Invented over 500 years ago, the hot water bottle is everybody’s friend in those chilly months. Some choose electric blankets or wheat bags but my favorite is the hot water bottle.
The hot water bottle is good for relieving joint stiffness, pressure, muscle strain, fatigue or cramps, aches, menstrual cycle pressure, and usually for initial heating of cold bedsheets. Hot water bottle therapy benefits have been known since the 16th century and is still used by many complementary therapies. Although the hot water bottle offers comfort to ease the pain, this therapy method can increase patient risk of scalding.
So not only providing a place to warm up your feet, the hot water bottle has healing powers. For the mear price of $5.95 AUD, this is added benefit to the household.
To celebrate the endlessly creepy Funko plush from Five Nights at Freddy’s media franchise that now encompasses video games, books and other merchandise, I have put together a review of FNaF popular plush.
He’s got his bow tie and buttons and chubby cheeks. They’ve got the colors right too in comparison tot the game.
The buck teeth are an addition to the design which is not really authentic. Otherwise, I feel like this is a good plushy. The most glaring issue I see is his mouth. Funko generally just makes the seam on their snout and the mouth. However, the illusion is lost when you added more seams than necessary in the mouth. In the past Freddy was just on seem for the mouth. Why did you change this now designed to be worse? The typical Freddy has three, two of which being barely visible. I will admit overall, this plushy is cute and accurate enough. However, I think the design really works on a larger plush, medium helping here. I would recommend the larger plush.
This plush is made of quality material. The sombreros, interesting material, but I think it works. The only problem with this material is it does not go back to its original shape after being stretched.
He’s got his little tail as well. That’s a really nice detail. The characters, they always have great buck teeth. He has details on his legs too adding to the uniqueness of the plush. What you’re seeing in El Chip is mainly his teeth. Other plush like Helpy plush has super small teeth. I know technically that’s more accurate, but in plush form, Helpy would look better with larger teeth like El chip.
Speaking of which does he actually look like a Beaver ? I have to say yes. This tail should have been made twice as long. And some quilting would have made a world of difference.
The key characteristic for El Chip debatably is his giant sombrero. Overall, I think this is a great plush. The way that the color around the eyes was done is something that I really, really dislike and have disliked ever since they started, these rings of color are supposed to be flushed with the rest of their head. Other than that this El Chip is a nice plushy. His colors are spot on.
The eyes probably bothered me the most, to be honest. I don’t really think making an elephant plush would be easy. Funko has done a good job although he seems a bit overstuffed. Look at that cute smile though. His whole trunk area is just so well done. The zone in lines and the little curve up at the end really look effective. If only his face was a little less bulky, I’d say this is one of my favourite plushes.
Onto to Mr Hippo. Mr Hippos face does looks unusual for some reason. He just doesn’t look like Hippo to me. I just don’t feel like it’s a very good representation of the character.
Mr. Hippo is dark purple is usually a much darker color and yes, Mr. Hippo, isn’t an exclusive.
Yes, he’s popular, but does he compare to Helpy or Lefty? I wouldn’t assume so.
Happy Frog is next. Let’s hear from our happier frog first.
Happy Frog looks really good. I don’t have any faults for Happy Frog. I mean, it looks super accurate as well. Funko have given Happy more detail in a variety of colors even on the legs. She even has eye lashes, which is a really nice detail to me.
She looks like she’s permanently scrunching up her nose. What makes happy frog exclusive? I can’t imagine anyone out there desperately wanting to add happy frog to their collection, but maybe I just don’t see what everyone else does.
Our last mediocre Melody’s character, the Pig Patch.
Pigpatch has a weird shaped heads. The original plushy forms was animatronic. So I don’t understand the big head, pig patch. Detail is key for these plushies. Big eyes and big cheeks look great. They’ve even added a little pink stitching and a belly button. That’s awesome.
I love how they’ve added a little pink tie. It would have been nicer if it was actually a pig tail sticking out to. I really liked the material that they use is good quality.
I think this could be plushie line of products with cousins like Pork patch or Bacon patch.
Now let’s get this party started with the Rock Star characters.
Do I think Funko gives him justice? The plush has star on the chest, but it feels a bit cheap to me guys. Feels like a sticker. It looks great. I’m just worried that it might peal off easily.
He’s got the purple top hat. The purple bow tie,s the cheeks, the freckles, the plastic nose. He’s knee pads, which all of the rock stars have. I do feel they have overdone the bilging eyes. Apart from the eyes, everything else looks great. Its colors overall is spot on. He also has a quirky little smile. Overall. I give Freddie 8/10.
This plush is missing half of the rockstar characters from second pizzeria SIM set.
I liked the fact that they added a pink leg to this rockstar. Foxy looks a bit weird because they added the eye patch on the bulge of the eye and instead of like covering it completely.
I like the tuft of hair at the top. I feel like the colors a little bit off. It is a bit too light coampared to the original rockstar. The parot is a great added feature. I feel like Funko did try harder on the series and that’s a really good sign for the future.
Bonnie was just released later than the other here. You can tell it’s spring Bonnie, which is good.
Bonnie has been transformed into a 6″ Plush by Funko. 6″ Plush figure features Funko’s unique style. These adorable plush figures are perfect for any Five Nights at Freddy’s fan!
All the plush can are collectable items from the Five Nights at Freddy’s theme from Funko. Please check with Amazon AU for the current price as some these items have increased in value. All these plush in this articl have a Funko label sown into the bottom of the item with double stiching. Look for the label for authenticity.
This article is off topic but still discussing a unique contribution to children’s entertainment and toys – the never forgotten puppet show.
