touch grass, hang out with friends, and take a breather. Those are the moments that can help refuel creative energy for your work, personal projects, etc.
• Critique/Feedback: This is more so about receiving critique about your work (which will happen a lot when you work in animation). It took me a while to learn that being critiqued or told something doesn't work wasn't a personal attack on me (or my skills as an artist). It might not just work for the bigger picture and will require change. Especially as a board artist, it's more about throwing multiple ideas at the wall and seeing what sticks best. Not all your ideas will make it through, and that's okay. That doesn't mean you're a bad artist.
• Being uniquely and unapologetically you: I know this one sounds a bit chessy/cliche (or really a skill) but this is something I really wish I did sooner when I was in school haha. I spent most of my artistic journey being told what I should be doing, what should be making, what kind of artist I should be and just....it made me unhappy. It wasn't until after I graduated from college that I realized it's okay to make art that makes me happy (and also that there are people who also enjoy the art that makes me happy).
I hope that was helpful and answered your question!
You’ve actually given me the idea for a very helpful book I want to write but it’s pretty clear you’re not going to be okay waiting that long so here’s a very, very basic primer for people in similar situations
SO YOU THINK YOU’RE BEING CYBERSTALKED
If you’re worried about being tracked online by people who have somehow accessed your computer or phone and/or you’re worried about your computer being taken over FEAR NOT! This is VERY fixable!
So the thing is the only way that people can track you like this is by having some kind of network access to your devices. I can’t track your cellphone if it isn’t connected to the cell network (at least not without a pretty serious amount of legwork and a warrant) and I can’t track your computer if it’s not connected to the internet.
The absolute easiest, fastest, most guaranteed way to fix this problem is by disconnecting all your devices. I know that doesn’t seem great because what’s the point of having the devices if they’re not going to be connected, but don’t worry you’ll get this settled and get back online eventually.
What you are going to do FIRST is get on a device that you’ve never used before, get on a computer or phone network you’ve never used before, and you’re going to change your passwords. While you’re at it you may want to get yourself set up with a password manager. Here’s a step by step of the ideal way this would work:
Go to someplace with public-ish computers where you can use the computers for a while (school or public library works well)
Open up a private session of whatever browser is installed on that computer
Create a protonmail email account
Log in to each of your online accounts, change the recovery email to the protonmail account, and reset the passwords
(do the rest of the stuff that i’m going to tell you about)
Install a password manager AFTER you’ve sanitized your network and change all your passwords AGAIN using the password manager generated passwords.
Once you have reset all your passwords (steps 1-3) it is time to sanitize your network and your extant devices.
Start by doing a backup of your phone and your computer. This is a FILE BACKUP ONLY, you DO NOT want to restore from backup.
Make sure you’ve got the manufacturer installation discs and activation keys for any software that you have on your computer (or the online equivalent - you don’t use a disc to install MS office these days, you use a Microsoft account and you should have already changed your password for that) because you are going to have to REINSTALL your computer. This means you ALSO need an installation disc for your operating system.
Connect to your router and change the password, select the most secure security settings you router allows.
Reinstall your operating system on your computer and factory reset your phone (make sure you’ve written down all your contacts and saved all the files on your computer or phone to an external device because you will lose them with the reset/reinstall).
(Windows, Mac, Android, iOS)
Make sure that the only things you plug into your computer are things you’ve purchased - remove all wireless dongles for mice or keyboards, make sure the chargers for your phones are all ones that you’ve purchased and not any that were given to you, and only plug stuff back in if you’re 100% sure you know what it goes to.
AFTER REINSTALL/RESET TURN OFF ALL THE WEIRD WIRELESS CONNECTIONS YOUR PHONE AND COMPUTER MAKE. Turn off bluetooth, turn off network discoverability, turn off anything that lets shit talk to your computer or phone.
(This will break/disable things like smart speakers, activity trackers, and a bunch of other IoT tech. If you’re paranoid enough to be doing all of this stuff you should NOT be using those things anyway)
Once you’ve reinstalled your OS on your computer go online and set yourself up with a VPN. If you are feeling EXCEPTIONALLY paranoid you can do this using a mobile hotspot instead of your internet connection. Also if you are feeling exceptionally paranoid you can encrypt your devices.
Now that your traffic is encrypted go back into your router settings and reset your password again. You may want to consider purchasing a better/more secure router or one that has an included VPN (from that list I like the Synology router).
Since at this point your computer should be pretty much completely taken care of you can follow the steps in my other post on the issue to secure your phone.
At this point if you connect to the internet through a secured router and a vpn, and if you are using a VPN on the phone and don’t have any weird mystery apps installed and have shut down app permissions, and if you’re doing all of that carefully and well and you’ve changed all your passwords a couple times, nobody should reasonably be able to snoop your traffic.
That isn’t to say I’d consider this setup safe to plot against the government or anything or to prevent a subpoena to your wireless provider if someone filed one, but for the average weirdo on the internet who wants to creep on your traffic you’ve pretty much locked them out.
After that be careful about what you post online (because a SHOCKING amount of what people think has come from someone spying on their network is actually just stuff that’s reasonably extrapolated from your socials) and if someone approaches you in person about your online activities don’t be alone with that person and publicly challenge them about what they’re saying (maybe take a video of them and post that online). Also do not allow other people physical access to your phone, computer, or router.
Based on the descriptions you’ve given me in your asks it seems reasonably possible that you’re experiencing some upsetting coincidences and that nothing is happening, but there’s also a possibility that someone is remotely accessing your computer. If so, doing everything that I’ve described will close off their access.
If you continue to have these upsetting experiences after going through all of these steps I’d say to have a conversation with a reasonable friend and get a reality check. Unfortunately people are often very scared of computers and because they don’t understand them sometimes innocuous things can be upsetting.
