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She-zam! Women show why magic has been missing a trick

By - Oct 30,2021 - Last updated at Oct 30,2021

By Andrew Marszal
Agence France-Presse

LOS ANGELES — Sitting behind a card table in the secretive Magic Castle, Kayla Drescher widens her eyes and nods exasperatedly when asked about being called a “female magician”.

“Yes, I am very, very sick of being asked what it’s like to be a woman in this industry,” she says.

“’Female magician’ feels like I’m being placed in a subcategory of magic... I’m being placed in a metaphorical box, not just an illusion.”

But while the label is “exhausting” and “annoying” for Drescher,  “We still have such a small percentage of women in this industry — I think it does still need to be talked about.”

The stereotype of a magician in a top hat sawing his glamorous, sequinned female assistant in half endures among the wider public, who can rarely name performers beyond Harry Houdini, David Copperfield and David Blaine.

While the outfits have changed, still just seven per cent of magicians operating today are female — roughly the same proportion as the membership of the elite “Academy of Magical Arts” that calls the Magic Castle home.

Drescher is one of two billed female headliners on the night of AFP’s visit to the cavernous members-only institution on a hill above Hollywood which is devoted to the art of illusion.

As the reaction of a spellbound audience to Drescher’s baffling card tricks and subtle sleights of hand later in the evening will show, women may be a minority in magic but are no less of a draw.

Drescher, 31, has been performing since she was seven, and has long found that audiences — like the aficionados and rowdy wine-drinking Halloween parties filling the “Close Up Gallery” — tend not to care about a performer’s gender.

Instead, it is the “shocking old-fashioned” mindset of magicians that is keeping the number of women in her trade low — and that is something she feels is important to keep “yelling about”.

Drescher has long dealt with male magicians excluding her, assuming she is someone’s girlfriend, or even one time requesting she “do magic by a poolside in a bikini” in Las Vegas.

“Magic is very much written by men and for men, so suits, large trouser pockets, big hands, all these different elements, very masculine-style stuff,” said Drescher, who hosts the “She-zam” podcast.

“You have to get through, jump over, a lot of hurdles in order to be respected in the community for being a magician and not just a woman. And that’s always annoying.”

‘Feels really gross’

According to Drescher, if the assistant could just as easily be replaced with an inanimate object like a lamp or a table “she doesn’t need to be there... she’s a prop”.

“The mutilation of women...” she sighs. “It just feels really gross in 2021. But luckily it is shifting.”

The last few years and #MeToo have massively boosted demand for female magicians, says Drescher.

But in-built obstacles remain, including the powerful status of reform-resistant, generally male-dominated magic “clubs”.

The Academy of Magical Arts itself faced allegations of sexual harassment in a Los Angeles Times investigation last year.

Its general manager resigned, and his replacement Herve Levy told AFP that policies to improve “diversity and inclusion” have been put in place, including training for staff to prevent sexual harassment.

The group now has 36 women on its magicians’ roster.

The other female headliner on the evening of AFP’s visit is Mari Lynn, who performs with her husband John Shryock.

“We’re more of an illusion team. I always call myself a co-star, rather than an assistant,” she says.

The couple from Arizona used to perform a trick in which she would turn the tables by locking him up, known as “The Assistant’s Revenge”. 

When she started out, Lynn found some audiences were “much more critical of the females trying to take the male roles”.

“But I am really happy to see that things are changing. It’s coming around slowly.”

‘Proven wrong’

Tonight Lynn and Shryock are perfoming “The Great Escape”, which sees them joined center-stage by their two daughters.

Sixteen-year-old Jasmine wants to be a solo magician herself one day, while 13-year-old Hailey has her heart setting on becoming a doctor.

“I’m really optimistic going forward that Jasmine will not have as hard of a time as I did,” says her mother Lynn.

While Jasmine learnt by performing with her parents “in every magic show since I was born”, she noticed early on that most of her friends who were also interested in magic were boys.

“There have been times where someone in the class will be like, ‘oh girls can’t do magic as good as boys do,’” she says.

“And then they’re proven wrong.”

Age of Empires reboots for a new era

Oct 30,2021 - Last updated at Oct 30,2021

Photo courtesy of tech4gamers.com

By Jules Bonnard and Katy Lee
Agence France-Presse

PARIS — After 16 years in hibernation, landmark game series Age of Empires is back — but publisher Microsoft faces an uphill battle to conquer a new generation of players.

Fans of the historical strategy game have been eagerly awaiting the release of Age of Empires (AoE) IV for PC, which returns to the mediaeval era. 

The game’s developers said the setting was a no-brainer given the enduring popularity of the second game in the series, which similarly transported players to the time of Genghis Khan and Joan of Arc.

“It felt like the perfect place to start a new Age of Empires platform just because of the number of stories,” said Quinn Duffy, who led the game’s development at Vancouver-based studio Relic Entertainment.

“There’s great conflict between great empires. Immediately that’s where my brain went.”

As with the previous games, players start with a handful of villagers and can build up entire civilisations complete with fortresses and huge armies. 

The graphics have had an update for the 2020s, with sweeping cinematic landscapes — although some fans have complained that they still look a little cartoonish.

