On July 29th, 2018, Cure WorldCosplay will be launching the world’s first Cosplay Token for sale. Build using blockchain technology, Cosplay Token (COT) is set to be used as a payment currency within the Cure WorldCosplay ecosystem, which involves over 720,000 members from over 180 countries.
Some of the reasons in introducing COT includes:
Cure says the COT is aimed at customers with flexibility in mind. Thus, there will be an option for a portion of COT to be put in the escrow to enjoy the bonuses stated previously.
Furthermore, COT will be the main currency for users on Cure WorldCosplay to tip their favourite cosplayers as well as for service payments within the community.
For security, COT will be listed on QRYPTOS as an Initial Exchange Offering, to provide a save haven to both token participants and issuers. COT is expected to be in use by the community fully by the end of the year on the fast-growing Cure WorldCosplay platform.
More info on Cosplay Token can be gleamed at https://cot.curecos.com/token-sale. There is also a community for COT, which can be joined at https://t.me/cosplaytoken.
Visual Arts Expo 2018 presents All Pixels! All Pixels offers no-nonsense, scalable expert content creation for AAA blockbuster games and mobile games in the areas of 3D asset production (modelling and texture work for in-game items such as props, weapons and level parts), as well as character modelling, texturing and rigging/skinning.
Already a mainstay among discerning game developers, All Pixels have made their mark with 2K Games, Microsoft Game Studios and Wargaming.net for their transparent, flawless execution, ready to go at a moment’s notice. They have also provided quality assurance, IT support, and in-house Japanese translation / interpretation.
We hereby present our guest speaker from All Pixels, General Manager Oh Yea Ji! She was born in South Korea and eventually moved to Kuala Lumpur, where she coordinated global productions as Project Manager for AAA games such as Street Fighter V, Agents of Mayhem, and the virtual reality experience in The Way of Kings. After this period of intense growth, she now keeps the wheels moving forward at All Pixels, ensuring the quality of all outsourced content.
We can't wait to know what an industry veteran has to say about working in All Pixels. See you all at Visual Arts Expo 2018!
Visual Arts Expo 2018 presents Streamline Studios! Currently under Streamline Media Group, inclusive of All Pixels, Streamline Games and Streamframe, Streamline Studios has been ever-present in the creative industry for the last 17 years, working from everything from mobile games to blockbuster triple-A titles known to even the most casual of gamers.
Left: Bioshock Infinite; right: Gears of War.
Constantly Delivering the Promise, Streamline Studios was built from the ground-up by game developers, for game developers. It has been the games industry’s creative vanguard since its conception, delivering on more than three hundred triple-A games, films and advertising projects worldwide, and will continue offering the same world-class external development services for countless other developers and publishers, large and small.
Left: Monster of the Deep: Final Fantasy XV; right: The Way of Kings: Escape the Shattered Plains
Therefore, we are chuffed to introduce speaker Richard Cheah, General Manager of Streamline Studios! Despite his background in Medical Bioscience, he joined the company in 2013 as a Project Manager and worked his way up the ranks and through the profiles of well-known games from Capcom and Square Enix, just to name a few.
Don't forget to book tickets at our site as soon as you can! We look forward to seeing such a major voice in the creative industry share his experiences with us on the stage at VAX 2018.
Visual Arts Expo 2018 presents Frontwing! You may know them as the studio behind visual novels Time Leap Paradise SUPER LIVE!, Netherworld Angel Djibril and more recently, the English-language editions of the localised Grisaia series such as The Fruit of Grisaia.
English-language versions of their games are available on Steam for the PC, especially new titles such as Momoiro Closet and ISLAND.
.Thus, we proudly welcome Yōsai KŪCHŪ, character designer and art diretor credited with Queen's Blade and Underworld Angel Jibril; FUMIO, game illustrator for Fruit of Grisaia; and finally, Keiichiro Kawaguchi, director of titles such as Frame Arms Girl, Phantasy Star Online 2: The Animation, Mayo Chiki!, Nyan Koi!, OniAi, Jinsei, and Hayate the Combat Butler.