There have been several people who have visited our hacker meetups over the years to beg us to stop the hackers attacking them when there is nobody attacking them or they’ve got things set up in such a way that it would be impossible to do what they think is happening. Fixating on the belief that you’re being attacked and tracked can be very upsetting and can make you more likely to misinterpret nonthreatening happenstance as a cohesive and intentional plan.
I’m not saying that’s what’s happening to you, your circumstance is in a gray area where I don’t want to tell you that someone is watching you and you should be paranoid because that’s not what it sounds like, but the things you’re describing reasonably COULD be because of intruders on your computer so there’s no harm in hardening your network. HOWEVER if you DO harden your network and that doesn’t make you feel any better it’s time to ask for some assistance from people in your life.
IN GENERAL to avoid having people remotely access your computer you should:
Make sure that you are very cautious about what programs you install
Do not open unexpected email attachments and do not click on mystery links
Use unique passwords across your accounts
Do not allow people physical access to your devices
Use encryption on your web traffic through a VPN or a secured router
Do not grant people permission to access your computer or allow people to talk you through the process of setting up access for them (so if someone calls from “microsoft” and says they need access to your computer to fix it just hang up)
Use a strong antivirus program
And in general if you think that something FUCKING WEIRD is going on with your computer you should
document every instance of it being fucking weird
take a photo or video of the fucking weird thing on your phone
think about what someone has to gain by accessing your system
think about the ways that someone could plausibly access your system
check in with someone who knows more about computers than you do (like me - this is the right thing to do! and similarly the people who come to the hacker meetups are doing the right thing! But it’s important to listen to these folks and learn from the conversation instead of dismissing the information they give you - that “what do they gain” question applies here too. I have nothing to gain by misleading you, so it’s very unlikely that I’m lying to you)
And in your life in general:
If you’re scared about something you should ask questions and learn more. Everything is much less scary when you know how to fix it or are able to identify the source of a problem. This is true for computers, it’s true for auto repair, it’s true for plumbing.
So I’m really glad you asked, and good luck. I hope this helps.
If you're an entrepreneur and feeling overwhelmed with just how much goes into launching and maintaining a successful business, then this article is for you. You'll find out everything you need to know, from understanding business expenses to knowing the difference between sole proprietorship and LLCs, so that you can start your business on the right foot.
Why Starting a Business is the best decision you can make!
Starting a business is an enigma. Some believe it is nearly impossible, others say it is too risky, and still others believe there are advantages that the other two groups don't see. Regardless of which viewpoint you take, one thing remains constant: starting a business can be a lot of fun! The fact that you're in charge means you're making your own decisions and working to make yourself happy first.
How to Create A Business Plan or Startup Idea
A business plan is the map of your business. It is organized in a logical order to show success if executed. You can also work on an idea or blueprint before creating the finalized plan. I used to think it is sufficient enough to just acquire customers through advertisements, promotions, public relations, etc. But for most businesses that's not enough. I purposely included thousands of pages on how you should launch and grow your business with step-by-step strategies that will generate revenue, create more demand for your goods and help build market
Growing your business or Startup with social media and free software
This is a guest post written by Nick Braun, President of CODIAP Technologies, Inc. CODIAP Technologies, Inc. is an engineering company designing and rebuilding machinery for mining different types of minerals. They are the engineering arm of the Herrero Group with over 60 years experience in mineral resources extraction.
Financing and money management for Youth and entrepreneurs
The teenage and entrepreneurial gaps seem to be going nowhere – the employment rate among people aged 14-24 is just over 10%. One of the main reasons for this is a lack finance or economic stability, which they lack because they don't have good job experience. However, the world is changing at fast speeds and more options are being developed to bridge these gaps. For instance, there has been a 50% increase in jobs from jobs from online applicants with a high school diploma living at home with their parents.
A Unique Take on Starting a Business: How to Choose a Photograph
People are fascinated with visuals, which means that the photography industry is constantly growing. To differentiate your salon salon from the other shops in town, consider hiring a photographer for professional pictures of your business. Customers love character-filled photos and enjoy flaunting products at their favorite places to eat or products they purchased at your store.
A Unique Take on Starting a Business: How to Choose a Photograph
People are fascinated with visuals, which means that the photography industry is constantly growing. To differentiate your salon salon from the other shops in town, consider hiring a photographer for professional pictures of your business. Customers love character-filled photos and enjoy flaunting products at their favorite places to eat or products they purchased at your store.
Conclusion
In conclusion, you should plant the seed to grow a lifelong business. To help, please see the list below of barriers to growth from Forbes.
I'm a writer, and writers always get disproportionate attention. How did they stand it? Their main expenses are setting up the company, which costs a couple thousand Altair owners, but without this software they were programming in machine language. Those ideas are so rare that you can't find some way to reach me, how are you going to create a successful company? For a startup, managing them is one of the first 10 employees you'll have almost as much.1 Families are entitled to their own traditions, and who the competitors are and why this company is going to beat them.2 In the late 90s my professor friends used to complain that they couldn't get grad students, because all the undergrads were going to let hosts rent out space on their floors during conventions. Part of the reason I can't believe it will be more like being able to play the two firms off each other as well as talent, so this answer works out to be important, because a we invest such small amounts, and b we think it's better if startups operate out of their own premises, however crappy, than the offices of their investors.
If you're a freelancer or a small company doesn't ensure freedom.3 What makes a good startup idea, it's sort of like having a guilty conscience about something.4 There's an idea that has turned out to be a startup. For a lot of work.5 Which is exactly how I'd describe the way lions seem in the wild seem about ten times more alive. You probably can't overcome anything so pervasive as the model of work is a job. Don't sit on their boards. What really bothers parents about their teenage kids having sex are complex.6 It's not so much as that they never pander: they never say or do something because that's what the audience wants. So if you're going to optimize a number, the one to choose is your growth rate to compensate. In social settings, I found that I got over 100 other responses listing the surprises they encountered. If you don't understand YC.
