According to Variety, the sci-fi series "Altered Carbon" has been canceled at Netflix, after airing just two seasons. From the report: The second season of the sci-fi series aired on the streaming service back in February, while the first season aired in 2018. An anime special titled "Resleeved," which was set before the events of Season 1, was released in 2019. The series was based on the novel of the same name by Richard K. Morgan. It followed the adventures of interstellar warrior Takeshi Kovacs, who was played by Joel Kinnaman in Season 1 and by Anthony Mackie in Season 2. "Altered Carbon" took place in a futuristic world where the human mind has been digitized and a person can transfer their consciousness from one body to the next. According to an individual with knowledge of the decision, the decision to cancel the show was made due to Netflix's traditional approach of cost versus viewership of a series.

A fifteen-year-old cartoon is an unlikely contender for most-watched show in America. And yet when "Avatar: The Last Airbender" arrived on Netflix, in May, it rose through the ranks to become the platform's No. 1 offering, and even now it remains a fixture in the Top Ten for the U.S. From a report: The series first ran from 2005 to 2008 on Nickelodeon, and swiftly made a name for itself as a politically resonant, emotionally sophisticated work -- one with a sprawling but meticulously plotted mythos that destined the show for cult-classic status. Last summer, after "Game of Thrones" flubbed its finale, fans and critics held up "Avatar" as a counterexample: a fantasy series that knew what it wanted to be from the beginning. Like all such stories, "Avatar" (created by Bryan Konietzko and Michael Dante DiMartino, and no relation to the James Cameron blockbuster) demands some exposition. In a world where nations are defined by their connection to one of the four elements -- water, earth, fire, and air -- maintaining the peace falls to the Avatar, the only person who can achieve mastery of them all. Just as the Fire Nation launches an attack, he vanishes.

The series begins a century later, when a twelve-year-old boy named Aang is discovered and revived by a pair of Water Tribe teen-agers -- and the Fire Nation is well on its way to global conquest. The first two episodes are largely what you'd expect: world-building punctuated by moments of whimsy. In the third, Aang returns to the temple where he was born to find the aftermath of a genocide. He is, he discovers, both the Avatar and the last of the Air Nomads. Where earlier shows might have hinted at such an atrocity for adult viewers' benefit, "Avatar" is overt, taking seriously its young audience's capacity to confront the consequences of endless war. Moral ambiguity abounds, and people from all nations see the conflict as, variously, an opportunity or a tragedy; there are Earth Kingdom citizens who have become cynical or apathetic after generations of fighting, and those from the Fire Nation who are fully capable of doing good. Aang, like the monks who raised him, is a pacifist at heart, but the series makes it clear that his is not the only way of bringing balance to the world. On the eve of his confrontation with the Fire Lord, one of his past lives -- a warrior named Kyoshi, who has killed would-be conquerors before -- counsels that "only justice will bring peace."

The iconic animated features of Japan's Studio Ghibli will be available in territories outside the U.S., Canada and Japan on Netflix starting in February. From a report: The move is a further change of position for the studio which has repeatedly resisted the idea that its beloved cartoons would be released on digital platforms. Netflix, sales agent Wild Bunch, and Studio Ghibli, which counts Hayao Miyazaki as one of its leading lights, will upload 21 Ghibli features including Academy Award-winner "Spirited Away," "Princess Mononoke," "Arrietty," "Kiki's Delivery Service," "My Neighbor Totoro," and "The Tale of The Princess Kaguya." They will be screened in their native Japanese, with sub-titles, and be available globally on Netflix except in the U.S., Canada, and Japan.

You can almost hear the sigh of relief from the global Sega fan community. The new Sonic the Hedgehog movie trailer, which Paramount released this morning, is a giant improvement. From a report: Our spiky hero no longer looks like a nightmarish experiment in avant garde taxidermy. The human teeth have been extracted. He has big doe eyes, not the sinister mini-peepers of the original trailer. The new design genuinely captures a lot of what original character designer Naoto Ohshima set out to achieve -- a cool but cuddly mascot, infusing Japanese kawaii sensibilities with American attitude. His fur is bright, mimicking the famed Sega blue of the company's classic arcade games. He is no longer absolutely terrifying, an important achievement for a family film.