Jones and Kohler combined aspects of ancient traditions in the Handspring Puppet Company in Africa. From the Japanese Bunraku Puppet Theater came the style of visible, black-cloaked puppeteers operating the puppets on stage and the giant designs of puppets based on West African characters from the Bambara and Bozo societies (Kohler, 2009, 42-150).
Marie Katz writes: “There is conscious African influence in the play injected through costume and design. The fairies do not flitter around in tinsel and soft voile dresses. Instead, they are chamois clad creatures who could well originate from the dark African woods” (Katz, 1988).
The production Tooth and Nail in 1989 marked the beginning of a form of puppet construction and manipulation specifically used by the Handspring Puppet Company. The main character, Saul, had an open chest construction of plywood and head carved form jelutong wood while the puppet was attached to the manipulator behind him (Episodes, 2001). The puppets’ carved wooden heads and hands, showing the direct influence of Czechoslovak puppetry, are a prominent feature of this production.
This style of construction and manipulation of puppets became the trademark of the Handspring Puppet Company for years to come. In a production of Chimp Project in 2000,a whole puppet was constructed like a jigsaw puzzle made from plywood and covered in fabric scrim which allowed the transmission of light and gave the puppets a ghost like appearance (Badenhorst, 2005).
This same visual style of puppet construction was also used in their award-winning production of War Horse where the puppets are made from bamboo and covered with fabric scrim. The chimpanzee puppets heads and hands were carved from jelutong, a Malaysian hardwood, and the raw texture of the carved wood was left in its original state.
Jones states: “The dramatic display of the carved markings becomes more than simply a question of aesthetics;rather it is integral to the object’s life under the theatrical light, providing character and facial expression to the inanimate object.” (Jones, 2009,253-259).
Pearman wrote the following in his article about this production: “Not only is the play a work of puppet mastery – as the perfection of the chimp and the human puppets’ movement is astoundingly realistic – it is also a story incredibly well told and holds the audience captivated with its theatricality and suspense” (Pearman, 2000, 1).
Wozzeck on the Highveld in 1991 was an adaptation of George Buchner’play Woyzeck . With this production, the company began an association with 74th artist and filmmaker William Kent ridge. Kent ridge’s simple draw-erase-draw technique, using charcoal on large sheets of white paper, became a moving background in front of which puppets could be manipulated.
Fairly roughly carved, almost monochrome, wooden rod puppets and ink drawn acetate shadow puppets were made to complement the charcoal drawings of the film. The animated film was used to create the setting for various scenes, but more interestingly, also dealt with the thought and emotions of the puppets (Badenhorst, 2005).
During the professional marriage of puppeteer and artist which lasted for the next ten years they produced productions like Faustus in Africa, Ubu and the Truth Commission, and Zeno at 4 am, where the same Bunraku and Eastern Europe style of construction and manipulation styles are eminently visible. With Faustus in Africa, William Kent ridge and Handspring Puppet Company developed their second production, underwritten by the Art Bureau in Munich and Kunstfest in Weimar.
The play was a free adaptation of Goethe’s Faust (parts I and II) and set in colonial Africa (Kohler, 2009, 42-150).In Faustus in Africa, the central puppet character sells his soul to the devil in exchange for unlimited power to influence events on the African continent.
The Hyena, a minor devil, continued the idea of open structure puppets as seen in Tooth and Nail and in the Chimp Project (Badenhorst,2005). The character and movement of this puppet was so true to the real-life movement of a hyena that the audience sometimes were swept away from reality and did not even notice the open puppet constructions with torn scrim cloth and stockings.
This visual representation of the hyena and its aesthetics are so true to the actual animal that one cannot but sit back and totally believe in the character presented on stage.
The leg movement control of this puppet was also re-used later in the designing of the horse puppet Joey, in the production of War Horse. Ubu and the Truth Commission was Handspring’s third play developed in partnership with William Kent ridge; it deals with South Africa’s Truth ans reconciliation Commission, marrying the issues of state terror to the themes of Alfred Jarry’Ubu Roi (Badenhorst, 2005). There were three leading puppet characters in this production.
The first was the vulture, who acted like a commentator on the actions and emotions of Ubu. The second was Niles the crocodile handbag, who could eat and swallow all the evidence thrown in his direction, while Ma Ubu will later sell these to the media. 75 The Dogs of War form an evil barbershop quartet with Ubu himself. Ubu uses them as hit-squad sidekicks during the play.
All these puppets were animals with very strong connections to the African continent and were constructed in the same reconstructive style as was used in previous productions. Puppets had an open wooden construction and roughly carved solid wooden heads and were finished with scrim cloth and stockings.
Combining the Bunraku style of manipulation and the intricate European construction of the heads and hands with African aesthetics, these puppets, although made of different materials, such as a travel bag that acts as a body for the three heads of the Dogs of War, were very convincing as an individual entity on stage. Already one could see the very specific and unique style of the Handspring Puppet Company’s productions.
This style of puppetry is uniquely South African. In the production oil Ritomo d’Ulisse, Kent ridge and Handspring continue their successful partnership. This was the company’s first attempt at working in the opera genre. The animist opera invites the audience to a new odyssey:“to film and music, to the human voice and puppets, to the twentieth century, Monteverdi’s Venice and mythical Greece” (Kent ridge, 2009, 176-211).“For those unfamiliar with the Kent ridge and Handspring style, one of the most striking factors is the way in which the puppeteers work with the puppets. It’s a fascinating interaction, as if the handler becomes the puppet’translator, caretaker and critic all rolled into one – watching and checking the reaction of their charges at all times” (Badenhorst, 2005).
