Addison Van Name (November 15, 1835 – September 29, 1922) was an American philologist and librarian, serving as University Librarian of Yale University from 1865 to 1904, and was made librarian emeritus in 1905. He himself attended Yale, graduating as valedictorian in 1858. During his forty year tenure as University Library, the number of volumes in the Yale Library increased from 44,500 to 475,000. His field of specialty was Orientalia. He taught Hebrew at Yale for four years, and for many years was Librarian of the American Oriental Society.

He was a member of the Acorn Club, to which he was elected in 1901. He was also a member of the Connecticut Academy of Arts and Sciences.

He was married on August 19, 1867 in Berlin to Julia, daughter of Dr. Josiah Willard Gibbs, professor of sacred literature at Yale, and sister of Josiah Willard Gibbs, professor of mathematical physics at Yale. They had three children: Willard Gibbs Van Name, Theodora Van Name, and Ralph Gibbs Van Name.

Van Name, the last of Yale's pre-Civil War scholars, died in New Haven and was buried in Grove Street Cemetery.

Works
"Contributions to Creole Grammar" in Transactions of the American Philological Association (1869)
Catalogue of the William Loring Andrews Collection of Early Books in the Library of Yale University (1913)

References

External links

Yale University Art Gallery, Addison Van Name, BA 1858 pastel portrait
son Ralph Gibbs Van Name
Gibbs-Van Name Papers, Yale University

1835 births
1922 deaths
American librarians
Academic librarians

Addison Van Name


Douglas Bruce Green (born March 20, 1946), better known by his stage name Ranger Doug, is an American musician, arranger, award-winning Western music songwriter, and Grand Ole Opry member best known for his work with Western music and the group Riders in the Sky in which he plays guitar and sings lead and baritone vocals. He is also an exceptionally accomplished yodeler.  With the Riders, he is billed as "Ranger Doug — The Idol of American Youth" and "Governor of the Great State of Rhythm". He is also a member of The Time Jumpers.

Early life and education
Green graduated from Cranbrook in 1964, and the University of Michigan in 1968. He has a master's degree in Literature from Vanderbilt University in Nashville, Tennessee.  He continues to write as a music historian.  His 2002 Vanderbilt University Press book "Singing in the Saddle" was the first comprehensive look at the singing cowboy phenomenon that swept the United States in the 1930s.

Career

He hosts "Ranger Doug's Classic Cowboy Corral" satellite radio show, delving into his personal vintage cowboy music collection.  The show features the music of such classic western performers as Gene Autry, Roy Rogers, Tex Ritter, Rex Allen, and the Sons of the Pioneers, as well as more obscure recordings.  Green provides commentary with fellow Rider in the Sky Fred LaBour (stand-up bassist stage-named Too Slim) in the role of Ranger Doug's sidekick, the crusty old trail cook called Sidemeat.  The show currently airs Fridays at 11pm ET, Saturdays at 8pm ET, and Sundays at 9am ET, on Sirius/XM's Willie's Roadhouse Channel SiriusXM56.

Prior to forming Riders in the Sky, he performed with The Boys from Shiloh, The Shinbone Alley All Stars, and The Doug Green Band.  In 1967 and 1969 he worked two stints with Bill Monroe's Blue Grass Boys  and one with Jimmy Martin in 1969.  He recorded two albums in 1972 with Vic Jordan and the Buck White Family, one of gospel songs (In God's Eyes) and one traditional bluegrass named after his daughters Liza Jane and Sally Anne.  Green has also recorded the solo album Songs of the Sage.

References

External links
 Riders in the Sky website

American country singer-songwriters
1946 births
Yodelers
Living people
University of Michigan alumni
Vanderbilt University alumni
American music historians
People from Great Lakes, Illinois
Singer-songwriters from Illinois
Country musicians from Illinois

Douglas B. Green


Me and the Drummer is the 47th studio album from American country music artist Willie Nelson. It was released June 6, 2000, by Luck Records. It features Nelson revisiting some of his classic songs from the sixties with his band the Offenders.

The album was re-released in Europe in 2001 under the longer title Tales Out of Luck (Me and the Drummer). The re-release omits "What a Way to Live".

Track listing
All songs by Willie Nelson, except as shown.

 "Me and the Drummer" (Bill McDavid) - 5:09
 "Home Motel" - 4:07
 "Let My Mind Wander" - 5:04
 "I'd Rather You Didn't Love Me" - 3:25
 "Something to Think About" - 2:48
 "No Tomorrow in Sight" - 3:11
 "I'm So Ashamed" - 3:40
 "A Moment Isn't Very Long" - 3:19
 "Rainy Day Blues" - 3:34
 "You Wouldn't Cross the Street to Say Goodbye" - 3:26
 "I Guess I've Come to Live Here in Your Eyes" - 2:46
 "Forgiving You Was Easy" - 2:59
 "What a Way to Live" - 4:11

External links
 Willie Nelson's Official Website

References

2000 albums
Willie Nelson albums

Me and the Drummer


Nib sugar (also pearl sugar and hail sugar) is a product of refined white sugar. The sugar is very coarse, hard, opaque white, and does not melt at temperatures typically used for baking. The product usually is made by crushing blocks of white sugar, then sifting to obtain fragments of a given diameter. The sugar may also be made in an extrusion process.

It is known as pärlsocker (pearl sugar) in Sweden, and as perlesukker in Denmark and Norway. In Finland, it is called raesokeri ("hailstone sugar") or rarely helmisokeri (also pearl sugar).

In Sweden, pärlsocker is used extensively to decorate various pastries and confections, cookies, especially on top of plain Swedish bulle or Finnish pulla, cakes, muffins and buns, such as kanelbullar (cinnamon buns) and chokladbollar.

In Germany, it is known as Hagelzucker and traditionally used on Christmas cookies and cinnamon buns.

In Belgium, it is used in Liège waffles, while in Friesland, it is used in sûkerbôle (sugar bread).

In France, it is often used on chouquettes.

References

External links

Sugars
Danish cuisine
Finnish cuisine
Norwegian cuisine
Swedish cuisine
Dutch cuisine

de:Zucker#Form und Körnung

Nib sugar


Piccolo is a fictional character from the manga Dragon Ball by Akira Toriyama. The character also appears in the Anime Dragon Ball, Dragon Ball Z, Dragon Ball GT and Dragon Ball Super. He is the child and embodiment of Piccolo Daimao, who was defeated by Goku. First goal of Piccolo Junior is to defeat Goku in a battle, avenging his father's death. However Piccolo is defeated by his rival in the final match of The martial art tournament, instead of killing him Goku let him live.
Later in the story he trains Son Gohan,son of Goku, while Goku was dead in order to make him stronger.

Dragon Ball characters
Fictional characters introduced in 1988
Fictional characters with slowed ageing
Fictional extraterrestrial characters
Anime characters

Piccolo (Dragon Ball)


Mitch MacDonald (born October 22, 1985) is a Canadian singer who was runner-up in season 6 of the reality series Canadian Idol.

Early life
MacDonald is from Port Hood, Nova Scotia on Cape Breton Island. He grew up in a family of seven siblings. He worked primarily as a carpenter before Idol. He cites his musical influences as including fellow Cape Bretoner Gordie Sampson. Bright Eyes is one of his favourite bands.

Canadian Idol
On Canadian Idol in 2008, MacDonald worked with such artists as Anne Murray, Simple Plan, Gavin Rossdale, and Tom Jones. During his run on Idol, he never appeared in the "bottom two" or "bottom three".

Music writer Martha Worboy described MacDonald's music as "tender, mostly acoustic renderings." He received accolades in particular for his rendition of Joel Plaskett's "Love This Town", which drew comparisons to Paul Simon from the judges. Nova Scotia Premier Rodney MacDonald, a musician himself before entering politics, said, "The key to his success throughout the contest was that he remained true to his musical roots."

Performances

Post-Idol
MacDonald toured Canada as part of the Top 3 Tour, with Theo Tams, and Drew Wright.

As of 2010, he continued to tour occasionally, both in his home province and in other parts of Canada, and he started work on an album.

References

1985 births
Living people
People from Inverness County, Nova Scotia
Canadian Idol participants
Musicians from Nova Scotia
Canadian male guitarists
21st-century Canadian guitarists
21st-century Canadian male singers

Mitch MacDonald


Udea profundalis is a moth in the family Crambidae. It was described by Packard in 1873. It is found in North America, where it has been recorded from British Columbia, through Washington, Oregon and Nevada to California and Texas. Records east of the Rocky Mountains, refer to Udea rubigalis.

The length of the forewings is 8.5–12 mm. Adults are deep ochreous-brown, the inner line on the forewings angulated outwards broadly on the median vein and inwards on the submedian. There is a large, round discal dot and a bell-shaped, reniform spot. The outer line is dark. The hindwings are primarily white

References

profundalis
Moths described in 1873

Udea profundalis


A palayok is a clay pot used as the traditional food preparation container in the Philippines. Palayok is a Tagalog word; in other parts of the country, especially in the Visayas, it is called a kulon; smaller-sized  pots are referred to as anglit. Neighboring Indonesia and Malaysia refer to such vessel as a periuk.

Cooking in a palayok
The palayok is made of earthenware, a porous ceramic material. This allows steam from cooking to evaporate out of the pores in the earthenware. Juices from the cooking food would not begin to burn until all the water has evaporated, after which the food is thoroughly cooked. Since ceramic does not transfer heat as much as metal, cooking in a palayok entails a longer time and a higher temperature than would normally be used with metal cookware.