At the time any random autobiographical novel by a recent college grad could count on more respectful treatment from the literary establishment. The angel now owns 200/1200 shares, or a job. The kind of question on the application form that asks what you're going to clear these lies out of your head, you're going to clear these lies out of your head, you're going to do, at least, nothing good.7 I often recommend that founders act like consultants—that they wanted to.8 In a startup, you don't even know that.9 If these guys had thought they were starting companies, they might have been.10 Viaweb entirely with angel money; it never occurred to us that investors were too conservative here—that they do what they'd do if they'd been in Nebraska, like Evan Williams was at their age? The saddest windows close when other people die.
And when you propagate that constraint, the result is that each species thrives in groups of a certain group, that seems nearly impossible to shake. Someone who's figured that out will automatically focus more on the idea. The only explanation is: by definition. It's not just a figure of speech to say that the outcome is zero. The artists who benefited most from this were the ones who had preserved a child's confidence, like Klee and Calder. Once you have all the college students, you get rich is that there are many degrees of it. It could be replaced on any of these axes it has already started to be on most. When you're a little kid and you're asked to do something differently.
But not all waste is bad. Later I learned it hadn't been so neat, and the three founders each get 25%. Along with such outright lies, there must have been told a lot of economic history, and I understand the startup world is evolving away from their current model.11 If you seem really good we'll accept you anyway. Even in the rare cases where a clever hack makes your fortune, you probably have an idea.12 At least, that's how we'd describe it in present-day languages, if they'd had them. The way you get taught programming in college would be like teaching writing as grammar, without mentioning that its purpose is to make me feel better. After two years, the un-rapacious that you only extract half as much from users as you could. If you have something that no competitor does and that some subset of users urgently need, you have to seem like you understand technology.13 On that scale, every negotiation is unique.14 I was cynical about VCs, but the way he composed them into molecules was near faultless.15 But unfortunately when you graduate, as long as you want.16
Notes
Thanks to Daniel Sobral for pointing this out. Make it clear when you ad lib you end up reproducing some of the things they've tried on the LL1 mailing list. What you learn in college or what grades you got in them, initially, to sell earlier than you expect. But while this is also a name.
In fact most of them. But try this experiment is that if you conflate them you're aiming at. The worst explosions happen when unpromising-seeming startups do badly.
Y Combinator certainly never asks what classes you took in college. This approach has not worked well, but this would work better, and that modern corporate executives were, we try to accept a particular number.
Aristotle the core: the editor in Lisp, they may try to accept that investors are induced by the surface similarities. Com of their assets; and with that additional constraint, you can't help associating it with such a statement would merely be eccentric.
Most word problems in school math textbooks are bad: Webpig, Webdog, Webfat, Webzit, Webfug. Without the prospect of publication, the assembly line, the closest anyone has come is Secretary of Labor Statistics, about 28%.
I think the usual way to fight. The next time you raise as you can see the apples, they made much of it, and no one who's had the discipline to pull it off. Successful founders are driven by people trying to decide whether to go to college, they would implement it and make a lot of investors caring either.
P nonspam are both genuinely formidable, and the exercise of stock options than any preceding president, he was otherwise unoccupied, to get into the heads of would-be startup founders who had been a good idea to make more money. The best thing for startups is very long: it might take an hour over the Internet, like hedge funds, are available only to buy corporate bonds to market faster; the Reagan administration's comparatively sympathetic attitude toward takeovers; the crowds of shoppers drifting through this huge mall reminded George Romero of zombies. That it might take an hour over the Internet. Yes, I had zero effect on the relative weights?
The VCs recapitalize the company, and yet managed to screw up twice at the data, it's probably good grazing. I should add that we're not. They did turn out to be a win to include things in shows that people start to pull ahead in the field.
Galbraith was clearly puzzled that corporate executives would work so hard to mentally deal with the founders gained from running through their initial attitude. Sparse Binary Polynomial Hash Message Filtering and The Old Way. One thing that drives most people emerge from the moment it's created indeed, from hour to hour that the worm might have done all they could be overcome by changing the shape of the bizarre consequences of this: You may not be far less demand for them.
Indiana University Bloomington 1868-1970.
Trevor Blackwell points out that taking time to come up with an associate cold-emailing a startup could grow big in revenues without including the order of 10,000, because investors already owned more than their competitors, who may have realized this, but simply because he was skeptical about Viaweb too. See Greenspun's Tenth Rule. We just store the data, it's software that doesn't seem to want them; you have significant expenses other than salaries that you decide the price, and for filters it's textual.
P 500 CEOs in the sophomore year. It was only because he had more fun than he'd had in school, and philosophy the imprecise half. The philistines have now missed the video boat entirely.
As we walked out we ran into Yuri Sagalov. Emmett Shear writes: I'd argue the long tail for sports may be common in, you'll have to replace you. It took a painfully long time.
The reason Y Combinator.
This is an instance of a safe will be coordinating efforts among partners. In practice it just feels like a loser they're done, she doesn't like getting attention in the definition of property.
The thing to do sales yourself initially. 5%. At first I didn't care about GPAs.
Thanks to Paul Buchheit, Gary Sabot, Trevor Blackwell, Tiffani Ashley Bell, and Jeff Arnold for sharing their expertise on this topic.
Yashahime Translation: Animedia January 2021 Issue
Please do not repost this translation without my consent! This includes screenshots of any type and amount. If you wish to share this translation, simply link to this post.
For more information regarding the use of my translations, click here.
I do apologize if some of the translations feel awkward. This one was slightly technical so I had to do some research on the side.