This is one of the productions where Handspring clearly used Eastern European design and concepts and rod puppet manipulation combined with the African style of raw carved puppet heads very successfully. They also combined the Bunraku style of manipulation, where the manipulators are exposed, with the traditional Eastern Europe way of manipulating rod puppets, where the puppeteers manipulate the puppets from below, hidden behind the scenery. With the productions Zeno at 4am and Confessions of Zeno, Handspring again worked with Kent ridge as director.
Shadow puppets were used in both of those productions to represent the rest of the characters and Zeno’side as in his mind. This production was another combination of European-style theater with Kent ridge’s weird African-inspired abstract shadow puppets. On its production of the play Tall Horse, the Handspring Puppet Company worked with the Mali Puppeteer Yaya Coulibaly, from the Sogolan puppet troupe
“The exchange (for Choler and Coulibaly) was a way to mix the Handspring’s highly eclectic forms of puppetry borrowed from as far as Czechoslovakiaand Japan, with the Mali style.
I hope the idea of setting the piece in a West African museum would allow the many objects in the story, each with their own memories, to reside side by side, despite their differences”(Badenhorst, 2005). Coulibaly’s heritage is steeped in the ancient tradition of Bambara puppetry;the oldest and richest in Africa’s surviving puppet traditions.
The production employed a variety of techniques, including the interaction of actors, life-sized puppets and masquerade figures. The heads and masks were carved from wood and painted in a traditional West African style while costumes were made from African printed textiles in bright colors.
A giraffe puppet 5 meters high was designed and constructed by Kohler, the tallest and most technically intricate puppet that the Handspring Puppet Company had ever made. The puppet was constructed from a frame of carbon-fibre rods and it took two puppeteers on stilts to operate.
The puppet was fully mechanical– its head, ears and tail could be manipulated by the puppeteers through a complex system made of bicycle brakes and cables (Badenhorst, 2005).
This production, with its many sophisticated technical and design elements, was the direct forerunner of the Handspring’s most famous production, War Horse, which won the Laurence Olivier Award in London in 2008.
In 2006 Adrian Kohler and Basil Jones from the Handspring Puppet Company were commissioned by the National Theater in London to design and manufacture puppets for the play war Horse by Nick Stafford, based on the novel by Michael Morpurgo.
The play would be staged in the Olivier Theater the National Theater complex. After a few workshops in London during2006, they went back to Cape Town to start designing the puppets. The idea was that the horse, Joey, must be lifelike in movement and an actor must be able on ride on its back (Kohler, 2009, 42-150).
To create the legs, Kohler started from the leg design of the Rhino in Woyzeckon the Highveld and the paw movement from the Hyena in Faustus in Africa.
Kohler also realized that the structure of the horse would have to be similar to the structure of the giraffe to make a tall horse, just more complicated; for example, ear and tail movements are indicators of the horse’s thoughts and emotions, and for the purposes of this specific production, it was important for the 77 audience to be able to read those reactions.
A horse can turn its ears 180 degrees and points them forward to indicate interest, backwards to indicate fear or alarm; moving them to the side means that the horse is listening(Kohler, 2009, 42-150).
For Kohler and Jones it was of the utmost importance to have their puppet capture these essential movements of a horse.
Theme chanics of these puppets, making use of bicycle brakes and cables, were masterpieces of engineering. In the British Theater Guide of 2009, Kevin Quarmby wrote the following about the construction of the puppets:
“War Horse is unique in that it draws on the collaborative genius of puppeteer, scenic artist, actor, musician and choreographer to conjure living breathing mountains of horseflesh out of carved wood and gauze and leather.
We are left in no doubt that they are structures, industrial skeletons part-machine par-sculpture, activated by the balletic precision of several trios of physical performers” (Quarry, 2009).
The microscopic realistic movement and emotions these horse puppets are able to produce play a very big role in the success story of this production.
Michael Billington noted in The Guardian of April 6, 2009: “The horses, as everyone knows, are brilliant.
The real genius of this stage version of Michael Mapurgo’s novel, first seen at the National in 2007, lies in the work of the Handspring Puppet Company’s Basil Jones and Adrian Kohler.
They have created, out of skeletal bamboo frames and internal hinges, the most plausible and expressive quadrupeds ever to have graced the London stage. At one point, Joey is magically transformed from a skittering foal into a bucking, rearing grown-up horse.
Later a tank menacingly rolls across the stage like an armour-plated behemoth. Mere humans like Kit Harington’s Albert, Colin Mace’s surly father and Patrick O’Kanes’s sympathetic German are dwarfed by the massive technical ingenuity on display.
”With this unique method of manipulation, the original Bunraku style of manipulation was still on display in their work, but Kohler and Jones morphed the puppet and puppeteer/manipulator together to become one entity. The puppeteers became the puppet’s handlers or confidants.
This was done with costumes, but instead of wearing black as in the traditional Bunraku style, puppeteers were dressed in costumes to become one with the puppet they are manipulating.
The puppeteer became an extension of the puppet and, as Jones writes in his essay: “The audience thus experience a strong feeling of empowerment. They feel themselves to be in a new interpretation territory concerning the meaning of animals within the context of a theatrical event.
In a very real sense the puppet are stealing the limelight and sometimes the audience does not even notice the puppeteers” (Jones, 2009, 253-269).Roma Torre noted in the New York Times of April 15, 2011:
“The true stars of this production are the animals, designed by Adrian Kohler and Basil Jones of the Handspring Puppet Company. Life like without any attempt to conceal the artifice, the creatures are magnificent, a thrilling synthesis of art and imagination.
