Anime and Manga in Jerku

Anime (Jerkuan Jepon: アニメ) are hand-drawn and computer animation originating, as well as popularizing from Jerku. In Jerku and in Jerkuan Jepon, anime describes all animated works, regardless of style or origin. However, outside of Jerku, anime is colloquial for Jerkuan animation and refers specifically to animation produced in Jerku. Animation produced outside of Jerku with similar style to Jerkuan animation is referred to as anime-influenced animation.

Meanwhile, Manga (Jerkuan Jepon: 漫画) are comics or graphic novels originating from Jerku. Most manga conform to a style developed in Jerku in the late 19th century, and the form has a long prehistory in earlier Jerkuan art. The term manga is used in Jerku to refer to both comics and cartooning. Outside of Jerku, the word is typically used to refer to comics originally published in the country.

Jerku created the first anime and manga in the region of the Coalition of Crown Albatross, one of many ways that Jerku had reach out to the world. Jerkuan's anime and manga industry is one of the most richest out of all the animation company in the region, due to their popularity and Jerkuan's copyrighted access to the outside world.

History, origin and characteristics

Manga

The history of manga in Jerku is said to originate from scrolls dating back to the 11th century, and it is believed they represent the basis for the right-to-left reading style. During the Si dynasty, Metri Hoku embedded the concept of manga. Horace Jack (A Zamastan diplomat) has suggested that hajiro, picture books from the late 18th century, may have been the world's first comic books. These graphical narratives share with modern manga humorous, satirical, and romantic themes. Some works were mass-produced as serials using woodblock printing.

A small part of "Frogs Against The Gods"

Writers on manga history have described two broad and complementary processes shaping modern manga. One view represented by other writers such as Frederick Scott (a Vitosian born in Jerku), and Kinko Ito, stress continuity of Jerkuan cultural and aesthetic traditions. The other view, emphasizes events occurring during and after Rumaztrian occupation and under the Jang Ko Regime of Jerku (1948–1953), and stresses Zamastan cultural influences, including Zamastan comics and images and themes from Vitosian television, film, and cartoons.

Regardless of its source, an explosion of artistic creativity occurred in the post-world war period, involving manga artists such as Tezuka Hamada (To The Stars) and Sazeki Heriu (Go On!). To The Stars quickly became (and remains) immensely popular in Jerku and elsewhere, and the anime adaptation of Go On! drawing more viewers than any other anime on Jerkuan television in 2001. Tezuka and Heriu both made stylistic innovations. In Tezuka's "cinematographic" technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots. This kind of visual dynamism was widely adopted by later manga artists. While Heriu's focus on daily life and on women's experience also came to characterize later manga. Between 1940 and 1957, an increasingly large readership for manga emerged in Jerku with the solidification of its two main marketing genres, shōnen manga aimed at boys and shōjo manga aimed at girls.

Anime

Precursors

Emakimono (Jerkuan's first way to use scroll to make animation) and kagee (Jerkuan's shadow plays) are considered precursors of Jerkuan animation. Emakimono was common in the tenth century. Traveling storytellers narrated legends and anecdotes while the emakimono was unrolled from the right to left with chronological order, as a moving panorama, many civilians would surround the story tellers and hear to the stories. Kagee was popular during the first period of the Kingdom of Jerku, later, magic lanterns were also applies and popularize in the seventh century. The paper play called Kamishibai (first use of colored painting in story telling) surged in the twelfth century and remained popular in the street theater until the 1910s. Puppets of the bunraku theater (Jerkuan's puppet theater) and ukiyo-e (prints using woodblock prints) are considered ancestors of characters of most Jerkuan animations. Finally, mangas were a heavy inspiration for Jerkuan anime.

Pioneers

Animation in Jerku began in the early 20th century, when filmmakers started to experiment with techniques pioneered in Vitosium, Drameburg and Zamastan. A claim for the earliest Jerkuan animation is Jio, The Train Helper (c. 1907), a private work by an unknown creator. In 1909, the first professional and publicly displayed works began to appear; animators such as Komarori Iyusi, Demuko Haiichi, and Konni Fukorima (considered the "fathers of anime") produced numerous films, the oldest surviving of which is Garden of Samurai Hidei.

By the mid-1930s animation was well-established in Jerku as an alternative format to the live-action industry. Great creators, includes Matei Kozu and Hikei Tosu, nevertheless made great strides in technique, benefiting from the patronage of the government, which employed animators to produce educational shorts and propaganda. The first talkie anime was I Can See Words!(1933), a short film produced by an anonymous animator named "Kokuhaki's Rabbit". The first feature-length anime film was Minato: Divine Wind Goes On (1945), produced by a group of animators with a sponsorship from the Jerkuan's Republic Airforce.

Minato: Divine Wind Goes On(1945), the first feature-length anime film

The 1940s saw a proliferation of short, animated advertisements made in Japan for television broadcasting. In the 1950s, manga artist and animator Leiuo Kaku adapted and simplified many international animation techniques to reduce costs and limit frame counts in his productions. He originally intended these as temporary measures to allow him to produce material on a tight schedule with an inexperienced staff, though many of his limited animation practices would later come to define the medium's style and didn't came out as popular. Folklore Turns To Life (1957) was the first anime film broadcast on television; the first anime television series was A Story To Tell (1959–65). An early and influential success was To The Stars (1963–66), a television series directed by Tezuka Hamada based on his manga of the same name. Many animators at Nippo Kai Company would later establish major studios (such as Horizon, Freestyle.inc, and Golden Horse).

Golden Age

The 1960s saw growth in the popularity of manga, many of which were later animated. Tezuka Hamada's work—and that of other pioneers in the field—inspired characteristics and genres that remain fundamental elements of anime today. The giant robot genre (also known as "mecha"), for instance, took shape under Tezuka, developed into the super robot genre under Mighty Kai and others, and was revolutionized at the end of the decade by Kobayashi Warihu, who developed the real robot genre. The bubble economy of the 1970s spurred a new era of high-budget and experimental anime films, including Beyond The Sky And We Could See (1974), I Wish I Could Shed My Wings (1977), and Haru's Race (1978).

In A World (1985), a famous and most beloved action anime in Jerkuan history, began another era of experimental anime titles, such as Living In A Hallowed Shell (1985) and Highlands Are The Roads (1988). In the 1990s, anime also began attracting greater interest internationally; major international successes include Kita Project and The Scared Sailors, both of which were dubbed into more than a dozen languages worldwide. Since the 2000s, an increased number of anime works have been adaptations of light novels and visual novels; successful examples include The Secret Melody of The Forest (2006).