For many players, the overwhelming appeal of Age of Empires — aside from its addictiveness and intensely competitive nature — is that it’s nostalgic.

“I think many AoE players, myself included, played the game as children, forgot about it, and then were flooded with positive memories upon discovering the remakes,” said Ellie4K, a Vienna-based player who broadcasts her games on streaming platform Twitch. 

Pandemic resurgence

Released in 1997, the first Age of Empires was an immediate hit at a time when “real-time strategy” games were first allowing players to do battle simultaneously.

In earlier games like Civilisation, which inspired Age of Empires, players took turns to make their moves.

Age of Empires made a fortune for Ensemble, the Texas-based studio that developed it, and the company was snapped up in 2001 by Microsoft. 

But the games were mostly only playable on PCs, and the franchise’s developers became stuck in this niche at a time when the world of video games was evolving towards consoles.

Nowadays, “Age of Empires has about 20 million players — neck-and-neck with Warcraft,” industry analyst Laurent Michaud told AFP.

But whereas World of Warcraft studio Blizzard successfully transformed their fantasy battle game into an online role-playing world shared by millions, Age of Empires’ developers “did not succeed in the transition towards massively multiplayer games”. 

In 2009 Ensemble released “Halo Wars”, another success for Microsoft — and playable this time on a games console — but the studio closed soon after. 

Online and mobile versions of Age of Empires, meanwhile, largely failed to take off. 

Microsoft relaunched “definitive” versions of the games in 2018 with more modern graphics.

The second instalment in particular has enjoyed a huge resurgence during the pandemic, as millions of players rediscovered a childhood favourite while stuck at home. 

The game regularly has more than 20,000 simultaneous players on online platform Steam, while Red Bull organised a vast international tournament with prizes worth tens of thousands of dollars.

So beloved is Age of Empires II, in fact, that some fans are wondering how the new game could possibly compete. 

Veteran players suggest the new edition could be a good introduction to the series for beginners, but that it may struggle to grow a mass following. 

LikaKor, a professional streamer who helped test the latest game during its development, said some of its features still needed ironing out. 

“There is a lot of polishing to be done on the game,” he told AFP. Still, he believes, it has “enormous potential”.

Baldwin shooting: assistant director admits didn't fully check gun

By - Oct 28,2021 - Last updated at Oct 28,2021

US actor Alec Baldwin said he is cooperating with police investigating the killing of cinematographer Halyna Hutchins (AFP photo by Angela Weiss)

By Nick Layman
Agence France-Presse

SANTA FE, California — The man who handed Alec Baldwin the gun that killed a cinematographer admitted he didn't fully check it, documents revealed Wednesday, as the sheriff investigating the fatal shooting spoke of "complacency" on the US movie set.

Halyna Hutchins died after Baldwin shot her with the Colt .45 he was pointing at a camera for low-budget western "Rust" being filmed in New Mexico.

The live round passed through her torso and struck director Joel Souza in the shoulder. 

Assistant director Dave Halls told detectives he remembers seeing ammunition in the period weapon before he handed it to Baldwin. Moviemakers sometimes use inert, or dummy, bullets in props.

"He advised he should have checked all of them, but didn't, and couldn't recall if [armorer Hannah Gutierrez-Reed] spun the drum" to show him what was inside the gun, an affidavit says.

Halls handed Baldwin the weapon using the phrase "cold gun" — industry lingo for an inert firearm.

An investigation into last Thursday's fatal shooting has recovered 500 rounds of ammunition from the set, Sheriff Adan Mendoza told reporters, adding that detectives believe they were a mix of blanks, dummies and live rounds.

Entertainment trade website The Wrap reported this week that crew members had been using prop weapons just hours before Hutchins was killed, shooting at tin cans for target practice.

"We have recovered what we believe to be possible additional live rounds on set," Mendoza said.

"We're going to determine how those got there, why they were there, because they shouldn't have been there.

"I think there was some complacency on this set," he added.

As the film's armorer, Gutierrez-Reed, 24, would have been responsible for supplying and keeping weapons safe on set, ensuring that they are accounted for at all times and locked away when not in use.

She told detectives that on the day of the incident guns were secured while the crew ate lunch, but that ammunition was not, according to the affidavit.

Mendoza told reporters more questions were being asked of the people who "inspected or handled the firearm... before it got to Mr Baldwin."

"We're going to try to determine exactly how that happened and if they should have known that there was a live round in that firearm."

"Rust" crew members had complained about lax on-set protocols, and a gun was mistakenly fired at least twice on set in the days before Hutchins' death, multiple US outlets have reported.

It emerged this week that Halls had been sacked as assistant director of a previous production because of a gun safety violation that had resulted in a minor injury to a crew member.

Santa Fe district attorney Mary Carmack-Altwies said context such as this might affect any eventual decision to prosecute in the "Rust" shooting.

"It obviously could play into whether charges get filed or not," she said.

Asked whether Emmy Award-winning Baldwin — who also served as a producer on the movie — could face criminal charges, she said it was not out of the question.

"All options are on the table. No one has been ruled out at this point," she told a press conference.

Legal experts told AFP that despite there being no doubt that Baldwin, 63, pulled the trigger, he is unlikely to be charged with a crime.