It was not until I stopped to think that I just cried over a horse that was actually made up of several props held together by visual handlers.
This is the power and magic of great theater.”Conclusion In this theatrical work, War Horse, which won the Laurence Olivier Award in 2008 in London, Handspring combined widely disparate elements in the design, manufacture, and construction, and the manipulation, of these puppet masterpieces.
Design elements from most of their previous productions were incorporated into the War Horse production.
If one looks back on their past work, one can clearly see how Handspring have used original influences, from Eastern European rod puppets in the construction of their puppet heads, to the Bunraku style of manipulation from Asia and the strong African influence on the aesthetic of the puppets’ visual presentation.
The unique technique of raw carved wooden heads and hands, plywood body parts and puppets with gauze covered bodies with realistic animal and human movement, is but one of the elements which one can see throughout all their work.
A puppeteer who became an extension of the puppet, who acts as its caretaker or translator, is another prominent element that one can see in all of their productions.
These major elements have become the international trademarks of the Handspring Puppet Company.
The artistry of the Handspring Puppet Company consists of finding innovative ways of engineering puppet movement as demanded by each new theater production.
Their social commentary on South Africa and historical situations there made them one of the major players in the South African theater community.
They have successfully morphed together European, Asian and African puppet styles to come up with a unique puppet style and identity: this fusion of elements in their design and manipulation styles, their unmistakable 79 trademark.
True to their South African roots, the Handspring Puppet Company has become an international phenomenon in puppetry and theater circles with their unique “Euro-Afro-Asian” style. Other International Company reviews can be read on this website HERE.
In recent years plush has become very intelligent. Yes, artificial intelligence has entered the plush toy market.
The top selling interactive plush on Amazon AU can be found at the end of this article. But first let me tell you a bit about the development of this technology.
Modern smart toys started in history with the eighteenth and nineteenth century cuckoo clocks, music boxes of the nineteenth century, and Disney audio-animatronics of the twentieth.
Perhaps the biggest early contribution is from novelty and toy makers from the 1800s who made automatons such as Vaucanson’s mechanical duck, von Kempelen’s The Turk, and the Silver Swan. All pre-twentieth-century precursors had in common that they had mechanical parts. By the second half of the 1900s toys featuring built-in media players became common.
For example, Mattel introduced a variety of dolls in the 1960s and 1970s that used a pull string activated talking device to make the dolls “talk” such as the talking Crissy doll and Chatty Cathy.
The first talking plush was a teddy bear called Teddy Ruxpin, the iconic talking bear from the late ’80s. He has made a come back and he’s flaunting some timely upgrades. The toy bear made a splash when he launched in 1985. He was a first-of-its-kind animatronic toy with motorized eyes and mouth, and he told stories through a cassette player (remember those?) in his back.
It was created by Ken Forsse with later assistance by Larry Larsen and John Davies and the first version of the toy was designed by the firm RKS Design. Later versions used a digital cartridge in place of a cassette. At the peak of its popularity, Teddy Ruxpin became the best-selling toy of 1985 and 1986, and the 2006 version was awarded the 2006 Animated Interactive Plush Toy of the Year award by Creative Child Magazine. A cartoon based on the characters debuted in 1986.
The Jim Henson Company
In 2018, it was announced that Alchemy and The Jim Henson Company would make a new Teddy Ruxpin TV series. The series would be animated in a digital puppetry form and would be aimed at preschoolers.
In 2019, it was announced that The Jim Henson Company would be distributing the series under the Henson Independent Properties banner.
However, it remained until the introduction of the microprocessor in the mid-1970s for smart toys to come into their own.
Texas Instrument’s Speak & Spell which came on the market in the late 1970s was one of the first full-featured smart toys. The device is similar to a very limited laptop with LED read-out. It is used for spelling games and guessing a “mystery code”. It speaks and makes a variety of sound effects.
Ralph H. Baer, creator of popular electronic toys such as Simon and Maniac, developed an interest in improving the technology used in talking toys. The collection of Baer’s papers in the Brian Sutton-Smith Library and Archives of Play at The Strong includes a series of documents that recount the development process of his Smarty Bear, licensed by Lewis Galoob Toys in 1986.
Smarty Bear differentiated itself from other talking toys on the market by interacting directly with children and answering their questions. Smarty Bear also laughed when tickled, protested when turned upside-down, and fell asleep when ignored. Baer’s materials on the creation of Smarty Bear include schematics, notes, photographs, correspondence, patents, and scripts for the phrases the toy exclaimed.
Not to be outdone by other talking bears, Smarty Bear featured available add-ons. The Smarty Box, an interactive video system, played VHS cassettes starring Smarty’s nephew Argyle. One of the first toys to incorporate specially encoded video cassettes, Smarty Bear would interact with the cartoons, helping to solve dilemmas while taking the viewer on educational adventures.
What best distinguishes a smart toy is the way the on-board intelligence is holistically integrated into the play experience in order to create simulated human-like intelligence or its facsimile.
A smart toy is a toy that has a degree of artificial intelligence and can adjust the way it interacts with the user, react to external stimuli and behave according to pre-programmed patterns. The level of intelligence these toys have varies widely, with some able to use voice recognition, touch sensors and smartphone apps to interact with users.
One of the earliest attempts at a toy with ambitions to include the principles of AI was the Furby, which became the first economically successful domestic robot to be sold to consumers upon its launch in 1998.