The palayok should not be cleaned using household detergents, as the porous material would easily  imbibe chemicals in the detergent that would later impart unwanted flavors in the food during cooking. It is instead cleaned by soaking in warm water and when the detritus has sufficiently softened, by scrubbing with salt.

Filipino cuisine expert Maria Orosa is credited with turning the earthenware pot into an oven. Called the "Palayok Oven", the contraption consists of a palayok fitted with a piece of thin sheet metal cut to fit the bottom of the pot and a piece of aluminum foil placed below the lid. These metal pieces are designed to reflect heat back into the pot. The pot is heated by using a native pugon or kalan, a small wood-fired stove similar to a Japanese shichirin.

See also
Tapayan
 List of cooking vessels

References

Tagalog words and phrases
Philippine pottery
Cookware and bakeware
Cooking vessels
Philippine handicrafts

Palayok


Carolynne Willey (born 5 August 1980) is a British singer-songwriter, actress and former model from Leeds, England. She is a founding member of the Carolynne Good Band, based in Leeds and London. She is best known for finishing in third place on the second series of the BBC singing competition Fame Academy in 2003. In 2011, Willey was a contestant on The X Factor and made it to the judges' houses' stage of the competition. She returned to the show the following series in 2012 and made it to the live shows, but was eliminated after the first live show following a sing-off against Rylan Clark.

Early and personal life
Carolynne Good was born in Leeds, Yorkshire. She attended Pudsey Grangefield High School.

She was previously married to footballer David Poole. In August 2015, Good announced that she was in a relationship with England cricketer David Willey, whom she married in November 2016.

Singing career

1998–2001: Early career
Poole's early musical influences included The Eagles, U2, The Carpenters, and Mary Chapin Carpenter. In 1998, having moved from Leeds to London to pursue a career as a singer-songwriter, she was one of the final 15 in auditions for S Club 7, along with Pop Idol contestant Zoe Birkett. The following year, Poole joined and fronted a five-member country music band, with which she toured the UK. In 2001, she signed her first publishing contract with BMG Music Publishing. In 2000, she continued to develop her songwriting talents in the UK and Europe. She split most of her time between London and Stockholm, writing for other recording artists, writing and recording with different songwriters and producers.

2003–05: Fame Academy, songwriting and touring
In 2003, Poole appeared in the second series of the BBC's singing competition Fame Academy, in which she reached the final. A song she co-wrote with fellow contestants Alex Parks and James Fox, titled "Not Your Average Kind of Girl", was included on Parks' 2003 debut album Introduction. The album reached number 5 on the UK Albums Chart and has since been classified 2x Platinum in the UK, and gold in six other countries including Italy, Greece, Germany, and Australia.

Poole spent 2004 continuing to writing songs, and in the next year toured the UK with Tony Christie. Under the wing of Christie's Amarillo Music, she co-wrote new material and formed the Carolynne Good Band in 2005 with songwriter/bassist Don Rogers, drummer Sean Fitzgerald, guitarists Alex Rogers and Alex Sharman from the London-based band Starling, and keyboard player Maki. According to the band, their music is "a blend of traditional singer-songwriter melodies with a country flavor."

2011–12: The X Factor

In 2011, Poole auditioned for the eighth series of The X Factor. She reached the "judges' houses" stage, where Louis Walsh was her mentor in the "over 25s" category, but failed to progress through to the live shows, with Walsh instead choosing Johnny Robinson, Kitty Brucknell, Jonjo Kerr and Goldie Cheung (who later dropped out and was replaced by Sami Brookes).

Poole auditioned again for the ninth series, and made it to the live shows with Gary Barlow as her mentor. In the first week of the live shows, Poole sang Nicki Minaj's "Starships". Despite positive comments, however, she was in the bottom two the following night with controversial "boys" contestant Rylan Clark. Nicole Scherzinger voted against Poole as Clark was in her category, while Gary Barlow and Tulisa voted to eliminate Clark based on the final showdown performance. This meant Walsh had the casting vote, but he appeared unable to make up his mind. After hesitating for some time, he eventually said "I'm going to with Carolynne, I want to keep Carolynne.", although he had to say who wanted to send home, not who he wanted to save. Eventually, after being pressured for an answer by presenter Dermot O'Leary, Walsh made his decision by saying, "I want to take it to deadlock!". O'Leary then revealed that Poole had received the fewest public votes and she was sent home, much to the disgust of Barlow, who stormed off stage and later called Clark a "joke act" and "talentless".

2014–present: Debut album
Following The X Factor, Poole relocated to the United States for five months. She spent time gigging in Arizona and Los Angeles as well as in Nashville, Tennessee, commonly known as the "home of country", where she collaborated with songwriters and producers including Jeff Silbar. In 2014 and 2015, she played at the C2C: Country to Country festival in London. In early 2015, Poole received radio airplay on BBC Radio 2 Country with a song titled "Cupid Must've Been High". Later Poole released her debut single, "I Love You but Shut Up", which features guitar-playing by Albert Lee. The single was play listed on BBC Radio 2, which led to a Terry Wogan session. A tour in support of the single is planned. She will return to play two slots at C2C in March 2016.

Carolynne released her debut 5 song album "Coming Back To Me" on 7 April 2017 and was subsequently nominated for two British Country Music Association Awards.

Acting career
Since 2005, Poole has appeared on stage in pantomime and has also acted in short films. In August 2008, she began shooting her first feature film playing Frankie in The Last Days of Edgar Harding, which was released in 2011. In 2010, she played the role of Sue in Bill Kenwright's UK tour of Dreamboats and Petticoats, and had a minor role in the BBC film Eric and Ernie. In May 2012, Poole appeared in Emmerdale as a girlfriend. She later played Justin Gallagher's new fiancée Talia Brice.

References

External links

  (Archive copy)

1980 births
Living people
English women singer-songwriters
English singer-songwriters
British country singers
The X Factor (British TV series) contestants
21st-century English women singers
21st-century English singers
Actresses from Huddersfield
Musicians from Huddersfield

Carolynne Poole


In chemistry, 2,2,3,3-tetramethylsuccinic acid or 2,2,3,3-tetramethylbutane-1,4-dioic acid is a dicarboxylic acid with the formula , or HOOC-C(CH3)2-C(CH3)2-COOH.

It can be seen as derivative of succinic acid (butane-1,4-dioic acid) with two methyl groups replacing two hydrogen atoms on each of the central carbon atoms of the chain.

Synthesis and chemistry

The compound can also be obtained by thermal decomposition of 2,2,3,3-tetramethyl-4-one-glutaric acid with release of a carbon monoxide molecule.

On heating it forms a heterocyclic anhydride, 3,3,4,4-tetramethyltetrahydrofuran-2,5-dione, with loss of one molecule of water.

References

Dicarboxylic acids

2,2,3,3-Tetramethylsuccinic acid


Samuel Steinberg,  (December 25, 1905 – May 24, 1978) was a Hungarian-born Canadian businessman, investor and philanthropist. He was an immigrant to Canada who transformed the grocery store founded by his mother, Steinberg's Supermarket, into one of the largest chains in the Province of Quebec. By the time of his death in 1978, Steinberg's was the largest supermarket chain in Quebec.

Life and career
When he was four years old, Steinberg's family immigrated to Canada and settled in Montreal, where his mother opened a small grocery store. In 1934, Steinberg opened his first self-service grocery supermarket in the city. A visionary, he transformed food retailing through mass merchandising, mechanization, and personnel management that included a bilingualism policy for all company employees. By the end of the 1950s, his stores were a dominant force throughout the Province of Quebec, and in 1959 expanded into the province of Ontario with the acquisition of 38 Grand Union stores. Steinberg would drive around the city, size up an area very quickly, acquire a property, and build a store on the site. He later set up Ivanhoe Investments.

Steinberg married his cousin Helen (née Roth) in 1929. The couple funded a number of philanthropic causes including The Pavilion of Judaism at Expo 67, the Helen & Sam Steinberg Foundation's Geriatric Day Hospital, the Family Career Scientist Award and the Sam Steinberg Award For Young Jewish Entrepreneur of the Year given by the Jewish Chamber of Commerce of Montreal.

Steinberg was made an Officer of the Order of Canada and inducted into the Canadian Business Hall of Fame for his contribution to the Canadian economy. He was the subject of a 1974 National Film Board of Canada documentary, After Mr. Sam, which explored the issue of his impending retirement and his replacement.

Steinberg died from heart failure ailment on May 24, 1978 at the age of 72 after being taken to the hospital the same day. He was survived by three daughters: Marilyn (died 2022), Evelyn (died 1993) and Mitzi (died 2019). Steinberg's second-born daughter, Rita, died in 1970. Disagreement among the daughters led to the sale of the family business in 1989, and the Steinberg family name disappeared from the stores in 1992. Helen Steinberg died in 2007 at the age of 98, and she was buried next to her husband in Montreal's Shaar Hashomayim Cemetery in Mount Royal.

See also
 H. Arnold Steinberg (nephew)
 List of grocers

Notes

Further reading
Book:  Ann Gibbon and Peter Hadekel, Steinberg: The Breakup of a Family Empire (1990).

1905 births
1978 deaths
Anglophone Quebec people
Businesspeople from Montreal
Canadian financiers
Canadian grocers
Canadian investors
Canadian people of Hungarian-Jewish descent
Canadian real estate businesspeople
Canadian retail chief executives
Emigrants from Austria-Hungary to Canada
Hungarian Jews
Jewish Canadian philanthropists
Officers of the Order of Canada
20th-century Canadian philanthropists

Sam Steinberg


Spencer "Herk" Robinson (born 1941) is a retired American front office executive in Major League Baseball. He served for almost a decade as general manager of the Kansas City Royals, from October 10, 1990, through June 17, 2000, and was an executive in the Royals' front office for almost 35 years.