We look forward to your participation in Malaysia for the first time, and your upcoming works from Frontwing studios!
Visual Arts Expo 2018 is proud to feature Dave Ross!
A graduate of the Animation Program at Sheridan College, Canada, Dave found himself looking for more challenges outside of the animation world. He stumbled upon the comics industry, and has since made a name in it.
His hats come from many universes such as Marvel, DC, and Star Wars, and some date all the way back to the 1970s with The Spectacular Spider-Man (1976).
More widely known would be his many credits as penciller, inker and cover artist of titles such as:
• Avengers Westcoast
• Captain America
• Star Trek
• Star Wars: Dark Times
He is also says that, "I can't resist the challenge of rendering strange new worlds and fantastic situations on a daily basis --- filling stark white panels with scenes rich in depth and intensity!"
Currently, he is also a co-coordinator and instructor in Illustration for Sequential Arts in Max the Mutt College of Animation, Art & Design, in Toronto, Canada.
We are honoured to have such an industry legend join us for Visual Arts Expo 2018, and hope to see you there with us as well!
You can check out his works at his home page.
This may or may not surprise many of you - most of the streaming services commonly used to watch anime are actually illegal.
Jokes aside, illegal streaming is undoubtedly harmful to the anime industry, costing around 288.8 billion yen in 2014 (approximately 2.5 billion USD or about RM 10.5 billion) which, in an industry already known for having absurd work hours for little pay, isn’t all that great for the future of animation. Of course, trying to give more money to an animation studio may not necessarily raise salaries, but it can certainly help to support well-made anime and takes away company executives’ excuses to take advantage of often lowly-paid animators.
Piracy comes in many forms; however, the simplified definition boils down to any form of directly profiting off someone else’s content, where none or little of the proceeds go back to the creators. Before we address how to give back to content creators, let’s discuss reasons why someone may pirate rather than watch anime legally.
There are more reasons, but these are the major ones and should be addressed beforehand. Firstly, it is indeed difficult to watch some anime titles legally especially if the country’s distributor decided not to allow it to be shown for whatever reason. It’s also unfair to have to wait several months to watch an episode that consumers elsewhere have already watched, as spoilers will impact the enjoyment of the title. Finally, one may be understandably cautious about spending on any shows - especially if it does not live up to its hype. These are all understandable reasons, but there are ways to contribute to the industry if you cannot directly support its creators.
Most obviously, the most direct method is to watch via a legal streaming service, such as Crunchyroll, Hulu, Netflix, Anime-Planet or iFlix. This ensures your money makes it back to the anime studios, as these services pay licensing fees to broadcast anime. TV subscribers can watch Animax, which is offered by Astro satellite TV services, although it may be late. As titles shown on these platforms are usually either made in part or fully backed by the companies owning the platform, this means every penny spent here will be funnelled back to the creators.
“But I can’t afford to pay a monthly subscription fee!”
That’s fine, there are other ways to support your favourite anime studios!
You can buy official merchandise and Blu-ray editions of their anime, which ensure profits return to the studios - as long as they aren’t third-party; fanmade work (doujinshi), while helpful to local artists and creators, do not directly benefit the anime studio - so it’s up to you choose whether you want to support either or both, the latter of which is definitely more ideal.
Spread the word!
Not only will this ensure more viewers, it will also make the studio more aware of overseas fans, and (hopefully) mean more willingness to license their anime to non-Japanese platforms. As seen in the now-discontinued service Daisuki (the international streaming site managed by Anime Consortium Japan) the studios are definitely aware of the ever expanding foreign market but are understandably cautious of investing too much money and time into such a venture. M.A.G. claims that over 50% of fans in the United States pirate anime, losing as much as 2 trillion yen (approximately 20 billion USD or about RM 79 billion).