"[Baldwin] appears to have reasonably believed that this was not a loaded weapon," said University of Southern California law professor Gregory Keating. This fact would leave him some way short of being culpable for involuntary manslaughter.

More likely, said legal consultant Bryan Sullivan, Baldwin and his fellow producers — there are 12 people credited with variations of this role — are likely to face action for civil damages.

"I anticipate that everybody's going to be sued," he said.

Baldwin is expected to be named in any lawsuit because of his deep pockets, and because his fame would help draw media coverage, according to Sullivan.

"A plaintiff's lawyer would definitely want to name Alec Baldwin to get the money in there," he added.

‘Rust’ shooting: Assistant director previously sacked over gun safety

By - Oct 27,2021 - Last updated at Oct 27,2021

By Huw Griffith
Agence France-Presse

LOS ANGELES — The assistant director who handed Alec Baldwin the loaded weapon that killed a cinematographer had been sacked from a previous production for gun safety violations, the company said on Monday.

The news came as it was reported that crew members had used that same weapon for live-ammunition target practice on the day Halyna Hutchins died.

Hutchins was killed last Thursday on the set of low-budget Western “Rust” when Baldwin fired a weapon that assistant director Dave Halls had told him was safe, using the industry lingo “cold gun”.

“Dave Halls was fired from the set of ‘Freedom’s Path’ in 2019 after a crew member incurred a minor and temporary injury when a gun was unexpectedly discharged,” a producer for the as-yet-unreleased movie told AFP.

“Halls was removed from set immediately after the prop gun discharged. Production did not resume filming until Dave was off-site. An incident report was taken and filed at that time.”

Attention has focused on Halls and 24-year-old armourer Hannah Gutierrez-Reed in the wake of the tragedy on the set near Santa Fe, New Mexico.

An armorer is tasked with supplying and keeping weapons safe on set, ensuring that they are accounted for at all times, and locked away when not in use.

But entertainment trade website The Wrap reported on Monday that crew members had been using the weapons just hours before Hutchins was killed.

“A number of crew members had taken prop guns from the New Mexico set of the indie Western — including the gun that killed Hutchins — to go ‘plinking,’ a hobby in which people shoot at beer cans with live ammunition,” the website said, citing an unidentified individual with knowledge of the set.

The producers of “Rust” did not respond to multiple AFP requests for comment.

Gun pointed at camera

The developments came as a narrative of the tragedy emerged from an affidavit submitted by Santa Fe sheriffs as they sought a search warrant.

The document explains how Baldwin was practicing drawing his gun from his holster and pointing it at the camera when the accident happened.

The 63-year-old was “sitting in a pew in a church building setting, and he was practicing a cross draw”, director Joel Souza said in the affidavit, “pointing the revolver towards the camera lens”.

Souza told investigators he was looking over Hutchins’ shoulder “when he heard what sounded like a whip and then loud pop”.

The director said he remembered the 42-year-old Hutchins “grabbing her midsection”.

“Halyna began to stumble backwards and she was assisted to the ground,” the affidavit said. “Joel explained that he was bleeding from his shoulder and he could see blood on Halyna.”

Hutchins was declared dead in hospital a short time later. Souza, 48, was treated by doctors and sent home.

No one has been charged and no arrests have been made.

The incident happened after a lunch break, Souza said in the affidavit, and the director wasn’t sure if the gun had been checked again for safety after the break.

Halls handed one of three prop guns to Baldwin that had been set up on a cart by Gutierrez-Reed, the document says.

“[Halls] yelled ‘Cold Gun,’ indicating the prop gun did not have any live rounds,” it said. “[Halls] did not know live rounds were in the prop-gun.”

‘Negligence and unprofessionalism’

The film’s gaffer — or chief electrician — said he held Hutchins in his arms as she was dying, writing an angry Facebook post which alleges the shooting was a result of “negligence and unprofessionalism.”

“There is no way a twenty-four-year-old woman can be a professional with armoury,” Serge Svetnoy wrote, adding: “Professionals are the people who have spent years on sets, people who know this job from A to Z.”

“To save a dime sometimes, you hire people who are not fully qualified for the complicated and dangerous job, and you risk the lives of the other people who are close and your lives as well,” he said.

Veteran Hollywood armorer Guillaume Delouche told AFP he was “very surprised” that somebody of Gutierrez-Reed’s age and inexperience “could be a chief armorer on a movie that has to have a lot of gunfighting scenes”.

“Rust” was only her second film as chief armorer. She is the daughter of expert Hollywood armorer Thell Reed, whose credits include “Django Unchained”.

Gutierrez-Reed could not be reached for comment, and has deleted her social media profiles.

Baldwin’s wife Hilaria on Monday took to Instagram to convey her sorrow over the fatal shooting.

“My heart is with Halyna. Her husband. Her son. Their family and loved ones. And my Alec,” Baldwin posted. “It’s said ‘There are no words’ because it’s impossible to express the shock and heartache of such a tragic incident.”

“Heartbreak. Loss. Support,” she wrote.