Robinson attended the University of Miami and Washington University in St. Louis. He entered baseball with the Cincinnati Reds in 1964 as secretary of minor league clubs and switched to the Baltimore Orioles after the 1968 season. In December 1969, Robinson joined the year-old Royals as assistant director of scouting and began a steady rise through the Kansas City organization, switching from baseball to business operations in 1980. After ten seasons as the Royals' top administrator, he was given the general manager role when John Schuerholz departed for the Atlanta Braves following the 1990 campaign.

However, Robinson's tenure as top baseball executive in Kansas City was marked by the club's continued decline from perennial contender to also-ran in the American League West Division and, after 1993, the AL Central. The team's original owner, Ewing Kauffman, died in 1993, and Robinson presided during a transitional period before the club was purchased by former Wal-Mart CEO David Glass. The Royals recorded only three over-.500 seasons during that period, and lost 90 games or more three times, including in Robinson's final full season, 1999.

After his replacement by Allard Baird, Robinson became the team's executive vice president and chief operating officer. He retired from that position in May 2004, although he began the  season still associated with the Royals as a member of the club's board of directors.

References

External links
 Baseball America Executive Database

1941 births
Living people
American chief operating officers
Baltimore Orioles scouts
Major League Baseball executives
Major League Baseball general managers
Kansas City Royals executives
University of Miami alumni
Washington University in St. Louis alumni

Herk Robinson


NepaLinux was a Debian and Morphix-based Linux distribution focused on desktop usage in Nepali language computing.

It contains applications for desktop users, such as OpenOffice.org, Nepali GNOME and KDE desktops, Nepali input method editor.

The development and distribution of NepaLinux was done by Madan Puraskar Pustakalaya. Version 1.0 was produced as part of the PAN Localization Project, with the support of the International Development Research Centre (IDRC) of Canada. NepaLinux is an effort of promoting free and open-source software in Nepal.

In October 2007, NepaLinux was the joint recipient of the Association for Progressive Communications' annual APC FOSS prize.

References

Knoppix
Language-specific Linux distributions
Linux distributions

NepaLinux


Graham P. Barber (born 5 June 1958) is an English former football referee. He was based in Tring in Hertfordshire during his career, but now lives in Spain.

Career
In 1998, after progressing through to the FA Premier League List of referees via the Football League List, he was appointed to the FIFA International List.

He took charge of his first major appointment, the Charity Shield match between Arsenal and Manchester United at Wembley on 1 August 1999. The 'Gunners' were victorious by 2–1, thanks to second-half Kanu and Parlour goals, in reply to David Beckham's strike in the 36th minute.

Seventeen days later, on 18 August 1999, he was man-in-the-middle for his first international game, the friendly match between Greece and El Salvador in Kavala, when Greece triumphed by 3 goals to 1.

His first major international engagement was the World Cup qualifying match on 3 September 2000, involving Hungary and Italy in Budapest, and this was drawn 2-2.

In the same month came his first UEFA Champions League game, when he took control of Helsingborgs versus Bayern Munich at the Olympia Stadium on 13 September - this ended in a 3–1 away win.

On 12 May 2002, he took charge of the Championship Play-off Final at the Millennium Stadium, Cardiff, between Birmingham City and Norwich City. Birmingham won by 4–2 on penalties, after extra time saw one goal each scored (by Geoff Horsfield and Iwan Roberts respectively) following a scoreless 90 minutes. He had also been referee for two earlier appointments in 2002 at semi-final level in the Football League One and Two Play-offs.

The first of his only two European Championship qualifying games, both in season 2002–03, was the encounter between Holland and Belarus on 7 September 2002 at the Philips Stadion in Eindhoven. It ended in a comprehensive 3–0 win for the Dutch.

His domestic career highlight was the 2003 FA Cup Final between Arsenal and Southampton at the Millennium Stadium on 17 May, when Robert Pires scored a 38th-minute goal to claim the trophy for Arsenal.

His last professional season was 2003–04. In this final period of his career he was given his last big European honour when he was chosen to referee the UEFA Super Cup game between AC Milan and FC Porto, held in the principality of Monaco at the Stade Louis II Stadium on 29 August 2003. Andriy Shevchenko scored the only goal to give Milan the win.

He was to handle one of the 2004 FA Cup Semi-finals before his retirement from active top-class officiating at the end of that season, the tie between Arsenal and Manchester United on 3 April 2004 at Villa Park, Birmingham. United won through thanks to a Paul Scholes goal in the 32nd minute.

He retired in 2004, two years before the standard FA Retirement age.

Life after football
He subsequently moved to Spain, where he is CEO of Europa Networks.

References

External links
Graham Barber Referee Statistics at soccerbase.com

1958 births
Living people
People from Tring
English football referees
UEFA Champions League referees
FA Cup final referees
English Football League referees
Premier League referees

Graham Barber


USS Lagarto (SS-371), a , was the only ship of the United States Navy to be named for the lagarto, a lizard fish.

Construction and commissioning
Lagarto′s keel was laid down on 12 January 1944 by the Manitowoc Shipbuilding Company of Manitowoc, Wisconsin. She was launched on 28 May 1944, sponsored by Emily Taft Douglas, Congresswoman from Illinois, and later United States Senator from Illinois, and commissioned on 14 October 1944 with Commander Frank D. Latta in command. Latta was a veteran of nine war patrols and holder of the Navy Cross, earned while commanding officer of the submarine .

Operational history

November–December 1944
Floated high and dry in a floating drydock down the Mississippi River, among the islands and channels of which her captain had first "felt the call of the sea" as "a mere youth", Lagarto departed New Orleans, Louisiana, on 12 November 1944, for Panama, escorted by the submarine chaser . Releasing her escort on 15 November, Lagarto reported to Commander, Panama Sea Frontier, to begin her shakedown two days later. Captain John G. Johns supervised the boat's training during the period between 20 November and 5 December 1944. Sadly, during that period, on 3 December, Chief Machinist's Mate Pat Cole died of coronary thrombosis while Lagarto lay at Saboya Anchorage, off Perlas Island, Panama.

Clearing Balboa, Canal Zone, on 9 December 1944, Lagarto reached Pearl Harbor on Christmas Day 1944. The following day, she commenced a period of training (supervised by Captain Jesse L. Hull for its duration) and a special availability. The latter saw the installation of a second  gun and replacement of the 20 mm with two 40 mm mounts, installation of additional topside ready-use lockers, eight topside mounts for .50 cal (12.7 mm) machine guns, in addition to other internal work, including the alteration of the small arms magazine to accommodate additional  ammunition stowage, bringing the boat's total capacity to 220 rounds. Additionally, a Panama Bay sound test having revealed a "singing" port propeller, that was replaced. The special training and availability period concluded on 23 January 1945.

January – March 1945
Lagarto, accompanied by , departed Pearl Harbor on 24 January 1945, escorted initially by . Releasing their escort four and a half hours out, the two boats proceeded in company, conducting dives and drills daily and acting as targets for each other on alternate days. Ultimately, the pair reached the Marianas on 4 February, exchanging recognition signals with friendly planes as they neared Saipan. Escorted in by the infantry landing craft  on 5 February, Lagarto moored in a nest alongside  as she lay alongside  in Tanapag Harbor. Haddock moored outboard.

Tragedy struck the next day, however, when an automobile accident on Saipan resulted in serious injuries to two of Lagartos more experienced officers: Lieutenant Walter R. Shaw, a "mustang" (commissioned from the enlisted ranks) veteran of three war patrols, and Ensign Allen G. Brewington, who, like Shaw, was a mustang but a veteran of nine patrols, including one in Haddock for which he had earned the Silver Star. In addition, the mishap incapacitated three of Haddocks officers, including Commander John P. "Beetle" Roach, her skipper and a Naval Academy classmate of Lagartos commanding officer. Consequently, Lieutenant Robert J. Williams (five war patrols) and Lieutenant, junior grade Walter B. Phelps (four war patrols) arrived by air from Guam, reporting on board Lagarto late in the forenoon watch on 7 February to replace Shaw and Brewington.

Under way during the first dog watch on 7 February 1945, escorted by the motor minesweeper , "Latta's Lancers" (Task Group 17.13) formed column—Lagarto, Haddock, and —and headed for the Bonin Islands to destroy "picket boats" in advance of the carrier strikes planned to be launched by Task Force 38 in mid-month. Releasing YMS-426 at midnight, Lagarto decoded a dispatch a little over two hours into the mid watch on 8 February, however, communicating the sad tidings that Lieutenant Shaw had died ("His loss was a serious blow to the Lagarto," wrote Captain Willard J. Suits, Commander, Submarine Squadron 22, "and the submarine service.") of the injuries suffered in the automobile accident on the 6th. At noon the same day (8 February), while Lagarto mourned her loss, Commander Latta informed the "wolfpack" that its being behind schedule would not permit coordinated practice firing.

12 – 13 February
Entering the assigned patrol area on 11 February 1945, "Latta's Lancers" commenced searching for their quarry. A quarter of an hour into the first dog watch on 12 February, Lagarto sighted four B-29s; contacting two over her VHF (very high frequency) radio equipment, she "received [the] dope on [the] picket vessels" they sought. Haddock likewise obtained contact data from the Superfortresses. Thus forewarned, Haddock obtained the first radar contact an hour before the end of the first watch on 12 February; opening the range, she commenced tracking what proved to be the "guard boats" (converted trawlers) No.8 Kotoshiro Maru (109 tons) and No.3 Showa Maru (76 tons), neither vessel under way.

