Sega announces to launch Game Gear Micro on celebration of 60th anniversary

Sega has announced a mini version of the handheld Game Gear, the Game Gear Micro as part of the company’s 60 year anniversary celebrations.

Called the Game Gear Micro, this 8-bit console is truly tiny –  just 80 mm wide and 43mm tall and it’s shown to be small enough to fit within the palm of a hand.It was Sega’s entry into the 90s handheld console market to combat Nintendo’s hugely successful Game Boy.

Unlike the original Game Boy though, the Game Gear had a proper color screen.The downside to this back then was that the Game Gear devoured batteries like crazy, which turned out to be an issue when competing with the more frugally powered Game Boy and later Game Boy Pocket.

The Game Gear Micro will launch in Japan on 6 October 6 and cost roughly Rs. 3,453.69. There’s no word yet on a world-wide release date. As the name suggests, the Game Gear Micro is only 80mm wide, with a 1.15 inch screen. It will come in four colour variants, each with four different games installed on it.

  • Black: Sonic, Out Run, Royal Stone and Puyo Puyo Tsu.
  • Blue: Sonic & Tails, Gunstar Heroes, Sylvan Tale and Baku Baku Animal.
  • Yellow: Shining Force, Shining Force II, Shining Force: Final Conflict and Nazo Puyo Aruru no Ru.
  • Red: Game Gear Shinobi, Columns and both the Megami Tensei Gaiden games

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Sony Pictures Animation releases first trailer of ‘Wish Dragon’

Sony Pictures Animation recently released the first trailer of their first project in the new international initiative announced last year. Wish Dragon, starring Jackie Chan and Constance Wu, is directed by Chris Applehans, who is adapting the tale from an original short story of his own.

As the first part of Sony Pictures Animation’s international initiative, this film is focused on China and is scheduled to be released at some point in 2020. The studio will collaborate with storytellers from countries around the world to develop and produce a variety of animated features for both local and global release.

A tale of discovering the greatest wish of all. The story is a genie-in-a-bottle retelling set in contemporary China, based on an original story by Chris Applehans (who will also direct the film). The modern-day fairy tale picks up the moral challenges that emerge from the encounter between a boy and a dragon who is able to make wishes come true.

Appelhans, who worked as a visdev artist on films like Monster House, Coraline, Fantastic Mr. Fox, and Puss in Boots, developed the feature at China’s Base Animation, which also handled the animation. It’s the first release from the studio, which was founded in 2018 as a sister company of vfx vendor Base FX. SPA boarded later in the production. Tencent and Jackie Chan’s Sparkle Roll Media, both based in China, are also co-producing.

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Exclusive: Cinesite Pipeline Director Dushyant Kashyap shares his VFX journey

Having worked as a 2D animator, fx artist, compositor and Pipeline Engineer in feature productions for more than fourteen years, Dushyant Kashyap has seen various chambers of the VFX landscape in his career.

Currently working as a Pipeline Compositing TD at Cinesite Vancouver, Kashyap has collaborated with many Hollywood studios and worked on noted big-ticket projects like Dunkirk, Blade Runner 2049, Star Trek Beyond, Godzilla: King of the Monsters, Bohemian Rhapsody, Ant-Man and the Wasp, Pacific Rim: Uprising, Red Sparrow,Kingsman: The Secret Service, and Sin City: A Dame to Kill For, as well the Resident Evil: Extinction, Repo Men.

Cinesite

His most recent work as a Pipeline Compositing TD includes Addams Family and several other upcoming feature productions. AnimationXpress caught up with Kashyap for a candid conversation on his journey and the VFX industry.

Tell us about your journey as a Pipeline engineer.

