vendredi 28 juin 2013

Les développeurs tunisiens à l’honneur à l’occasion du Microsoft TNDevDay

Microsoft Tunisie a organisé, ce vendredi 28 juin 2013, au Microsoft Innovation Center au Pôle technologique El Ghazela, les TNDevDay, pour présenter les différentes applications tunisiennes développées sous Windows 8 et Windows phone 8.

A l’issue de cette rencontre, les journalistes présents ont sélectionné les trois meilleures applications (Wajjahni, TunATM Location et Jawhara FM) parmi les 17 qui leurs ont été présentées, au cours de l’événement. Les lauréats ont été récompensés, chacun, par une tablette Lenovo sous Windows 8.

Cette initiative a, également permis de présenter d’autres projets qui ont reçu des louanges à l’échelle nationale et internationale.

Ainsi, l’équipe WiseTeam a fait une démonstration de son projet «Drive Alive» avec lequel elle participera à la finale internationale de l’Imagine Cup 2013 qui se tiendra en juillet 2013 à Saint Petersburg (Russie). Il s’agit d’une application dans le cadre de la sécurité routière, et qui empêche les conducteurs de long trajet à s’assoupir au volant.

L’application «TaxiMan», réalisée par des étudiants d’Esprit, qui a remporté le "Midnight Developper Challenge" pour le MENA, a été, également, présentée aux médias. Elle permet de déterminer le plus court trajet en taxi d’un emplacement à un autre en évaluant le coût de la course et le temps nécessaire.

Beez Touch est une application mobile pour un usage en entreprise : il s’agit d’un réseau social interne qui permet aux membres d’une société de communiquer, d’échanger des documents, etc.

Pour sa part, Ahmed Chikh-Rouhou, directeur commercial de Stolen Pad Studio (SPS), a présenté leur nouveau jeu en 3D Tin & Food, qui sera prochainement disponible gratuitement sur le Microsoft Store. Sa société est spécialisée dans le développement de jeux vidéo, d’advertgame et de solution 3D Temps Réel. Elle travaille, actuellement, sur deux autres projets Vtrans sur Microsoft Xbox et un jeu sur Kinect au profit de handicapés. Elle a signé, aussi, pour la réalisation d’un advertgame en 3D sur Facebook pour Assad qui sera mis en ligne au cours du mois de Ramadan.

A cette occasion, le directeur général de Microsoft Tunisie Mohamed Bridaa a mis en relief le travail réalisé par son entreprise pour inciter les jeunes tunisiens à créer leur propre entreprise et leurs Startup, à très haute valeur ajoutée. Pour lui, les Tunisiens ont du potentiel mais il faut qu’ils soient appuyés par une bonne réputation et des success story.

M. Bridaa a, également, révélé un problème de taille rencontré par les développeurs tunisiens : il leur faut une carte de crédit internationale alimentée en devises pour créer leurs comptes sur des stores étrangers et pouvoir commercialiser leurs produits et faire entrer, à leur tour, de l’argent en devises au pays. Ce problème a été abordé avec les autorités mais reste sans solution pour le moment, freinant, de ce fait, les développeurs ou les obligeant à contourner le problème en travaillant de l’étranger sans aucune retombée financière pour l’Etat.

Par Imen Nouira - Source de l'article Businessnews

jeudi 27 juin 2013

Tunisie: Festival des Arts numériques (FAN 2013) - L'animation digitale à l'honneur

Selon Mme Samia Chelbi, présidente de l'association Crea-Tec, cette 8e édition est une évolution du festival avec sept évènements programmés qui touchent trois axes : le cinéma d'animation, les jeux vidéo et le design numérique.
«Cette année, le FAN se démarque des anciennes éditions qui se limitaient à l'animation et aux techniques numériques de création d'images 3D, par l'ajout de nouvelles disciplines à savoir le design numérique et les jeux vidéo avec une intégration de la composante scientifique en donnant plus d'importance au volet recherches. D'où la substitution du mot « animations» par "arts"», ajoute la directrice du festival.
Bourse d'emploi et networking
A travers les sept événements du FAN (le show grand public, les conférences et tables rondes, les workshops, l'exposition des performances artistiques, les rencontres de networking, la bourse de l'emploi et la compétition «Challenge»), qui se dérouleront entre l'espace culturel de Néapolis, l'espace Sidi Ali Azzouz et les locaux de Net-Info, les organisateurs visent un large public de différents âges et de différents niveaux intellectuels.
Outre la présence des étudiants et des enseignants des écoles, des instituts et des universités de technologie numérique, d'art, de multimédia, et de cinéma, le festival constitue une plateforme de rencontre pour les artistes indépendants, les studios de production d'animation numérique, de jeu vidéo et d'image numérique, les amateurs de développement des jeux vidéo, de l'image de synthèse et de l'animation, les représentants des ministères des Technologies, de la Culture, et du Développement ainsi que pour les élèves et les lycéens.
Un jury de standing international
Il reste à noter que cette 8e édition sera honorée par la présence de plusieurs invités de prestige tel que le célèbre réalisateur français, Michel Ocelot, très connu dans l'industrie des films d'animation par le succès de la saga «Kirikou», qui fera partie du jury du FAN 2013 avec Romulad Rouhier (spécialiste dans la visualisation et la simulation 3D en temps réel), Catherine Beaugrand (artiste et chercheure dans le domaine des modes de représentation), Houda Ghorbel (artiste multidisciplinaire), Philippe Belhassen (directeur général de stonetrip créatrice de SHIVA 3D), Philippe Ulrich (créateur de jeux vidéo), Sonia Kallel (maître assistante à l'Ecole supérieure des sciences et technologies de design de Tunis), Henda Haouala Hamzaoui (docteur en sciences et techniques des arts), Eric Viennot (cofondateur d'un studio indépendant de jeux vidéo «Lexis Numérique»), Anis Mzali (fondateur de «Pixel One Studio», créateur du célèbre personnage de publicité «Lakhdhar», Mathilde Penet (spécialiste des pratiques numériques et des images mobiles) et Florent Lagrange (chercheur dans les arts numériques).
Source de l'article La Presse & AllAfrica