"With excellent SCR (Set, Complete, Radio) communication," Commander Latta "outlined [the] plan to [the] other skippers as easily as if we were in the same wardroom". He ordered Sennet to westward, maintaining contact with her SJ radar, while Lagarto kept in touch with Haddock in like fashion. With the coming of the mid watch on 13 February 1945, the Japanese craft still lay-to, "apparently not alerted." Consequently, Latta ordered Haddock to break contact and his boat formed a line of bearing on Sennet. Lagarto began opening to westward at 04:15, and at 05:40 began heading in on the surface toward the last known position of No.8 Kotoshiro Maru and No.3 Showa Maru. With Sennet on the left flank and Haddock on the right, and Lagarto as guide in the center, the boats some  apart, Latta planned to close to , then turn right about 50 degrees, to put the seas and wind in a most favorable position and still close the range, allocating Sennet the picket to the north, Haddock the one to the south; Lagarto, meanwhile, would direct the fire to whichever vessel "appeared to be offering the most opposition."

At 06:20 on 13 February 1945, Lagarto manned her battle surface stations, and opened fire with her number one  gun 12 minutes later on the clearly unsuspecting enemy that lay "nicely outlined against [the] red eastern sky"  distant. "Japs began jabbering in high gear at 4,475 KCS!" Latta reported subsequently, as one of the guard boats managed to transmit a dispatch as chaos descended suddenly upon her: "Gun attack by submarines in position 30-00N, 136-30E..."  Lagartos photographer seemed elated (in a "happy daze," the commanding officer reported) at the apparently photogenic aspect of the action he was recording, repeating "Oh boy, Oh boy!"

No such elation seized the enemy, however, who determinedly fought back against his heavier adversaries, as the action progressed, with whatever caliber weapon lay at hand. No.8 Kotoshiro Maru and No.3 Showa Maru began turning to the northward, returning fire with what appeared to be approximately "40-millimeter size" weapons. Lagarto recorded "numerous splashes within twenty yards (18 m) of ship..." Lagarto, followed by Sennet and Haddock, concentrated her fire upon No.8 Kotoshiro Maru, the leading and northerly vessel as she appeared to be laying a smoke screen to obscure her smaller sister; Haddock silenced the lead boat's forward gun. Inside of ten minutes, the Americans' fire began to tell, as the first quarry began to burn; smoke began obscuring her from view. Haddock, meanwhile, shifted fire to No.3 Showa Maru, noting one particularly defiant Japanese sailor firing back with a rifle, while Sennet, being blanked out by Lagarto, swung left in a full circle and fell in astern of the pack commander's boat, shifting her fire to Haddocks target as well.

As No.3 Showa Maru began to burn, however, the smoke cleared away from the larger guard boat, revealing her still under way and full of fight. Sennet "commenced hot pursuit" of No.8 Kotoshiro Maru. Lagarto likewise closed the range with the larger patrol vessel, opening up with her 40-millimeter guns at ; by 06:45, No.8 Kotoshiro Maru guns had fallen silent and she wallowed in the sea, burning fiercely, while No.3 Showa Maru likewise lay in extremis.  Haddock, having expended the last of her  ammunition, headed for the latter, lying riddled and burning, to finish her off, but No.3 Showa Maru sank before the submariners could man her 40-millimeter guns. Haddock circled the wreckage several times "to see if we could pick up any Japs or material but neither could be found." Sennet neared No.8 Kotoshiro Marus side "to see if anything worth salvaging was left", but apparently found it "too hot" and pulled clear. Latta ordered her to sink the wreck. Sennet hastened No.8 Kotoshiro Marus demise with "a couple rounds of 5" from close range."

"Latta's Lancers" having summarily disposed of the two guard boats (there were no survivors from either Japanese vessel) with no loss to themselves, Lagarto, Haddock, and Sennet formed a scouting line and continued their search. A little less than four hours later, a lookout in Lagarto spotted a patrolling "Betty" (Mitsubishi G4M Type 0 land attack plane) crossing astern, heading for Haddock; Lagarto submerged; Haddock spotted the Betty and did likewise; both boats logged the presence of explosions that, fortunately, caused no damage.

During the first dog watch on 13 February 1945, a lookout in Haddock, despite poor visibility conditions, spotted two more guard boats lying-to about  distant. Sending a contact report to her two pack-mates, Haddock maintained contact as the day went on. Lagarto exchanged calls with Sennet on the SJ, and ordered that boat to close Haddock. "Our choice of direction is biased", Latta later explained, "neither boat [Lagarto nor Sennet] having a sight in two days". At 22:49 Lagarto contacted Haddock by the SJ. "When within range of good SCR communication [such as had facilitated the destruction of No.8 Kotoshiro Maru and No.3 Showa Maru] [Latta] outlined to both skippers a plan previously proposed by Commander [George E.] Porter [Jr., Sennet commanding officer.]"  Since Haddock had expended the last of her  ammunition in the engagement with the two pickets that morning, Latta ordered her to maintain contact while Lagarto and Sennet opened to the westward as before. Those two boats would strike at dawn with gunfire and Haddock would make a close range submerged torpedo attack. Ironically, Haddock skipper, Commander William H. Brockman, Jr., had arrived at the same solution independently.

14 February
Lagarto began her easterly approach for the attack at 05:50 on 14 February 1945. "No likelihood of bright eastern sky today", her commanding officer later recounted, "all heavy gray overcast and seas less favorable to gun firing."  Going to "battle surface" 15 minutes later, Lagarto opened fire on the right-hand vessel at , swinging to the right to bring both of her  mounts to bear, "cold seas washing over [the] gun crews." The Japanese fought back more spiritedly than the day before. "Return fire heavier than yesterday", Latta noted in his patrol report, "but targets slower getting under way." Sennet reported numerous holes in her superstructure and one man wounded from the "extremely accurate" fire, but Lagarto emerged from the encounter unscathed.  Haddock fired one torpedo at  at one of the guard boats, but missed.  Lagarto and Sennet, having expended the last of their  ammunition, broke off the action by 07:00 and stood away from the scene of the action, leaving behind one guard boat, No.3 Kanno Maru (98 tons), damaged.

20 February
Detaching Sennet to proceed to her assigned patrol area and Haddock to hers, Lagarto proceeded to carry out the remainder of her patrol. Outside aircraft sightings on 17, 19 February and 20 February, it seemed devoid of contacts until the forenoon watch on 24 February 1945 off Okino Shima. Identifying a "RO-class submarine" at 10:58, Lagarto maneuvered into position and launched four torpedoes at 11:18; she logged the sound of what appeared to be an explosion on the target, and a second explosion that seemed to reflect the impact of the torpedo with an underwater cliff. Her quarry got off a report: "Torpedo attack in position 32-41N., 132-36E. Damage sustained..." The target's screws appeared to stop shortly after the explosion, followed less than ten minutes later by a "heavy underwater explosion like [a] collapsed hull..." The identity of Lagarto victim appears to have been the Japanese submarine I-371 (Lieutenant Kamijukoku Yasuo), that had departed Truk for Yokosuka on 31 January 1945. However, the credit of the 880-ton merchantman Tatsumomo Maru to Lagarto seems questionable in view of Lagarto only carrying out one attack on one target, reported as a submarine, in excellent visibility conditions. Sweeping the area with her periscope soon thereafter, Lagarto saw only empty ocean. Later that day, she heard "distant, heavy depth charge explosions", prompting Latta to write: "Hope Haddock is not paying for our attack..."

Lagarto submerged to conduct a patrol of Van Diemen Strait the following day, 25 February 1945, and the heavy seas encountered rendered control difficult; she encountered 8–10-degree rolls at depths of  between periscope observations. She conducted a submerged patrol off Bungo Suido the next day, sighting a veritable parade of guard boats similar to those encountered and destroyed less than a fortnight before. She photographed the nearest one (2,500 yards) and later, "nothing following these lads", secured from battle stations. On the 27th, she encountered what she reported as a midget submarine without success. Ultimately, a few more fruitless days passed, after which she exchanged patrol areas with Haddock on 7 March.

13 March
Ultimately departing her patrol area on 13 March 1945, bound for Subic Bay and a refit, Lagarto shaped course for a rendezvous with Haddock the following morning. At 06:12 on 14 March, Lagarto sighted a submarine through her high periscope, and began calling Haddock on the SCR. At 06:48, however, Lagarto sighted another submarine on an opposite bearing. "One of them", Latta later recounted, "is probably enemy—but which?"

Establishing voice communication with Haddock at 07:03 identified her as the first contact, so Lagarto advised her sister boat of the second—obviously enemy—contact. Hobbled by her number two main engine being temporarily out of commission, Lagarto ("Haddock has four engines to our three", Latta lamented) directed Haddock to make an end-around and then attack once she had achieved a favorable position to do so. Tracking the enemy all morning allowed Lagarto to improve the bearing, identifying her as an "I-class submarine." Decreasing the range, both American boats gained on the enemy, but "Haddock found a few more turns and began to pull ahead rapidly." Latta wished Commander Brockman luck. Ultimately, however, the Japanese boat frustrated the Americans' designs, submerging and escaping both. "After [a] final talk with Comdr. Brockman and mutual well-wishing", Latta wrote subsequently, "[Lagarto] took departure and set course for previously assigned route to Subic Bay."

Lagarto joined her escort,  an hour into the morning watch on 20 March 1945, and after anchoring for a sound test in Subic Bay, moored alongside the submarine tender  to commence a refit. She returned from patrol "clean and shipshape with a minimum number of material defects."

