Is the Anime Naruto Suitable For Kids?

Growing up from the US, most kids have grown up with cartoons such as Bugs Bunny and Popeye which portrays the good overcoming evil as well as satires that pokes fun of political figures in a none threatening way. For kids, the majority of the time these cartoons have provided a positive impact rather then negativity or problems.

With the recent months in the rising popularity of Japanese animation especially the series of Naruto, many parents are now worried that it may pose as a negative influence for children. Not only does it portray a lot of problems shown within society, it also contains a lot of adult humor as well. Is this something that we should allow our children to be influenced with? Will this type of influence give children bad ideas about the society or their engagements with one another?

Before we further examine this topic, we have to first understand the background of the anime Naruto. The story revolves around Uzumaki Naruto, a kid that has an inner demon of a nine-tailed fox who has once destroyed many villages until a powerful kage or a leader of a village who sealed his inner demon away through a powerful jitsu or a mystical technique of a ninja. The demon is then locked away and the story of Naruto begins with the life and adventure that he has to face. All the while knowing that the demon inside of Naruto may come out someday both from his friends and foes.

From the outer appearance and storyline, Naruto doesn't seem harmful for children nor is the general storyline provides any hint of negativity in anyway. However, with different Episodes there has subtle hints of sexuality. For one, he suddenly changes into a woman wearing a bikini from a man in ways through this Episode he seduced his teacher. In another Episode, various characters posses characteristic of a woman although by nature they are being presented as man.

For parents, these are major signs of red flags that tells parents that they are not suitable for children due to inappropriate content. I however on the other hand dare to say that it's actually okay for children to be exposed for these type of influences. Children nowadays are exposed to sex, violence, and crime whether it is from television or in the public area although some may minimize such influences. Whether you believe it or not, children pick things up rather quickly from adults. Instead of prohibiting negative influences, I believe parents should really educate kids at an early age the right and wrong and lead by example which is something that is lacking at large in causing a lot of division amongst the family and the society as a whole.

Even if we have successfully screened out the popular anime from our children in an effort to protect our children, is this eliminating the heart of the problem? I dare to say no and that we really need to examine ourselves in our communications with our kids in an educational way in light to talk about such events and things. Animations such as Naruto will only increase in this age of globalization and we need to learn how to cope with it rather then excusing ourselves from facing the true reality of this world. With proper education and support, I believe we can still enjoy anime the same way that we had enjoyed various cartoons in a positive manner with our children.

Free Animated Ecard and Free Animated Ecards

Free animated ecards are available from a multitude of Internet sources including business, religious, personal, and non-profit websites. You can find a variety of free animated ecards that address any particular holiday, occasion, time of the year, special event or activity. If you need a free animated ecard to say you are sorry, you love someone, you are thankful or you are celebrating, there are unlimited free animated ecards to express just every human emotion. A free animated ecard is an easy and quick way to send anyone a special thought via the Internet.

Free animated ecards have become wildly popular with the ease of Internet functions allowing web users the freedom to receive and send ecards that come in many different styles and designs. A user can find a free animated ecard that is humorous and displays cartoon clip art with cute quips. Beautifully illustrated, religious free animated ecards are also available offering recipients encouraging Bible verses. Free animated ecards displaying flash effects can be found through some sites that spark an enthusiastic response to anyone that receives it. A free animated ecard that displays realistic photography with colorful animation is an enjoyable offering to many web users.

Although ecards can be purchased that sometimes offer a more personalized card or more professional design, free animated ecards have continued to flood the ecard market providing more than just free cards to users. A website that offers free animated ecards, receives varying benefits from their offers. Although offered at no charge to user, a free animated ecard is offered as a marketing method for many websites. Pulling in card users can also expose those who visit websites to the other products offered for sale. It is always a great marketing move for any website to offer something free within its other offers. A psychological 'good will' is forged with many consumers as well as receiving the free product.