vendredi 21 juin 2013

An examination of game making in the Middle East.

In the world of video games and entertainment any kind of publicity is often seen as a boon. But it was publicity that ultimately prevented New York-based game developer Navid Khonsari from returning to his homeland.

Late one night last year, the Iranian-born game developer received an unexpected call from an uncle who had just returned from Iran. Unlike his usual calls, this wasn't an update telling Khonsari how his family in Iran was doing or how he enjoyed the trip. Instead, it was about the video game Khonsari was making. Khonsari's game, 1979, tells the story of the Iranian hostage crisis that took place in the same year. A government-run newspaper in Iran, Kayhan, somehow found out about it. The paper labelled it Western propaganda. If the news got into the hands of the wrong people, his uncle told him, it could spell trouble for both him and his family.

His uncle's message was clear: Khonsari couldn't safely return to Iran.

Stories like Khonsari's have come to dominate Western perception of video games and the Middle East: It's all too political, nothing can get made, and a foot in the wrong direction can mean trouble. Relations between the United States and Iran have spent decades on shaky ground, leaving both countries suspicious of each other and the games their developers make. Government-imposed trade sanctions and ongoing political conflict have served as effective roadblocks for the people of both territories – Western publishers, for instance, can't enter Iran, Iranian games seldom make it out of the country.

Little is known about game development in the region, and what is known is often miscommunicated. But the political strife, and locked-down nature of playing and making games in the area is far from the day-to-day reality for game developers there. A burgeoning game development scene is erupting in the region, one that is far more complex than the snippets of news that rarely escape the Middle East.

An emerging scene

Ahmad Ahmadi is the commercial marketing director and head of department at the Iran Computer and Video Games Foundation –a non-profit, non-governmental organization that was formed in 2007 to support and promote game studios in developing their products and ideas.

In many ways it is not too different from the Game Developer's Association in the U.S. and Australia. In its first five years of existence the foundation established Iran's first Games Education Institute, held festivals and exhibitions to promote the work of game developers, and represented Iran at regional and international game festivals.

Ahmadi tells Polygon that Iran has gone from having barely a handful of game development studios a few years ago to having more than 95 active studios. The output of games from Iranian studios has risen 50 percent in the last year.

"The entertainment industry in Iran is very young," Ahmadi says. "In fact, game development in Iran only started five years ago."

The past five years have seen what Ahmadi describes as three generations of game developers emerging.

"The first generation tried to develop games by trial and error in the first two years and shared their experiences with the next generation," Ahmadi says.

"The second generation started game development by using these experiences and doing more research and study. It is noteworthy that they managed to develop games that attracted known game developers and publishers to sell their games in some countries."

The third generation is now emerging and while conditions may not be ideal for large-scale game development, they're the best they've ever been.

The country currently boasts more than 30 million internet users and 20 million gamers. Its people are quick to latch onto new technology and circumvent banned and blocked channels. It's a country hungry for knowledge, with education a birth right and UNICEF reporting that it has one of the highest literacy rates in the world, with more than 85 percent of Iranian adults literate. At its peak in 2008, global statistic tracker Index Mundi recorded that 98.52 percent of Iranian women between the ages 15-24 were literate.

The country is dotted with universities full of students eager to advance their knowledge and embrace video game making. Games that have been big in the West have been just as popular in the Middle East, according to Vahid Yousefi, the executive editor of website Bazinama, the first video game websites to launch in the country in 2002. Bazinama covers everything from Minecraft to Call of Duty.

