“Weekly Jump Catch Phrase Grand Prix 2005” Poster

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“オレの人生再生期!?”

“Ore no Jinsei Saisei-ki!?”

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REBORN! Catchphrase Winner: Okazaki Ritsu from Hiroshima Prefecture

To my knowledge (still mad at myself for not bookmarking the blog I found it on) this is, if not 1 of 1, 1 of 2? Maybe??? I would hope they’d give the winner a copy.

The blogger took a picture of this EXACT poster, framed, AT Jump Festa IN 2005.

I got it from suruga-ya last year. They sometimes have some cool rarer REBORN! stuff in stock and I HAD TO HAVE IT lol

#Bobobo-boBo-bobo #Bobobo-boBo-boboMerch #Bobobo-boBo-boboToys #Bobobo-boBo-boboKeychains #Bobobo-boBo-boboGasser #Bobobo-boBo-boboHeppokomaru #Bobobo-boBo-boboBeauty #Bobobo-boBo-boboJankenbo #AnimeMerch

Thinking about these Bobobo-boBo-bobo merch and how rare some of these are. I thought this show just had a few video games but apparently figures and keychains were made. I wonder if there are plushies of the characters. I hope this show returns one day. Gasser is my fav character by the way.

Images not mine but links are there.

Bobobo-bo Bo-bobo PVC Figure Heppokomaru Brand-New | eBay

Bobobo-bo Bo-bobo Big Figure Bo-bobo | eBay

Bobobo-bo Bo-bobo Beauty Jankenbo Finger Puppet Figure V Jump 2004 P02 1.8in | eBay

Don Patch Bobobo-bo Bo-bobo Coca-Cola Jump Festa 2005 Figure N04 1.6-2.5in | eBay

Bobobo-bo Bo-bobo Pin 1in & Don Patch Metal Keychain 1.7in Jump Festa 2002 Japan | eBay

New Bobobo-bo Bo-bobo World Collectable Figure Banpresto 2017 Prize Japan 3.2in | eBay

Shueisha Bobobobo Bobobo Storefront Sales Promotion Pop Weekly Shonen Jump | eBay