A free animated ecard can also be used to target a particular audience. For example, free animated ecards that provide a variety of occasional choices offered on florist delivery sites will appeal to consumers looking to also send floral arrangements and other delivery gifts to others. Another example is the huge religious interest in free animated ecards that spurs many consumers to visit sites offering other religious products as well. A free animated ecard offers something for everyone from sender to receiver. Any website that offers free animated ecards is not only providing a valuable service to web users, but will benefits from a smart consumer marketing technique. "Look not every man on his own things, but every man also on the things of others." (Philippians 2:4)

Animation in Litigation - An Interview With David Marbach

The power of animation to depict and persuade makes it a natural fit for numerous applications, from advertising to training to product documentation. One industry that has seen a multimedia boom in recent years is litigation. Animated reconstructions have become so commonplace in many types of cases as to be expected.

I recently had a chance to talk to David Marbach, a litigation support professional who has used animation frequently in his work.

Solid Blue Development: Tell me a little bit about your experience in the legal profession and your current position.

David Marbach: I have been in the Litigation Support field for 10 years now with various law firms and corporate entities. I currently manage the Legal Technology department at a large law firm where we work very closely with our attorneys on Electronic Discovery matters and large-scale document reviews and productions.

SBD: How have you used animation in legal cases? For which kinds of cases is animation most useful?

DM: I have used animation in approximately a half-dozen cases. Most of the cases were product liability cases; one was medical malpractice and one was a negligence tort involving a slip-and-fall in a department store. Animations are most useful when they accurately summarize and simplify a complex mechanism or physical situation.

SBD: During mediation, an animation demonstrating the expert testimony a jury would hear at trial can have a profound impact on the opposing party. How can this convince them to settle during mediation? If they hope to capitalize on any confusion resulting from complex testimony at trial, how can an animation that clearly represents this testimony convince the opposing party to settle?

DM: Because of the cost and attention necessary for producing animations, they are rarely used during pre-trial alternative dispute resolution. The earlier in a case that they are unveiled, the higher the chances that the opposition will find a way to exclude them from trial. Animations are normally kept as "ace-in-the-hole" exhibits, however it's possible that they could be brought out during mediations to show how easy it would be to present one side of the dispute in a clear and convincing manner to the jury.

SBD: Admissibility as evidence is key to using animations effectively. How can a side ensure the animation will be admissible if the case goes to trial?

DM: It is virtually impossible to ensure admissibility of an animation unless every single facet of the clip can be substantiated by irrefutable facts. Thus, it is very important to keep animations very, very simple and not take any artistic license. Any deviation from or exaggeration of a physical situation is likely to be objected to -- potentially making the entire animation inadmissible.

SBD: A South Carolina court recently stated that concerns about the prejudicial effect of animations "are diminishing as judges and the public become more familiar with computer technology." How does this familiarity, as well as the opportunity for cross-examination of witnesses at trial, impact the risk of prejudice for animation?

DM: In "Chicago", Richard Gere is ready to speak to the jury when the announcer says, "Ladies and Gentlemen! A tap-dance!" The courtroom is not show business, but only in the same way that an election isn't a popularity contest. There are a set of rules that everyone must follow. This does not mean that you cannot make a fantastically effective presentation while operating within these rules.

The prejudicial effect of animations is certainly being negated as juries begin expecting multi-media presentations to clearly state an argument.

SBD: It seems that communication between the animator and the legal team presenting the case is critical to producing an accurate, admissible animation. How do you ensure that the animation faithfully represents spoken testimony?

DM: More importantly, an animation must represent the irrefutable facts of the case. An excellent way of ensuring this is by looking to facts and evidence presented by the opposition. Attorneys are obviously less inclined to object to facts they themselves have admitted.

SBD: How might a plaintiff's use of animation differ from a defendant's?

DM: A common mistake is to think that plaintiffs' presentations are more fantastic or flashy than those of defendants. All litigants are subject to the same laws and balancing test between the probative value and the potential prejudicial effect of any piece of evidence.

SBD: In practical terms, what are some of the limitations of animation for trial use? What can animation not accomplish?