Yousefi tells Polygon that some of the most popular games in Iran are from the West. The Prince of Persia series is adored by many Iranians, Call of Duty, Medal of Honor and Gears of War are some of the favorites among teenage boys, and Metal Gear Solid, Final Fantasy, Splinter Cell, and Tekken are some of the most popular series in the country. Anything that the West is playing, Iranians are playing.

But Iran is also one of the most isolated countries in the Middle East. The Islamic nation is run by a conservative government that is constantly under pressure from the West due to its nuclear programs. The country suffers from a politically stressful climate that inevitably trickles down to game development, which isn't so much reflected in the games that do get made as the games that don't. Case in point: Navid Khonsari's 1979. It is Khonsari's love for Iran that inspired him to make a game about his country's history. But it is this same country that would never allow him to release such a game.



Habits and cosumption

When it comes to making games for the Middle East and North Africa, Rina Onur from Peak Games in Turkey says there is no one-size-fits-all solution, and what works in the West will not necessarily work in the Middle East and North Africa (MENA), and what works in one country in MENA will not necessarily work in another.

For example, most online and mobile games in the West and Asia rely on credit card payments, but credit card penetration in the region can be quite low. In Iran, credit cards do not exist. Iranian banks set up a system called "shetab" only five years ago to allow Iranians to make online transactions using their debit cards – prior to this, people had to pay using cash or make transactions in person. In places like Saudi Arabia, mobile transactions are one of the dominant forms of payment, with services deducting phone credit that users can then top up.

When it comes to in-game content, a farming simulation that uses Western characters and allows players to grow crops mostly planted in the West is not going to speak to players from a completely different region. Peak Games' farming sim, Happy Farm, is the second largest farming game online after FarmVille and is playable in Arabic. The farmers in the game plant crops that are native to the region and, rather than dressing up as cowboys the farmers wear localized farming attire. It's these small tweaks, according to Onur, that make players feel like the game has been designed for them.

1979

Navid Khonsari has lived in North America for almost thirty years. He left his home in Tehran in early 1980 and studied in Canada as a film student. He spent years making movies and documentaries, and eventually became the cinematic director and head of production at one of the world's most highly regarded video game studios, Rockstar Games. He’s had a hand in some of the most celebrated games of this generation, like Grand Theft Auto 3, the Max Payne series, Red Dead Revolver, Manhunt, Midnight Club, and every game Rockstar released between 2001 and 2006. He is now embarking on one of his most ambitious projects yet – an independent game that tells the story of the Iranian Revolution of 1979 and the hostage crisis that ensued. It is this project that caught the attention of the a government-run newspaper, and garnered him the sort of attention that could prevent him from returning to Iran and his family there.

When Khonsari spoke to the media about 1979 in 2011, a conservative newspaper in Iran, Kayhan, got wind of his project and claimed that he was creating pro-Western propaganda. Within days of the interviews hitting the internet, he received phone calls from concerned family members telling him it would not be in his best interests to travel to Iran again. They could not guarantee his safety.

1979 COULD NOT BE MADE OR RELEASED IN IRAN WITHOUT DEVELOPERS POTENTIALLY AGITATING THE GOVERNMENT.

Khonsari tells Polygon that even speculation from a newspaper can be dangerous if it falls into the wrong hands.

"That could be considered evidence, or at least enough to have you brought in for questioning when you’re there," he says. "I certainly don’t want to put myself in that kind of a predicament, especially with my wife and two children."

It’s unlikely that Khonsari’s game will be released in Iran, just as it is unlikely that he will be able to return to his home country any time soon. But he says his case is by no means a reflection of the state of game development in Iran or the Middle East. Not everyone is going to make a game about sensitive political subjects, not every developer is going to get the attention of the Iranian government or the conservative media. To that extent he says he believes that Iran has a healthy attitude towards video games. But the reality is,1979 and games similar to it cannot be made or released in Iran without developers potentially agitating the government.

In the year 1979 the Iranian Revolution overthrew Iran’s monarchy, replacing it with an Islamic republic under Ayatollah Ruhollah Khomeini, who became Supreme Leader of the country. The year was marked by strikes and demonstrations. Guerrilla forces and rebel troops overwhelmed the monarchy and the Shah. The Shah and the empress fled the country. The game, 1979, begins after the aborted Operation Eagle Claw, a U.S. military operation ordered by then-president Jimmy Carter to rescue 52 Americans held captive in the U.S. embassy in Tehran. In 1979's fiction, an Iranian-American soldier who was part of the operation is left behind. The player tries to get that soldier out of Iran, but all of his attempts keep leading him back to Tehran.

Khonsaris says that when players enter the world of 1979, their gut instinct will hopefully be different to the instincts that other games encouraged.

The gut instinct for this game isn’t: " ‘Hey, let’s all go to Tehran and we’re gonna bust these US hostages out!’ " Khonsari says. "It’s more: ‘My mission has just been aborted, I’ve been left behind, I’m in what I’m going to assume is a hostile country, and even though I am Iranian-American I’m not familiar with the culture and there’s a definite sense of tension in the air.’