It was one of the very unusual ways you can think of that I ended up being where I am now. The goal of my career, after finishing school, was to get into the colorful graphic designing industry where I, very soon, realized 3d animation is where the real fun is. But I had no idea how differently VFX and animation studios work, for a very long time. But luckily I ended up in a VFX studio very soon, when I was still a flash artist. I already had some idea how Aftereffects works and I was already automating things in Flash, so my Boss asked, do you know “what is a pipeline”? Being blunt as always, I was like, Nope. And that was the beginning.

With time, my focus shifted slightly towards blasting and smoking up things as FX is one of the most technical processes of the animation/VFX pipeline. But those effects needed to look and feel nice and bright, right. So there were shows where I did a lot of environment painting, match-move, lighting and final compositing, learning everything on the job. And then there was a lot of compositing, so much so that I used to see roto-splines in my dreams. There, I thought that now I am a compositor, finally.

VFX Pipeline representation

But in the next few years I found myself struggling a lot between the idea of being an artist or the technical guy. And I lost my interview with Dreamworks Bangalore to that dilemma. Finally I ended up in Prime Focus where they minted my fx skills for shows like Immortals in the beginning but because they were going global and integration with technologies from the London office was imminent, I finally got a long term goal. With Prime Focus, I made a lot of trips to London which helped me see the global perspective of things. And how different we are as a culture are, even though we have been working for Hollywood flicks for such a long time.

Now, everyone knows that Prime Focus is a workhorse, and it’s said that a year at Prime is the equivalent of five years anywhere else. That’s exhausting. Pipeline being itself is a multidisciplinary department, I decided to focus on Compositing Pipeline for sometime, and ended up at my current job.

In the future I plan on shelling out my own software bundles to help artists and cg/vfx-shops. I am also keen on seeing my own stories on the big screen, someday.

 What sort of trends is the VFX ecosystem witnessing currently?

Trends have changed drastically. The last decade was disruptive, the industry right now is in a robust position. There’s been a tremendous growth in the quality and complexity of visual effects, as well as constant innovation in photo-realism. Then there are news on shops closing every now and then, but that’s largely due to the unorganized nature of business.

Tell us about any recent project that you worked on.

The Addams Family (2019 film) - WikipediaMost recently I have worked as a Compositing Pipeline TD on Addams Family, it was a fun and relaxed show for me. And coming out of VFX it was the first time I was witnessing the production of the entire feature length movie at a single facility in a single stretch of time. And it did well at the box office.

My part on the show was to support the daily functioning of the Compositing department from a technical perspective, solving any pipeline or compositing technical issues coming from the department, creating tools for automating tedious tasks or enabling better work practices. I also did a lot of workflow documentation and helped production to Tech QC the final deliveries.

Does your background in compositing help in streamlining the VFX pipeline and workflow?

A lot, because that’s where everything ends up being. My motto when I approach studios for work is “I have been an artist and I know how artists work, so the tools and procedures I design will resonate with you far more easily”. A programmer in the CGI/VFX/Animation industry is not your regular IT programmer making boring software. And most of the pipeliners I know have some experience in some department of the industry and with me it was the gradual progressive learning of the craft in one hand always keeping the code in another.

We understand you are an active member of VES society. You’ve also been a jury member. (If I am correct) Share your thoughts on the recent nominations and the nature of VFX in the current times.

The goal of the jury, which I was part of, was to select from the submissions the work that is good for nomination. Which will then be passed on to the entire VES community for the selection of the best works in respective categories. Essentially we were selecting a few best of the lot which will then be judged again to select the best of the best, if that makes sense. The process was transparent and unbiased and open to all qualified members who chose to and could make themselves available in selected global cities.

The number of entries each year is ever increasing. During those 4 hours in a small closed theater it was a daunting task to choose four nomination worthy works due to sheer volume and innovation and ever improving quality of work. This year’s nominations contain heart touching Klaus, painstaking and exquisitely crafted stop-motion marvel “Missing Link” which employed 3 D printing as well. Disney has always been on the forefront of technology and they did it again with Frozen 2 and Toy Story 4. And if you have missed the grandeur of Avengers: Endgame in theater, you missed a lifetime worth of movie going experience. A lot of studios are employing game engines and VR/AR to perfect their CG cinematography. 2019 was a dream year for CGI enthusiasts, and things are going to get better.