DM: Animations absolutely cannot show or imply any fact not absolutely substantiated by undisputed evidence. It's greatest purpose is to reinforce, not reinvent or in any way alter the facts.

SBD: While animation can never completely replace descriptive narrative, when an entire courtroom views an animation - judge, witnesses, jury, everyone - and the events depicted are determined to be substantially true, how important is it in establishing the facts of a case? How much persuasive power does an accurate animation hold?

DM: Animation can be unbelievably effective in summarizing a particular version of the facts in a case. It's power lies not only as a tool for effective communication, but in making a series of events tangible to a jury. Chances are, when deliberations begin on a case, the jury will immediately begin talking about closing arguments and effective animations and multi-media presentations. These are the parts of a trial that stick in their mind and help to decide cases.

Kotobukiya Anime Figurines

Kotobukiya Anime Figurines are small figurines of women from popular video games and Anime Series from Japan. All of the figurines are generally in the size range of 6-9 inches tall. They are all of characters in the game or series and are portrayed in different positions and clothing accessories. Many of the figurines are scantily dressed as they give a classy sexy look to these animated characters.

All of the figurines have exquisite detail and craftsmanship and are sculpted by Japanese master animators. All of the figurines are exquisitely painted and are and ready for display right out of its original Japanese language window box. They are all attractive figurines that are exact replicas of their animated characters. All have different poses and looks, as no Kotobukiya Anime Figurines look alike.

The product line of the Kotobukiya Anime Figurines (all PVC statues)

• 1. Dead or Alive - DOAX 2: Dead or Alive Xtreme 2 Kasumi ARTFX Statue
• 2. Dragon Destiny - Ikki Tousen Dragon Destiny Sonsaku Hakufu PVC Statue
• 3. Fate Hollow Ataraxia - Fate Hollow Ataraxia Sakura Matou Vacation PVC Statue
• 4. Neon Genesis Evangelion - Neon Genesis Evangelion Asuka Langley Sohryu - Casual Clothes, Neon Genesis Evangelion Rei Ayanami - BMX Trick, and Neon Genesis Evangelion Rei Ayanami Race Queen
• 5. Shunya Yamashita - The Art of Shunya Yamashita: Mirei-San ArtFX and The Art of Shunya Yamashita: Shii Arisugawa ArtFX
• 6. To Heart 2 - To Heart 2 Konomi Yuzuhara Swimsuit and To Heart 2 Manaka Komaki Swimsuit
• 7. Valkyrie Profile - Valkyrie Profile Trading Arts Mini Figure – Frey, Valkyrie Profile Trading Arts Mini Figure - Lenneth Valkyrie, Valkyrie Profile Trading Arts Mini Figure - Lezard Valeth, and Valkyrie Profile Trading Arts Mini Figure – Lucio
• 8. WitchBlade - Witchblade Maria ARTFX Statue and Witchblade Masane Amaha ARTFX Statue

The Kotobukiya brand has grown into Japan’s number one collector toy company. Kotobukiya was founded in 1953 in Tachikawa, Japan and quickly gained a stellar reputation for the craftsmanship and quality of their various products. Kotobukiya first became known to their fans with their famous line of Final Fantasy merchandise.

More recently Kotobukiya’s top of the line Star Wars and Batman ARTFX have excited their fans. Collectors and admirers from all over the world have come to expect top notch craftsmanship for every product line that Kotobukiya produces whether it be from classic and current Japanese animated series or gaming, comics and movie collectibles. Owning a collectible form the Kotobukiya line means quality assurance and top-notch design from one of Japan’s most honored brands.

Animation Art - 5 of the Most Common Mediums Purchased by Collectors

Animation Cels - A cel (short for celluloid) is a blank clear plastic sheet used by the studio artist to paint an animated character or object based on the animator's original pencil drawing. The cels are then placed over a background and photographed in sequence to produce an illusion of life in the completed film or cartoon short. Every cel is different but this does not mean that every cel is unique. Often multiple copies of a cel were created by the Inkers as color models in order to advance their technique and skills in Animation Art.