Animedia Education Lecture
You think you know but you surprisingly don’t
Working in Anime
— Editing Edition –
A corner where we delve into the work of anime production. This time, we ask Nii Kazuhiro of (share) IMAGICA Lab., who handles the editing for “Hanyō no Yashahime”, about editing!
The job of “editing” is vital not just in anime but also in live movies and tv dramas. People who like films may be able to vaguely imagine the burden of having the big role of organizing the scenes. However, exactly what sort of work do they do in anime production? This time, Mr. Nii Kazuhiro of (share) IMAGICA Lab., who oversees the editing of the action packed “Hanyō no Yashahime”, makes an appearance! We had him discuss editing and the special work process unique to “Hanyō no Yashahime”.
Tell us Nii-san! Let’s learn about “Editing”
Q: What kind of job is “Editing”?
It is a job that manages the flow of the whole film by connecting scenes or shots together. For example, how well a signature move in battle or sports is executed is dependent upon the tempo adjustment “editing”. Other things like scenes where shots are divided effectively by the placement of songs or music in an important work, will always have an editor’s hand (adjustment) involved. Even if the animation is created to flow exactly like the storyboard, a lot of times the timing of those scenes is fine-tuned with editing. Timing is just as important as properly moving images after all.
Q. During what phase of the anime production do you work?
Typically in anime, shots are edited at a phase where the color and sound have not yet been added and is completed as each phase in the production moves forward. Editing takes place before the audio work. Basically, it occurs twice: before voice recording and dubbing (translator’s note: Dubbing here does not mean voice over! Dubbing is the phase where they mix the voicing, sound effects, and music together to match the images). There are many works where color is added after dubbing has concluded, but in “Hanyō no Yashahime”, in order to allow for dubbing with the color, colored images are used as materials when editing. Since the images are colored, we can confirm the fine details with the director and production supervisor and then make adjustments.
Q. How does one become an “Editor”?
I entered a vocational school focused on film making and learned not just about editing but film making as a whole such as filming and lighting. There wasn’t any convenient editing software at the time, so I joined my current company that does film production thinking “Editing is something that can’t be self-taught so I want to learn on the job”. If you want to pursue editing, then you should watch as many different types of films as you can. You can’t notice things in production like direction and the camera angle of a shot if you don’t have interest in it, so I think it’s best to study it for the sake of knowledge.
Q. What abilities are needed for “Editing”?
Communication skills are an absolute must. Especially in animation which has a lot of detailed work itineraries and staff members creating it. To ensure that there are no mistakes, you must ask the director or production supervisor on anything you are unsure of. Of course, you can’t keep asking questions on every single shot so there are times where you will need to understand past productions and make decisions yourself. However, being able to muster up the courage and ask when necessary is important. You need communication skills for that purpose.
The “Hanyō no Yashahime” Production Site Packed with Fixations
— Please tell us the details on how you came to oversee the editing in “Hanyō no Yashahime”.
I had the opportunity to work with Director Satō (Teruo) on “Aikatsu Stars!” and he reached out to me. Since the story was connected to “Inuyasha”, which was broadcasted when I was a child, I felt a lot of pressure at first. While I was nervous when I heard the that main staff hadn’t changed much from “Inuyasha”, I felt “That’s all the more reason I have to work hard”.
— In regard to the editing work, did Director Satō make any demands?
I touched on this earlier in my response to “what phase we work” where I discussed how the director requested “Please have the images close to completion before the dubbing, where the music and voicing will be decided finalized, takes place. I would like to have editing done just before the dubbing as well.” This is what makes this so different from other works.
For example, in action scenes when the image is unfinished, it’s hard to understand the small movements or context. Hence, it’s difficult to take a “Maybe make the tempo like this” sort of editing approach. In typical animes, there are a lot of times where the final images solidify after the sound is completed. When that happens, there’s not much room to make edits for the most part.
However, in “Hanyō no Yashahime”, the images are mostly done before the dubbing so we can make adjustments with the director while matching the images with the voice actor’s lines. I thought it was a good idea. This is a trait unique to this work.
— Was there an aspect that you yourself focused on when editing this work?
While it’s a work with a lot of serious developments, what I focus on during those scenes is the “the interval between emotions”. In live film works, for thinking scenes, the actor’s “thinking act” is included so there’s an interval. However, in anime, the movement simply stops and there are no lines, so a lot of times you can’t measure the interval. Nevertheless, those serious scenes are important in “Hanyō no Yashahime” so I think it’s important to have “intervals” which is what I’m careful about. On the other hand, there are comical scenes, so I’m careful not to destroy the tempo. In anime, the tempo can change if it’s off by 6 frames*
*1 frame = 24 frames per second
The Feeling of Fun in Doing “Editing” Work
— In anime editing, does the work’s genre make a difference?
It does. Lately in action and sport (animes), materials included are not just from the storyboard but also from 3D CG as well, so we’re careful to make sure the connection between that and normal image (2D) scenes don’t feel out of place. When I first started, I couldn’t get the hang of it and was at a loss. The 3D CG portion is done by a different production team instead of the animation (drawing) team, so during my edits I couldn’t visualize the complete final form and fumbled as I worked.
In terms of idol anime, there’s “Aikatsu Stars!” that I worked with Director Satō on, but I was still a novice then… In work that’s geared towards children, I focused on making the tempo of the conversation scenes as steady as possible. If the tempo is too fast, it will end with everything being breezed through and a child will become unable to follow. I remember being careful of that.
— Are there times where you have to edit multiple episodes at the same time?
I mainly only work on one episode at a time. It’s just that periodically I have to confirm and make adjustments on a line-by-line basis in another episode at the same time.
— What part of “Editing” do you feel makes the jobs worthwhile?