Earlier in this decade, we started seeing directors forcing VFX in every movie they make, but the past few years’ submissions prove that thinking completely wrong. VFX is a fantastic tool to enhance your story telling capabilities.

You’ve seen the level of VFX sophistication rise over the years from up close. How do you see the growth?

Back in 2003, when I decided to start this journey, there were hardly any recognized university programs for VFX and/or animation. Even so called animation institutes were highly concentrated in cities like Mumbai, Hyderabad, Bangalore. Being from Jaipur I decided to move to Mumbai, as there was no other sensible option. In the name of fully featured VFX flix, India had hardly anything to brag about.

But it is early 2020 and our appreciation for animation and those that inspired the industry has gone through the roof. The late 1990s-early 2000s marks a turning point for CGI. Pixar’s release of groundbreaking films such as Toy Story and A Bug’s Life, along with PDI’s (later DreamWorks) Antz and Shrek were all catalysts for a huge amount of change in our industry. CGI animation was effectively born, and the revolution that it created, in terms of use and abilities of CGI software and render technology, was to be immense. Over the last two decades, the VFX industry has evolved and grown at a rapid pace. Trends reflect an industry that is constantly reinventing itself. The CGI animation industry has now come of age and is at a point where it can create anything. We can all scale new heights and take on more challenging projects, so I believe the future could not be any brighter!

AI is helping in revolutionising the creation of VFX and simplifying the techniques of VFX for everyone. MA/ML can learn from data and can help create hyper realistic natural simulations. Infrastructure support made available by Google and Amazon in recent years have enabled studios to churn an unbelievable amount of number and complexity of shots. Although software has undoubtedly improved vastly and aided the technical progression of the CGI industry as a whole – and of course, behind any great render, is a fantastic R&D team – though this is at the forefront of the leaps and bounds in which the industry has come… It is also down to our abilities in terms of a greater understanding of the artistry of animation.

What are the issues that plague the VFX industry?

Shortest schedules and still at the highest quality possible; how much work do you want to manage under one roof in a stretch? This is, I suppose, the main issue which branches off in other problems with time. It’s an incredibly competitive industry with extremely low margins. And there’s plenty I can talk about it and even if the problems in the industry are far from over, what’s for sure is that: visual effects have never been more in demand than they are today – and where there’s demand, there’s hope.

Your VFX journey is inspiring. What advice would you give to budding artists?

Take your time and make sure you know what you are doing. The schedule could be demanding, you might want to do something else but could end-up doing something else, but please don’t exit the industry to start a restaurant joint, leave that to engineers and MBA’s (no offence intended). This is an industry of passion, do your research and keep upgrading your skills, be smart and enjoy your efforts. And in this field, self learning is the best learning.

How do you see the Indian VFX scenario?

Technically, VFX in India dates back to the silent era. We have come too far since then. Every major studio in the world wants to have it’s own direct presence in India, with partnership or on their own.

But for some reason, programmers from India are hired in plenty in international studios but R&D teams in India are still a novelty. Programmers are the last bunch of people a studio thinks about hiring early on. This has changed a lot in the last few years but there’s still a need of awareness that you need these guys and need to keep these guys. Education scenario has also improved over the years but university curriculums are not well paced and private institutes are still goto places for learning specialisations.

Also, from the last couple of years the visual effects society (VES) has been a driving force in bringing VFX professionals in India together. With the help of veterans like Tim McGovern and N. Madhu Sudanan, people like Devrishi Chatterjee and Pankaj Verma have turned the tide. And India has its own VES section after decades of presence here with a handful of members, it’s a strong community now. Which is very healthy for the VFX ecosystem in India, coming together and sharing knowledge and expertise.