An anonymous Slashdot reader shares a report about Japan's virtual YouTubers or VTubers that act as live performers, corporate PR officials and even surrogate children. From The Wall Street Journal: Ryosei Takehisa, 24 years old, doesn't have any children -- unless you count an animated character with elfin ears called Mikuriya Kuon. In live appearances on YouTube, the kimono-clad Kuon character, voiced by an actor hired by Mr. Takehisa, dispenses advice about the latest video games and plays rock-paper-scissors with her fans. The creator says he considers Kuon his "real daughter" even though she "resides within pixels." While others may compete for fame or page views, "for me, I'm totally satisfied just with the fact that she was born and is continuing to live life in good health," says Mr. Takehisa. Digital avatars with human traits have long carved out a role on social media, on Instagram in particular. Japan, as it often does, has taken the idea and run with it, with its virtual characters now estimated to number more than 3,000.

Technology allows Kuon and her peers to have more direct engagement with fans -- and sometimes a family-like relationship with their own creators. The characters, known as virtual YouTubers or VTubers because many are active on YouTube, sing and dance at live performances and answer questions on webcasts. VTubers are so embedded in Japanese culture that one of them serves as a face of the Japanese government's tourism campaign. Another presented earnings results for game-site operator Gree Inc. in August last year, informing investors that "we will aggressively invest in strengthening our three earnings pillars." "VTubers are an evolution in Japan's long tradition of manga and anime, giving real-time interactivity to the sort of characters earlier depicted in comic books and on television screens," the report says. "The next step could be artificial intelligence to allow the VTubers to sing, dance and be mischievous without any backstage human help."

Sony is trying to further extend one of their latest pop sensations, a VTuber called Kaguya Luna, by building on its virtual-reality technology. "It has already staged concerts by Luna that fans view through a VR headset," reports The WSJ. "Next the company is looking into haptic technology -- which can convey vibrations and force -- to allow fans to get up close and personal with Luna."

The Japanese anime studio, Khara, is moving to Blender, the the open-source 3D creation software. "It'll begin partially using the software for its current development 'EVANGELION:3.0+1.0' but will make the full switch once that project is finished," reports Neowin. "The current project is expected to end in June next year, so after that point, its employees will start using Blender for the majority of their work." From the report: At the moment, Khara uses 3ds Max from Autodesk on a subscription basis; however, the company found that it had to reach out to small and medium-sized businesses for its projects. Due to the limitations of those companies, it's harder for them to afford 3ds Max. By switching to Blender, Khara says it can work better with external firms.

While Blender will be used for the bulk of the work, Khara does have a backup plan if there's anything Blender struggles with; Hiroyasu Kobayashi, General Manager of Digital Dpt. and Director of Board of Khara, said: "There are currently some areas where Blender cannot take care of our needs, but we can solve it with the combination with Unity. Unity is usually enough to cover 3ds Max and Maya as well. Unity can be a bridge among environments."

An anonymous reader quotes a report from The Verge: Several people have been killed after an apparent arson attack gutted a building at Kyoto Animation, one of Japan's most renowned anime studios. NHK reports that 33 people are confirmed dead and many more have been injured. An explosion was heard around the studio at around 10.30AM local time. Police are questioning a man in his 40s who was seen spreading and lighting a gasoline-like liquid in the 1st Studio building, which is said to be where most of Kyoto Animation's mainline production takes place. The Mainichi Shinbun newspaper reports that the man said he started the fire. Kyoto Animation, also known as KyoAni, is best known for series like K-On! and The Melancholy of Haruhi Suzimiya, and release standalone feature A Silent Voice in 2016. Netflix picked up the streaming rights to KyoAni's Violet Evergarden series and made it available worldwide last year.

UPDATE: Several sources are now reporting that the man who set fire to the building screamed angrily, "they faked it." According to The Daily Beast, "The word he used in Japanese, pakuri, can reference stealing an idea, ripping off a product, or plagiarizing someone else's work."

There's now a new $175 million remake of Godzilla: King of the Monsters. I loved it, Msmash walked out of it, and BeauHD didn't bother to go see it. The movie performed poorly at the box office, but I'm not the only person who still likes Godzilla. There's also a new anime version on Netflix. And critic Matt Zoller Seitz (once a finalist for the Pulitzer Prize in criticism) is calling the new film "a frequently astounding movie... its imperfections are compensated by magnificence."