The next fashion trend is clothes that do not exist

Oct 27,2021 - Last updated at Oct 27,2021

Daniella Loftus was an influencer in real-world fashion before devoting herself full-time to digital clothes (AFP photo by Christophe Archambault)

By Jordi Zamora and Eric Randolph
Agence France-Presse

PARIS — The online metaverse is coming and if we’re going to be spending more time in virtual worlds, there’s one crucial question: What are you going to wear?

“When I first started talking about this, my friends were like, ‘What are you talking about?’” said 27-year-old Daniella Loftus.

“But my 14-year-old cousins understood it immediately.”

For many, the idea of buying clothes that don’t exist is a conceptual leap too far.

But emerging digital fashion stores are tapping into a growing market — not actual clothes but digitally generated outfits that stores simply photoshop onto a customer’s photos or videos to be posted onto Instagram and elsewhere.

Soon they are likely to become a way to dress your avatar when interacting in online games and meeting places, all potentially while reclining in sweat pants in your own home.

British influencer Loftus sees so much potential that last month she gave up her job with a fashion consultancy to devote herself full-time to her website, This Outfit Does Not Exist. 

Her Instagram shows the potential of virtual clothing that doesn’t need to obey the laws of physics — from a shimmering silver liquid pantsuit with tentacles, to a wobbling pink creation with lasers firing out of her bustier. 

“Digital is coming to overtake physical. Kids are asking each other: ‘What skin did you have in this game yesterday?’” said Loftus.

Eye-catching

Isabelle Boemeke, a Brazilian model and influencer, is already an avid buyer of digital outfits. 

Online, she is known as Isodope and merges high fashion with a serious commitment to clean energy and environmental activism. 

Her other-worldly style fits neatly with her message. 

“I wanted to do something very eye-catching and bold. If my videos featured me wearing a T-shirt and jeans, they wouldn’t have the same appeal,” Boemeke told AFP.

“Models nowadays have the freedom to share more about their personal lives and personalities. I’m a big nerd and I love expressing myself in different ways through fashion or makeup.”

That’s the demand, so the supply is coming fast. 

Outfits on digital fashion store DressX range from $25 hats to strange jellyfish-like dresses for hundreds of dollars. 

“Every brand in the future will be on board with digital fashion,” said DressX co-founder Daria Shapovalova.

Its own research says 15 per cent of customers are doing so for Instagram posts, and almost a quarter found it satisfied their need for a new item of clothing.

“You don’t necessarily need physicality to experience the thrill of wearing an extraordinary garment,” said Michaela Larosse, of The Fabricant, which sold the first ever digital-only dress in May 2019 for $9,500. 

“We will all have a digital self, we’ll have an avatar and you’ll be able to communicate something about yourself, who you are, what you’re interested in, through the iteration of your avatar.”

Reducing waste

Environmental concerns are also key to their appeal. 

The traditional fashion industry is one of the biggest pollutants and waste generators on the planet — a point made by Extinction Rebellion protesters who stormed the Louis Vuitton catwalk in Paris. 

“I know many women who buy an outfit, wear it once for a single photo and never again,” said Boemeke.

“They could reduce consumption and waste by using digital fashion for a few of those posts.” 

The pandemic was an obvious accelerator for these businesses. 

“People were stuck at home with nothing to do. They had nowhere to wear those beautiful clothes,” said Loftus.

She is clear that digital fashion is not yet for everyone — and may never be. 

“I don’t know if a lot of the people who do this stuff online actually want to meet people in person. I think that a lot of their needs and desires can be satisfied online,” said Loftus.

It may also prove a great leveller — a way for anti-social people to (almost literally) shed their skin and adopt another. 

“You might be an accountant with a wife, kids, and you’re happy being quite mundane in real life, but then the way you want to express yourself in these virtual worlds is totally different,” she said.

Michael Jordan sneakers sell for nearly $1.5 million, an auction record

By - Oct 27,2021 - Last updated at Oct 27,2021

NEW YORK — A pair of sneakers worn by NBA superstar Michael Jordan early in his career sold for nearly $1.5 million on Sunday, setting a record price at auction for game-worn footwear, Sotheby’s said.

The white leather shoes with the red Nike swoosh and soles were worn by the iconic player in the fifth game of his rookie season with the Chicago Bulls, when Nike’s Jordan-affiliated brand was only just taking off as a sensation both on and off the court.

“The most valuable sneakers ever offered at auction — Michael Jordan’s regular season game-worn Nike Air Ships from 1984 — have just sold at $1,472,000 in our luxury sale in Las Vegas,” the auction house said in a statement on Twitter.

The astronomical price easily beat the record held by a pair of Nike Air Jordans which sold for $615,000 in August 2020 at a Christie’s auction.

A pair of Nike Air Yeezy 1s worn by rapper Kanye West sold for $1.8 million in April, triple the previous record for sneakers — although that was a private sale.

Jordan’s autographed size-13 lace-ups were in good overall condition, with signs of court wear and tear, Sotheby’s said. The pair was a gift from the player to Tommie Tim III Lewis, who was a ball boy for the Denver Nuggets during the 1984-’85 season.

The market for rare sports shoes is soaring. The record price for sneakers has been broken several times recently as what was seen as a niche market a decade ago now attracts interest from the general public as well as leading collectors.