Verona, Mura Festival: nuovo format dedicato alla bellezza

Verona, Mura Festival: nuovo format dedicato alla bellezza. Nuova settimana ricca di appuntamenti al Mura Festival, manifestazione ideata e promossa dal Comune di Verona, nei quartieri di San Zeno, Veronetta, Borgo Trento e Torricelle, nel contesto della cinta magistrale, patrimonio dell'Unesco. Tante le proposte anche in ambito culinario con Siamo Fritti e La mia Polpetta. Ritornano le sfiziose proposte di La Reina Pepiada e le golosità di Mr Fabulous. L'area food truck è attiva dal martedì alla domenica dalle 18 alle 24. Nei pomeriggi e serate di sabato e domenica, torna l'appuntamento con i Gipsy Market a Bastione San Bernardino.   MUSICA Mercoledì 7, dalle 20.30 sul Freak Stage di San Bernardino, per la serata "Gin 'n' Jazz" si esibiranno gli Shells and Pearls, gruppo formatosi nel 2021 di genere esclusivamente strumentale, che spazia in prevalenza dal funk alla bossa, dalla fusion allo smooth jazz. Giovedì 8, torna Brand New Verona al Freak Stage con i The Foolz, 360 entertainment, Le Pareti sconnesse recording studio e Freecom Hub come web magazine. Venerdì 9, sul Freak Stage, Toga Party sullo stile animal house come nelle migliori tradizioni universitarie alla ripresa delle attività scolastiche, richiamando la pellicola e saga di John Landis per una fantastica e strabiliante festa della toga con lo spirito sixties e sano rock n roll & twist. Chi arriverà in toga avrà diritto ad un simpatico e gustoso omaggio, previo selfie con certificazione dell'abito da cerimonia. Sabato 10, il gruppo Negroni, che fonde rock'n'roll, rhythm'n'blues, pop, ska e reggae degli anni '50, '60 e '70. Nick Martini al contrabbasso, Michael Bitter alla chitarra e Teo Gin alla Cocktail drum. Un repertorio di classici rivisitati degli anni '50 non dimenticando la lezione del miglior soul anni '60 e mixando il tutto con cori in stile Do-woop: un mix letale che non lascia scampo come il cocktail di cui portano il nome proprio degli ingredienti che lo caratterizzano.   EVENTI SPECIALI Sabato 10, ultimo imperdibile appuntamento con "Un prato di stelle" al Parco di castel San Felice", per vedere insieme le costellazioni e scoprire tutte le curiosità dei miti sugli astri grazie alla collaborazione del Circolo Astrofili Veronese A. Cagnoli. Domenica 11, al Bastione di San Bernardino, l'evento nell'evento per celebrare la bellezza interiore e la cura di sé: Beauty Care con Miss Lessinia, una serata speciale per celebrare la bellezza e il suo potere di renderci più forti e sicuri. Un tema che sarà approfondito a partire dalle 18.30 nel talk Beauty Care, con ospiti tre autorevoli esperti della medicina e del mondo beauty: la chirurga plastica e ricercatrice universitaria Natale Ferreira Gontijo de Amorin, Nicola Cossater, direttore del centro Cossater Beauty e Giuliana Guadagnini, psicologa clinica, sessuologa e psicoterapeuta. Alle 21 spazio al concorso di Miss Lessinia Bellezza Veneta sul freak stage di San Bernardino, con interventi artistici di recitazione, comicità e canto, incentrati sul messaggio della bellezza come empowerment femminile, un sentimento di cura per se stesse per sentirsi bene e acquisire sicurezza dei propri mezzi. A presentare la serata e moderare gli incontri Angela Booloni, conduttrice televisiva, ex modella e titolare dell'agenzia di moda ed eventi LABd'ELITE, e organizzatrice del concorso Miss Lessinia Bellezza Veneta, di cui nel 2005 ha vinto il titolo.   SPORT E KIDS  Venerdì 9, proseguono le attività di Parkour per i bimbi alle 16.30 e per i ragazzi alle 17.30 fino alle 19. Domenica 11 alle 11 torna Pierpaolo Savio con Jumping fitness al Bastione San Bernardino e Pilates e stretching posturale alle 11.30 con Silvia Barbieri. Sabato 10, appuntamento con Music Together Babies di La chiave Magica alle 10 e Music Together mix-ages alle 11.15. Nel pomeriggio puro divertimento con Suoniamo insieme al Bastione di San Zeno alle 17. Infine, la domenica alle 17 attività per i più piccoli al Bastione San Zeno con Scienza divertente in Plastica 4.0.   VISITE GUIDATE Riprendono con sabato 10 alle 14.30 le visite guidate organizzate da Assoguide Verona. Della durata due ore, viene proposto l'itinerario Le porte dimenticate: dalla Porta Fura alla Porta del Morbio. Un omaggio alle due delle porte medievali più antiche e meno conosciute di Verona: la Porta Fura, antico accesso al quartiere fortificato di S. Zeno e all'accampamento dei Sacri Romani Imperatori, e la Porta del Morbio, l'antenata di Castelvecchio, oggi seminascosta dal ponte scaligero. L'itinerario sarà l'occasione per ricostruire le vicende che portarono i Benedettini di San Zeno dal massimo prestigio religioso e politico e alla loro successiva sottomissione agli Scaligeri.   Tutto il calendario di appuntamenti e attività - in continuo aggiornamento - è consultabile al sito www.murafestival.it.... Read the full article

The rest of my Gintama 2005 Jump Festa Reactions

I love that Hijikata almost beat Yamazaki to death for playing badmitton instead of securing a flower viewing spot 😂

Also, Toushi jumps right to fighting the crew like usual. His temper is really entertaining