“Piracy is almost always a service problem and not a pricing problem. For example, if a pirate offers a product anywhere in the world, 24 x 7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country 3 months after the US release, and can only be purchased at a brick and mortar store, then the pirate's service is more valuable.” - Gabe Newell, in an interview with The Cambridge Student, 2011.
Not everything can be solved right now, and reasons people pirate anime extend further than plain penny-pinching. However, as a consumer you can do your part and part with some of your hard-earned money to your favourite studios, so they can keep producing the works you enjoy and pay their employees livable wages. This feed-in cycle could be the turn-around point for anime studios to even one day come to the viewers as shareholders, like how Studio Trigger funded the Little Witch Academia second movie through Kickstarter – and successfully, might we add.
We at Visual Arts Expo 2018 are proud to present Hige Driver, Japanese composer for games, anime and idols! The creative mind behind theme songs for shows such as Gekkan Shōjo Nozaki-kun, Kancolle (the series and movie), and Monster Musume, he is widely known for his chiptune music such as the popular Ukigumo and his impressive tracklist of albums.
Hige Driver has been affiliated with Tokyo Logic since 2005, and has left his mark all over the industry such as with the group Heart's Cry, which began as a duo in 2012 with Vocaloid metalcore legend Yuyoyuppe - currently Babymetal's songwriter / producer. Fans of rhythm games may recognise his discography in games composed by BEMANI like Dance Dance Revolution, REFLEC BEAT, Beatstream and SOUND VOLTEX.
He is famous for his ED, Maware! Setsugetsuka (回レ！雪月花(せつげつか), for the TV anime adaptation of the light novel Unbreakable Machine-Doll, and more recently his affiliated band HigedriVAN performed the ED, Koro Kara, Koro Kara for A Place Further Than The Universe.
Whether you danced to his cheerful, rocking tunes and flashing arrow keys, or enjoyed his upbeat, emotional chiptunes, Hige Driver will be gracing our shores with his presence very soon! Stay tuned (heh) for future updates and news on our other guests.
Visual Arts Expo 2018 is proud to feature Waki Kiyotaka from Studio Orange!
After graduating from the Faculty of Engineering, Tokyo University of Science, he joined MadHouse in 2007 and was involved in works such as Perfect World of Kai, ピアノの森" (2007).
In 2011, Waki-san joined Studio Chizu under Producer Yuichiro Saito as a founding staff member, and was involved in the planning and production of Mamoru Hosoda's work "Wolf Children, おおかみこどもの雨と雪" (2012) and "The Boy and the Beast, バケモノの子" (2015).
After leaving the company in 2016, he joined Studio Orange and served as a Producer on Orange's first solo production Houseki no Kuni (宝石の国) in 2017, the story of intersecting universes, humans and monsters.
Over the decades, there have been countless anime – some good and bad titles, some noteworthy and unexceptional series, as well as long and short shows. Many have accumulated enormous fandom that remain even after the show stopped airing. These shows couldn’t have existed without their studios. Here we will talk about the companies and people behind these creations, the top ten anime studios that made our list (in no particular order).
Sunrise used to be known as Nippon Sunrise and is an industry giant; no doubt fueled by the success of the Mobile Suit Gundam series and its numerous sequels and spinoffs. A subsidiary of Bandai Namco, it has incredible reach through legions of toys and merchandise, including the ubiquitous Gunpla models which made up a whopping 90 percent of the Japanese plastic model market in 2004. One of its anime, Iron-Blooded Orphans, gained a manga adaptation, multiple video game titles with both praise and criticism of its mature, harsh themes about child soldiers and the horrors of war.
Release poster for Mobile Suit Gundam: Iron-Blooded Orphans (source)
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Kendrick, a Sino-Kadazan from Sabah, Borneo is also known as “Kendykun” in his doodles and comic blog. The self-taught doodler and comic artist started his interest since the age of 5. Since young, he loves to walk with a sketching pen inside his bag and everywhere he goes, he doodles. Kendrick certainly has the ability to enchant people with charisma in his drawing.
kendylife.com | FB: house88kend | IG: @kendylife88