Children receiving one of the in-demand toys would open the box to find that the Furby spoke only in ‘Furbish’, a synthetic language made up of short phrases and sounds.
Intended to replicate the process of learning a language, the Furby would ‘learn’ more English phrases over time, with the ability to learn certain words and phrases more quickly in response to positive reinforcement from the child.
Petting the Furby while it said a particular phrase would encourage it to repeat it again in the future.
There’s a huge variety of smart toys and child-friendly AI gadgets on the market at the moment, including the cutesy Anki Cosmo robot, the trainable robo-pup Aibo, and even Amazon’s Echo Dot kids’ edition. Frankly, there’s never been a better time to delve into the world of connected toys.
Part of their popularity (aside from the whole “wow, look how cool this is” aspect) is the fact that playing with them can actually be really beneficial to children’s development, particularly in terms of introducing them to electronic devices in an increasingly connected environment.
Learning and AI Plush
Aside from preparing children for a high tech future by allowing them to code and program, smart toys can also help them to learn about social interaction, which is particularly useful to children on the autism spectrum who may find it challenging to interact with strangers. There has been many studies done on the benefits interactive toys and development of communication skills. Toys assisted with learning to communicate effectively in the real world by imaginative play. Acting out scenarios with a toy can assists the child gain confidence with social skills and language.
If you are happy with the security of the AI toys you’re buying for your children, their prevalence does throw up some ethical questions. A large part of a child’s development lies in their ability to engage in creative play, where their imagination is the most important plaything they own.
This is why many child development experts prefer ‘open-ended’ toys to rigidly programmed AI toys, like building blocks and dolls. In the hands of a child, even a cardboard box can be a fairy castle, a pirate ship or a rocket to the moon.
It’s even possible that AI toys, specifically humanoid robots, can have an effect on the way children behave, particularly in terms of compliance and following instructions. With AI toys continuing to soar in popularity, it’s clear that lawmakers, manufacturers, and consumers need to work together to ensure that children can reap the benefits from an early introduction to technology while staying safe.
Onward was released on Disney Plus on March 29, 2020 – This is one of the last movies released before the local theaters closed because of the Covid-19 pandemic. Look for this entertaining, upbeat animated film as its out on Video.
Like other Pixar-Disney films, this one is centered around family, essentially the connection between two mythical being siblings, the scholarly, nerdy Ian Lightfoot, and his large, carefree sibling, Barley. Ian has consistently felt deserted after the death of his dad when he was a newborn child. Barley, who is mature enough to recollect his dad, appears to be better balanced, yet it turns out he has some scars also.
On Ian’s sixteenth birthday celebration, his mom, Laurel, gives him a wizard’s staff from his his dad, alongside a message from him. The message shows that the staff, with an rare jewel and an enchantment spell can breath life into Ian’s dad back for one day. Barley, who is a specialist in enchantment spells, can’t make the enchantment work, however things being what they are, Ian has the GIFT.
Ian accidentally initiates the spell, yet it is broken part of the way through, bringing their dad’s bottom half of his body. So as to finish the spell, Ian and Barley need to attempt a journey to locate another enchantment jewel to finish the spell to bring their dad’s whole body back before the day’s end.
The two siblings, who are about as different as two siblings can be, need to figure out how to co-operate to finish their mysterious quest and bring their dad back before time runs out. For Ian, this is a story about growing up. He needs to figure out how to be bolder and more self-assured than he ever has been so as to finish the mission. Barely, who is by all accounts sort of a good-for-nothing, ends up being more brilliant than he looks.
This story keeps the standard Pixar plot, with solid characters with a mix of diversions, sentiment and a solid good message about strengthening, acknowledgment and trust of others. This story happens in reality as we know it where enchantment is normal, however has since to a great extent been suppressed by innovation.
Onward likewise includes the high standard Pixar specialized capability and some stunning activity. This is a fine family film, as one anticipates from Pixar-Disney. On the off chance that you missed it in the theater, it has released on video on Disney Plus. This film rates a G in Australia.
Australian TV content rating system
Australia uses a complicated and very strict rating system for its programming. It is based off of the Australian Classification Board system used for classifying films. The system uses six tiers, 7 of which are used by commercial networks.
P: This content is purely for preschoolers. All networks are required to air at least 30 minutes of P-rated material every day. Advertisements may not be shown to interrupt P-rated progams. Equivalent to TV-Y.
C: This content is purely for younger children. All networks are required to air at least 30 minutes of C-rated material every weekday, but only in specific periods of time (07:00 to 08:00 or 16:00 to 20:30). Advertisements are allowed, but there are limits on advertising time during C-rated programs. Equivalent to TV-Y7.
G: This content is for lots of non-inappropriate shows, but that might not interest kids. Content is very mild in impact. Equivalent to TV-G.
PG: Parental guidance is recommended for those under 15 years. Content is mild in impact. Equivalent to TV-PG.
M: This content is recommended for mature audiences 15 years and over. Content is moderate in impact.Equivalent to TV-14.
MA15+: Unsuitable for persons aged under 15. Content is strong in impact. Films that would get an R18+ in their original form are often edited and given an MA15+ rating.[note 2] Equivalent to TV-MA.
AV15+: Unsuitable for persons aged under 15. A content-specific version of MA15+, was used mostly in horror films.[note 3] Since 1 December 2015, strong violence now goes under MA15+.
Sonic the Hedgehog movie is out and so is his merchandise. Shoes, gifts, t shirts, glasses, books, CD’s and most importantly Plush.