April – May 1945
Lagarto departed Subic Bay on 12 April 1945, bound for the South China Sea, and received orders on 27 April to patrol the outer waters of the Gulf of Siam. A little under an hour into the forenoon watch on 2 May,  exchanged calls with Lagarto by SJ radar. Later, an hour into the afternoon watch on 2 May, Baya sighted a Consolidated PB4Y-2 Privateer and contacted him by VHF. While "he had no dope for us", Baya skipper wrote later, the submarine informed the aviators of the proximity of Lagarto and . At 20:55, Baya again exchanged calls with Lagarto; less than an hour later, she slowed to take soundings, recording seven fathoms. She changed course to parallel the coast.

2 May
Baya SJ picked up four contacts at  at 21:55 on 2 May 1945; her battle stations tracking party took their places. At 22:10, Baya sent a contact report to Lagarto. Latta responded at 22:45 that his boat was in contact with a convoy, tracking it on a base course of 310° (T), speed nine knots (17 km/h), running along the 5 to 7 fathom curve (10 m). There was one large ship, one medium, and two escorts, both of which appeared to be equipped with 10-centimeter radar. Beneath a clear, dark, sky, Baya began her attack at  through the flat sea, from off the convoy's starboard bow, setting her torpedoes to run at four feet. Soon she began encountering SJ and 10-centimeter radar interference "all around the dial". Two additional contacts materialized—one turned out to be a large three-masted junk, the other proved to be Lagarto. Baya, however, soon had her hands full; as her commanding officer later reported: "Jap gunnery poor but plenty of it. Tracers passing down both sides of the periscope shears and overhead..." Both escort vessels—one of which Baya identified as a "Shiretaka-type minelayer"—gave a good account of themselves; at 23:33, Baya informed Lagarto "that we had been driven off by gunfire." Baya skipper later ruminated: "It is nothing short of a miracle that we came through so much gun fire without a single hit." "We were in a continuous hail of lead, fire, and steel and sustained not a scratch."

3 May
The dogged defenders, who skillfully utilized searchlights and withering gunfire of calibers from  to 25-millimeter, elicited grudging admiration of the American submariners. During the mid watch on 3 May 1945, Baya rendezvoused with Lagarto and their captains discussed plans. The latter's proposed to dive on the convoy's track to make contact at 14:00, in the middle of the afternoon watch; Baya would be 10 to  further along the track, "if no contact was made we [Baya] were to intercept at 20:00 at convoy's possible 21:30 position." That having been arranged, the boats set course for their arranged stations.

At 15:00 on 3 May 1945, Baya sent the first "of numerous contact reports to Lagarto." By 23:47, "having sent Lagarto contact reports almost half hourly with no receipt", Baya decided to go it alone. Again, however, the Japanese escorts drove off Baya when she attacked during the mid watch on 4 May, again saving their charges from destruction.

Post-war examination of Japanese records revealed the most likely reason for Lagarto silence. One of the two escorts, the minelayer , made an attack on 3 May against a submerged submarine in  of water at .

Announced as "overdue from patrol and presumed lost" on 10 August 1945, Lagarto was stricken from the Naval Vessel Register on 1 September 1945.

Discovery of wreck, 2005–2006
In May 2005, a group of private deep-sea divers, led by British wreck diver Jamie MacLeod, discovered the wreck in  of water in the Gulf of Thailand. The wreck is mostly intact and sitting upright on the ocean floor. During the dive, a large rupture was discovered on the port bow area, suggesting a depth charge as the catalyst to her sinking. Also observed during the dive was an open torpedo tube door, with an empty torpedo tube behind it, suggesting the possibility that Lagarto fired off a torpedo shortly before her sinking.

In June 2006, Navy divers from  surveyed and photographed the wreck for six days. More evidence was seen that this is Lagarto. Twin 5-inch gun mounts were seen on the forward and rear parts of the ship.  "Manitowoc" was seen on the propellers providing a connection to the Manitowoc, Wisconsin shipyard. The pictures were sent back to naval archeologists for further review. After viewing the evidence provided by the Salvor divers, it was confirmed that this was indeed Lagarto.

Awards
Lagarto received one battle star for World War II service.

See also
 List of submarines of the United States Navy

References

External links

Wisconsin Maritime Museum
USS Lagarto.org
On Eternal Patrol: USS Lagarto
CNN: USS Lagarto
M/V Trident: The Thailand Technical Diving outfit that discovered the USS Lagarto
 diving on the wreck
Divehappy.com: Diving On The USS Lagarto – a first person account with photos
Divehappy.com: Return To The USS Lagarto July 2008 – a first person account with photos of a guardianship dive on the Lagarto
Kill Record: USS Lagarto
Eurotek interview  with wreck diver Richie Kohler on dives to the USS Lagarto

Balao-class submarines
World War II submarines of the United States
Lost submarines of the United States
Shipwrecks in the Gulf of Thailand
Ships built in Manitowoc, Wisconsin
1944 ships
World War II shipwrecks in the Pacific Ocean
Maritime incidents in May 1945
Submarines lost with all hands
Submarines sunk by Japanese warships

USS Lagarto


is hand-drawn and computer-generated animation originating from Japan. Outside Japan and in English, anime refers specifically to animation produced in Japan. However, in Japan and in Japanese,  (a term derived from a shortening of the English word animation) describes all animated works, regardless of style or origin. Many works of animation with a similar style to Japanese animation are also produced outside Japan. Video games sometimes also feature themes and artstyles that can be considered as "anime".

The earliest commercial Japanese animations date to 1917. A characteristic art style emerged in the 1960s with the works of cartoonist Osamu Tezuka and spread in following decades, developing a large domestic audience. Anime is distributed theatrically, through television broadcasts, directly to home media, and over the Internet. In addition to original works, anime are often adaptations of Japanese comics (manga), light novels, or video games. It is classified into numerous genres targeting various broad and niche audiences.

Anime is a diverse medium with distinctive production methods that have adapted in response to emergent technologies. It combines graphic art, characterization, cinematography, and other forms of imaginative and individualistic techniques. Compared to Western animation, anime production generally focuses less on movement, and more on the detail of settings and use of "camera effects", such as panning, zooming, and angle shots. Diverse art styles are used, and character proportions and features can be quite varied, with a common characteristic feature being large and emotive eyes.

The anime industry consists of over 430 production companies, including major studios such as Studio Ghibli, Kyoto Animation, Sunrise, Bones, Ufotable, MAPPA, Wit Studio, CoMix Wave Films, Production I.G and Toei Animation. Since the 1980s, the medium has also seen widespread international success with the rise of foreign dubbed, subtitled programming, and since the 2010s its increasing distribution through streaming services and a widening demographic embrace of anime culture, both within Japan and worldwide.  Japanese animation accounted for 60% of the world's animated television shows.

Etymology
As a type of animation, anime is an art form that comprises many genres found in other mediums; it is sometimes mistakenly classified as a genre itself. In Japanese, the term anime is used to refer to all animated works, regardless of style or origin. English-language dictionaries typically define anime () as "a style of Japanese animation" or as "a style of animation originating in Japan". Other definitions are based on origin, making production in Japan a requisite for a work to be considered "anime".

The etymology of the term anime is disputed. The English word "animation" is written in Japanese katakana as  () and as  (, ) in its shortened form. Some sources claim that the term is derived from the French term for animation  ("cartoon", literally 'animated drawing'), but others believe this to be a myth derived from the popularity of anime in France in the late 1970s and 1980s.

In English, anime—when used as a common noun—normally functions as a mass noun. (For example: "Do you watch anime?" or "How much anime have you collected?") As with a few other Japanese words, such as saké and Pokémon, English texts sometimes spell anime as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as English orthography may suggest. Prior to the widespread use of anime, the term Japanimation, a portmanteau of Japan and animation, was prevalent throughout the 1970s and 1980s. In the mid-1980s, the term anime began to supplant Japanimation; in general, the latter term now only appears in period works where it is used to distinguish and identify Japanese animation.

History

Precursors
 and kagee are considered precursors of Japanese animation.  was common in the eleventh century. Traveling storytellers narrated legends and anecdotes while the  was unrolled from the right to left in chronological order, as a moving panorama. Kagee was popular during the Edo period and originated from the shadows play of China. Magic lanterns from the Netherlands were also popular in the eighteenth century. The paper play called Kamishibai surged in the twelfth century and remained popular in the street theater until the 1930s. Puppets of the bunraku theater and ukiyo-e prints are considered ancestors of characters of most Japanese animations. Finally, mangas were a heavy inspiration for anime. Cartoonists Kitzawa Rakuten and Okamoto Ippei used film elements in their strips.

Pioneers

Animation in Japan began in the early 20th century, when filmmakers started to experiment with techniques pioneered in France, Germany, the United States, and Russia. A claim for the earliest Japanese animation is Katsudō Shashin (), a private work by an unknown creator. In 1917, the first professional and publicly displayed works began to appear; animators such as Ōten Shimokawa, Seitarō Kitayama, and Jun'ichi Kōuchi (considered the "fathers of anime") produced numerous films, the oldest surviving of which is Kōuchi's Namakura Gatana. Many early works were lost with the destruction of Shimokawa's warehouse in the 1923 Great Kantō earthquake.