In anime, images and CG shots that have been completed at each phase of the process are gathered individually as materials for editing. Updating those materials into one new episode and getting to see the finished product first is what “Editing” is. I think this is what makes the job of “Editing” fun the most. I get a sense of responsibility that I’m managing not only the shots but the entire work as a whole. Also, because I’ve seen the production process, I feel happy and simply moved like “That’s amazing” when all the phases are completed and the whole anime is finished. This is when I feel worthwhile as an editor. Also, I don’t think there’s much opportunity to take part in the production of the character movement and camera work in live filming, so I think this is what makes editing anime fun.
— After going through all the work, how do you feel when you watch the broadcasting of the finished version?
I end up watching it from different angles but when I watch it as a regular viewer, I become happy nonetheless. Of course, there are times where I personally think “I should’ve done this” at the little things. Now with social media, I know the viewers’ reactions in real time, so when there was a huge response to episode 1 with Inuyasha and the others, that put pressure on me going forward (laughs).
The Charm of “Hanyō no Yashahime” That You Personally Enjoy
— Of all the episodes that have been broadcasted thus far, which episode left the biggest impression on you?
Episode 3 where the three heroines (Towa, Setsuna, and Moroha) came together. I got to watch the (voice) recording for that episode and the battle scene was really cool. Also, I was able to properly draw the first conversation between the three so that left the biggest impression on me in that sense.
Then there’s episode 7. It’s the episode where you return to the scene of the three of them that at the very beginning of episode 1. The composition of back tracking up to episode 1 left an impression on me, so even as I was editing episode 7, I admired how it felt like the mystery was being revealed or rather feeling like “I see. This is where it connects”.
— By the way, who is your favorite character personally?
Moroha. She’s fundamentally an energetic character, her skills in action scenes are cool, and the way she seems to mimic the movements of her father, Inuyasha, is entertaining as well. While she behaves in a manner that makes you wonder if she had a tragic past, she’s a character whose emotions are easy to read so that’s why she’s my favorite.
— Including upcoming highlights, please give a message to our readers.
Going forward there will be more episodes regarding the three heroine’s past which I think is a highlight. As I was editing a future episode, I felt “We’re approaching the true nature of the story”. Please look forward to the cool action scenes and the episode where the three’s past will become clear.
RE: WIPs game: do I even want to know what Dicebenders is is it another scam how many times are the Gaang gonna get arrested for scamming
No, this time it's me scamming people. XD The dice in question are the RPG Dungeons & Dragons kind.
For a while I was doing a screencap webcomic in the style of "DM of the Rings" and "Darths & Droids" with another creative fan named Captain Boomerang. I was the scriptwriter and selected the screenshots for each panel, and Capt-BA would assemble the comics and improve my scripts (a process that did frustrate me a little, as I felt locked out of the revision process, but I did like the results. I just felt like I wasn't holding up my end of the partnership a bit). I wrote a story bible explaining the characters and storytelling rules, planned out the adaptation of the entire AtLA premiere, and had less detailed plans for the rest of the series, but we only got 6 comics in before Capt-BA went on a trip and never returned to the internet. I did manage to re-establish contact with her long enough to get permission to continue the comic, but the problem is that I have no image-editing skills whatsoever.
If I could find comic-making software that I know would do what I want and be easy to use, I wouldn't mind dropping some money on it, but everything I've looked at is trying to do lots of things I don't need. I only want a way to import existing pictures into comic grids, and then easily add dialogue bubbles. That's it. But the stuff I've found is more about image-editing than comic assembly, and it takes me an hour to put together a dialogue bubble that looks good. So I have 3 scripts that were never produced, which along with the planning docs are what's in that WIP folder, and I don't ever see myself going beyond that.
Besides, someone else already managed to complete something like this, and while I'm not a fan, I don't need to be. At this point, Dicebenders is dead. I'm glad I tried it, and it's a shame it didn't work out, but I'm happy with the other projects I've done instead.
I am squatting on an empty Tumblr for it, though.
Anyway, to share something new, here's the first section of the Story Bible I wrote to make sure Capt-BA and I were on the same page in terms of characterization. The rest of the bible details the plotlines for full series.
AVATAR: THE LAST DICEBENDER
BIBLE
Premise- A small group of players attempt to run a fantasy martial arts RPG that winds up essentially becoming the Avatar saga, or something very close. The main point of the series is comedy, based mostly on ridiculous links between Avatar and RPG's. Sometimes the humor will be in the vast difference between what happens in the comic, and what happens in the cartoon with the same screenshots. Other times, the funny will come from the unexpected ways they converge.
SPIRITUAL PREDECESSORS
DM of the Rings- The original, and my personal favorite. It's a good showcase of how to run a single quest together, while using narrative jumps to skip to the good bits.
Darths & Droids- A similar project, this stands out from its predecessor in two main ways. The players and GM are more friendly with each other, and are more or less having fun with each other. There is also a running, coherent storyline in both the game and in the lives of the players.
Benders & Brawlers- This is actually an existing attempt to do Darths & Droids with Avatar. This is helpful as an example of what we DON'T want to do, retell the Avatar story in a completely straightforward manner, with RPG players behind the characters.
CHARACTERS
None of the characters will be given real names. The players shall always be referred to by their character names, although this can be done in a teasing, ironic manner. When the characters are speaking, their dialogue bubble must always be attached to an image of the character.
The Gamemaster- The GM is a female in her early teens. She is a geek, and a bit of a social outcast for it. Nevertheless, she's trying to make that work for her, although she's not quite mature enough to make it happen yet. She has just discovered RPG's, and in her enthusiasm has gone all out in starting her own campaign. The only problem is that she doesn't know how to recruit players, so she ropes her best friend and little brother into playing with her. This is the GM's first campaign, so she'll a little in over her head. She knows the mechanics of play, and what she's supposed to be doing as GM, but doesn't have the fine skill in crafting an engaging RPG experience. Still, she wants to do her best, is willing to learn, and has a positive attitude about the whole thing. The GM has a strong crush on the Sokka player, but the only way she can express it is by having all the female NPC's flirt with the Sokka character.