Gintoki hiccuping was actually really cute oof

WHO THOUGHT GIVING TWO DRUNK IDIOTS SWORDS AND LETTING THEM FIGHT WAS A GOOD IDEA

Gintoki slicing a tree and Toushi playing janken with Sadaharu are the two things I needed in life

KATSURA YOU LOVABLE ASS SHOWING UP IN A FREAKING MECH

That was an amazing episode and I am sad I didn't see it sooner xD

Episode Jump Festa Anime Tour 2005 OVA

PLOT: The unlikely silver-haired hero is late with his rent, as usual, and his rush to avoid his landlady leads him to the sakura blossoms in the park. However, his flower watching and a delightful picnic turns into a violent game of Jan-ken-pon against the Shinsengumi! Can Kagura beat the champion Sougo as Gin tries to out-drink Hijikata, or will rebellious Zura’s giant mecha appearance put an end to all of their fun?

(You can refer Cherry blossoms viewing in the manga CH17 but Katsura appeared only in the anime, in short, not canon.)

Gon Freecss- "Coca-Cola Jump Festa 2005 Figure Collection"- Shueisha

WAS ANYBODY GONNA TELL ME THAT HIJIKATA CALLS HIM GINTOKI IN THE 2005 JUMP FESTA SPECIAL OR WAS I JUST SUPPOSED TO FIND THAT OUT BY MYSELF

So, I’ve started reading the manga and this... This is unfair.

Lesson 17 was first animated for the Jump Festa Anime Tour 2005 preview, which was later part of episode 125. It’s the first time the Yorozuya and the Shinsengumi are not completely antagonistic and they have a fun drinking party together. I love it.

But I never realized that I have been ROBBED of a Hijikata in kimono, doing his best “Jennifer Lopez at the Grammys” impression. Robbed, I say.

Artist: Mario Schifano

Venue: Gio Marconi, Milan

Exhibition Title: Something else

Date: January 23 – July 24, 2020

Curated by: Alberto Salvadori

Click here to view slideshow

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Gio Marconi, Milan

Press Release:

Gió Marconi gallery is pleased to present the exhibition Mario Schifano. Something else, dedicated to a group of monochromes from between 1960 and 1962, curated by Alberto Salvadori and in collaboration with the Mario Schifano Archive.

Schifano began to make these industrial enamel paintings on canvas-backed paper in 1959, after earlier experiments in Informalism. He first presented them in 1960 at Galleria La Salita in Rome, in the group exhibition 5 pittori, which he shared with Giuseppe Uncini, Tano Festa, Francesco Lo Savio and Franco Angeli, and later in a solo show at the Tartaruga gallery in 1961.

Ahead of other artists working in Rome at the time, Schifano not only intended his monochromes to empty the surface of the painting, partly as a reaction to Informalism, but also to attribute it with another point of view, to ‘frame’ it, to propose a new way of seeing and painting.

Maurizio Calvesi was the first to understand that the surface of the monochromes was simply a screen, as he commented in the Galleria Odyssia exhibition catalogue in 1963: ‘They were highly original paintings with only one or two colours to cover the entire surface of the rectangle, or two rectangles juxtaposed… A number or several letters (but only at times) isolated or symmetrically placed; a lump in the paper, some drips, that was the total movement of the painting.’

As the common denominator of an entire generation of artists, from Lucio Fontana and Enrico Castellani to Piero Manzoni and Yves Klein, the monochrome was no novelty between the end of the 1950s and the beginning of the ’60s, and Schifano was perfectly aware of this.

‘I thought painting meant starting from something absolutely primary’…, said Schifano, ‘The first all-yellow paintings with nothing in them, empty images, had nothing they wanted to say. They diverged from any cultural intention. They wanted to be themselves… Making a yellow painting was just making a yellow painting, that was all.’

Zeroing the gesture and meaning was therefore a simple pretext for making a painting that started from scratch, opening the way for something different. The grammar of Schifano’s monochromes is very simple: industrial enamels with a glossy, covering effect; ‘dripping’ colour spread freely and unevenly on the rough surface of wrapping paper. The intention was to give the idea of a billboard painting.