Sonic the Hedgehog is a Japanese video game series and media franchise created by Sonic Team and owned by Sega. The first Sonic game, released in 1991 for the Sega Genesis, was developed after Sega requested a new mascot character to replace Alex Kidd and compete with Nintendo’s mascot Mario.
More than 30 years have passed since Sonic made its first appearance in 1991. I still remember playing the first three series of the game.
The history of Sonic is intermingled with the story of SEGA, before it was even known as SEGA (it was called “Service Games”). It’s an interesting look back to the creation of the Sonic and to the rise and fall of SEGA as a console maker, and the transformation into a multi-platform publisher.
The history of Sega consoles is unknown to many. Sega was founded in 1940 and first called Service Games, based totally in Honolulu, Hawaii. In the beginning the company was created and made jukeboxes and slot machines for the American military. In 1951, Service Games moved to Japan and merged with Rosen Enterprises. From this merger ‘Sega Enterprises’ used to be created in 1963.
Rosen Enterprises at the time created Photo Booths to print out ID and work pictures. The company then entered the electro-mechanical niche of arcade games. From 1966 Sega Enterprises produced and launched its very own arcade machines. The first of these video games had been Rifle, Periscope and Helicopter. This was once just the beginning.
Home Console Market
In 1982, Sega created its first-ever home console – the SG-1000. It was launched in response to a downturn in arcades and under the recommendation of Hayao Nakayama. The SG-1000 was, however, only released in Japan. The newly created console was re-branded a couple of times then bought into Australia, Italy, Spain and New Zealand.
Unfortunately, Sega’s first domestic console was not as robust as the Nintendo Famicon which took 90% of the market share. The Nintendo had more functionality as a console and more games compared to the SG-1000. Because of this, Sega then released the SG-1000 II in 1984. It addressed the hardware issues and created detachable controllers.
Sega Genesis/ Mega Drive
Before long, Sega noticed the tough competition entering the market. Most of all, better than Nintendo’s entertainment gadget and all other consoles available. The answer to this dilemma? The Mega Drive, additionally regarded as Sega Genesis in America.
The Sega Genesis was a 16-bit home video console launched in Japan in 1988. All hardware was once adapted from the Sega’s System sixteen arcade board onto a Motorola 68000 processor. It supported a big library of more than 900 games and was once recognised as a powerhouse. With better quality sounds and pics than any different console, Sega instantly offered more than a million options when it arrived in America in 1989.
By the early ’90s in the United States, Nintendo held 94% of the country’s $3 billion gaming market. It would be foolish to challenge that dominance, but that’s where Sega enters the picture.
Sega had already made a name for itself in Japan by making arcade games, but its home console, the Sega Mega Drive, was struggling. That’s when Michael Katz, the president of Sega of America, decided that in order to challenge Nintendo, Sega had to focus its sights on the west. The Mega Drive was rebranded as the Genesis in America. Katz proposed going for the jugular by attacking Nintendo’s reputation with marketing.
In order to truly take the gaming crown from Nintendo, though, Sega had to come up with a mascot that could rival Mario, one that could easily appeal to American audiences. The company tasked artist Naoto Ohshima with the job, and he came up with a little guy named Sonic The Hedgehog. Sega’s Sonic games featured a much faster-paced, action-oriented experience that a lot of Americans favored over the slow-moving Mario platformers. The boom in sales came when Sega decided to drop the price of the Genesis and include a copy of Sonic with new purchases. This tactic led to an additional 15 million units sold.
By 1992, Sega had matched Nintendo in sales in the US. From 1989 to 1993, Sega went from $800 million in sales to $3.6 billion. Sega solidified itself as a top contender and a force to be reckoned with.
In 1999, Sega Dreamcast was created in America. Being highly successful, the games made Sega a leader in the gaming industry. This was once due to it having 18 launch titles to choose from. Sadly, this positivity did not last. The Dreamcast was the first of the sixth technology video game consoles. It came before Sony’s PlayStation 2, Nintendo’s GameCube and Microsoft’s Xbox.
Unfortunately, when the PlayStation 2 came out simply a year later, the competition against the Dreamcast was too much. Because of this, there had been no extra Sega Consoles. They felt could no longer compete. In 2001, Sega announced it would no longer be creating consoles. Instead, it would only provide software program to the gaming industry.
Third-Party Software Development
In January 2001, Sega of America announced it will be a third-party software program publisher. After a few rocky years of net losses and organisation changes, Sega partnered with Sammy – one of the largest Japanese video games manufacturers. Sammy took on the role of marketing Sega and helped the organization grow again.
In 2005, Sega sold UK-based development division Creative Assembly – the employer at the back of the Total War Series. Then in 2006, Sega Europe bought Sports Interactive on the energy of its vastly famous Football Manager Series. More purchases and collaborations with western studios were to follow.
Sega: the current time
Sega has created and launched many well-loved consoles and video video games such as ‘Mario and Sonic at the Olympic Games’. It centered on digital gaming in 2010 by means of releasing its first-ever app on the iTunes store. Continuing to upward push in 2016, Sega obtained Technosoft.
Sega recently introduced it would be re-releasing the Mega Mini Drive – a miniature version of the traditional Mega Drive/Genesis. While the controllers are authentic reproductions, the power comes with 40 Mega-drive classics and two bonus games.
The Mega Mini Drive launch launched September 19 2019 (US) and October 4 (UK), and is now accessible to purchase. The creators Yuji Naka the programmer, Naoto Oshima Graphic Designer and producer Takashi Iizuka of Sonic Generations (2011). There are eight 2D games, ten 3D games, sixteen handheld ones and 23 spin-offs over the span of two decades.