"You try to escape via Iraq, but the impending war with Iraq and the assassination attempt on the deputy of Saddam [Hussein] forces Iraq to send all Iranian exiles out of the country. That happens to be the time when you’re trying to get into Iraq thinking that you’ve actually reached your safe haven. When that doesn’t work you head towards the north to Turkey with the assistance of the Kurds, but that also happens to be the same time that Khomeini calls a Jihad [holy war] on the Kurds."

The player becomes involved in the struggle of the Kurds, is arrested, and brought back to Tehran where they must then figure out what to do next.

"I LIVE IN A COUNTRY THAT’S PROVIDED ME WITH THE OPPORTUNITY TO BE ABLE TO SHOW THAT LOVE FOR MY CULTURE IN A WAY THAT MANY PARTS OF THE WORLD WOULD NOT ALLOW ME TO DO."

Khonsari says he wants to use his own background and experiences to tell stories and passively educate. Current games, he says, flirt with non-fiction and history but never embrace it. Khonsari sees an opportunity to present history in an engaging way to show that when it comes to politics and conflict, things are never black and white. Rather than use the Middle East as just another setting for running and gunning, he wants his game to provide an experience that explains the dynamics between the countries involved. He says the purpose of the game isn’t to change anyone’s mind about any country – there is no hero, no villain. When players step into the shoes of the game’s character, he wants them to understand the reasons the character exists and why they are where they are.

"You’re not trying to be a hero," Khonsari says. "There’s no glory in trying to save the hostages. In fact, it’s something that comes about as a result of you trying to flee the country.

"The story is based on many historic truths which I think, if brought to light, will make people of all political backgrounds kind of take a step back and try to understand what took place."

Khonsari understands that by telling these stories he risks never being able to return to Iran again, and he accepts that price.

"I believe that the Iranian government has a number of valid points against the West in terms of their dealings in the past," he says. "I would actually argue that some of the confrontation that exists between Iran and the United States or the West has been created as a result of poor political management and straight up deception on behalf of the West.

"So I understand where they’re coming from," he says. "My goal is not creating propaganda for anybody. I’m an Iranian that lives in America. My heart is attached to a culture that I was brought up in, a culture to which I associate my love for my mother and father, yet I live in a country that’s provided me with the opportunity to be able to show that love for my culture in a way that many parts of the world would not allow me to do."

Unearthed trail Ibn Battuta

Semaphore, a studio from Saudi Arabia, is working on culturally relevant games for the hardcore gaming market that it hopes will speak to a players beyond the Middle East. The studio is working on Unearthed: Trail of IBN Battuta, a multi-platform AAA action adventure game with puzzle and exploration elements, melee combat, driving sequences, and cover-based shooting. The game allows players to retrace the steps of classical Arab explorer Ibn Battuta in a modern setting. The game has an Indiana Jones-esque vibe and heavily features regions like Morocco, old Damascus, Alexandria, and Dubai.

Semaphore’s director of development, Ahmad Jadallah, says that he hopes a game like Unearthed will shine the global spotlight on game development in the Middle East.

"That is what we are hard at work to achieve here at Semaphore with Unearthed," Jadallah says. "To present a locally-developed product with a global appeal in multiple languages and to break the mainstream conventions about the Middle East and the portrayal of women in gaming."

Overcoming Challenges

Perhaps one of the biggest challenges for game developers in the Middle East is that few people outside of the region are aware of their games, and what they are aware of often involves political intrigue.

Amir Mirza Hekmati is an American game developer and former marine who was arrested while in Iran on charges of spying. Hekmati had created a language-learning video game as part of Kuma Reality Games intended for use by the U.S. Department of Defense. Kuma Reality Games had previously made a game in 2005 called Assault On Iran, a game simulating an American attack on Iranian nuclear facilities that Hekmati had no involvement with. During his travels to Iran he was arrested and brought in for questioning by authorities. He gave a taped confession about his intention to infiltrate Iran for the CIA – a confession that his family asserts was a result of coercion. Hekmati was sentenced to death in January of 2012, after the Iranian court found him to be "Corrupt on Earth" and "An Enemy of God". His death sentence was overturned on March 5 due to his verdict being "incomplete" and a retrial was ordered. At the time of writing, Hekmati is still in a prison in Iran awaiting a retrial. Kuma Reality Games has not responded to Polygon's requests for comment.

Other times the information coming from the region about the games being made there can’t be trusted.

AMERICAN GAME DEVELOPER AMIR MIRZA HEKMATI WAS SENTENCED TO DEATH.