The surface of the paintings with their bright colours and absence of tonalities, similar to a photographic plate, heralded the emergence of new images: it was a new space for investigation, a field of germination which was ready to produce something else.

The exhibition’s emblematic title refers to a work from 1960, made by Schifano when he was just twenty-six, and also to a polyptych from 1962, which is among the works on show.

With the effective conciseness of an advertising message, Qualcos’altro (Something Else) was perhaps meant to indicate that what the artist intended to paint had to be different from what was already available, but it was also a mission statement expressed in two words: the monochrome, denoting a tabula rasa, was ready to be transformed into a projection zone, a photographic field for focusing on details, particulars and fractions of images. Something Else has an almost prophetic flavour, considering that these ‘screens’ were soon to be filled with new signs of modern life. It is in the light of all this that the exhibition focuses on monochromes, sixty years after their creation. They were a crucial step in Mario Schifano’s creative journey and the genesis of his artistic invention. The paintings will be accompanied by a group of works on paper from the same years, and to mark the occasion, a tabloid format newspaper of the exhibition will be published containing formerly unseen work by Schifano, together with contributions by Riccardo Venturi and Alberto Salvadori.

  Biographical notes

Born in Homs, Libya, in 1934, Mario Schifano moved to Rome in the immediate post-war period. After abandoning his studies, he worked as an assistant to his father, an archaeologist and restorer at the Villa Giulia Etruscan Museum. He initially painted Informalist-style works, which he exhibited in his first solo show at Galleria Appia Antica in Rome. He subsequently took part with Franco Angeli, Tano Festa, Francesco Lo Savio and Giuseppe Uncini in a group show entitled 5 pittori – Roma ’60, curated by Pierre Restany, which led to critical interest in his work. Moving away from Informalism, he began to create monochrome works using industrial enamel paint on wrapping paper glued to canvas.

In 1961 he won the Lissone Prize for young contemporary painting and held a new solo exhibition at Galleria La Salita in Rome. After a trip to the United States, where he took part in the New Realism exhibition at the Sidney Janis Gallery in New York, he began to introduce fragments of urban iconography into his canvases.

His work took the form of thematic cycles, from Paesaggi anemici to series dedicated to art history (Futurismo Rivisitato 1966). In 1964 he was invited to the Venice Biennial, and the following year he took part in Studio Marconi’s inauguration show, becoming one of the Studio’s most representative artists. In addition to three new series Ossigeno Ossigeno, Oasi and Compagni compagni, he also made avant-garde films such as Anna Carini vista in agosto dalle farfalle, which he showed at Studio Marconi in 1967. From 1970, after his political and social commitment during the protest years, he experimented with transferring television images onto emulsified canvas, adding details in industrial enamel paint.

He had numerous solo exhibitions and in 1972 exhibited at the 10th Rome Quadrennial. The following year he participated in the Contemporanea exhibition, curated by Achille Bonito Oliva in the Villa Borghese parking lot. In 1974 a vast retrospective was held at Parma University, comprising one hundred works tracing his artistic career. During these years he returned to revisiting art history, creating works inspired by the masterpieces of the historical avant-gardes; he also embarked on new cycles, among them Quadri equestri, Architettura, Naturale sconosciuto and Reperti.

In addition to organising numerous solo exhibitions in Italy and abroad, he contributed to several editions of the Venice Biennial and was included in the major exhibitions of contemporary Italian art, including Identité italienne (1981), Centre Pompidou, Paris; Italian Art of the XX Century (1989), Royal Academy, London; and The Italian Metamorphosis 1943–1968 (1994), Solomon R. Guggenheim Museum, New York (which subsequently transferred to the Milan Triennale and the Wolfsburg Kunstmuseum).