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Parijat Animation’s ‘Captain Vidyut’ makes it to the semi finals of Guro Kids International Film Festival

Parijat Animation Films’ Captain Vidyut has been officially selected in semi finals of Seoul Guro Kids International Film Festival (GUKIFF) 2020. The principal objective of the Seoul Guro Kids International Film Festival (GUKIFF) is to present the most outstanding films for children, youth and families produced all over the world. 

Founded by Sangeeta and Atish Tripathi, Parijat Animation Films is based in Mumbai, India and specialises in animation production for films, television and internet. The company has delivered projects for several prestigious brands and clients such as Shekhar Kapur and AR Rehman in the past. Captain Vidyut is Parijat’s debut feature length film.

Captain Vidyut will compete with 30 films from all over the world for the top prize at the festival. “The feature contains a lot of what can be called  ‘meaningful silliness’. Gags and plotlines are not only meant to provoke laughter but also tickle at the children’s curiosity. Children can take the elements from the film and build upon them using their own imagination,” mentioned Parijat Animations co-founder and Captain Vidyut director Atish Tripathi.

The film also takes several concepts from advanced science such as Dark Matter and presents them in a cartoony and entertaining manner. The film is bound to send children on a journey of imaginative exploration of scientific concepts which have been toyed with in the film.

Targeted towards kids from four to nine years of age, ‘Captain Vidyut’ is about an average, ordinary guy, Vidyut Kumar who is a weakling but desires to be a strong man. One night he is struck by a lightning bolt and he ends up gaining extraordinary superpowers and becomes a superhero. On the other hand every superhero film is also a super villain film, and the super villain in this case is Dr Dhakosla. He has discovered the world’s most powerful substance called ‘Tutofutonium’ and he wants to rule over the world with the help of ‘Tutofutonium’. The film explores the transformation of both Vidyut and Dr Dhakosla into a Superhero and Super Villian respectively and how Superhero is able to thwart the evil plans of the Supervillian in the end. 

“Superhero films are fun to watch. Action and plotlines in superhero movies may feel exaggerated but they serve as a metaphor for obstacles in our day to day lives and our own struggles to overcome them. Human beings have always enjoyed listening to the stories of larger than life beings. This probably also gave birth to our myths,” added Tripathi.

Tripathi thinks that making any film is a daring act and making the first animated feature is more. “You are venturing into a great unknown where you are always wondering how people are going to respond to the story and characters or if they are going to make any sense of them at all,” added he.

The GUKIFF official selection validated the team’s belief in the film. Secondly, receiving a selection in semi finals was a very pleasant surprise. “We are also proud to be representing Indian Animation at this festival and very pleased about the fact that Captain Vidyut will be seen and enjoyed by the children in Korea,” Tripathi concluded.

Produced by Anita Tripathi and Sangeeta Tripathi and directed by Atish Tripathi, Captain Vidyut features voice talents of acting stalwarts such as Raghubeer Yadav, Suresh Menon, Namit Das and Trisha Kale. It is an independently produced animated feature film and close to 25 very talented and hardworking artists finished this film in around 2.5 years. The film is currently roaming around the world, in various film festivals. Tripathi is in discussion with leading channels and platforms and hopes to bring the film out for the Indian children at the earliest.

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Here’s how CDN is transforming the gaming landscape

Often gaming becomes unfair with ping spikes and laggy servers, however another important factor can be improper content delivery network(CDN). Right from the launch of the game to ensuring a seamless gaming experience throughout, CDNs become an indispensable part of the digital gaming experience.

What is CDN?