For all its crash-and-bash action, this is a real science fiction movie that goes to the trouble of not merely creating a world, but thinking about the implications of its images and predicaments. It cares what the people in it must feel and think about their situation, and how it might weigh on them every day even when they aren't talking about it amongst themselves. It's also suffused with a spiritual or theological awareness, and takes it all as seriously as recent DC films took their comparisons of caped wonders to figures from the Old Testament and ancient mythology...

[A]t the level of image, sound and music, "Godzilla: King of the Monsters" is a frequently brilliant film that earnestly grapples with the material it presents... It deploys state-of-the-art moviemaking tools to try to return audiences to a stage of childlike terror and delight. Arthur C. Clarke famously observed that any sufficiently advanced technology is indistinguishable from magic. This movie is magic.
No expense was spared. For fans of the franchise there was even a quick Easter egg about what happened to the Mothra twins when they grew up. And of course the film-makers included Blue Oyster Cult's "Godzilla" song in the closing credits -- an over-the-top remake featuring a chanting Japanese taiko drum group, members of the band Dethklok from Metalocalypse, and heavy-metal drumming legend Gene Hoglan. The film's composer called it "perhaps the most audacious piece of music I have ever produced, jammed to the breaking point...It is complete musical madness."

But was it all for nothing? Leave your own thoughts in the comments.

Does anyone still like Godzilla?

Slashdot reader Drakster writes: Hollywood producer and writer James Cameron, who is best known for his first two Terminator films, Titanic, Avatar, and Aliens, has released his most recent film this week, Alita: Battle Angel, to mostly mixed to positive reviews. First announced in 2003, based on Yukito Kishiro's Gunnm manga series, it was stuck in development for several years, finally starting production in 2008. Slashdot last discussed this fifteen years ago, so now that it's finally here. For those who have seen it, what did you think? Met or surpassed your expectations, or not worth the wait?

pacopico writes: Every year, DJI hosts a robotics competition called Robomasters. It draws in hundreds of engineering students from around the world for two weeks of all out robotics mayhem. The students build and then control robotic vehicles that blast away at each other with rubber bullets, while drones strafe from overhead. Bloomberg Businessweek did a short documentary on the competition and everything that goes with it, including a reality TV show, an anime series, and final battle attended by thousands of people at a stadium in Shenzhen. The Chinese teams usually do the best, and the winners get some money and sometimes a job offer at DJI -- all part of the country's quest to dominate the robotics industry in the years to come.

Japanese researchers have developed a technique for automatic colorization in anime production. "To promote efficiency and automation in anime production, the research team focused on the possibility of automating the colorization of trace images in the finishing process of anime production," reports Brightsurf. "By integrating the anime production technology and know-how of IMAGICA GROUP and OLM Digital with the machine learning, computer graphics and vision technology of NAIST, the research team succeeded in developing the world's first technique for automatic colorization of Japanese anime production." From the report: After the trace image cleaning in a pre-processing step, automatic colorization is performed according to the color script of the character using a deep learning-based image segmentation algorithm. The colorization result is refined in a post-process step using voting techniques for each closed region. This technique will be presented at SIGGRAPH ASIA 2018, an international conference on computer graphics and interactive techniques, to be held in Tokyo, Japan on Dec. 4-7. While this technique is still in the preliminary research stage, the research team will further improve its accuracy and validate it in production within the anime production studio. The product of this will be available for commercialization from 2020.

A new proof from the Australian science fiction writer Greg Egan and a 2011 proof anonymously posted online are now being hailed as significant advances on a puzzle mathematicians have been studying for at least 25 years. Erica Klarreich, writing for Quanta Magazine: On September 16, 2011, an anime fan posted a math question to the online bulletin board 4chan about the cult classic television series The Melancholy of Haruhi Suzumiya . Season one of the show, which involves time travel, had originally aired in nonchronological order, and a re-broadcast and a DVD version had each further rearranged the episodes. Fans were arguing online about the best order to watch the episodes, and the 4chan poster wondered: If viewers wanted to see the series in every possible order, what is the shortest list of episodes they'd have to watch? In less than an hour, an anonymous person offered an answer -- not a complete solution, but a lower bound on the number of episodes required. The argument, which covered series with any number of episodes, showed that for the 14-episode first season of Haruhi, viewers would have to watch at least 93,884,313,611 episodes to see all possible orderings. "Please look over [the proof] for any loopholes I might have missed," the anonymous poster wrote.