Earlier this year, the Iranian Fars news agency (which Reuters reports has ties with the Iranian government) reported that a game about Salman Rushdie's fatwa was exhibited at the Tehran Game Expo. Titled The Stressful Life of Salman Rushdie and Implementation of his Verdict and reportedly created by students, the elusive game caused waves before receding into silence. While agencies reported on the game as though development was in full-swing, Iranian video game organizations tell Polygon it was only a plan for a game, that the coverage was blown out of proportion, and that the game might not even exist. No one but the Fars news agency has spoken to the developers, and Fars has not revealed which university the students are from or how far the game is into development. Requests to the Iranian government by Polygon for more information or comment about the game went unanswered.

Given the mixed messages that rest of the world receives, many game developers and publishers approach Iran with trepidation. Some don't bother to approach it at all.

"THERE'S NOT ENOUGH INFORMATION BLEEDING THROUGH FROM IRAN TO THE OUTSIDE MARKETS."

Cue Amir-Esmaeil Bozorgzadeh, a managing partner at Conovi, which is a service based in Tehran and Dubai that acts as a digital doorway into the Middle East for foreign companies. Part of his job is to help foreign businesses understand what consumers in Iran want and the best way to approach Farsi-speaking markets. While the company doesn't delve deeply into politically or culturally sensitive issues, it offers a practical starting point. Partnering with Pars Online – Iran's largest private internet provider – Conovi conducts research to determine what the Iranian market looks like.

"There's not enough information bleeding through from Iran to the outside markets, and that is strongly due to a difficult political climate for the last 30 years of so," Bozorgzadeh tells Polygon. "There is a taboo associated to it, in fact. People in the [Gulf] region actually look at the map and sometimes almost seem to not notice Iran is a leading factor in the regional economy. We're trying to reconcile the economic situation by introducing means to make everything more transparent for outsiders looking in."

Bozorgzadeh says that even within the wider Middle East there is a taboo associated with doing business with Iran. As the US toughens its trade sanctions on the country in response to its nuclear programs, other countries are responding similarly. Many are reluctant to explore Iran, let alone trade with it, which creates a climate of isolation that then results in Iranians feeling timid about showing off their work on the world stage.



"My point of view is that the region is like a body with organs all interconnected – you cannot just shut off the kidney or appendix from everything else in a clean way," he says.

So with little information coming out of Iran, Bozorgzadeh sees Conovi as a valuable source for companies that want to enter the region but lack the knowledge and understanding of its consumers. Examples of Conovi's research include discovering that the majority of Iranians have Nokia phones while iPhones only make up eight percent of the market (and given that Apple would not be able to do business in Iran due to trade sanctions, any iPhones sold in the country would be from the black market). Less than half of those surveyed by Conovi use smartphones while the majority of mobile users have standard phones.

Through this information alone, it is clear that the success of the Western iOS and Android markets could not be replicated in a country like Iran – not while the majority of people don't have smartphones or credit cards. Bozorgzadeh says that this is only one of the many forms of research Conovi conducts, but even the most basic of information can change the way a company approaches the Middle East.

When asked if publishers like Electronic Arts or Activision could ever set up shop in Iran, Bozorgzadeh explains that the trade sanctions are too great an impediment.

There are also financial, technical, and political challenges that many developers in the region face. Ahmad Jadallah, a developer at the Saudi Arabian studio Semaphore, says that acquiring software and hardware licenses can be very difficult and costly for local developers, a problem worsened by seemingly arbitrary export regulations. Piracy is also an issue, with many countries in the Middle East not enforcing copyright laws. In Iran, Ahmad Ahmadi says, the country's video game industry suffers from two weaknesses: the first is the lack of modern technical knowledge in game development because the Iranian game industry is so young, and the second is the inexperience of the local entertainment industry in international trade and understanding the needs of the market.

Ongoing political problems between Iran and the U.S. have also contributed to these obstacles. Recently Blizzard’s games became unplayable in Iran due to a trade sanction. Arma 3 was also pre-emptively banned in Iran because the National Foundation for Computer Games (the official body that rates video games, not to be confused with the Iran Computer and Video Games Foundation) and Revolutionary Guard Corps found the game's depiction of Iran as a NATO enemy to be inaccurate. Polygon's correspondences to the National Foundation over the course of three months are, at the time of writing, still unanswered. Interview requests with the Iranian government lodged through the Iranian consulate have also been ignored.

The Festivals of the Middle East

The most prominent consumer video game expo in Iran, the Tehran Game Expo marked its second birthday in 2012. Organized by Iran's National Foundation of Computer Games, the expo predominantly showcases video games from the region and supports local game developers.

Now entering its fifth year, the Dubai World Game Expo attracts developers, publishers, retailers, investors, and distributors from across the Middle East. This year's expo will include both MENA and international developers.

A consumer video game expo held in Dubai, GAMES is the largest expo of its kind in the Middle East. The expo showcases all the latest video games from around the world and is open to the public.

A sub-event of the Dubai World Game Expo, the festival is not too dissimilar from the Game Developers Conference in the US, Europe, and China.