Limelight Networks director, Ashwin Rao,

It is that technology arrangement which helps in seamless gameplay without any obstruction. To simplify it Limelight Networks director Ashwin Rao shares that,  “No gamer wants to face a technical snag during gameplay. Even a brief delay of 1 second can translate into a player’s eventual defeat in first-person shooter games. So, it barely comes as a surprise when Indian gamers consistently cite ‘Fast Performance’ as the most sought-after feature…” In addition to that, he believes ‘fast performance’ is ranked above the critical aspects of the game which includes simple gameplay, interesting storyline, and the ability to play offline. Heavier the graphics of a game requires more efficient network to play games seamlessly. “A CDN also provides the needed bandwidth to handle unexpected surges in user activity. It is undoubtedly one of the most crucial elements in online gaming,”he added.

One can primarily equip their game with advanced, interactive applications and features. A good CDN with edge compute speeds delivery of game assets and eliminates the need of such applications to be processed at the data center. “It can handle their requests closer to the end-user via edge computing for the best possible performance. CDNs can, moreover, detect a device, its operating system, and the prevailing network conditions. Then, it extends the most optimal content format to prevent scenarios of glitches and delays,”he added.

Long-distance transmissions can lead to data latency. For example, if the data center is in India, any player sitting in Europe might experience a delay of a second or two in transmission. This delay can also be longer depending on the infrastructure that is being used. A CDN tries to eliminate such challenges with their own network of fibre cables. This network circumvents the public internet to avoid network congestion.

Benefits of CDN

According to Rao here are the various advantages of incorporating modern CDNs:

  • Fast Downloads: One of the most frustrating aspects of gameplay are the slow downloads. Constant buffering and abrupt streaming of graphics or animation kill the gaming experience. The issue is successfully tackled by CDNs.
  • Simplified Video sharing and streaming video delivery: CDNs allow live video, web objects, and game files to transcode the content into the right formats for different devices. It enables the delivery of game videos across the world on virtually any device or platform without the need for additional encoders or other specialized equipment.
  • The Cloud Advantage: Apart from delivering the content to the user, advanced CDNs also offer storage and DDoS protection services from the cloud. The duplication of content on the servers safeguards the developer against synchronized attacks or making large capital investments to strengthen physical infrastructure.
  • Better Monetisation: A CDN can prove beneficial for video game publishers to generate good revenues for their products. It enables full monetization of a game’s assets with scalable, high capacity delivery of beta, gold copy, or Downloadable Content (DLC) which is similar to an expansion copy.
  • Secure Delivery of Content: By opting from a range of security features that include geo-fencing, SSL, DDoS attack mitigation, and others, a gaming website or platform can ensure a secured game delivery throughout the networks.

“A modern CDN eliminates the bottlenecks, improves responsiveness and supports a large number of players. The result is a growing audience of happy gamers that enjoy faster downloads of game updates and a more responsive gameplay during game action. The files, video and audio that make the game exciting are quickly accessible due to edge caching and distributed origin storage. Transfer across the network can be dramatically faster if the CDN has a private backbone. Lively game response and performance also depend on direct peering connection between the user’s ISP and the CDN, giving CDNs with 1,000 or more direct peering connections a distinct advantage. A large CDN can absorb security threats, and add-ons like DDoS and WAF protection strengthen the network. The latest trend, integrated edge compute, lets game companies provide further game excitement by reducing latency and adding innovation,”he emphasised.

Gaming platforms deploying a CDN directly enhances the value proposition of the platform. It helps them to serve higher loads without any performance-related challenge. This impacts profitability along with user retention. It is observed that user attrition triggers a domino effect for the gaming platforms. “A labyrinthine global network of data centres, proxy servers, and proprietary solutions are deployed by industry-leading CDNs to cater to the request each user of a gaming platform. It extends the most optimal experience to its entire user base, irrespective of the location or the device that the gamers are using,” he added.

Here is a case study which Rao shared how CDN helped a gaming brand like Nintendo to improve there content :

Nintendo Entertainment systems provide high-performance gaming and entertainment experiences to fans on their game consoles and branded websites. As ambassadors of many of the Nintendo video games, Mario and Luigi welcomed visitors to the Nintendo Europe websites. The task to make these fan-favorites come alive on Nintendo’s European web pages imposed a major challenge for them.