And the market value of objects identified with the retired basketball superstar have skyrocketed since the release of “The Last Dance”, an ESPN/Netflix documentary that chronicles the saga of Jordan and his Chicago Bulls.

The sneakers that went under the hammer Sunday predate the first Air Jordans, the now-classic line that quickly morphed from popular basketball gear to sought-after streetwear worldwide.

 

A bankable star

 

The Air Ship shoe that served as the genesis for the Air Jordan series was designed by Bruce Kilgore and originally released in 1984, and it was the first sneaker worn by Jordan as an NBA professional.

That year Jordan, already a bankable star given his college basketball heroics, completed a deal with Nike in which the company gave him his own signature line of shoes and clothing.

The deal was a first for Nike, and it paved the way for a proliferation of player-brand collaborations.

Jordan’s now-famous black and red Air Ships became a focus of controversy in 1984 when the National Basketball Association sent Nike a letter informing the company that the player’s colourful sneakers which he wore during an October 18 preseason game that year violated the league’s uniform clause.

Sunday’s auction also sold a pair of Nike Air Jordan 11 Retro x OVO “Gold” sneakers, designed under a collaboration between the shoemaker and rapper Drake, for $20,160. The model was never released to the public, making them a rare set of shoes.

‘Dune’, on big and small screens, tops box office

By - Oct 26,2021 - Last updated at Oct 26,2021

LOS ANGELES — New sci-fi thriller “Dune”, a classic that almost demanded big-screen treatment, topped the North American box office this weekend with a take estimated at $40.1 million, industry watcher Exhibitor Relations reported Sunday.

Yet that solid three-day showing for Denis Villeneuve’s adaptation of the Frank Herbert opus came even as studio Warner Bros. released the film simultaneously for small-screen streaming via HBO Max, an increasingly common pandemic-era practice. 

With an all-star cast led by Timothee Chalamet, Rebecca Ferguson, Oscar Isaac, Jason Momoa and Zendaya, the film tells the tale of a family in the distant future fighting for survival on a treacherous desert planet.

“Dune”, with a plainly relevant environmental subtext, has taken in $180 million overseas, and Villeneuve, whose growing sci-fi catalogue includes “Blade Runner 2049” and “Arrival”, hopes to make this the first in a two-part saga.

In distant second was last weekend’s leader, Universal’s horror flic “Halloween Kills”, at $14.5 million. A follow-on to 2018’s “Halloween”, it again stars Jamie Lee Curtis, and the studio has said she will be back for another sequel next year.

Third place went to United Artists’ latest James Bond film, “No Time to Die”, at $11.9 million. Daniel Craig stars, supposedly for the final time, as 007 is dragged out of retirement for one last — no really! — assignment.

In fourth was Sony superhero film “Venom: Let There Be Carnage”, at $9.1 million. Tom Hardy stars as a journalist whose symbiotic link to an alien gives him superpowers.

And fifth went to a new 20th Century release, computer-animated sci-fi comedy “Ron’s Gone Wrong”, at $7.3 million. Zach Galifianakis and Ed Helms are among the voice actors telling the story of a socially awkward middle-schooler in the future who receives a defective but good-hearted robot as a present.

Rounding out the top 10 were “The Addams Family 2” ($4.3 million), “The Last Duel” ($2.1 million), “Shang-Chi and the Legend of the Ten Rings” ($2 million), “The French Dispatch” ($1.3 million) and “Free Guy” ($258,000).

Cartoon dreams: Netflix’s Japan anime school targets booming demand

Oct 26,2021 - Last updated at Oct 26,2021

Veteran Japanese animator/filmmaker Mamoru Hosoda’s Cannes debut ‘Belle: The Dragon And The Freckled Princess’ is inspired by the French ‘Beauty And The Beast’ fairytale (AFP photo)

By Harumi Ozawa
Agence France-Presse

TOKYO — Armed with a set of pencils and a feather to sweep away eraser dust, Hitomi Tateno is training the next generation of anime artists at a new Netflix-funded academy as global demand for the Japanese genre soars.

From runaway box office triumph “Demon Slayer” to recent Cannes sensation “Belle”, anime has shaken off its reputation as a geeky subculture, drawing in hordes of new fans during virus lockdowns.

But Japan is facing a shortage of skilled animators, in part because most face years toiling in low-paying jobs to learn the ropes, meaning much of the painstaking frame-by-frame drawing work is outsourced overseas.

That’s something the US streaming giant thinks it can change with its WIT Animator Academy, which offers a group of junior artists free training and a stipend for living expenses as they learn.

George Wada, president of top anime production house WIT Studio, which is running the training with Netflix, compares it to other fast tracks into demanding industries.

“If you become an apprentice with a top sushi chef, it may take years before you master all the recipes, but you can go to a sushi academy and finish the whole curriculum in one year,” he explained.

The six-month course focuses on “in-between” art — the frames between each “master” picture that create the illusion of movement.

Tateno, who has worked on top titles from Studio Ghibli’s “Spirited Away” to cult classic “Akira”, has built a successful career by in-betweening.

“This job is like weaving a rug. It’s very delicate and requires patience,” the anime veteran told AFP as she checked lines drawn by a student.