Looking to the Future

"THE POOREST ECONOMIES MAKE THE GREATEST ARTISTS."

Despite all the restrictions placed on Iran, the country is by no means allowing external factors to stunt its growth when it comes to tech and development. Facebook, Twitter, and YouTube might be blocked in the country, but Bozorgzadeh puts estimates of Iranian Facebook users between 10 million to 20 million. While Western game publishers may not have any presence in Iran, it does not stop Iranian gamers from accessing the latest titles on day one of launch.

"Everything comes into Iran," Bozorgzadeh says, even if it means circumventing traditional channels and piracy. And with the help of Conovi, he expects more businesses to establish themselves in the country. Tehran held its first StartUp weekend in August whileTED will be making its Iranian debut later this year. Bozorgzadeh believes the gaming and tech scene in Iran is promising.

Navid Khonsari says that developers in Iran and the wider Middle East are incredibly tech-savvy and creative, but the infrastructure in the region is to blame for their industry's lack of visibility.

"In the end it's also about finances," Khonsari says. "The Middle East has a very extreme sense of poverty and wealth, so those who can afford it can afford the greatest in everything and those who can't are happy to just have a cell phone."

A country like Iran also exists in unique circumstances. It's surrounded by Arab nations that enjoying varying levels of wealth and tech, it's isolated from its own region, it has a high-tension political climate, but its developers are still committed to making games.

"People want to make games there, there's no question about that," 1979developer Khonsari says. "It's more of whether they can have the access to be able to create the kind of games that can compete on a world level. The skillset is there, the knowledge is there, the passion is there, but they don't have all the tools in order to get them there."

Despite the obstacles that stand in the way for Middle Eastern game developers, Khonsari believes that it is not going to stop them from making the games they want to make.

"The poorest economies make the greatest artists," he says. "And as these economic embargoes continue we're going to see these extremely bright, young Iranians who are educated in computer science and other aspects of technology enter the games industry."


Image Source : Tehran U.S. embassy

Article by Tracey Lien -  Polygon

mardi 18 juin 2013

Le cinéma d'animation arabe résiste malgré le manque de moyens

La troisième édition du festival d'animation de Beyrouth, qui a commencé le 14 juin, s'achève aujourd'hui. Parmi la sélection internationale, une séance a été réservée aux courts métrages d'animation arabes. Tour d'horizon de cette projection.


Le cinéma d'animation arabe résiste malgré le manque de moyensLe constat est sans appel. Les professionnels du milieu l'ont répété lors d'une conférence sur l'animation dans le monde arabe : dans la région, le cinéma d'animation manque de moyens.

Les organisateurs du Beirut Animated Festival Rabih el Khoury et Sara Maali font le bilan : « Au Liban, il y a des expériences, mais pas de véritable production. Malheureusement, il n'y a aucune école qui ait un cursus uniquement dédié à l'animation, mais plusieurs universités offrent des cours reliés d'une façon ou d'une autre à l'animation. Les moyens restent très limités, les animateurs travaillent seuls sur les projets respectifs et s'autofinancent. Et la situation dans le reste du monde arabe n'est pas meilleure qu'au Liban ».

Les films présentés lors de la section spéciale films arabes n'ont effectivement pas nécessité de gros moyens, mais du temps. Les techniques utilisées sont mixtes : compositing, motion graphic, stop motion, dessin traditionnel, film...

Face aux moyens restreints, les animateurs ne manquent pas d'idées pour innover. Les thèmes sont universels, personnels ou politiques mais bien souvent pessimistes. Même l'humour y est noir ou cynique comme dans le court métrage en pâte à modeler Ceci n'est pas un jeu vidéo ou encore dansHiffili-berber wedding, tous les deux venus de Tunisie.

Très remarqué également, Canvas on mixed media du syrien Jalal Maghout, gagnant du concours de courts-métrages MADE in MED d'Euromed Audiovisuel et ayant pris part au Short Film Corner du festival de Cannes cette année nous plonge dans l'horreur de la guerre.

Ce n'est pas le seul film en accord avec l'actualité de son pays : L'Marayet (Tunisie) ou dans un autre style la Tour de Burj el Murr (Liban) abordent l'histoire et la politique de leur pays. Révolutions, guerre, chanson et calligraphie arabes, une majorité des courts métrages projetés présentaient un fort sceau identitaire.

Peut-être une volonté des animateurs, dont beaucoup ont étudié dans des pays européens ou nord-américains. Un passage presque obligé dans des pays où les formations du genre sont quasi inexistantes. Les organisateurs ajoutent qu'en plus d'écoles, il faudrait « surtout des débouchés professionnels pour les nouveaux diplômés tout comme les auteurs indépendants : au Liban par exemple, ils doivent passer par le commercial et les studios de publicité pour arriver à faire des projets qui leur tiennent à cœur par la suite ».