By the mid-1930s, animation was well-established in Japan as an alternative format to the live-action industry. It suffered competition from foreign producers, such as Disney, and many animators, including Noburō Ōfuji and Yasuji Murata, continued to work with cheaper cutout animation rather than cel animation. Other creators, including Kenzō Masaoka and Mitsuyo Seo, nevertheless made great strides in technique, benefiting from the patronage of the government, which employed animators to produce educational shorts and propaganda. In 1940, the government dissolved several artists' organizations to form the  The first talkie anime was Chikara to Onna no Yo no Naka (1933), a short film produced by Masaoka. The first feature-length anime film was Momotaro: Sacred Sailors (1945), produced by Seo with a sponsorship from the Imperial Japanese Navy. The 1950s saw a proliferation of short, animated advertisements created for television.

Modern era

In the 1960s, manga artist and animator Osamu Tezuka adapted and simplified Disney animation techniques to reduce costs and limit frame counts in his productions. Originally intended as temporary measures to allow him to produce material on a tight schedule with an inexperienced staff, many of his limited animation practices came to define the medium's style. Three Tales (1960) was the first anime film broadcast on television; the first anime television series was Instant History (1961–64). An early and influential success was Astro Boy (1963–66), a television series directed by Tezuka based on his manga of the same name. Many animators at Tezuka's Mushi Production later established major anime studios (including Madhouse, Sunrise, and Pierrot).

The 1970s saw growth in the popularity of manga, many of which were later animated. Tezuka'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 Go Nagai and others, and was revolutionized at the end of the decade by Yoshiyuki Tomino, who developed the real robot genre. Robot anime series such as Gundam and Super Dimension Fortress Macross became instant classics in the 1980s, and the genre remained one of the most popular in the following decades. The bubble economy of the 1980s spurred a new era of high-budget and experimental anime films, including Nausicaä of the Valley of the Wind (1984), Royal Space Force: The Wings of Honnêamise (1987), and Akira (1988).

Neon Genesis Evangelion (1995), a television series produced by Gainax and directed by Hideaki Anno, began another era of experimental anime titles, such as Ghost in the Shell (1995) and Cowboy Bebop (1998). In the 1990s, anime also began attracting greater interest in Western countries; major international successes include Sailor Moon and Dragon Ball Z, both of which were dubbed into more than a dozen languages worldwide. In 2003, Spirited Away, a Studio Ghibli feature film directed by Hayao Miyazaki, won the Academy Award for Best Animated Feature at the 75th Academy Awards. It later became the highest-grossing anime film, earning more than $355 million. Since the 2000s, an increased number of anime works have been adaptations of light novels and visual novels; successful examples include The Melancholy of Haruhi Suzumiya and Fate/stay night (both 2006). Demon Slayer: Kimetsu no Yaiba the Movie: Mugen Train became the highest-grossing Japanese film and one of the world's highest-grossing films of 2020. It also became the fastest grossing film in Japanese cinema, because in 10 days it made 10 billion yen ($95.3m; £72m). It beat the previous record of Spirited Away which took 25 days.

Attributes

Anime differs from other forms of animation by its art styles, methods of animation, its production, and its process. Visually, anime works exhibit a wide variety of art styles, differing between creators, artists, and studios. While no single art style predominates anime as a whole, they do share some similar attributes in terms of animation technique and character design.

Anime is fundamentally characterized by the use of limited animation, flat expression, the suspension of time, its thematic range, the presence of historical figures, its complex narrative line and, above all, a peculiar drawing style, with characters characterized by large and oval eyes, with very defined lines, bright colors and reduced movement of the lips.

Technique
Modern anime follows a typical animation production process, involving storyboarding, voice acting, character design, and cel production. Since the 1990s, animators have increasingly used computer animation to improve the efficiency of the production process. Early anime works were experimental, and consisted of images drawn on blackboards, stop motion animation of paper cutouts, and silhouette animation. Cel animation grew in popularity until it came to dominate the medium. In the 21st century, the use of other animation techniques is mostly limited to independent short films, including the stop motion puppet animation work produced by Tadahito Mochinaga, Kihachirō Kawamoto and Tomoyasu Murata. Computers were integrated into the animation process in the 1990s, with works such as Ghost in the Shell and Princess Mononoke mixing cel animation with computer-generated images. Fuji Film, a major cel production company, announced it would stop cel production, producing an industry panic to procure cel imports and hastening the switch to digital processes.

Prior to the digital era, anime was produced with traditional animation methods using a pose to pose approach. The majority of mainstream anime uses fewer expressive key frames and more in-between animation.

Japanese animation studios were pioneers of many limited animation techniques, and have given anime a distinct set of conventions. Unlike Disney animation, where the emphasis is on the movement, anime emphasizes the art quality and let limited animation techniques make up for the lack of time spent on movement. Such techniques are often used not only to meet deadlines but also as artistic devices. Anime scenes place emphasis on achieving three-dimensional views, and backgrounds are instrumental in creating the atmosphere of the work. The backgrounds are not always invented and are occasionally based on real locations, as exemplified in Howl's Moving Castle and The Melancholy of Haruhi Suzumiya. Oppliger stated that anime is one of the rare mediums where putting together an all-star cast usually comes out looking "tremendously impressive".

The cinematic effects of anime differentiates itself from the stage plays found in American animation. Anime is cinematically shot as if by camera, including panning, zooming, distance and angle shots to more complex dynamic shots that would be difficult to produce in reality. In anime, the animation is produced before the voice acting, contrary to American animation which does the voice acting first.

Characters

The body proportions of human anime characters tend to accurately reflect the proportions of the human body in reality. The height of the head is considered by the artist as the base unit of proportion. Head heights can vary, but most anime characters are about seven to eight heads tall. Anime artists occasionally make deliberate modifications to body proportions to produce super deformed characters that feature a disproportionately small body compared to the head; many super deformed characters are two to four heads tall. Some anime works like Crayon Shin-chan completely disregard these proportions, in such a way that they resemble caricatured Western cartoons.

A common anime character design convention is exaggerated eye size. The animation of characters with large eyes in anime can be traced back to Osamu Tezuka, who was deeply influenced by such early animation characters as Betty Boop, who was drawn with disproportionately large eyes. Tezuka is a central figure in anime and manga history, whose iconic art style and character designs allowed for the entire range of human emotions to be depicted solely through the eyes. The artist adds variable color shading to the eyes and particularly to the cornea to give them greater depth. Generally, a mixture of a light shade, the tone color, and a dark shade is used. Cultural anthropologist Rachel Thorn argues that Japanese animators and audiences do not perceive such stylized eyes as inherently more or less foreign. However, not all anime characters have large eyes. For example, the works of Hayao Miyazaki are known for having realistically proportioned eyes, as well as realistic hair colors on their characters.

Hair in anime is often unnaturally lively and colorful or uniquely styled. The movement of hair in anime is exaggerated and "hair actions" is used to emphasize the action and emotions of characters for added visual effect. Poitras traces hairstyle color to cover illustrations on manga, where eye-catching artwork and colorful tones are attractive for children's manga. Despite being produced for a domestic market, anime features characters whose race or nationality is not always defined, and this is often a deliberate decision, such as in the Pokémon animated series.

Anime and manga artists often draw from a common canon of iconic facial expression illustrations to denote particular moods and thoughts. These techniques are often different in form than their counterparts in Western animation, and they include a fixed iconography that is used as shorthand for certain emotions and moods. For example, a male character may develop a nosebleed when aroused. A variety of visual symbols are employed, including sweat drops to depict nervousness, visible blushing for embarrassment, or glowing eyes for an intense glare. Another recurring sight gag is the use of chibi (deformed, simplified character designs) figures to comedically punctuate emotions like confusion or embarrassment.

Music

The opening and credits sequences of most anime television series are accompanied by J-pop or J-rock songs, often by reputed bands—as written with the series in mind—but are also aimed at the general music market, therefore they often allude only vaguely or not at all, to the thematic settings or plot of the series. Also, they are often used as incidental music ("insert songs") in an episode, in order to highlight particularly important scenes.

Future funk, a musical microgenre that evolved in the early 2010's from Vaporwave with a French house Euro disco influence, heavily uses anime visuals and samples along with Japanese City pop to build an aesthetic.

Since the 2020's anime songs have experienced a rapid growth in global online popularity due to their widened availability on music streaming services like Spotify and promotion by fans and artists on social media. In 2023, the opening theme Idol by YOASOBI of the anime series Oshi no Ko topped the Billboard Global 200 Excl. U.S. charts with 45.7 million streams and 24,000 copies sold outside the U.S. "Idol" has become the first Japanese song and anime song to top the Billboard Global chart as well as taking the first spot on the Apple Music's Top 100: Global chart.

Genres
Anime are often classified by target demographic, including , , , ,  and a diverse range of genres targeting an adult audience. Shoujo and shounen anime sometimes contain elements popular with children of both sexes in an attempt to gain crossover appeal. Adult anime may feature a slower pace or greater plot complexity that younger audiences may typically find unappealing, as well as adult themes and situations. A subset of adult anime works featuring pornographic elements are labeled "R18" in Japan, and are internationally known as hentai (originating from ). By contrast, some anime subgenres incorporate ecchi, sexual themes or undertones without depictions of sexual intercourse, as typified in the comedic or harem genres; due to its popularity among adolescent and adult anime enthusiasts, the inclusion of such elements is considered a form of fan service. Some genres explore homosexual romances, such as yaoi (male homosexuality) and yuri (female homosexuality). While often used in a pornographic context, the terms yaoi and yuri can also be used broadly in a wider context to describe or focus on the themes or the development of the relationships themselves.