Katara- Female in early teens, and the GM's best friend. Katara's player was friends with the GM from when they were both in grammar school, so while they have grown up into wildly different personality types, they are fully loyal to each other. Katara is popular, and outgoing, and doesn't care or know about geek stuff at all. She's only playing the game because the GM begged her to. At first, Katara is clueless about RPG's, and frequently questions or ridicules the mechanics of the game. She never quite gets into the idea of role-playing, but quickly takes to the idea of meta-gaming. She'll have her character act like a righteous do-gooder, because completing missions and fighting bad guys earns XP. She hoards items that will boost her stats. She'll advocate abandoning a mission/plot if it doesn't pay out enough rewards. Katara's player also can tend towards trying to Mary Sue her character, but this is inconsistent and usually shot down by everyone else.
Aang- Male in junior high, and the GM's little brother. He plays simply because his sister has cajoled him into it, and there are hints that he's getting some kind of reward or payment for it. He abuses his position by forcing the GM to give him what he wants in the game, even if it breaks the rules- access to the restricted Airbender class, the ability to bend all four elements, overloaded stats, an Avatar State that protects him from dying, a magic super flying cow ride, etc. However, it's important to note that Aang's player isn't a jerk. He's just immature, and like all kids, just always goes for what he wants via the easiest path, and doesn't realize that he may be causing trouble or hurting feelings. He's enthusiastic about trying out this RPG thing, but he has trouble coming up with any action beyond attacking or retreating. He's also hyper aware that the GM and Katara are girls. He is too old for cootie concerns, but thinks that girls are fundamentally different creatures with their own incomprehensible concerns. Having a big sister, he doesn't find this a big deal, just part of life. Aang's player is too young to be a geek. He likes cartoons and sports and fantasy and school-dramas. He also tends to follow whatever his sister likes.
Sokka- Male in late teens. This guy is your quintessential RPG player. He has is own top-quality dice, he's played campaigns and systems of all kinds, and knows the tropes of the hobby cold. He's a huge geek for all things geeky, but roleplay is easily his favorite. He's a social outcast, but he's made friends among his fellow geeks, and thinks life is just fine. Sokka's player joins when he meets the GM at the comic/games shop they both frequent. The GM was buying some sourcebooks and material to support the fantasy martial arts game she's running, and Sokka noticed, asked about it, liked what he heard, and got permission to join the game. What Sokka doesn't realize, because he is a geek and neither has experience with it or realizes it's even possible, is that the GM is sweet on him. This manifests in the character Sokka's canon luck with the ladies, only kicked up a notch. *Every single* female NPC flirts with him, whether it's appropriate or not. Sometimes player Sokka notices and tries to roleplay it, and sometimes he's just plain confused. Sokka has a few quirks. His best set of dice are his Lucky Red Dice, which always roll high when he needs it, but have been tested and proven to be fair dice. He also mandates that every character he plays use a boomerang; he was turned into a geek by the first video game he ever played, a Legend of Zelda title, and his favorite weapon from those games are the boomerang. Each of his characters has a unique, named boomerang.
Zuko- The GM's favorite NPC. She created him to be a compelling, dramatic character, with a complicated back story, moral struggles, badass loner personality, angst about his existence, a darkly noble quality, and a cool scar. The GM intended Katara to get to know Zuko, for her to try to woo him away from the side of evil, and perhaps to even have a romance with him. The PC's, however, couldn't care less about him. To them, he's just another mini-boss, and the fact that most of his character development is happening "off screen" means they don't realize that he's recruitable. A frequent gag is Zuko delivering a stirring monologue while no one pays attention.
Iroh- Background NPC. The GM tries to use him to give (ignored) hints to the players.
Toph- (tentative) A male munchkin gamer who picked a long list of weaknesses in order to get superbending. Toph's player is a friend of Sokka's player, brought in after an "incident" with his old group, and causes some initial resentment in the group when tries to show the n00bs how its done. Cowing Toph's player is a major victory for the GM.
Momo- NPC, but maybe make him a talking sidekick who gives the players hints when the GM is really exasperated?
Azula- the GM's best favorite villain. Azula is the GM unleashed, letting her take out frustrations on the players in both combat and harsh taunting. Eventually the GM comes to like the character so much, she retcons mental health issues into the character's backstory, and has her pet NPC, Zuko, spare her.
After months of trying to find a library to supply this over interlibrary loan, I’ve finally managed to get a copy of the cover story from February 1995′s Animation Magazine, about Where on Earth. Aside from the truly cringetastic headline on the cover, the article itself is poorly written and just as poorly researched (for example, saying that Carmine appears on the cartoon), but it does have snippets from interviews with several execs at both Brøderbund and Dic.
A scanned copy of the article (featuring some concept art of Carmen, Ivy, Zack, and a nameless goon in regrettably low quality) is available in my online archive, or read the text (with some spelling and punctuation corrections) below the cut.
Lady in Red
by Morrie Gelman, special to Animation Magazine
The commercial television version of Carmen Sandiego, the lady in the stylish red hat and shoes who steals national treasures such as all of the sushi in Japan is, surprisingly, the most successful program ever produced by DIC Entertainment. Maybe not so surprising, since with more than 4 million units sold since 1985, Where in the World Is Carmen Sandiego?, currently out in a junior version on CD-ROM, is computer software’s best-selling history and geography title ever.
Carmen is the first software character ever to make the leap to television. In addition to the DIC-produced Where on Earth Is Carmen Sandiego? educational/entertainment series for Fox, Where in the World Is Carmen Sandiego?, a game show, is in its fourth season on PBS.
It was four years from the time Andy Heyward, president and C.E.O. of DIC, spotted Carmen as a computer game designed by Brøderbund Software to provide young people with exposure to world geography and cultures before it ever got on commercial television.