In conjunction, with last month’s successful “Sonic the Hedgehog” movie release (it earned a cool $70 million over the holiday weekend), Build-A-Bear has released a super-cute soft toy version of the character. It’s already out of stock online, but an announcement on Twitter last week indicates that you should now be able to find the product in stores around North America. Complete Sonic’s look with a gold ring and his signature red sneakers. You can also customize your new friend when you add a 5-in-1 sound chip with phrases from the movie.
It appears just yesterday that Detective Pikachu earned a spot as the second most profitable game movie ever made. That position didn’t last long. Warcraft held the title of most profitable computer game film grossing $433 million. Detective Pikachu missed the record by $4.5 million in 2019.
Last year criminologist Pikachu was the best-received computer game film, with a Rotten Tomatoes rating of 67%. As the main “new” film on the list, it won over both Tomb Raider and Rampage by an astounding 15%. Presently, the film can wear the most profitable crown.
The question is done Detective Pikachu maintain its spot at the top with the opening of Sonic Hedgehog. The answer is No – it did not. In January, Sonic had a strong weekend, having $57 million on the box office for the first three days, beating Warner Bros. and Legendary’s Pokemon: Detective Pikachu which garnered over $54 million and has become the best opening on the box office for a video game adaptation.
However all is not lost the there is still high demand for this sad detective and merchandise for plush is available on Amazon.
Just click on this link and it will take you straight to the on line shop. LINK
Ryan Reynolds as Detective Pikachu, a world-class detective and exceptionally smart talking Pikachu whom only Tim can understand. Reynolds performed both the voice and facial motion capture for the character. Reynolds also played Harry Goodman, Tim’s missing father and a veteran Ryme City police detective.
Theory: Detective pikachu is Ash’s pikachu. … The first point is the first interaction with detective pikachu and The main character. In it, we hear pikachu say “It has been so long.” It is often regarded as a joke in the pokemon community that Ash can know everything that pikachu is saying from a simple “pika pika”.
At about 1 hour and 45 minutes, the action-packed Detective Pikachu will keep kids ages 6 and above entertained. I would recommend Pokémon: Detective Pikachu for kids ages 8 and up, based on the scary content. However, I think kids 6 and up would be fine, if they are not easily frightened by character violence.
On selecting which Pokemon to include in the film, Letterman said he worked with designers and the Pokemon company. Though the Ryme City’s population comprises of Pokemon from different generations, Letterman said first-generation characters were a must.
“The one thing I discovered quickly was that the fans aren’t just kids,” he said. “There’s fans on the crew in their 20s and early 30s, so we picked a lot of first-generation Pokemon so they can connect with this and relive their childhood.”
From Charizard to Greninja (and Squirrel, Cubone, Gyarados and Mr. Mime), here’s what to know about the different Pokémon in Detective Pikachu.
Before we get into that ending, allow me to summarize the plot of Detective Pikachu, the first-ever live-action Pokémon film which is loosely based on the 2016 Pokémon video game of the same name. Tim Goodman (played by The Get Down‘s Justice Smith) is a 21-year-old kid who gives up his dream of being a Pokémon trainer after his mother dies and his father—Harry—goes missing. Tim is told by the Ryme City police that his dad died in a car accident. While cleaning out his dad’s apartment, Tim discovers a talking Pikachu who sounds exactly like Ryan Reynolds.
As we soon learn, Tim is the only one who can understand this Pikachu. Everyone else just hears an adorable little fuzzball saying “Pika Pika!” Pikachu has an amnesia, but he tells Tim that he suspects he was Harry’s Pokémon, and he further suspects that Tim’s father is still alive. His suspicions are confirmed when a holographic recreation of the car crash reveals that Mewtwo, one of the strongest Pokémons, captured Harry and erased Pikachu’s memory. With the help of a reporter named Lucy Stevens (Kathryn Newton), Pikachu and Tim set off to rescue Tim’s dad.
Here’s what happened: Mewtwo has the ability to put a human consciousness inside a Pokémon body. Howard Clifford (actor Billy Nighy), the rich but disabled founder of Ryme City, has a secret evil plan to use this power—along with his “R” serum—to force every human in Ryme City to fuse with their Pokémon. But Mewtwo, unlike Howard, is not evil. That car crash that nearly killed Tim’s dad was actually caused by Greninja. Mewtwo saved Harry’s life but putting Harry’s soul inside the body of the Pikachu. (At the Pikachu’s suggestion.)
Netflix has released a new, CGI animated version of the very first Pokémon movie. Dubbed Pokémon: Mewtwo Strikes Back—Evolution, the remake of the 1998 film follows Ash and friends as they get wrapped up in a legendary pokémon’s quest for revenge.
Much like the original film, Evolution is the story of human-made pokémon Mewtwo. The story is set within the context of the popular animated show, including Ash, Pikachu, and Team Rocket, and it involves a lot of clones. The first trailer for the movie retreads familiar ground — from Mewtwo’s creation to the trainer competition that draws Ash and pals into the conflict in the first place.
For fans of the original, the new CGI style might be.. well, let’s just say a little jarring. The hyper-realistic pokémon of Detective Pikachu (in all their computer-generated, sometimes horrifying glory) have disappeared. Instead, Evolution takes a turn to Pixar meets Johnny Jonny Yes Papa; Misty by way of a llama.
Toy and gaming trends are showing that we want more personalized products.