The artist died in Rome in 1998. The many exhibitions dedicated to him include extensive retrospectives held at the following venues: Galleria Comunale d’Arte Moderna e Contemporanea, Rome (2001); Galleria Nazionale d’Arte Moderna, Rome (2008–2009); Galleria Gruppo Credito Valtellinese, Milan; Musée d’art moderne Saint- Etienne Métropole; Castello Pasquini, Livorno (2013); Luxembourg & Dayan gallery, London and New York (2014); Complesso Museale Palazzo Ducale, Mantua (2017); and Mayor Gallery, London (2018). In addition to these were two important exhibitions organised by Fondazione Marconi: Schifano 1960– 1964. Dal monocromo alla strada (2005); Schifano 1964–1970. Dal paesaggio alla TV (2006); Grande angolo per uomini, manifesti e paesaggi (2013), accompanied by the release of the book of the same name edited by the Mario Schifano Archive, and the last, Omaggio a Mario Schifano. Al principio fu Vero amore (2018). Among the principal and most recent group shows that have included his work are The World Goes Pop, Tate Gallery, London (2016); Arte ribelle, Galleria Gruppo Credito Valtellinese, Milan, curated by Marco Meneguzzo (2017); and Nascita di una nazione, Palazzo Strozzi, Florence, curated by Luca Massimo Barbero (2018).

Link: Mario Schifano at Gio Marconi

from Contemporary Art Daily https://bit.ly/3dVmsVC

10 filmes de terror na Netflix que você precisa assistir

E já estamos no dia 31 de outubro, mais conhecido como Halloween ou abrasileiradamente falando Dia das Bruxas; e nada mais propício para esta data do que tirar um tempinho para assistir terror. Como o gênero já está muitíssimo bem representado nos cinemas com o próprio Halloween, confira nossa crítica aqui, selecionamos dez excelentes e diversificadas opções que você pode assistir no conforto da sua casa graças a Netflix; agora é só criar coragem, ver qual lhe agrada mais e mandar ver:

Cloverfield – Monstro

Com toda certeza o melhor filme sobre monstros com a utilização de filmagens em primeira pessoa. Mostra um grupo de amigos que aproveita uma festa de despedida em Nova York, quando inesperadamente um monstro gigantesco surge. Todo o processo é filmado como found-footage (estilo que viralizou na última década) e nos coloca dentro do pavor. É extremamente bem feito e bem dirigido por Matt Reeves (‘Deixe-me Entrar��� e ‘Planeta dos Macacos: Confronto e Guerra’). O produtor é J.J. Abrams, um especialista no estilo, e até hoje esperamos mais informações sobre o tal monstro Cloverfield.

A Visita

Com direção e roteiro de M. Night Shyamalan (responsável por ‘O Sexto Sentido’, ‘Sinais’, ‘A Vila’ e mais recentemente ‘Fragmentado’) só podemos esperar algo no mínimo surpreendente. Aqui acompanhamos dois irmãos que vão passar alguns dias com seus avós em uma fazenda, porém, o que deveria ser uma divertida viagem acaba se tornando num pesadelo. Temos em A Visita uma opção excelente para gerar aquela tensão e pavor constante, num ótimo suspense que se estende até o fim; fora a angústia gerada pelas atitudes e comportamentos pra lá de suspeitos dos avós.

Corrente do Mal

Um dos destaques no ano de 2015, dando início a uma nova leva de produções terríficas; contendo mais fatores psicológicos do que sustos, Corrente do Mal é certamente um dos melhores exemplares lançados recentemente. O filme apresenta uma garota perseguida por uma entidade sobrenatural transmitida sexualmente. Com uma premissa um tanto quanto incomum, temos aqui uma obra primorosa em aspectos técnicos e hiper funcional ao criar tensão.