“The content was not up to date or did not share the same smooth and intuitive experience that their gaming consoles delivered. The web pages loaded slowly and had an abrupt video integration that gave the company no control over their own content. The impending issues before Nintendo were video content management; content storage – what happens on upload, how are videos transcoded, stored and archived; to improve SEO to increase the number of website visitors; and to ensure interruption and latency-free high-quality viewing experience for the users.”

Nintendo when accessed LVP (Limelight Video Platform) gave it opened tools for video content management and transmission for them. The content delivery service integrates into their existing content management system to resolve their issues. This is what it did:

  • The CDN provides the game publisher with the correct video format in accordance with the requesting device such as browser, PC, or mobile.
  • With stable video streams and direct connections with over 1,000 Internet Service Providers (ISPs) worldwide, Nintendo is able to cater to a significantly larger audience in one go.
  • Metadata can be easily entered and has also enabled managing different language versions easily.
  • SEO rankings can be easily tracked leveraging CDN’s AI-driven SEO tools and give insight to the number of website visitors.
  • The Limelight Networks ensures that the brand is consistently displayed on the company’s player, even if the video is sourced through third-party pages.
  • The CDN’s cloud-based solution has eliminated the need for additional expenditure on infrastructure to store its video or deliver them.

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Amazon Prime Video to premiere 2019 creature-feature, ‘Crawl’

Amazon Prime Video has announced the digital premiere of the 2019 thriller, VFX heavy, Crawl directed by Alexandre Aja.

This creature-feature is sure to keep audiences at the edge of their seats with its intriguing plot and gripping storyline. The story revolves around a father and daughter duo trying to survive after being attacked by alligators in a flooded house during a hurricane. Prime Video subscribers in India can watch this thrilling man v/s beast title from tomorrow, 4 June in English, as well as in Hindi, Tamil, and Telugu.

The official Synopsis goes:

Crawl is the story of a young woman Haley and her father, trapped in their basement during a category 5 hurricane. It turns out that flooding house is the least of their fears. A compact, terrifying film that keeps the audience engaged with the slowly rising floodwaters and the deadly, slow-moving alligators. Directed by Aja and written by Michael and Shawn Rasmussen, the film stars Kaya Scodelario and Barry Pepper in the lead.

Crawl will join the thousands of TV shows and movies from Hollywood and Bollywood in the Prime Video catalogue. Prime members will be able to watch Crawl anywhere and anytime on the Prime Video app for smart TVs, mobile devices, Fire TV, Fire TV stick, Fire tablets, Apple TV, and so on. In the Prime Video app, Prime members can download episodes on their mobile devices and tablets and watch anywhere offline at no additional cost.

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Indusverse – new entrant in the Indian comics space is sure to create a stir

Comics have always been a respite for nerds like me. With this pandemic and social distancing, many of us have utilised our quarantine reading comics – old or new. The Indian comic industry is also booming and there’s a new entrant in town.

Indusverse, a new comic book company helmed by TVF founder, Arunabh Kumar, as the founder and CEO has released three titles, part of its first set of Comic books YearZero which was launched by Bollywood director Vasan Bala and actor Jaaved Jaafri lately. Supporting Kumar are Alok Sharma, the chief creative officer and Saumin Patel the chief design officer.

In 2016, Kumar met Sharma, who once headed Graphic India Comic Books and had even worked with the iconic Indian comic book brand-Raj Comics. Discovering their common passion for comics, Sharma introduced Kumar to his co-founder Saumin Patel, who is a noted artist and has worked with Bollywood directors like Sriram Raghawan, Ashutosh Gowarikar as well as International comic book brands like Image comics.

Shared Kumar, “It was my chance meeting with Sharma that we started discussing the Indian Comic Book culture and how it was almost dying. What I liked the most about Patel was his desire to create the best looking Comic books from India.”