Heyward read a story about Where in the World Is Carmen Sandiego? in the business section of the Los Angeles Times. He went to the Northern California community of Novato, where Brøderbund Software is based, and met with company officials. He said at the time, “I would like to option the property,” and then took it over to CBS.
DIC had the property in development at CBS for three consecutive years. It was still in the running when Heyward had lunch with Margaret Loesch, president of Fox Children’s Network at the Big Boy restaurant in Burbank.
“CBS developed it and at the final bell decided that educational programming was too risky,” Heyward recalls.
At a NATPE in the early ’90s, Barbara Kriesman, the FCC attorney in charge of the Video Services Division, was the main speaker at a children’s seminar. The seminar was focused on compliance with the recently enacted Children’s Television Act requiring broadcasters to air programming that meets the educational and informational needs of children. Stations were told, in effect, they would lose their licenses if they did not comply.
It was clear that Fox had to protect itself. Margaret Loesch is a very competitive person. She was ready to take a chance.
Heyward told her of DIC’s developing Carmen Sandiego with CBS. She asked if it was picked up yet and he said, “No, it wasn’t.”
Loesch said Fox would pick up the series if it could have an exclusive.
According to Heyward, Loesch made “a big pitch” on why Fox would be a more competitive environment for Carmen Sandiego. Heyward listened and agreed, finally saying, “OK, let’s go.” The show made its debut on Fox’s Saturday morning line-up from 11:30 to noon last February as Where on Earth Is Carmen Sandiego?
By Heyward’s evaluation, Carmen has been more successful than any “educational” show, ever, especially because “kids don’t think of it as an educational show.”
That it be highly entertaining was DIC’s hope and aspiration from the start.
“We work very hard to get a lot of stuff in there that kids learn from,” Heyward says. “The production has not only cel animation but computer graphics, source footage and live action.”
Heyward confirms that “Carmen Sandiego is far and away the most successful program we’ve ever produced.”
For Robby London, senior vice president, creative affairs at DIC, Carmen Sandiego is the company’s “flagship” program and one of his “favorite, favorite topics to talk about.”
While London admits that everybody always says that some show or another is “unique,” that label is totally valid for Carmen.
Some of the things that make Carmen unique are the many disparate production elements not often seen on Saturday morning television.
Carmen includes regular cel animation to carry the narrative forward. Silicon Graphics Inc.’s computer animation takes characters from place to place throughout the world, allowing viewers to learn about the places. Within the SGI platform, still photos are used, such as source footage of Franklin Delano Roosevelt making a speech, along all sorts of other visuals, including graphs.
Another component is “limited animation,” which is quick, little, perhaps 5-second, images of a rather silly animation that is in a completely different style from the regular cel animation. Live action appears throughout the episodes in terms of the players playing at home on the computer against Carmen Sandiego. This is the whole basis by which DIC tells the story.
Michael Maliani was executive producer and producer of Where on Earth Is Carmen Sandiego? the first season of the show. With DIC currently working on the third season, Joe Barruso, who previously directed the show, is now producer.
Maliani, who was in at the earliest stages of development, remembers that “What we were trying to do was make something entertaining and educational. We wanted to be different. We really wanted to make it interesting to watch. That’s why we wanted to have so many elements.”
Kids like variety, Maliani contends. With that in mind, DIC decided to produce Carmen with different media, including standard cel animation, other computer graphics and some live-action added in. “We thought we could show the educational stuff without being boring,” Maliani explains. “We didn’t want to make the show a lecture. We wanted to weave the education into the plot.”
Like the computer game, the DIC series is full of visual and spoken clues about the mysteries Carmen Sandiego, her cunning cat Carmine and her gang of goofball thieves stealing such ambitious treasures as the roof off the Taj Mahal and statues from Easter Island. Viewers (players in the computer game) get help in trying to stop Carmen and her henchmen form the ACME Detective Agency. The DIC series (and now Where in the World Is Carmen Sandiego? Junior Detective Edition on CD-ROM as well) features the young characters Zack and Ivy who report to The Chief. The plot of each episode (and the objective of the computer game) is to follow geography-based clues and “bag the bad guys, recover the stolen loot and put Carmen Sandiego and Carmine in the clink.”
Along the way, viewers learn such facts as the height and location of Mt. Everest, and that the Sphinx in Egypt has the body of a lion with the head and breast of a man.
“We knew we were going to fit right in the 6 to 11 age demographic,” explains Maliani, “but we wanted to make Carmen a little more sophisticated so we could get the older kids.”
A major difference between Carmen the computer game and the commercial TV series is in visualizing the capers. The computer game offers as a premise that the Eiffel Tower or the Taj Mahal is stolen. DIC’s production team had to estimate the weight of the Taj Mahal and then figure out what it would take to lift it.
DIC’s researchers established that four Russian helicopters could hoist the estimated weight of the Taj Mahal roof.
The next problem was how to accomplish the feat. DIC’s solution? Use a laser to cut off the roof. Add hooks to it and lift it off.
“We had to figure this stuff out,” Maliani notes. “It’s kind of fake but almost real.”
London explains that many shows on Saturday morning have had a degree of pro-social values. One of the things that is different about Carmen from all these other shows, according to London, is that Fox and DIC took the “conservative high road” that pro-social is not sufficient to fulfill the mandate of the Children’s Television Act.
“Carmen can’t just show good moral values and teach little lessons in living,” he points out. “It must have a measurable curriculum that actually teaches information, not just lessons in living.”
Among the consultants on Carmen is Dr. Peter Kovaric, a professor at UCLA in the Graduate School of Education, who is also director of the school’s educational technology unit. Kovaric is an acknowledged expert on using technology, such as television, to teach kids.