Hush – A Morte Ouve

Fugindo um pouco da “fantasia” e indo para uma trama que é muito mais “real”. Além de ser mais atual (2016) e também não pesar tanto a mão no terror, e sim no suspense/thriller. Estamos falando de Hush – A Morte Ouve, um dos primeiros filmes adquiridos para distribuição pela Netfix. Dirigido pelo grandioso, e em ascensão, Mike Flanagan, somos apresentados a uma protagonista surda. Ela vive isolada em um ambiente totalmente silencioso, até certo dia quando um psicótico mascarado aparece no local. Muito antes de ‘Um Lugar Silencioso’ aparecer, Hush já brincava com os sentidos ao criar passagens realmente agoniantes. Bela trama psicológica, impossível não ficar tenso do começo ao fim.

O Babadook

Saindo do mercado americano de se fazer filmes, e indo pra uma produção realizada por australianos e canadenses em 2014. O Babadook é inovador pelo modo de retratar o terror em cena, e é facilmente um dos mais surpreendentes aqui. Apresenta a dificuldade de uma mãe em criar o filho após a morte do pai, em meio de um clima depressivo e o constante medo de monstros do garoto. Com uma filmagem carregada e escura, puxando pro suspense psicológico, o longa é cheio de simbolismo. Tendo na presença do tal bicho-papão o ápice aterrorizante, o que não falta aqui é tensão para o espectador.

Verônica

Mais novo trabalho de Paco Plaza, criador do maravilhoso ‘[REC]’, esta obra espanhola é baseada em uma história real; o que por si só já transforma o filme em algo dez vezes mais assustador. O caso acompanha a garota que intitula o longa que se vê perseguida por espíritos após uma falha tentativa de contato com o pai falecido; tal trama de Verônica representa a única ocorrência paranormal registrada pela polícia da Espanha.

Apóstolo

Uma das produções originais recentes da Netflix apresenta um cenário de cultos e seitas religiosas no início do século passado. Numa ambientação envolta de mistérios e tensão, conhecemos um homem desesperado em busca da irmã desaparecida; acaba caindo numa ilha remota e a encontra em meio de sequestradores fiéis a uma religião desconhecida cheia de rituais. Seguindo a linha mais lenta e tensa já implementada no terror, Apóstolo é uma obra sensitiva que sabe a hora e forma de apavorar.

Creep

Certamente o título mais desconhecido nesta lista e provavelmente muito inesperado, temos aqui uma obra ímpar; trata-se de uma produção bem caseira e que foge do que se espera de um terror. O funcionamento de Creep é na forma de um documentário filmado com câmera de mão, ou seja, mockumentary found footage; apresentando um documentarista que em busca dum projeto inovador, aceita passar um dia inteiro gravando a rotina de um serial-killer. Prepare-se para uma experiência diferente da usual, extremamente desconfortante.

Horror em Amityville

Local histórico e palco de um dos maiores casos sobrenaturais relatados, Amityville já serviu de inspiração para vários filmes. O que melhor se aproveita da atmosfera e até mesmo da história real é Horror em Amityville, obra de 2005 com Ryan Reynolds como protagonista; é um remake do longa de 1979 e apresenta uma família tendo que encarar a tal casa assombrada. Segue uma narrativa que desperta interesse e envolve, tendo bons jump scares (cenas de susto) e assustando com facilidade.

A Bruxa

Terror de maior sucesso nos últimos anos, com presença em várias premiações e aprovação máxima da crítica; é aqui em A Bruxa que uma nova narrativa no gênero se instaurou e ganhou espaço, trama bem elaborada e tensão criada nos detalhes. Viajamos ao Século 17 e uma família isolada da civilização se vê em ruínas após o desaparecimento do bebê; os boatos de uma bruxa no bosque parecem mais críveis e a escuridão toma conta. Belíssima obra e que faz jus a todo o alvoroço que causou, fugindo com classe dos padrões.