Limited Edition Cels - A non production hand painted cel created for sale to the collectors market. It is produced in fixed limited quantities and are easily identified by a fraction (150/500) in the lower right hand corner. They were not used in films or cartoon shorts, and the original intent was to recreate the original production cels. Nowadays many studios release new images not based on production Animation Art.

Sericels - A non production cel created by means of a printing process similar to silk screening. No work is done by hand, therefore no painting or inking is involved. They are often produced in limited quantities of 5000, and they are marketed as a low cost alternative to production and limited edition cels.

Animation Drawings - A drawing on paper in pencil, sometimes colored which is created by a studio artist of an animated character or object for which the cels are later created.

Giclee - The French term "Giclée", literally meaning "spray of ink," is used to describe these prints. Four precision nozzles spray up to a million microscopic droplets per second on to fine art paper. Then, each piece of paper is individually hand-mounted. Displaying a full color spectrum, the prints are lush and velvety, capturing the subtle nuances of the original artwork.

What is 3D Animation? How is it Different From 2D Animation?

In this article I will explain in simple terms, what goes behind the 3D animation that you watch in movies and what makes it different from conventional two dimensional animation.

What is that extra 3rd dimension? Take a piece of paper and sketch a simple figure on it (a cat, a dog or anything that comes to your head). Lets say it is a cat and it is facing you from that sheet of paper. So you have the front view of the cat in front of you. Suppose if you feel that you want to see the cat from a side, will it help if you rotate the paper or flip it? No. Why? It is simply because the sketch you have drawn has the 3rd dimension missing.

Every real world object that you see around has a 3rd dimension and that is the reason why you can take it and rotate it to watch it from different angles. The sketch you have drawn had a length and a width, since the paper you used to draw also had a length and a width. But it lacks a thickness (3rd dimension) and hence your sketch also didnt have that extra dimension.

Suppose instead of sketching your imagination down on the piece of paper, you decided to sculpt it on a handful of clay. Since the medium you used (clay) had volume, you had to define the cats shape from all angles during the sculpting. Hence you unknowingly added that 3rd dimension to it and that is the reason you have the freedom to rotate it any way you want.

How conventional 2D animation works:

Before computers started playing their indispensible roles in the animation industry, everything was done manually by animators, who were essentially artists. They would create a series of slides having images on it, where each slides image is the continuation of the previous one in the sequence. For example if an animator wanted to simulate a ball falling down, they would create a sequence of slides where first slide would portray the ball at the top. The next slide will show the ball, may be 1 cm lower than that in the first slide. In the next one, again lower and so on, till the last slide shows the ball hitting the ground. When the whole sequence of slides are shown in front of the viewer in a fast rate, it creates the feeling of the ball falling down.

The whole process was tedious and time consuming. When computers came into play, the frame redrawing works had been minimised since, copying and pasting duplicate elements between successive frames was very easy with the computers aid. The artist has to make only the necessary changes that should exist between successive frames. As technology advanced, softwares evolved that again minimised the work of a 2d animator, in such a way that several things started getting automated. Using motion tweening and other techniques, an animator can set the initial position or shape of an object and then its final position and shape and the computer would generate the intermediate frames automatically. The artist even has the freedom to make corrections to that.

What was missing in 2D animation?

The 2D animation always lacked the essence, since all the real-world sceneries and objects are 3D and when they gets transformed to 2D, they lose their reality. Later stage cartoons started to simulate the 3D effect by using gradients, and varying highlights, but it required huge extra effort from the part of the artist.

How 3D Graphics works:

The stages in 3D animation are more in number compared to the 2D animation. The first part of 3D animation starts with character sketching and 3D modeling. In the next stage the characters are rigged for animation. In the next stage they are animated. This is in fact a too compact form of what happens in the background. Lets see each of them in a little detail.

· Character sketching: This is the stage where an artist sketches how the character should look from various angles. Usually the sketch will be done on paper or canvas. As many variations in poses are created so that it would help the 3D Modeler to sculpt a 3D Model out of it.