Anime's genre classification differs from other types of animation and does not lend itself to simple classification. Gilles Poitras compared the labeling of Gundam 0080 and its complex depiction of war as a "giant robot" anime akin to simply labeling War and Peace a "war novel". Science fiction is a major anime genre and includes important historical works like Tezuka's Astro Boy and Yokoyama's Tetsujin 28-go. A major subgenre of science fiction is mecha, with the Gundam metaseries being iconic. The diverse fantasy genre includes works based on Asian and Western traditions and folklore; examples include the Japanese feudal fairytale InuYasha, and the depiction of Scandinavian goddesses who move to Japan to maintain a computer called Yggdrasil in Ah! My Goddess. Genre crossing in anime is also prevalent, such as the blend of fantasy and comedy in Dragon Half, and the incorporation of slapstick humor in the crime anime film Castle of Cagliostro. Other subgenres found in anime include magical girl, harem, sports, martial arts, literary adaptations, medievalism, and war.

Formats
Early anime works were made for theatrical viewing, and required played musical components before sound and vocal components were added to the production. In 1958, Nippon Television aired Mogura no Abanchūru ("Mole's Adventure"), both the first televised and first color anime to debut. It was not until the 1960s when the first televised series were broadcast and it has remained a popular medium since. Works released in a direct-to-video format are called "original video animation" (OVA) or "original animation video" (OAV); and are typically not released theatrically or televised prior to home media release. The emergence of the Internet has led some animators to distribute works online in a format called "original net animation" (ONA).

The home distribution of anime releases was popularized in the 1980s with the VHS and LaserDisc formats. The VHS NTSC video format used in both Japan and the United States is credited with aiding the rising popularity of anime in the 1990s. The LaserDisc and VHS formats were transcended by the DVD format which offered the unique advantages; including multiple subtitling and dubbing tracks on the same disc. The DVD format also has its drawbacks in its usage of region coding; adopted by the industry to solve licensing, piracy and export problems and restricted region indicated on the DVD player. The Video CD (VCD) format was popular in Hong Kong and Taiwan, but became only a minor format in the United States that was closely associated with bootleg copies.

A key characteristic of many anime television shows is serialization, where a continuous story arc stretches over multiple episodes or seasons. Traditional American television had an episodic format, with each episode typically consisting of a self-contained story. In contrast, anime shows such as Dragon Ball Z had a serialization format, where continuous story arcs stretch over multiple episodes or seasons, which distinguished them from traditional American television shows; serialization has since also become a common characteristic of American streaming television shows during the "Peak TV" era.

Industry

The animation industry consists of more than 430 production companies with some of the major studios including Toei Animation, Gainax, Madhouse, Gonzo, Sunrise, Bones, TMS Entertainment, Nippon Animation, P.A.Works, Studio Pierrot, Production I.G, Ufotable and Studio Ghibli. Many of the studios are organized into a trade association, The Association of Japanese Animations. There is also a labor union for workers in the industry, the Japanese Animation Creators Association. Studios will often work together to produce more complex and costly projects, as done with Studio Ghibli's Spirited Away. An anime episode can cost between US$100,000 and US$300,000 to produce. In 2001, animation accounted for 7% of the Japanese film market, above the 4.6% market share for live-action works. The popularity and success of anime is seen through the profitability of the DVD market, contributing nearly 70% of total sales. According to a 2016 article on Nikkei Asian Review, Japanese television stations have bought over  worth of anime from production companies "over the past few years", compared with under  from overseas. There has been a rise in sales of shows to television stations in Japan, caused by late night anime with adults as the target demographic. This type of anime is less popular outside Japan, being considered "more of a niche product". Spirited Away (2001) was the all-time highest-grossing film in Japan until overtaken by Demon Slayer: Kimetsu no Yaiba – The Movie: Mugen Train in 2020. It was also the highest-grossing anime film worldwide until it was overtaken by Makoto Shinkai's 2016 film Your Name. Anime films represent a large part of the highest-grossing Japanese films yearly in Japan, with 6 out of the top 10 in 2014, in 2015 and also in 2016.

Anime has to be licensed by companies in other countries in order to be legally released. While anime has been licensed by its Japanese owners for use outside Japan since at least the 1960s, the practice became well-established in the United States in the late 1970s to early 1980s, when such TV series as Gatchaman and Captain Harlock were licensed from their Japanese parent companies for distribution in the US market. The trend towards American distribution of anime continued into the 1980s with the licensing of titles such as Voltron and the 'creation' of new series such as Robotech through the use of source material from several original series.

In the early 1990s, several companies began to experiment with the licensing of less children-oriented material. Some, such as A.D. Vision, and Central Park Media and its imprints, achieved fairly substantial commercial success and went on to become major players in the now very lucrative American anime market. Others, such as AnimEigo, achieved limited success. Many companies created directly by Japanese parent companies did not do as well, most releasing only one or two titles before completing their American operations.

Licenses are expensive, often hundreds of thousands of dollars for one series and tens of thousands for one movie. The prices vary widely; for example, Jinki: Extend cost only $91,000 to license while Kurau Phantom Memory cost $960,000. Simulcast Internet streaming rights can be cheaper, with prices around $1,000–2,000 an episode, but can also be more expensive, with some series costing more than  per episode.

The anime market for the United States was worth approximately $2.74 billion in 2009. Dubbed animation began airing in the United States in 2000 on networks like The WB and Cartoon Network's Adult Swim. In 2005, this resulted in five of the top ten anime titles having previously aired on Cartoon Network. As a part of localization, some editing of cultural references may occur to better follow the references of the non-Japanese culture. The cost of English localization averages US$10,000 per episode.

The industry has been subject to both praise and condemnation for fansubs, the addition of unlicensed and unauthorized subtitled translations of anime series or films. Fansubs, which were originally distributed on VHS bootlegged cassettes in the 1980s, have been freely available and disseminated online since the 1990s. Since this practice raises concerns for copyright and piracy issues, fansubbers tend to adhere to an unwritten moral code to destroy or no longer distribute an anime once an official translated or subtitled version becomes licensed. They also try to encourage viewers to buy an official copy of the release once it comes out in English, although fansubs typically continue to circulate through file-sharing networks. Even so, the laid back regulations of the Japanese animation industry tend to overlook these issues, allowing it to grow underground and thus increasing its popularity until there is a demand for official high-quality releases for animation companies. This has led to an increase in global popularity of Japanese animations, reaching $40 million in sales in 2004.

Since the 2010s anime has become a global multibillion industry setting a sales record in 2017 of ¥2.15 trillion ($19.8 billion), driven largely by demand from overseas audiences. In 2019, Japan's anime industry was valued at $24 billion a year with 48% of that revenue coming from overseas (which is now its largest industry sector). By 2025 the anime industry is expected to reach a value of $30 billion with over 60% of that revenue coming from
overseas.

Markets
Japan External Trade Organization (JETRO) valued the domestic anime market in Japan at  (), including  from licensed products, in 2005. JETRO reported sales of overseas anime exports in 2004 to be  (). JETRO valued the anime market in the United States at  (), including  in home video sales and over  from licensed products, in 2005. JETRO projected in 2005 that the worldwide anime market, including sales of licensed products, would grow to  (). The anime market in China was valued at  in 2017, and is projected to reach  by 2020. The global anime market size was valued at $26.055 billion in 2021 with 29% of the revenue coming from merchandise. It is expected that the global anime market will reach a value of $47.14 billion by 2028. By 2030 the global anime market is expected to reach a value of $48.3 Billion with the largest contributors to this growth being North America, Europe, China and The Middle East.
In 2019, the annual overseas exports of Japanese animation exceeded $10 billion for the first time in history.

Awards
The anime industry has several annual awards that honor the year's best works. Major annual awards in Japan include the Ōfuji Noburō Award, the Mainichi Film Award for Best Animation Film, the Animation Kobe Awards, the Japan Media Arts Festival animation awards, the Seiyu Awards for voice actors, the Tokyo Anime Award and the Japan Academy Prize for Animation of the Year. In the United States, anime films compete in the Crunchyroll Anime Awards. There were also the American Anime Awards, which were designed to recognize excellence in anime titles nominated by the industry, and were held only once in 2006. Anime productions have also been nominated and won awards not exclusively for anime, like the Academy Award for Best Animated Feature or the Golden Bear.

Working conditions
In recent years, the anime industry has been accused by both Japanese and foreign media of underpaying and overworking its animators. In response the Japanese Prime Minister Fumio Kishida promised to improve the working conditions and salary of all animators and creators working in the industry. A few anime studios such as MAPPA have taken actions to improve the working conditions of their employees. There has also been a slight increase in production costs and animator pays during the COVID-19 pandemic. On April 27, 2023, Nippon Anime Film Culture Association (NAFCA) was officially founded. The association aims to solve problems in the industry, including the improvement of conditions of the workers.

Globalization and cultural impact

Anime has become commercially profitable in Western countries, as demonstrated by early commercially successful Western adaptations of anime, such as Astro Boy and Speed Racer. Early American adaptions in the 1960s made Japan expand into the continental European market, first with productions aimed at European and Japanese children, such as Heidi, Vicky the Viking and Barbapapa, which aired in various countries. Italy, Spain, and France grew a particular interest in Japan's output, due to its cheap selling price and productive output. As of 2014, Italy imported the most anime outside Japan. Anime and manga were introduced to France in the late 1970s and became massively popular in spite of a moral panic led by French politicians in the 1980s and 1990s. These mass imports influenced anime popularity in South American, Arabic and German markets.