Sharma and Patel go back over a decade and have been thinking of creating comic books. “Within just three years of meeting Kumar, we have three lovely books in our hands, which we are so proud of,” said Sharma. Patel, who is responsible for the artworks added, “No one nurtures and pushes a creative team like Kumar does and he makes your artistic ambitions come alive in the best possible way.”

Indusverse at Delhi Comic Con

The three titles of the YearZero set are – The Beginning, Outrage and Stunt

The Beginning revolves around Simone is a normal millennial girl from Goa who loves Junk -Jewellery, Herb Based Make Up and hanging out with her Instagram Influencer friend Anisha, until one day when her life is turned upside down by enemies of her father, but only because she is destined for much more than a normal life. She is a female superhero character who then goes on to fight for nature. 

This character was co-created together by Kumar and writer-actress Lianne Texeira Singh. Kumar met Singh in 2016 and discussed the idea of who bonded over their mutual love for comic books. She said to us, “I have always loved comic books and always wanted to write one, but the person who actually made it happen had to be Kumar, given his reputation of nurturing talents his whole life, starting with TVF. I wanted the character to represent the women of today with a strong voice. He was very supportive and gave me full freedom in finding the voice of this girl.“

Written by Kumar, Outrage, the second book from the series features Satya, a social media manager who works in a digital marketing agency which makes things go viral. He and his friend Amit make YouTube videos and aim to be the biggest YouTube creator until one day, when they encounter the dark side of social media and his life changes forever. 

“The concept of the comic book started with several discussions. It took shape when I ended up setting up a comic book company as the full time CEO and decided to devote all the focus to it,” Kumar stated.

Penned by Sharma, Stunt on the other hand deals with Sameer, son of a deceased Bollywood stuntman who is wading through his college life, loneliness, infatuation and therapy when a sudden twist in fate brings him face to face with criminals, cops and a secret that has been brewing for a millennium.

Arunabh Kumar

Bala shared during the launch, “I loved Stunt by Indusverse, as it has the feel of rustic Mumbai along with premium artwork and I found the whole plot around a son of a deceased Stuntman from Bollywood very appealing. Indusverse books indeed are one of the coolest comic books from India.”

The artwork for The Beginning has been done by Rajesh Nagulakunda. For Outrage, it’s Hemant Kumar and by Patel for Stunt. The lettering for all the three books are done by Mandar Gangele and edited by Nupur Sharma. The book’s look and supplementary pages have been designed by Faizal Khan. 

Indus Verse is presently working on nine more titles, out of which, three will be sequels to the current books and the rest will be new ones, with new characters and new stories. The stories will be set in India within present time and space.

The books are available for sale now on the Indusverse website in both hardcopy and softcopy, and the team wishes to leverage and utilise the lockdown and social distancing to help people discover new stories and unique and innovative medium of storytelling which is taking the whole world with a storm.

As Kumar informed, “The upcoming projects would involve empowering as many artists as possible to create great art and books and help them grow and push this industry along with adaptation in as many media as possible.”

We wish Indusverse all the best.

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TOGETHER WE STAND

From June 2 – June 7th, we will be muting our regular programming to take action against racial injustice. Here’s what we are doing…

Ryan Gosling to play Wolfman in an upcoming reboot for Universal

Ryan Gosling is getting into Universal’s growing monster universe titles, with a report of him being attached to Wolfman remake which was written by Orange Is The New Black scribes Lauren Schuker Blum and Rebecca Angelo.

Wolfman is the latest Universal monster to be brought back by the studio. A new Dracula movie is currently in development with director Karyn Kusama, while Paul Feig has been working on Dark Army, which will bring together multiple new and old monsters. James Wan is also set to produce a Frankenstein movie.