Autre nécessité selon plusieurs professionnels : former les élèves à l'image dès le plus jeune âge. En éduquant les plus jeunes et en comptant sur la persévérance des animateurs, le monde arabe pourrait peut-être à terme voir éclore des longs métrages d'animation. 

Par Anaïs Renevier - Source de l'article EuromedAudiovisuel

vendredi 14 juin 2013

Beirut Animated Festival : le cinéma d'animation arabe à l'honneur

Le Festival du film d'animation de Beyrouth débute aujourd’hui, et sa troisième édition rappelle plus que jamais que le dessin animé, ce n'est pas que pour les enfants... 

Si le Beirut Animated Film Festival s'organise mi-juin, ce n'est pas un hasard. Au même moment à Annecy en France se déroule l'un des plus grands festivals de film d'animation au monde, qui a donné au genre ses lettres de noblesses. Les organisateurs du festival beyrouthin souhaitent faire découvrir la variété du genre. Ils ont dû choisir parmi 150 films, et ont retenu aussi bien des films en 2D, 3D, dessin, peinture et même de l'animation faite avec du sable (‘A tagled Table’, ‘Corrie Francis Parks’) ou avec de la laine (‘Oh Willy’ de Emma Swaef et Marc James Roels)

La particularité du festival ? ’’Même si nous cherchons à montrer la production indépendante des quatre coins du globe, la particularité de notre festival est qu'il est le seul qui met l'accent sur la production indépendante d'animation arabe et libanaise’’, expliquent les organisateurs Rabih El-Khoury et Sara Maali. Cette année le public pourra découvrir pas moins de 17 films arabes, dont 6 films libanais. ’’Le Liban regorge de talent’’ ajoutent-ils. ’’Malheureusement, il n'y a aucune école qui a un cursus uniquement dédié à l'animation. Les moyens sont très limités, les animateurs s'autofinancent. Il faudrait qu'il y ait ici d'une part des écoles qui enseignent cet art, mais surtout des débouchés professionnels pour les nouveaux diplômés, tout comme les auteurs indépendants libanais qui doivent passer par le commercial et les studios de publicité pour arriver à faire des projets qui leur tiennent à cœur par la suite.’’

Les organisateurs ont décidé cette année d'organiser un atelier à cet effet pour réunir différents animateurs sur un même thème : le train de la station de Mar Mikhaël qui ne fonctionne plus depuis la guerre civile libanaise. Le Liban ne sera pas le seul pays arabe à l'honneur, puisqu'on découvrira également des films syriens, jordaniens, maghrébins, égyptiens... ’’Ce sont des films qui cherchent leur public’’, expliquent les organisateurs. ’’Il n'y a pas de véritable production d'animation dans l'ensemble du monde arabe. Les thèmes abordés sont variés. Il y a bien sûr des films en rapport avec le climat actuel qui règne sur le monde arabe, comme le film ‘L'Maryet’ de la Tunisienne Nadia Raïs ou ‘Canvas on Mixed Media’ du Syrien Jalal Al Maghout, mais si ces films ont été choisis c'est pour leur mérite artistique’’.

Le festival sera également l'occasion de découvrir des films inédits d'autres pays. Et surtout, même si les adultes auront le droit à une programmation éclectique, les enfants ne seront pas oubliés. Les plus petits pourront découvrir cette année ‘Ponyo’ du réalisateur japonais Hayao Miazaki, ‘Thread of Life’ de la Syrienne Razam Hijazi ou encore ‘Ernest et Célestine’, primé au Festival de Cannes 2012 et qui sortira au Liban le 27 juin. 

Consultez le programme de ‘Beirut Animated 3’