The beginning of 1980 saw the introduction of Japanese anime series into the American culture. In the 1990s, Japanese animation slowly gained popularity in America. Media companies such as Viz and Mixx began publishing and releasing animation into the American market. The 1988 film Akira is largely credited with popularizing anime in the Western world during the early 1990s, before anime was further popularized by television shows such as Pokémon and Dragon Ball Z in the late 1990s. By 1997, Japanese anime was the fastest-growing genre in the American video industry. The growth of the Internet later provided international audiences with an easy way to access Japanese content. Early on, online piracy played a major role in this, through over time many legal alternatives appeared. Since the 2010s various streaming services have become increasingly involved in the production and licensing of anime for the international markets. This is especially the case with net services such as Netflix and Crunchyroll which have large catalogs in Western countries, although as of 2020 anime fans in many developing non-Western countries, such as India and Philippines, have fewer options for obtaining access to legal content, and therefore still turn to online piracy. However beginning with the 2020s anime has been experiencing yet another boom in global popularity and demand due to the COVID-19 pandemic and streaming services like Netflix, Amazon Prime Video, HBO Max, Disney+, Hulu and anime-only services like Crunchyroll and Hidive, increasing the international availability of the amount of new licensed anime shows as well as the size of their catalogs.
Netflix reported that, between October 2019 and September 2020, more than  member households worldwide had watched at least one anime title on the platform. Anime titles appeared on the streaming platform's top-ten lists in almost 100 countries within the one-year period.
As of 2021, anime series are the most demanded foreign-language television shows in the United States accounting for 30.5% of the market share. (In comparison, Spanish-language and Korean-language shows account for 21% and 11% of the market share, respectively.) In 2021 more than half of Netflix's global members watched anime.
In 2022, the anime series Attack on Titan won the award of "Most In-Demand TV Series in the World 2021" in the Global TV Demand Awards. Attack on Titan became the first ever non-English language series to earn the title of "World's Most In-Demand TV Show", previously held by only The Walking Dead and Game of Thrones.

Rising interest in anime as well as Japanese video games has led to an increase of university students in the United Kingdom wanting to get a degree in the Japanese language. The word anime alongside other Japanese pop cultural terms like shonen and shojo have been added to the Oxford English Dictionary.

Various anime and manga series have influenced Hollywood in the making of numerous famous movies and characters. Hollywood itself has produced live-action adaptations of various anime series such as Ghost in the Shell, Death Note, Dragon Ball Evolution and Cowboy Bebop. However most of these adaptations have been reviewed negatively by both the critics and the audience and have become box-office flops. The main reasons for the unsuccessfulness of Hollywood's adaptions of anime being the often change of plot and characters from the original source material and the limited capabilities a live-action movie or series can do in comparison to an animated counterpart. One particular exception however is Alita: Battle Angel, which has become a moderate commercial success, receiving generally positive reviews from both the critics and the audience for its visual effects and following the source material. The movie grossed $404 million worldwide, making it director Robert Rodriguez's highest-grossing film.

Anime and manga alongside many other parts of Japanese pop culture have helped Japan to gain a positive worldwide image and improve its relations with other countries. In 2015, during remarks welcoming Japanese Prime Minister Shinzo Abe to the White House, President Barack Obama thanked Japan for its cultural contributions to the United States by saying:

In July 2020, after the approval of a Chilean government project in which citizens of Chile would be allowed to withdraw up to 10% of their privately held retirement savings, journalist Pamela Jiles celebrated by running through Congress with her arms spread out behind her, imitating the move of many characters of the anime and manga series Naruto. In April 2021, Peruvian politicians Jorge Hugo Romero of the PPC and Milagros Juárez of the UPP cosplayed as anime characters to get the otaku vote.

In April 2023, the Japan Business Federation laid out a proposal aiming to spur the economic growth of Japan by further promoting the contents industry abroad, primarily anime, manga and video games, for measures to invite industry experts from abroad to come to Japan to work, and to link with the tourism sector to help foreign fans of manga and anime visit sites across the country associated with particular manga stories. The federation seeks on quadrupling the sales of Japanese content in overseas markets within the upcoming 10 years.

A 2018 survey conducted in 20 countries and territories using a sample consisting of 6,600 respondents held by Dentsu revealed that 34% of all surveyed people found excellency in anime and manga more than other Japanese cultural or technological aspects which makes this mass Japanese media the 3rd most liked "Japanese thing", below Japanese cuisine (34.6%) and Japanese robotics (35.1%). The advertisement company views anime as a profitable tool for marketing campaigns in foreign countries due to its popularity and high reception.
Anime plays a role in driving tourism to Japan. In surveys held by Statista between 2019 and 2020, 24.2% of tourists from the United States, 7.7% of tourists from China and 6.1% of tourists from South Korea said they were motivated to visit Japan because of Japanese popular culture. In a 2021 survey held by Crunchyroll market research, 94% of Gen-Z's and 73% of the general population said that they are familiar with anime.

Fan response

Anime clubs gave rise to anime conventions in the 1990s with the "anime boom", a period marked by anime's increased global popularity. These conventions are dedicated to anime and manga and include elements like cosplay contests and industry talk panels. Cosplay, a portmanteau of "costume play", is not unique to anime and has become popular in contests and masquerades at anime conventions. Japanese culture and words have entered English usage through the popularity of the medium, including otaku, an unflattering Japanese term commonly used in English to denote an obsessive fan of anime and/or manga. Another word that has arisen describing obsessive fans in the United States is wapanese meaning 'white individuals who want to be Japanese', or later known as weeaboo or weeb, individuals who demonstrate an obsession with Japanese anime subculture, a term that originated from abusive content posted on the website 4chan.org. While originally derogatory, the terms "Otaku" and "Weeb" have been reappropriated by the anime fandom overtime and today are used by some fans to refer to themselves in a comedic and more positive way.
Anime enthusiasts have produced fan fiction and fan art, including computer wallpapers and anime music videos (AMVs).

Many fans will visit sites depicted in anime, games, manga and other forms of otaku culture, this behavior is known as "Anime pilgrimage".

As of the 2020s, many anime fans and followers use social media platforms and other sites like YouTube, Twitch, Fandom, Facebook, Reddit, Discord, Tumblr, 4chan, Tiktok and Twitter with online communities and databases such as IMDb, MyAnimeList to discuss anime, manga and track their progress watching respective series as well as using news outlets such as Anime News Network.

Due to anime's increased popularity in recent years, a large number of celebrities such as Elon Musk, BTS and Ariana Grande have come out as anime fans.

Anime style

One of the key points that made anime different from a handful of Western cartoons is the potential for visceral content. Once the expectation that the aspects of visual intrigue or animation are just for children is put aside, the audience can realize that themes involving violence, suffering, sexuality, pain, and death can all be storytelling elements utilized in anime just as much as other media.

However, as anime itself became increasingly popular, its styling has been inevitably the subject of both satire and serious creative productions. South Parks "Chinpokomon" and "Good Times with Weapons" episodes, Adult Swim's Perfect Hair Forever, and Nickelodeon's Kappa Mikey are examples of Western satirical depictions of Japanese culture and anime, but anime tropes have also been satirized by some anime such as KonoSuba.

Traditionally only Japanese works have been considered anime, but some works have sparked debate about blurring the lines between anime and cartoons, such as the American anime-style productions Avatar: The Last Airbender and Avatar: The Legend of Korra. These anime-styled works have become defined as anime-influenced animation, in an attempt to classify all anime styled works of non-Japanese origin. Some creators of these works cite anime as a source of inspiration, for example the French production team for Ōban Star-Racers that moved to Tokyo to collaborate with a Japanese production team. When anime is defined as a "style" rather than as a national product, it leaves open the possibility of anime being produced in other countries, but this has been contentious amongst fans, with John Oppliger stating, "The insistence on referring to original American art as Japanese "anime" or "manga" robs the work of its cultural identity."

A U.A.E.-Filipino produced TV series called Torkaizer is dubbed as the "Middle East's First Anime Show", and is currently in production and looking for funding. Netflix has produced multiple anime series in collaboration with Japanese animation studios, and in doing so, has offered a more accessible channel for distribution to Western markets.

The web-based series RWBY, produced by Texas-based company Rooster Teeth, is produced using an anime art style, and the series has been described as "anime" by multiple sources. For example, Adweek, in the headline to one of its articles, described the series as "American-made anime", and in another headline, The Huffington Post described it as simply "anime", without referencing its country of origin. In 2013, Monty Oum, the creator of RWBY, said "Some believe just like Scotch needs to be made in Scotland, an American company can't make anime. I think that's a narrow way of seeing it. Anime is an art form, and to say only one country can make this art is wrong." RWBY has been released in Japan with a Japanese language dub; the CEO of Rooster Teeth, Matt Hullum, commented "This is the first time any American-made anime has been marketed to Japan. It definitely usually works the other way around, and we're really pleased about that."

Media franchises

In Japanese culture and entertainment, media mix is a strategy to disperse content across multiple representations: different broadcast media, gaming technologies, cell phones, toys, amusement parks, and other methods. It is the Japanese term for a transmedia franchise. The term gained its circulation in late 1980s, but the origins of the strategy can be traced back to the 1960s with the proliferation of anime, with its interconnection of media and commodity goods.

A number of anime and manga media franchises such as Demon Slayer: Kimetsu no Yaiba, Dragon Ball and Gundam have gained considerable global popularity, and are among the world's highest-grossing media franchises. Pokémon in particular is estimated to be the highest-grossing media franchise of all time.

See also

 Animation director
 Aeni
 Chinese animation
 Cinema of Japan
 Cool Japan
 Culture of Japan
 History of anime
 Japanophilia
 Japanese language
 Japanese popular culture
 Lists of anime
 Mass media in Japan
 Manga
 Mechademia
 Otaku
 Television in Japan
 Vtuber
 Voice acting in Japan

Notes

References

Sources

External links

1917 introductions
Anime and manga terminology
Japanese inventions

Anime