The last werewolf pic at Universal, 2010’s The Wolfman, had Benicio del Toro in the title role starring alongside Anthony Hopkins, Emily Blunt, and Hugo Weaving. It follows Lawrence Talbot, who, while returning to his homeland, is afflicted by an ancient curse when he is bitten by a werewolf.

Gosling is heading to space, portraying an astronaut in Phil Lord and Chris Miller’s adaptation of The Martian author Andy Weir’s next novel. There’s currently no word on which of the two projects will get before cameras first.

The new version of Wolfman is believed to be set in present times and will be akin to Jake Gyllenhaal’s thriller Nightcrawler but with a sci-fi twist.

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Novel Entertainment’s animated feature-length ‘Horrid Henry’ special to debut on Netflix on 6 june

Netflix will premiere Novel Entertainment’s first animated feature-length Horrid Henry special in the UK on 6 June. 

Featuring the voices of UK presenters Dick and Dom, it reprises the starring roles they played in the live action Horrid Henry: the Movie. The official synopsis follows – Horrid Henry’s Wild Weekend is the story of what happens one quiet weekend in Ashton; when Henry is unexpectedly chosen to join the Ashton Adventurers to compete for the Brainbox of the Year Cup, Mum and Dad try to slip away for a night without the kids and Great Aunt Greta has a teenager to stay, chaos inevitably ensues

It’s also the story of how Henry learns to work as a team, battling alongside Moody Margaret, Beefy Bert and Anxious Andrew against his nemesis, Stuck Up Steve, and the Brick House Boys. It’s the story of the secret life of a cat (and a hamster) as we discover what Fluffy and Fang get up to when they are left to their own devices in the Henry household. It’s also a story of bravery and heroism, of greed and sacrifice, of failure and ambition. But above all it’s the story of the love of a perfect little brother for his Horrid big brother. 

Novel Entertainment co-founder Mike Watts said, “Horrid Henry continues to be hugely popular on Netflix in the UK and we are thrilled to have a feature-length animated commission.”

This will be the first time Henry and his friends will be online on Facebook and Instagram for a very special viewing party, which is also designed to raise awareness of the company’s campaign to address the UK’s digital deficit. 

Horrid Henry’s Wild Weekend is written and produced by Novel’s Lucinda Whiteley and executive produced by Watts, along with Hilary Audus and Gary Andrews as animation directors. It features the same voice cast as the award-winning TV series, with guest voices Richard McCourt and Dominic Wood (Dick and Dom).

In addition to this new animated special, Novel Entertainment has a raft of newly created content output, produced under the banner of Horrid Henry Unlocked and designed to offer a familiar environment for fans to discover how the Horrid Henry family is responding to the current crisis. As well as the recently launched Horrid Henry podcast, new material includes daily Horrid Homework in the form of activities which are available via the Horrid Henry website; projects, challenges, puzzles, and bespoke videos including newly created songs, short videos and behind the scenes content and interviews.

Novel’s four-time BAFTA-nominated Horrid Henry is one of the biggest children’s animated shows ever in the UK. The fifth season is currently on air in the UK and Novel is in production on new longer form content. The brand includes film, stage, radio and online extensions, as well as being at the heart of a successful licensing and merchandising programme. 

Fifth season of Horrid Henry is currently airing on Netflix in the UK and also on Nickelodeon UK & Ireland. A total of 250 episodes are now available with recent sales including MBC (Middle East), Alati International (Russia),  Atlantic Digital Networks (Canada), TG4 (Ireland), Amazon Prime Video (India, Pakistan and Sri Lanka), P&P (Bosnia), Produkcija (Slovenia), Kids Network (Latvia and Estonia) and Emirates (UAE and Middle East). Renewals include Turner Broadcasting System (Asia Pacific), Mediacorp (Singapore), POP TV (Slovenia), E-Vision (Middle East), Asiana (Korea) and Netflix (France, US, Canada, Russia, Australia, New Zealand, Iceland and Belgium).

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