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Why have I never seen the 2005 Gintama Jump Festa Special yet?? I am watching it now and omg

Katsura's codename is Playboy I am officially deceased 😂😂😂

Smartphones News & Games

New Post has been published on https://androidlenovo.ru/2017/05/31/video-pervyi-geimpleinyi-treiler-remeika-final-fantasy-vii/

Видео: первый геймплейный трейлер ремейка Final Fantasy VII

Во время прошедшего в выходные мероприятия PlayStation Experience компания Square Enix впервые показала геймплейный фрагмент ремейка Final Fantasy VII.

В двухминутном трейлере можно увидеть ролики на движке с участием Клауда и Баррета, а также сражение на улицах Мидгара. Как можно заметить, в плане боёв ремейк напоминает Final Fantasy XV, однако пошаговый элемент в некотором виде всё же сохранится. В левой части экрана можно увидеть меню с пунктами «Атака» (Attack), «Магия» (Magic), «Призыв» (Summon), «Предметы» (Items) и «Защита» (Defend). В конце ролика появляется надпись «Сначала на PlayStation 4» (Play it first on PlayStation 4), что может указывать на временную эксклюзивность игры.

По словам продюсера Ёсинори Китасе (Yoshinori Kitase), разработчики стремятся к «идеально сбалансированному» сочетанию стратегического и экшен-элементов. «Со времён Final Fantasy VII аппаратные возможности консолей значительно выросли, игры стали гораздо более реалистичными, — заметил он. — Final Fantasy VII была ролевой игрой с боевой системой Active Time Battle (ATB) и выбором команд. Современные разработчики отдают предпочтение сражениям в реальном времени. Не могу сказать, что ремейк [будет лишён пошаговой составляющей], но в нём будет больше событий в реальном времени, чем в оригинальной игре».

Также он отметил, что благодаря вычислительным мощностям PlayStation 4 авторы смогут сделать модели персонажей почти такими же впечатляющими, как в анимационном фильме Final Fantasy VII: Advent Children («Последняя фантазия VII: Дети пришествия») 2005 года выпуска.

«Проект всё ещё находится в разработке, и пока мы не используем в полную силу возможности PlayStation 4, — добавил Китасе. — […] Мы хотим, чтобы модели Клауда, Тифы, Аерис и других персонажей в ремейке получились такими же качественными, как в фильме Final Fantasy VII: Advent Children. Добиться того, чтобы они выглядели так же в реальном времени, можно только на PlayStation 4».

В создании моделей главных персонажей участвует студия Visual Works, занимающаяся созданием кинематографических роликов для игр Square Enix. Создание моделей второстепенных героев поручено итальянскому дизайнеру Роберто Феррари (Roberto Ferrari), работавшему над Final Fantasy Type-0 и задействованному в разработке Final Fantasy XV. Соразработчиком проекта выступает студия CyberConnect 2 (Naruto: Ultimate Ninja, Final Fantasy VII G-Bike, .hack), имеющая большой опыт создания экшенов и владеющая богатым техническим ноу-хау.

Между тем Square Enix разослала журналистам пресс-релиз, в котором ремейк Final Fantasy VII называется «многочастной серией» (muilti-part series). «Final Fantasy VII будет многочастной серией, каждая игра которой подарит неповторимый опыт», — говорится в тексте. Значит ли это, что компания решила разбить ремейк на несколько эпизодов, пока неясно.

Сотрудник The Wall Street Journal Такаси Мотидзуки (Takashi Mochizuki) написал в своём микроблоге, что объём файлов ремейка «огромен» и поэтому игра будет поделена на несколько частей (FFVII-Remake 1, FFVII-Remake 2 и т. д.). Также он узнал, что сценарий практически не будет изменён, но разработчики добавят новые сцены. Некоторые части Мидгара станут недоступны для посещения, но в то же время игроки смогут исследовать новые локации.

Ремейк Final Fantasy VII пока не имеет даже приблизительной даты выхода. Игра будет показана в рамках мероприятия Jump Festa 2016, которое пройдёт в Токио 19–20 декабря.

5 декабря Square Enix выпустила на PlayStation 4 улучшенную версию Final Fantasy VII, появившуюся на PC в 2013 году.

