Con A de animación - No 09 (2019): Marzo 2019: Anime y videojuegos

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Tabla de contenidos



Editorial

  • Editorial


Reseñas

  • Mirai: el pasado que nos define
  • Cuphead y el futuro de la industria audiovisual
  • Isla de perros: Japón según Wes Anderson


Reportajes

  • Los recursos cinematográficos de Final Fantasy y la narrativa transmediática de Final Fantasy XV
  • Sin clímax, sin inflexión, sin sentido. Introducción al Yaoi
  • El videojuego independiente o "indie games" made in Spain


Perfiles

  • Sara Carramiñana, o cómo salir de la zona de confort: realizando animación 3D en Japón
  • La experiencia de animadores españoles creando anime en Japón. Entrevista con Abel Góngora


Espacios expositivos

  • Entrevista a José Luis Farias, director de 3D Wire - Animación, videojuegos y new media


Producción

  • El particular proceso de producción de un anime. La combinación perfecta de tradición y tecnología digital
  • Las microexpresiones emocionales y de historia


Firma invitada

  • Entendiendo la programación visual en el desarrollo de videojuegos


Investigación

  • “Branding”, autoría y adaptación transmedia en los productos oficiales de Studio Ghibli: el “estilo Miyazaki” en los videojuegos de la saga Ni No Kuni (2011-2018)
  • Transgresión, fusión y posibilidad peligrosa. Las claves gráficas de Ghost in the Shell
  • Configuración narrativa en la franquicia “crossmedia”de Berserk
  • Morfología de la no-narrativa en la animación
  • La profesionalización del cortometraje de animación en España. Situación actual
  • Josep Escobar: la imaginación desbordante de un pionero de la animación
  • El sueño de Frida: la animación como elemento de diferenciación visual y narrativa

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Browsing Con A de animación - No 09 (2019): Marzo 2019: Anime y videojuegos by Subject "Anime"

Now showing 1 - 6 of 6
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    “Branding”, autoría y adaptación transmedia en los productos oficiales de Studio Ghibli: el “estilo Miyazaki” en los videojuegos de la saga Ni No Kuni (2011-2018)
    (Universitat Politècnica de València, 2019-03-14) Hernández-Pérez, Manuel
    [EN] Anime is frequently the origin of media-mixes, that is, strategies of production and distribution of transmedia products in the Japanese global markets. Synergies can be formed through collaborative authorships and transmedia adaptations. While there is an important academic discussion about authorship in media, its role in the context of video games and the media mix is not that clear. In this sense, Ni No Kuni saga (2011-2018) is studied for being a unique case of intertextuality between the work of Studio Ghibli, and particularly the influential Hayao Miyazaki (1941) and Role Playing Video Games. The paper will show how individual and collective authorships consolidate common styles and narratives in the form of coherent corporate images and branding. These images survive the original authors to be replicated through the rest of the transmedia production.
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    Configuración narrativa en la franquicia “crossmedia”de Berserk
    (Universitat Politècnica de València, 2019-03-14) Villa Gracia, Alberto Daniel
    [EN] The crossmedia narrative in the Japanese cultural industry is a phenomenon that adapts the same story through different formats, such as comics, animation films and series or video games, among others. Although the content tends to be similar, each medium has certain characteristics. The manga is a static graphic medium, while anime is an audiovisual medium, which creates an illusion of movement; however they lack interactivity on the part of readers or spectators. Instead, video games provide the audience with the possibility of interacting with the characters and elements of those stories. This article tries to find out the similarities and differences of the formal narrative aspect in a specific case: the manga of Kentaro Miura, Berserk (1988), its last cinematographic adaptations, that have relaunched the franchise, and the video game that followed that trilogy.
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    La experiencia de animadores españoles creando anime en Japón. Entrevista con Abel Góngora
    (Universitat Politècnica de València, 2019-03-14) Busto Algarín, Antonio Jesús
    [EN] Abel Góngora (Barcelona, 1983) studied at the Faculty of Fine Arts in Universitat Politècnica de València where he enrolled in the animation line. He has worked for prestigious animation studios around the world, having his first working year in Ireland, at Cartoon Saloon; during five years he worked in France for the famous French-Japanese co-production studio Ankama, specifically for the series Wakfu (2008-); Since then, the last five years until now he has continued his career as animation and animation supervisor Flash in Science Saru, the studio by the well-known Japanese director Masaaki Yuasa, helping to develop famous anime series such as Shin Chan (Yoshito Usui, 1992-) and Devilman: Crybaby (Masaaki Yuasa, 2018-), but also anime feature films such as Lu over the Wall (Masaaki Yuasa, 2017) and Night Is Short, Walk on Girl (Masaaki Yuasa, 2017), as well as Cartoon Network projects like OK K.O.! Let Be Beeses (Ian Jones-Quartey, 2017-), various episodes of Adventure Time (Adventure Time, Pendleton Ward, 2010-2018), and commissioned works and advertising for Disney Channel. In this interview, Abel Góngora tells us about his fascinating professional experience.
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    El particular proceso de producción de un anime. La combinación perfecta de tradición y tecnología digital
    (Universitat Politècnica de València, 2019-03-14) Horno López, Antonio
    [EN] Despite its popularity, there is limited information available about the particularities of the anime production model and the tools used during its meticulous creation process, in which traditional drawing and painting techniques are effectively combined with digital tools. One of the possible causes of this ignorance about the process of elaboration of the anime, apart from the strict confidentiality rules of any animation studio, is the difficulty to find original material that shows in detail how an animation is created in Japan and what tools they use to give life to those characters with bulging eyes and pointed hair that have fascinated us for so many years —and still continue to do so. In this article, Antonio Horno —renowned promoter of anime culture in Spain and author of the book El lenguaje del anime. Del papel a la pantalla (Diábolo, 2017)— will show us the different stages that make up this creative process and some of the most used computer programs in Japanese studies, highlighting those particularities that, regardless of the artistic factor or style, come to establish the hallmark of the current anime.
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    Sara Carramiñana, o cómo salir de la zona de confort: realizando animación 3D en Japón
    (Universitat Politècnica de València, 2019-03-14) Carpizo de Diego, Silvia
    [EN] Sara Carramiñana (Calahorra, 1981), has been animating in Japan for more than four years. She hold a Degree in Architecture and a Master's Degree in Animation from Universitat Politècnica de València. Her master degree short film, Death Scissors (2011) won the Ibercaja Animation Award and it was selected at several festivals in Spain and South America. He made her first commissioned animations in Flash at Jam Media, a company from Belfast (Ireland), for the Zig & Zag series (2016-), broadcasted in Ireland and United Kingdom. But the country of the Rising Sun called her and finally she changed the clovers for cherry blossoms, the set dancing for the "bon odori", and the "bodhran" for the "taiko". In Japan she has worked mainly as a CGI animator for movies and series, some of them as popular as Houseki no kuni (Kodansha, Toho, 2017-), which spectacularly combines 3D animation with a 2D animation aspect. Sara tells us her experience in Japan for Con A animación.
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    Sin clímax, sin inflexión, sin sentido. Introducción al Yaoi
    (Universitat Politècnica de València, 2019-03-14) Núñez Sánchez, Lidia
    [EN] Yaoi stays as a term in the West to name a subgenre which represents romantic relationship between male characters. Being created for women by women, yaoi has evolved while opening itself as a way to run away from the strict gender roles of our societies. It works not only in its country of origin but also in the rest of the world. In these stories the female reader identifies herself with one of the male characters, or both, allowing herself to live in a fiction world without gender or identities: in a free world.