“Many aspiring animators want to quickly step up to a key animator position, and even if some want to specialise in in-betweening, not many can survive.”

There’s no doubt about the growing demand for animators.

More than 100 million households worldwide watched at least one anime on Netflix in the 12 months to September 2020, a figure that grew 50 per cent year on year, the US entertainment behemoth says.

The firm hopes the academy will “help the future of Japanese animators to spread their wings to the world through their works”, with eventual plans to expand and offer tracks into other animation specialities.

“We will continue our efforts to support and strengthen the talent that supports the animation industry,” Taiki Sakurai, Netflix’s chief producer for anime, told AFP.

It is part of a strategy to compete with the likes of Crunchyroll, the world’s largest online anime library, bought by Sony this year in a $1.17 billion deal.

With the first six-month programme finished, the WIT Academy is now welcoming its second cohort of students.

The graduates will be offered jobs at WIT studio or one of its affiliates to produce Netflix shows in a team.

But they will be entering an industry where staff retention is a dire problem, with salaries still dismal and in-betweeners staying in the job just four years on average.

Most in-betweeners in Japan are freelance or part-time, with only 18 per cent holding full-time positions, and 80 per cent of in-between work is sent abroad, mainly to China or South Korea, the Japan Animation Creators Association (JAniCA) says.

The safety net offered by free training, funding and a pathway to a career is rare, and WIT Academy student Maki Ueno said it made her “feel secure”.

“I have a friend working for another studio, who tells me the training programme is a lot shorter and there’s no payment during the training,” the 22-year-old, one of the 10 students in the first cohort, told AFP.

Daisuke Okeda, a lawyer and secretary at JAniCA, says the academy is part of a trend that could change the industry.

“It’s a common understanding that the animation quality goes up when a studio keeps skilled in-betweeners in the team,” he told AFP.

Permafrost: A ticking carbon time bomb

By - Oct 25,2021 - Last updated at Oct 25,2021

By Johannes Ledel
Agence France-Presse

ABISKO, Sweden — Sheltered by snow-spattered mountains, the Stordalen mire is a flat, marshy plateau, pockmarked with muddy puddles. A whiff of rotten eggs wafts through the fresh air. 

Here in the Arctic in Sweden’s far north, about 10 kilometres east of the tiny town of Abisko, global warming is happening three times faster than in the rest of the world.

On the peatland, covered in tufts of grass and shrubs dotted with blue and orange berries and little white flowers, looms a moonlander-like pod hinting at this far-flung site’s scientific significance.

Researchers are studying the frozen — now shapeshifting — earth below known as permafrost.

As Keith Larson walks between the experiments, the boardwalks purposefully set out in a grid across the peat sink into the puddles and ponds underneath and tiny bubbles appear.

The distinct odour it emits is from hydrogen sulfide, sometimes known as swamp gas. But what has scientists worried is another gas rising up with it: Methane. 

Carbon stores, long locked in the permafrost, are now seeping out.

Between carbon dioxide (CO2) and methane, permafrost contains some 1,700 billion tonnes of organic carbon, almost twice the amount of carbon already present in the atmosphere.

Methane lingers in the atmosphere for only 12 years compared to centuries for CO2 but is about 25 times more potent as a greenhouse gas over a 100-year period.

Thawing permafrost is a carbon “time bomb”, scientists have warned.

Vicious circle

In the 1970s, “when researchers first started showing up and investigating these habitats, these ponds didn’t exist”, says Larson, project coordinator for the Climate Impacts Research Centre at Umea University, based at the Abisko Scientific Research Station.

“The smell of the hydrogen sulfide, that’s associated with the methane that’s being released — they wouldn’t have smelled that to the extent we do today,” adds Larson, who measures how deep the so-called active layer is by shoving a metal rod into the ground.

Permafrost — defined as soil that stays frozen year-round for at least two consecutive years — lies under about a quarter of the land in the Northern Hemisphere.

In Abisko, the permafrost beneath the mire can be up to tens of metres thick, dating back thousands of years. In parts of Siberia, it can go down over a kilometre and be hundreds of thousands of years old.

With average temperatures rising around the Arctic, the permafrost has started to thaw. 

As it does so, bacteria in the soil begin to decompose the biomass stored within. The process releases the greenhouse gases carbon dioxide and methane — further accelerating climate change in a vicious circle.

A few minutes’ drive away at the much smaller Storflaket mire, researcher Margareta Johansson has tracked the thawing permafrost since 2008 by measuring the active layer, the part of the soil that thaws in summer.

“In this active layer, where measurements started in 1978, we have seen it become between seven and 13 centimetres thicker every decade,” says Johansson, from Lund University’s department of physical geography and ecosystem science.

“This freezer that has kept plants frozen for thousands of years has stored the carbon that then can be released as the active layer gets thicker,” she adds.

At a tipping point?

By 2100, the permafrost could have significantly thawed if CO2 emissions are not reduced, experts on oceans and the cryosphere from the UN’s Intergovernmental Panel on Climate Change (IPCC) have warned.

The Arctic’s average annual temperature rose by 3.1ºC from 1971 to 2019, compared to 1ºC for the planet as a whole, the Arctic Monitoring and Assessment Programme said in May.