Source de l'article - l'Agendaculturel

mardi 11 juin 2013

Anima 2014 : Bruxelles invite les animations du monde entier à participer

Les inscriptions pour la prochaine édition du festival Anima de Bruxelles sont ouvertes ! … et les talents sud-méditerranéens conviés à envoyer leurs créations !
Anima 2014 : Bruxelles invite les animations du monde entier à participerLe Festival International du Film d’Animation de Bruxelles se déroulera du 22 février au 9 mars 2014 à Flagey. Si le cœur de l’événement a lieu à Bruxelles, les meilleurs films d’animation venus du monde entier s’approprieront également les écrans des quatre coins de la Belgique (Mons, Namur, Liège, Charleroi, Gand, Louvain, Hasselt et Anvers).
Mis en place il y a plus de 30 ans par l’association Folioscope, le festival Anima remporte chaque année un succès croissant, avec un total de 1300 films inscrits pour l’édition 2013. Les visiteurs en provenance de l’étranger sont aussi toujours plus nombreux à faire le déplacement : écoles d’animation, invités, réalisateurs, programmateurs d’autres festivals... En 2012, le festival s’est même vu couronné de l’Award du Meilleur Événement International de la ville de Bruxelles.
Peut être soumis à la sélection d’Anima 2014 tout film d’animation terminé après le 30 juin 2012.
Le festival prend en compte les œuvres appartenant aux catégories suivantes : courts-métrages professionnels, films d’étudiant ou de fin d’étude, courts-métrages pour jeune public, films de commande (film publicitaire ou vidéoclip), longs-métrages.
Le producteur ou le réalisateur désirant soumettre son film est invité à faire parvenir :
  • Une fiche d’inscription dûment complétée en ligne ou via le formulaire PDF téléchargeable ici.
  • La liste des dialogues (lorsque le film comporte des dialogues ou voix off), soit en français, soit en néerlandais ou en anglais, ainsi que la liste des sous-titres quand la copie de projection comprend des sous-titres, le film devant être sous-titré dans les deux langues nationales, le français et le néerlandais.
  • Une biographie et une filmographie du réalisateur.
  • Quelques illustrations du film au format Jpeg 10X15cm, définition minimale de 300 dpi (sur CD ou via email à selection@folioscope.be).
  • Un DVD de vision (doit être un DVD-vidéo, pas de DVD Data) à l’adresse indiquée sur le site.
Le règlement complet est disponible au format PDF via ce lien.
Pour toute question, consultez le site du festival ou contactez selection@folioscope.be
Source de l'information Euromed Audiovisuel 

lundi 10 juin 2013

Hero and the Message

Platige Image created a 25-minute-long animation called “Hero and The Message”, commissioned by Al Rayyan Productions for Qatar’s National Day celebrations organizing committee,
Hero and The Messange (2)The film will serve as part of a campaign promoting values important to the development of the Qatari national Identity, traditions and expanding the Qataris’ historical and cultural awareness. The campaign’s target audience are Qatari kids who will be implementing “Dream 2030”, which derived from Qatar’s National Vision 2030. The program includes ambitious undertakings such as the 2022 FIFA World Cup and a fast rail project.
ABOUT THE MOVIE

“Hero and The Message” is a story of Mohammad and Lulua., two siblings who travel in time with the help of an ultra high-tech train and get involved in key events of Qatari history. The movie premiered during the 2012 Qatar National Day, on December 18. The animation was also presented on Qatari television, in cinemas, and during special screenings, including one at the Museum of Islamic Art in Doha and Katara.
EXECUTION

Hero and The Messange (3)The film was based on an idea put forward by Al Rayyan Productions, the company that oversaw and consulted the entire project, while the screenplay was written at Platige Image. The studio also handled the entire visual workload. The movie was directed by Paweł Borowski, with Damian Nenow serving as animation director and Grzegorz Kukuś as CG supervisor.
It’s a film for kids – an audience that’s especially sensitive to boredom and lack of sincerity. The challenge was even bigger, as this was supposed to be a piece of entertainment with significant educational value. To make this piece of history and tale of true bravery attractive to young audiences, we decided to ground the movie in fast-paced action sequences peppered with humor and create diverse characters with real, non-cartoonish emotions – says Paweł Borowski.
Hero and The Messange (4)We set out to work convinced that our animation needs to be very dynamic, filled with plot twists and changes in scenery. We wanted our story to be both accessible and visually appealing, so that viewers of all ages could find something to look forward to – adds Damian Nenow.
Developing the project was a significant challenge, both artistically and logistically. In just six months, the studio managed to finish 558 shots, a feat which required the reorganization of personnel as well as exemplary daily coordination of over 100 people from all over the world who were involved in the project.

If we consider the scale of the undertaking, the number of required shots, as well as the size of the production team, then “Hero and the Message” is the biggest animated project that Platige Image was involved in to date – claims Grzegorz Kukuś, CG supervisor of the project.
Hero and The Messange (5)During these last few months, we significantly expanded our studio’s production capabilities. Working on big, long-term projects with the help of an international team seems to have become a part of our everyday life here at Platige, and we’re ready to get involved in the production of an animated feature film – says Jarosław Sawko, the CEO of Platige Image.

Hero and The Messange (1)FURTHER COLLABORATION
Platige Image and Al Rayyan Productions are currently collaborating on two new projects. One is a 30-minute-long animated movie, working title “The Battle for Al-Wajbah”, which is supposed to be a sequel to “Hero and the Message”. Just like with the first part, the sequel will premiere at the celebrations of Qatar National Day, on December 18, 2013.
Both projects are produced on behalf of Qatar’s National Day celebrations organizing committee.

The other collaboration involves creating 3D set designs for a stage play. Just like the animated movies, this production will also draw from the Qatar National Vision 2030.
Jarosław Sawko summed up the situation – We’re very glad that Platige Image productions were received so well in Qatar. Working with Al Rayyan Productions is an extraordinarily creative process. The wholehearted commitment of personnel from both companies served as the foundation upon which we established trust and a mutually beneficial working relationship. Subsequent commissions coming from Al Rayyan Productions are testament to the professionalism of our staff and the world-class quality of our work.
More Information here