Plush Toys Get Personal: The toy industry is following a global trend towards personalisation of items including plush to push demand for custom-made products including toys with GPS trackers
Cartoon and movies characters continue to play a key role in pushing demand for stuffed and plush toys. In 2020, blockbusters are expected to be released (Wonder Woman, Minions and Mulan) So we can expect to see more movie-themed plush toys flooding the market.
Hasbro is lined up to create Ghostbuster toys alongside the release of the movie. Hasbro is the largest toy maker in the world in terms of stock market value, and third largest with revenues of approximately $5.12 billion
What is the attraction about personalized items?
Plush toys get personal in many companies who have realized the benefits of personalizing a product. Online product customization raises brand awareness, increases engagement, helps companies identify emerging trends, and adds a source of revenue to their online business. This trend is so strong marketing strategist are creating new business models to incorporate the elements of personalizing products and manufactured goods as a value add.
The process of customizing products online, has even been made into app such as LongChamp’s Le Pliage Bag customization options, or by adding a new business avenue for the brand like NikeiD and Brooks Brother’s Made to Measure program
An extensive study carried out by Bain & Co. on product customization brought attention to the growing consumer interest in online customized options. According to that study conducted on more than 1,000 online shoppers, over 25-30% of the shoppers were interested in online customization options, even if only 10% have tried it at the time. The financial effect means that if 25% of online sales of footwear were customized, that would equate to a market of $2 billion per year.
If you offer customized products or plan to do so, understanding the psychological processes that affect user behavior can assist in offering an engaging customer experience that yields business growth.
From Passive Buyer to Active Partner
Mass customization has become increasingly significant for brand name companies as part of a broader trend that views customers as value co-creators and not just recipients of value. Rather than being a passive consumer, the customer is now becoming a contributor in the product development process.
From a psychological standpoint, the user experience of customizing a product is mediated by a number of unconscious factors that shape the customers’ final decision, even without their awareness. Moreover, the interaction involved in creating the product can lead the customer to buy it – even if they weren’t initially planning on doing so.
Offering the option of plush toys getting personal customizing products triggers two main psychological processes, which lead to increased user engagement and higher conversions:
However new research provides further evidence that marketers are missing the mark when it comes to personalisation. According to Epsilon’s report, there is often a disconnect between marketers and the consumers they are trying to reach, centering around a misunderstanding of what they really want from personalisation.
In a survey of consumers, the company found that 32% want brands to customize their offerings to suit them and their specific needs, while another 32% thought that knowledge of their likes and dislikes was the most important part of successful personalisation.
Brands, however, tend not to be focusing on this kind of personalized experience. Instead, 31% of those surveyed are putting most of their eggs into the discounts and rewards programmes basket. 22% are putting simple recommendations at the heart of their personalisation strategy.
When it came to customization and service, these were prioritized by 16% and 8% of brands respondents respectively.
Insight and action
“The main route for brands to genuinely comprehend their clients’ purchasing inspirations and what their shoppers need is to get to understanding on both past and ongoing buyer activities and choices through a genuine single client see. In any case, they likewise should have the option to follow up on this understanding, making genuine balanced discussions, bit by bit developing them after some time and over the entirety of their gadgets.”
There are many advantages to creating personalized items including toys and games. Producers can;
Build customer loyalty
Make a product more engaging
Win over ages – Millennials make up a colossal bit of the purchasing open, and with them transitioning as of late, they will be customers of products and enterprises for a long time to come.
Can sell online
As brands keep on pushing the limits of exactly how customized their items can be, buyers keep on looking for their ideal item. It’s an obvious fact that the most recent retail pattern to hit the magnificence business is customization and personalisation. This permits purchasers to impart their people need to a brand and consequently getting an item customized to them. In addition to the fact that this benefits the buyer by offering an item particular for their requirements, however it additionally permits brands to manufacture knowledge driven shopper profiles of individual clients.
Everybody has their own expectations to satisfy their individual needs. It may take a lot of experimentation to locate that ideal item. For this reason the improvement of customized items will be beneficial. Having the option to feature your individual objectives, guarantees you are accepting an item that meets your needs.
The only problem is when a customer isn’t aware of their needs and can not provide instruction to personalize. In this case the process may become expensive for the supplier. As the personalisation pattern has developed, brands are continually hoping to push the limits of exactly how customized their items can be. We can be certain that the limits will keep on being pushed, to make completely customized and altered items.
Plush Toys Get Personal
The great quest of promotional marketing is to find a product which says what it should about the quality and accessibility of your brand while creating an emotional attachment between consumers and your organisation. On this basis you will find few better promotional ideas than custom made soft toys. Value for money wise custom plush toys tick all the boxes. While there is a great range of soft toys available off-the-shelf which can be simply over printed or embroidered with your marketing message, having something made which is yours and yours alone will direct more attention to your company offerings.
All things considered, who doesn’t need items made only for them?
Bocchetta Toys is an Australian owned company operating since 1948. The company is based on the Gold Coast. This company has been successful in supplying overseas markets in many countries. They are proud of a heritage that began in a small toy shop in the town of Arona, Italy.
Today you will find Bocchetta Toys throughout much of Europe, Australia, and America. A great portion of success is due to the far reaching imagination and meticulous craftsmanship of our founder, Giovanni Bocchetta.
In 1948, Giovanni Bocchetta turned his creative passions to toy-making. Armed with the skills of the traditional Italian craftsman, Giovanni tested the limits of his imagination as he set out to make the softest, most lifelike toys a child will ever know. Year by year he expanded the business, carefully staying true to the concepts of realistic design and quality craftsmanship. In 1992, the family moved their main office to Australia’s Gold Coast.
Here are the following categories of Bocchetta Soft Toys;