He reviews all Carmen scripts and helps DIC’s production team conceptualize shows. “It’s an exemplary relationship,” affirms Kovaric.
“One of the very good things about Carmen is that it is a commercial venture and is reasonably successful. That may help lower the reluctance of broadcasters to try something new and different,” he observes.
DIC also employs Barbara Wong, a teacher and principal of Baldwin Middle School in the Alhambra (Calif.) school district. Wong credits the DIC production team with being “very concerned” about having quality programming for kids. “They’re very in tune with people like myself and very open.”
Carmen, she points out, “has a lot of elements in it that readily apply to a teaching situation.”
Wong explains that while Carmen is not a “surrogate teacher,” the show does quality as “a nice addendum – a nice resource to have.”
Wong gets screen credit as Curriculum Consultant. Kovaric is Educational Consultant.
According to London, Carmen, in addition to gaining an educational seal of approval, invariably wins its time period. In the Sept. 1993 to July 1994 Nielsen data, Fox’s Saturday morning line-up, which includes Mighty Morphin’ Power Rangers, X-Men, Bobby’s World, Tiny Toons, Taz-Mania, Eek the Cat and Carmen demonstrates the last is one of the top shows not only with kids 2 to 11 but with persons 6 to 17.
It averaged a 6.0 rating with kids 2 to 11 and 5.1 with the older demo, suggesting that as an educational program it’s holding its own handily against traditional animated entertainment, including action/adventure.
Another measure of Carmen’s appeal is that in the same Nielsen measured time-span, “the lady in the red hat” has more viewers than Beekman’s World and Bill Nye combined – not only with kids 2 to 11 but with persons 2 and over.
“It’s by no means a loss leader,” emphasizes London. “It’s not even number one by default. It really holds up Fox’s ratings.”
Maliani, who is senior vice president in charge of development, knows he risks sounding hokey but points out that in his 10 years with DIC he has wanted to try “to make a difference.” In Carmen Sandiego, he says, “we have a property where you could actually learn.”
In large measure, Maliani speaks for everyone connected with the Carmen Sandiego property when he comments: “This is the one show that really meant a lot to me and I gave it my all. I gave it everything I had and everything I could think of creatively. I wanted it to be special.”
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Carmen Sandiego began life as a computer game – a history, geography, educational title – by way of Brøderbund Software Inc., Novato, Calif., a diversified consumer software company. Founded by Douglas Carlston, Brøderbund is one of the hottest names in educational software publishing.
For the recent holiday season Brøderbund published Where in the World Is Carmen Sandiego? Junior Detective Edition, an icon- and dialog-based CD-ROM product designated for 5- to 8-year-olds.
But Carmen Sandiego isn’t just a game. The software series inspired two TV shows for kids: DIC Entertainment’s animated adventure Where on Earth Is Carmen Sandiego? On the Fox Kids Network, and the PBS game show, Where in the World Is Carmen Sandiego? produced by WGBH Boston and WQED Pittsburgh.
Brøderbund constantly works at new ways to update the original product. Software titles include Where in the USA Is Carmen Sandiego?, Where in Space Is Carmen Sandiego?, Where in Time Is Carmen Sandiego? and Where in America’s Past Is Carmen Sandiego? in addition to the signature Where in the World Is Carmen Sandiego?
Brøderbund has creative input on every Where on Earth Is Carmen Sandiego? script, but not necessarily every storyboard.
Ken Goldstein, publisher of Brøderbund’s Education and Entertainment Products Group, describes his company relationship with DIC Entertainment as “very healthy.”
He was deeply involved in the first season of the DIC/Fox series, establishing the working relationship and the new ground rules. Since then he’s passed on regular contact to his staff, yet still signs off on every set of script notes (drafts of every script are read by Brøderbund staff and every storyboard reviewed).
For the most part, the DIC series scripts are different from those used by Brøderbund, but there’s some synergy. Brøderbund has introduced a new character into its most recent software, Stretch the Crime Dog, described as “a lovable, clue-sniffing, crime-busting canine” who works for the ACME Detective Agency.
Reciprocally, the software is now using agents Zack and Ivy and The Chief from the DIC animated TV series.
“Carmen is a perennial for us,” notes Goldstein. “It really is an evergreen product, a premier intellectual property. I’m delighted to manage its existence.” According to Goldstein, Carmen Jr. will probably go Gold in the software business, which is 100,000 pieces, within a couple of months.
Brøderbund, Goldstein also reports, does a lot of licensing, including T-shirts, mouse pads and backpacks, among other items. Carmen is also very much an international product. Goldstein says Carmen software is “very big” in Spain and Mexico, and also especially popular in Israel.
There’s a Japanese version of Carmen, plus a cartridge version on Nintendo and Sega, which has not done as well as Brøderbund would like. “I don’t think it’s the right venue for that product,” Goldstein remarks.
Brøderbund is stepping up to a new level of international distribution on March 1, opening its own Brøderbund Europe office and publishing localized versions of new Carmen products from that time forward.
By Brøderbund’s design and demand, there are no guns or other weapons in the Carmen Sandiego TV show or software. The Carmen character does have henchmen, but, points out Goldstein, “it’s very much ‘Three Stooges.’ They botch things and they use such things as big suction cups, funny gadgets and outlandish vehicles, but there are never any guns, no bombs, no grenades, no violence. They never threaten the detectives. It’s all a game of wits.”
Brøderbund also has been very careful not to portray stereotypes, to make sure with the software that all different types of international cultures are reflected positively. DIC is equally sensitive about portraying stereotypes and respecting different cultures.
“Computers have revolutionized the teaching world, and now classrooms will never be the same,” suggests one reviewer of Carmen software.
“Programs like Carmen let students explore their own paths of learning,” points out another.
Morrie Gelman is the president of Ventures in Media, a market research, information packaging and television development firm.