· Character Modeling: A 3D artist, who is expertised in a 3D modeling and animating tool, will examine the sketches and starts sculpting the figure using his imagination and skill. I used the word sculpting because the process is much similar to the real sculpting we do with raw materials like clay. The software tool that the artist uses provides various approaches to perform the modeling. Usually organic modeling techniques like Polygonal Modeling (a polygon is subdivided to get the desired shape), NURBS modeling (curves are arranged to create a surface flowing through them), Subdivisional Modeling (A hybrid blend between polygonal modeling and NURBS modeling) are used. In these modeling techniques, the 3D modeling artist will sculpt out the characters shape in 3D using a set of tools provided by the 3D modeling software, by following any of the above mentioned approaches.

The 3D Model obtained finally will be in an editable form and the model will be dependent on the approach used. For example a NURBS technique will yield a 3D Model in the NURBS representation (curves and surfaces). Once the modeling is complete, the artist converts it into the basic polygonal mesh (vertices alone). The polygonal mesh is nothing but a huge number of polygons that are arranged so as it forms the whole character. This conversion to polygonal mesh offers many advantages like faster rendering speed, and multi-software compatibility.

· Scene building: In addition to the characters the animation will have an environment and related objects. The 3D modeling software provides methods to simulate the environment, model the world , sun etc. For example in the 3d modeling and animation software called Maya, the artist have a huge library of Paint effects that contains Trees, leaves etc from which he can drag and drop into a scene and customize it in accordance to needs.

· Texturing: During this stage, all the objects in the scene are given suitable textures using the 3D animation tools specific facilities. Some tools provide only facilities for mapping an image texture on to the 3d model, whereas advanced tools even let you paint on the 3d meshs texture surface.

· Lighting and Camera setup:

This process is much like that in a real world movie making. The 3D animation software provides different types of lights which you can place in the scene in any direction you want. You can adjust the intensity, cone angle or even the shadow cast by the individual lights. Camera also is the replica of the real camera we use for shooting. We can place multiple cameras in a scene; adjust its focal length, aperture size and almost every parameter that you can find in a real camera.

· Animation: Once the static elements have been set, the 3D artist applies motion to them. This process, called animation is performed by setting keyframes. In order to animate a ball falling, the animator would set the first key frame at say 0th second with the balls position at the initial top position. He would set the next key at say 5th second with the balls position touching the ground. The 3D animation software interpolates the balls falling action between the 0th and 5th seconds. The animator can customize the interpolation behavior using graphs or by setting intermediate keys.

In Character animation, similar principles are applied. The skeleton will be animated by the animator and the 3d mesh skinned to the skeleton gets animated automatically. Character animation is often aided by plug-in tools (e.g.: biped) that has been created specifically for creating character animation sequences like walking or running cycles. The various scene elements, cameras and lights are animated using basic key-frame animation, based on the story board requirements.

· Rendering:

Once the scenes are animated, it will undergo a process called rendering, in which the 3d representation is converted to a video format, which can be read and edited using professional video editing software.

· Editing and mixing:

The rendered scenes are imported into video editing software and edited. In the case of movies where the human characters need to interact with an animated character, proper mixing is done at this stage, though the 3D scene creation would have been done with that aim in mind, using techniques like motion tracking.

The advantages of 3D animation:

You might have wondered why we should go after the 3D animation, when the whole process itself takes a number of stages and appears to be very complex. Apart from the complexities involved, it does offer a lot of advantages. Once the modeling process is completed, the 3D software allows very flexible control over the scene and animation. You can rotate the model in any angle you want (unlike 2D). 3D animation software also gives a rich collection of tools that aid the process of modeling and animation. You can choose from a wide variety of modeling techniques based on your requirement. Lighting and camera setup is the exact replica of a real world movie shooting environment. Apart from all these, the ultra realism offered by the 3D rendered scenes makes 3D graphics the best solution for the emerging animation industry.