So could the permafrost reach a tipping point? That is, a temperature threshold beyond which an ecosystem can tip into a new state and risk disturbing the global system.

It’s feared, for example, that the Amazon tropical forest could turn into a savannah or that the ice sheets atop Greenland and West Antarctica could melt entirely.

“If all the frozen carbon would be released, it would almost triple the concentration of carbon in the atmosphere,” Gustaf Hugelius, from Stockholm University who specialises in the carbon cycles of permafrost, tells AFP.

“But that will never happen,” he quickly adds. The thawing of the permafrost, he says, will not take place all at once, nor will all the carbon be released in a giant puff.

Rather, it will seep out over decades, even hundreds of years.

The big issue with permafrost is that the thawing and accompanying carbon release will continue even if human emissions are cut.

“We have just begun activating a system that will react for a very long time,” Hugelius says.

Cracks in the ground

In Abisko, a small lakeside town with traditional red brick and wooden buildings known as a popular spot for viewing the northern lights, telltale signs of thawing permafrost are there if you know where to look. 

Tears in the ground have opened up and slumping soil is visible around the picturesque town. Rows of telephone poles are tilting because the ground has started to shift.

In Alaska, where permafrost is found beneath nearly 85 per cent of the land, thawing permafrost is causing roads to warp.

Cities in Siberia have seen buildings start to crack as the ground shifts. In Yakutsk, the world’s largest city built on permafrost, some buildings have already had to be demolished.

The deterioration of permafrost affects water, sewage and oil pipes as well as buried chemical, biological and radioactive substances, Russia’s environment ministry said in a report in 2019.

Last year, a fuel tank ruptured after its supports suddenly sank into the ground near the Siberian city of Norilsk, spilling 21,000 tonnes of diesel into nearby rivers.

Norilsk Nickel blamed thawing permafrost that had weakened the plant’s foundation.

Across the Arctic, permafrost thaw could affect up to around two thirds of infrastructure by mid-century, according to a draft IPCC report, seen by AFP in June ahead of its scheduled release by the UN in February.

More than 1,200 settlements, 36,000 buildings and four million people would be affected, it said.

It can lead to other dramatic changes in the landscape too, such as trapping water to form new ponds or lakes, or opening up a new path for water drainage, leaving the area completely dry.

Threatening Paris goals

The planet-warming gases escaping from permafrost threaten the hard-won Paris climate goals, scientists have warned.

Countries that signed the 2015 treaty vowed to cap the rise in global temperatures at well below 2ºC — 1.5ºC if possible — compared to preindustrial levels. 

To have a two-thirds chance of staying under the 1.5ºC cap, humanity cannot emit more than 400 billion tonnes of CO2, the IPCC recently concluded. 

At current rates of emissions, our “carbon budget” would be exhausted within a decade.

But carbon budgets do “not fully account for” the wild card of a rapid discharge in greenhouse gases from natural sources in the Arctic, warned a study this year, published in the Proceedings of the National Academy of Sciences of the United States of America.

Many climate models currently don’t take permafrost into account because it is difficult to project the net effects of the permafrost thawing, Hugelius says.

Emissions in some areas are offset by the “greening of the Arctic” as certain plants thrive in the warmer temperatures, he adds.

However, the latest IPCC report from August did raise the issue of melting permafrost and stated that “further warming will amplify permafrost thawing”, he says.

Action taken now can still have a strong effect on the speed of the thaw, Larson stresses.

Even if “we actually don’t have control over the rate of thaw of the permafrost soils” that doesn’t mean “we shouldn’t turn off the fossil fuels and change how we live on this planet”, he says.

Some changes driven by warming temperatures in the Arctic are already irreversible, he adds sadly.

Shrinking

On the south peak of the dramatic Kebnekaise massif, 70km away, year after year Ninis Rosqvist is seeing the impact of a warming climate before her very eyes.

Nimble as a mountain goat, the 61-year-old glacial researcher expertly climbs up under a cloudless blue sky to place an antenna in the freshly-fallen snow to measure the altitude.

Before she gets her answer, she knows the glacier — 150km north of the Arctic Circle — is smaller than the last time she was there.

The mountaintop glacier has shrunk by more than 20 metres since the 1970s.

The GPS shows she is 2,094.8 metres up. 

Until two years ago, it was Sweden’s highest peak.

“In the past 30 years, it’s been melting more than previously, and in the last 10 years it’s been even more,” Rosqvist, a Stockholm University geography professor, says, adding that summers especially have been unusually warm with recurring heatwaves.

Changan Benni E-Star: Attainable EV

By - Oct 25,2021 - Last updated at Oct 25,2021

Photos courtesy of Changan

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Launched last year as an updated version of the Changan Benni EV, the E-Star is positioned to potentially be of particular relevance to the Jordanian auto market, where it arrived in recent weeks.

Among the smallest and lightest electric vehicles in Jordan, the Benni E-Star is also currently the most affordable brand new EV with official dealership warranty. 

Well suited for busy Amman roads, the Benni E-Star also crucially boasts a 301km driving range — longer than many EV hatchbacks popularly available on the independent import market.