The proof slipped under the radar of the mathematics community for seven years -- apparently only one professional mathematician spotted it at the time, and he didn't check it carefully. But in a plot twist last month, the Australian science fiction novelist Greg Egan proved a new upper bound on the number of episodes required. Egan's discovery renewed interest in the problem and drew attention to the lower bound posted anonymously in 2011. Both proofs are now being hailed as significant advances on a puzzle mathematicians have been studying for at least 25 years. Mathematicians quickly verified Egan's upper bound, which, like the lower bound, applies to series of any length. Then Robin Houston, a mathematician at the data visualization firm Kiln, and Jay Pantone of Marquette University in Milwaukee independently verified the work of the anonymous 4chan poster. Now, Houston and Pantone, joined by Vince Vatter of the University of Florida in Gainesville, have written up the formal argument. In their paper, they list the first author as "Anonymous 4chan Poster."

An anonymous reader quotes a report from the Electronic Frontier Foundation: The latest country to consider a website blocking proposal is Japan, and EFF has responded to the call for comment by sharing all the reasons that cutting off websites is a terrible solution for copyright violations. In response to infringement of copyrighted material, specifically citing a concern for manga, the government of Japan began work on a proposal that would make certain websites inaccessible in Japan. In response to Japan's proposal, EFF explained that website blocking is not effective at the stated goal of protecting artists and their work. First, it can be easily circumvented. Second, it ends up capturing a lot of lawful expression. Blocking an entire website does not distinguish between legal and illegal content, punishing both equally. According to numerous studies, the best answer to the problem of online infringement is providing easy, lawful alternatives. Doing this also has the benefit of not penalizing legitimate expression the way blocking does. According to The Japan Times, the "emergency measure" would "encourage [ISPs] to restrict access to such 'malicious' websites 'on a voluntary basis' in order to protect the nation's famed manga and anime industries from free-riders."

Microsoft has never had as many internal studios as Sony or Nintendo, and that has prevented it from having many first-party exclusives this generation. That changes today. From a report: At E3 trade show in Los Angeles on Sunday, the company's gaming chief Phil Spencer announced the creation of a new studio called The Initiative led by industry veteran Daryl Gallagher. He then followed up with revealing the Microsoft acquisitions of Ninja theory, Playground Games, Compulsion Games, and Undead Labs. This bolsters the company's first-party efforts, and Spencer said it is evidence of his dedication to Xbox and its fans. Ninja Theory is best known for producing 2017's break out indie hit Hellblade: Senua's Sacrifice. Playground has long overseen the Forza Horizon series for Microsoft. Compulsion is responsible for We Happy Few. Undead Labs created State of Decay. Also at E3, Microsoft teased Halo Infinite, and announced Forza Horizon 4. It also announced the availability of Automata, and unveiled FromSoft's Sekiro: Shadows Die Twice, a new Battletoads game, new downloadable content for its exclusive platforming shooter Cuphead, a crossover game that features some of the biggest anime franchises, including Dragon Ball, One Piece, and Naruto, Devil May Cry 5 , a skating game called Session, Tom Clancy's The Division 2 is hitting PC and consoles, Bethesda's Fallout 76, Ori and the Will of the Wisps, and improvements to Xbox Game Pass.

Isao Takahata, co-founder of the prestigious Japanese animator Studio Ghibli, which stuck to a hand-drawn "manga" look in the face of digital filmmaking, has died. He was 82. From a report: Takahata started Ghibli with Oscar-winning animator Hayao Miyazaki in 1985, hoping to create Japan's Disney. He directed "Grave of the Fireflies," a tragic tale about wartime childhood, and produced some of the studio's films, including Miyazaki's 1984 "Nausicaa of the Valley of the Wind," which tells the horror of environmental disaster through a story about a princess. Takahata died Thursday of lung cancer at a Tokyo hospital, the studio said in a statement Friday.

He was fully aware of how the floating sumie-brush sketches of faint pastel in his works stood as a stylistic challenge to Hollywood's computer-graphics cartoons. In a 2015 interview with The Associated Press, Takahata talked about how Edo-era woodblock-print artists like Hokusai had the understanding of Western-style perspective and the use of light, but they purposely chose to depict reality with lines, and in a flat way, with minimal shading. "Pom Poko", a movie released in 1994, is often considered the best work of Takahata. The New York Times described it as, "a comic allegory about battling packs of tanuki (Japanese raccoon dogs) joining forces to fight human real estate developers. It's earthy and rollicking in a way that his co-founder's films aren't." In an interview with Wired in 2015, when Takahata was asked what he felt about people regarding him as the heart of Studio Ghibli. "Now you've both finished your final films, what are your feelings on Ghibli's legacy and reputation?, the interviewer asked. Takahata said, "I'm not sure I can respond in any meaningful way. What Hayao Miyazaki has built up is the greatest contribution. The existence of that thick trunk has allowed leaves to unfurl and flowers to bloom to become the fruitful tree that is Studio Ghibli."