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Источник: 3Dnews.ru

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Видео: первый геймплейный трейлер ремейка Final Fantasy VII

Во время прошедшего в выходные мероприятия PlayStation Experience компания Square Enix впервые показала геймплейный фрагмент ремейка Final Fantasy VII.

В двухминутном трейлере можно увидеть ролики на движке с участием Клауда и Баррета, а также сражение на улицах Мидгара. Как можно заметить, в плане боёв ремейк напоминает Final Fantasy XV, однако пошаговы�� элемент в некотором виде всё же сохранится. В левой части экрана можно увидеть меню с пунктами «Атака» (Attack), «Магия» (Magic), «Призыв» (Summon), «Предметы» (Items) и «Защита» (Defend). В конце ролика появляется надпись «Сначала на PlayStation 4» (Play it first on PlayStation 4), что может указывать на временную эксклюзивность игры.

По словам продюсера Ёсинори Китасе (Yoshinori Kitase), разработчики стремятся к «идеально сбалансированному» сочетанию стратегического и экшен-элементов. «Со времён Final Fantasy VII аппаратные возможности консолей значительно выросли, игры стали гораздо более реалистичными, — заметил он. — Final Fantasy VII была ролевой игрой с боевой системой Active Time Battle (ATB) и выбором команд. Современные разработчики отдают предпочтение сражениям в реальном времени. Не могу сказать, что ремейк [будет лишён пошаговой составляющей], но в нём будет больше событий в реальном времени, чем в оригинальной игре».

Также он отметил, что благодаря вычислительным мощностям PlayStation 4 авторы смогут сделать модели персонажей почти такими же впечатляющими, как в анимационном фильме Final Fantasy VII: Advent Children («Последняя фантазия VII: Дети пришествия») 2005 года выпуска.

«Проект всё ещё находится в разработке, и пока мы не используем в полную силу возможности PlayStation 4, — добавил Китасе. — […] Мы хотим, чтобы модели Клауда, Тифы, Аерис и других персонажей в ремейке получились такими же качественными, как в фильме Final Fantasy VII: Advent Children. Добиться того, чтобы они выглядели так же в реальном времени, можно только на PlayStation 4».

В создании моделей главных персонажей участвует студия Visual Works, занимающаяся созданием кинематографических роликов для игр Square Enix. Создание моделей второстепенных героев поручено итальянскому дизайнеру Роберто Феррари (Roberto Ferrari), работавшему над Final Fantasy Type-0 и задействованному в разработке Final Fantasy XV. Соразработчиком проекта выступает студия CyberConnect 2 (Naruto: Ultimate Ninja, Final Fantasy VII G-Bike, .hack), имеющая большой опыт создания экшенов и владеющая богатым техническим ноу-хау.

Между тем Square Enix разослала журналистам пресс-релиз, в котором ремейк Final Fantasy VII называется «многочастной серией» (muilti-part series). «Final Fantasy VII будет многочастной серией, каждая игра которой подарит неповторимый опыт», — говорится в тексте. Значит ли это, что компания решила разбить ремейк на несколько эпизодов, пока неясно.

Сотрудник The Wall Street Journal Такаси Мотидзуки (Takashi Mochizuki) написал в своём микроблоге, что объём файлов ремейка «огромен» и поэтому игра будет поделена на несколько частей (FFVII-Remake 1, FFVII-Remake 2 и т. д.). Также он узнал, что сценарий практически не будет изменён, но разработчики добавят новые сцены. Некоторые части Мидгара станут недоступны для посещения, но в то же время игроки смогут исследовать новые локации.

Ремейк Final Fantasy VII пока не имеет даже приблизительной даты выхода. Игра будет показана в рамках мероприятия Jump Festa 2016, которое пройдёт в Токио 19–20 декабря.

5 декабря Square Enix выпустила на PlayStation 4 улучшенную версию Final Fantasy VII, появившуюся на PC в 2013 году.

Источник: 3Dnews.ru