Fresh faced

Freshened up, face-lifted and bearing a new designation, the E-Star is a more assertively styled incarnation of the Benni EV, which first arrived in 2016, just two years after the regular combustion version of Chinese manufacturer’s small city car.

More contemporarily styled, the Benni EV features a revised headlight signature, with a boomerang like inner element creating a more purposefully scowling effect. It also receives a new front bumper design, with huge sculpted faux side intakes with wavy bright green gills and sportily jutting lower lip.

With a body coloured panel both replacing and mimicking a traditional grille with its textured pattern, air is instead fed to the Benni E-Star’s cooling system through a lower intake vent.

A short and narrow city with a high roofline, the Benni’s proportions may not instinctively allude to a sporting character, but its new 5-spoke 15-inch alloy wheels, shark fin style aerial and tailgate spoiler well complement its sharply rising and prominently ridged side crease line and descending roofline to create a more athletic and eager aesthetic.

 

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Compact and confident

Positioned about as deep under its tall bonnet as the lower intake, the Benni E-Star’s low-mounted electric motor is powered by 32.2kWh capacity lithium-ion battery system, which itself is mounted low and under the boot at the rear.

Driving the front wheels through a single-speed automatic gearbox, the E-Star’s electric motor develops 74BHP and 125lb/ft torque. With much of its torque instantly available when accelerating from standstill, the E-Star launches with confidence and is particularly responsive at lower city speeds, where it achieves 0-50km/h in 4.7-seconds.

Responsive in town with its significant and generous torque bias, the Benni E-Star remains confident on inclines and when overtaking, while its rate of acceleration remains reasonably robust until around 80km/h before trailing off slightly. Adequately powered to make good city progress in its default “D” mode, the E-Star, however, unleashes it full output for feistier performance when driven in “S” mode, as accessed through a Jaguar-like electronic rotary-action gear selector. Driven briefly on urban roads, the E-Star’s top speed is meanwhile estimated at around 130km/h.

Small and silent

A sprightly city car, the E-Star drives in eerie near silence at the press of a button. However, with artificial driving sound enabled to alert pedestrians, the E-Star also becomes more engaging, with its supercharger-like whining sound rising and becoming more intense as power and velocity increase to better communicate an instinctive sense of speed and effort.

As an EV, the E-star demands slight driving style adjustments in reducing accelerator input when wishing to coast, rather than full lift-off, which automatically engages kinetic energy regenerative braking.

Measuring just 3,770mm long and 1,650mm wide, the small E-Star is an agile and very manoeuvrable car, happy to zip through busy streets, tight corners, narrow roads and into confined parking spaces with ease and no need for reversing camera or sensors. 

If not quite the featherweight that a similarly sized car like the Suzuki Celerio might be, the 1,180kg E-star is nonetheless a lightweight as EVs come, and drives with the adjustability, responsiveness and nimbleness that make cars of its class so rewarding in urban settings.

Tall and low

Tall and narrow with a comfortable ride, forgiving suspension and terrific outward visibility, the E-Star’s potential body lean is nevertheless reduced by its low centre of gravity. Bobbing and bouncing over road bumps with ease, the E-Star drives with an alert and involving fashion, yet feels reassuring and reasonably settled and stable for its class. 

Steering is meanwhile light and quick, if not highly nuanced in feel and feedback. However, tall and narrow 175/60R15 tyres help with steering intuitiveness, ride compliance, durability and low running cost.

A small, practical and economical city runaround, the E-Star is fresh and contemporary inside, with futuristic motifs and details. Making the best of its materials, the E-Star features contrasting glossy black and white panels, green outline accents, touch activated functions, sporty contoured flat bottom steering wheel, and dual instrument and infotainment screen panel. 

Practically, charging time is 8-hours, 35-minute, while 150-litre luggage volume expends significantly with split rear seats folded. Slightly narrow, the E-Star’s cabin, however, features generous front headroom, while rear space is reasonably accommodating for most.

 

TECHNICAL SPECIFICATIONS

  • Engine: Front-mounted electric motor
  • Battery, capacity: Lithium-ion, 32.2kWh
  • Gearbox: 1-speed automatic, front-wheel-drive
  • Power, BHP (PS) [kW]: 74 (75) [55]
  • Torque, lb/ft (Nm): 125 (170)
  • 0-50km/h: 4.7-seconds
  • Top speed: 130km/h (estimate)
  • Range: 301km
  • Charging time (0-80 per cent), 240V at 13.6A/10.7A: 8h, 35m/11h, 30m
  • High capacity fat charging (30-80 per cent): 30-minutes
  • Length: 3,770mm
  • Width: 1,650mm
  • Height: 1,570mm
  • Wheelbase: 2,410mm
  • Loading height: 136.5mm
  • Luggage volume, minimum: approximately 150-litres (estimate)
  • Kerb weight: 1,180kg 
  • Steering: Electric-assisted rack & pinion
  • Suspension: MacPherson struts/torsion beam
  • Brakes, F/R: Ventilated discs/discs, regenerative
  • Tyres: 175/60R15
  • Price, on-the-road, with comprehensive insurance: JD14,500
  • Warranty: 5-years or 150,000km

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