Further reading: Isao Takahata's stark world of reality (The Japan Times).

An anonymous reader quotes Engadget: If you're starting a pop group in Japan, where giant rosters and virtual superstars are par for the course, how do you stand out? By tying yourself to something trendy -- and in 2018, that means cryptocurrency. Meet Kasotsuka Shojo (Virtual Currency Girls), a J-pop group where each of the eight girls represents one of the larger digital monetary formats. Yes, you're supposed to cheer for bitcoin or swoon over ethereum (what, no litecoin?). The group played its first concert on January 12th, and naturally you had to pay in cryptocurrency to be one of the few members of the general public to get in. The group's first single, "The Moon and Virtual Currencies and Me," warns listeners about the perils of fraud and extols the virtues of good online security.
"It isn't clear how French maid outfits symbolize cryptocurrency or blockchain technology," notes Quartz, "but they're popular costumes in Japan's anime and cosplay circles."

An anonymous reader shares a report: Why are there so many shots of power lines in Japanese anime cartoons? The Tumblr Power Lines in Anime is dedicated to appreciating the truly lovely and surprisingly ubiquitous depictions of mundane power lines that appear in a large number of Japanese animation series. The blog is run by Tumblr user whitequark, who first started to notice the trend while watching a romantic comedy anime. Anime series can cover any number of genres, including sports, high fantasy, office life, and, of course, science fiction, but no matter what it's about, it seems that if the story is set on modern-day Earth, it will contain some amazingly detailed images of power lines, telephone poles, and other wired infrastructure. While a number of anime series (and cartoons in general), opt for a style of hyper-detailed backgrounds before which relatively simpler characters can interact, power lines stand out for the detail and complexity required to illustrate them.

In 2004, film critic Roger Ebert "realized that auteurs weren't the only ones who had things to say about movies, and suggested that experts in other fields or even just fans of the movies could create MP3 commentary tracks to discuss their favorite films, which could then be downloaded and played alongside them." This inspired Slashdot reader #14,247 to produce his own commentary on Hayao Miyazaki's first movie, Lupin III: Castle of Cagliostro -- and 13 years later, to release a new commentary track celebrating the film's 35th anniversary. Robotech_Master writes: Among other things, it offers proof that excessive copyright really harms creativity by restricting the uses people are able to make of prior art -- by showing what can happen when people get away with ignoring copyright and creating anyway. Not only were Lupin III and Cagliostro effectively inspired as "fanfic" of characters and works that had come before, many of those characters and works were effectively fanfic themselves -- and Cagliostro in turn inspired parts of a number of other works that came afterward, including a couple by Disney.
Anyone else have a favorite example of a movie that bends the rules of copyright law?

Todd Spangler, writing for Variety: Amazon is rolling out its first branded on-demand subscription service for Amazon Channels: Anime Strike, offering more than 1,000 series episodes and movies ranging from classic titles to current shows broadcast on Japanese TV. The Anime Strike channel is available to U.S. Amazon Prime members for $4.99 per month after a seven-day free trial, the newest addition to the lineup of around 100 services now available in Amazon Channels. Amazon has struck exclusive U.S. streaming deals for several series on Anime Strike, including "Scum's Wish," "Onihei," "The Great Passage," "Vivid Strike!," "Crayon-Shin Chan Gaiden: Alien vs. Shinnosuke," and "Chi's Sweet Adventure."

Amazon Japan has an unusual challenge with the Kindle: it not only has to cater to your typical bookworm, but to a local fondness for image-heavy (and thus storage-intensive) manga books. What it's going to do? Release a special model just for those readers, apparently. Engadget reports: The company has introduced a manga version of the Kindle Paperwhite with 32GB of storage, or eight times as much space as the run-of-the-mill 4GB model. You could cram every single volume of Asari-chan, Kochikame and Naruto into this e-reader, Amazon says. The manga Kindle is available for pre-order now, with pricing commanding a slight premium over the usual Paperwhite. You're spending about $157 or $118.