This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
Shaman King (Japanese: シャーマンキング, Hepburn: Shāman Kingu) is a Japanese manga series written and illustrated by Hiroyuki Takei. It follows the adventures of Yoh Asakura as he attempts to hone his shaman skills to become the Shaman King by winning the Shaman Fight. Takei chose shamanism as the main theme of the series because he wanted a topic that had never been attempted before in manga. The Shaman King manga was originally serialized in Shueisha's Weekly Shōnen Jump between June 1998 and August 2004. The individual chapters were collected and released in 32 tankōbon volumes. In 2017, Kodansha acquired the rights to the series and re-launched it on 35 e-book volumes in 2018, also published in print since 2020.
A 64-episode anime television series adaptation, produced by NAS and Xebec, aired on TV Tokyo from July 2001 to September 2002. A second 52-episode anime television series adaptation, produced by Bridge, aired on TV Tokyo and other channels from April 2021 to April 2022. The manga has also been reprinted in a kanzenban edition, and has spawned various spin-offs and sequel manga, video games, a trading card game, and many types of Shaman King-related merchandise.
In North America, Viz Media obtained the English-language license for Shaman King and published its chapters in Shonen Jump magazine from March 2003 to August 2007. Kodansha USA re-licensed the series in 2020, and will release it in both digital and physical formats. The anime series was licensed in North America by 4Kids Entertainment in 2003, and aired on FoxBox. Exclusive video games were released by 4Kids Entertainment in North America and Europe.
In Japan, the manga has been popular. By March 2021, it had over 38 million copies in circulation. Both the manga and anime have been featured, at various times, in "top ten" lists of their respective media. The first Shaman King anime series has been watched by many television viewers in Japan. Publications about manga, anime, and other media have commented on the Shaman King manga, with positive comments on the series.
The plot of Shaman King revolves around Yoh Asakura, a shaman, a medium between the worlds of the living and the dead. Yoh seeks to become Shaman King, one able to channel the power of the Great Spirit to reshape the world as they wish, by winning the Shaman Fight, a tournament overseen by the Patch Tribe that occurs once every 500 years. Anna Kyoyama, Yoh's fiancée, soon enters the scene and prescribes a brutal training regimen to prepare him for the tournament. Thus begins the plot that will lead Yoh on a journey that will lead him to befriend Manta Oyamada and encounter other shamans: "Wooden Sword" Ryu, Tao Ren, Horohoro and Faust VIII.
Yoh's group travels to America to pass the final trial for the right to participate in the Shaman Fight, joined by Lyserg Diethel while encountering a group of shamans led by Yoh's estranged twin brother Hao Asakura, the reincarnation of a powerful shaman who wishes to eradicate all humans and create a world for shamans. The group also encounter the X-Laws, a group dedicated with killing Hao, with Lyserg joining them. Yoh's team is joined by Joco McDonnell (known as Chocolove McDonnell), as they engage in a series of three-man matches.
After several matches, only the teams that consist of Yoh's group, the X-Laws and Hao's team remain. Due to Hao's level of power despite being supported by the Gandhara group in selecting Yoh, Ren, Horohoro, Lyserg, and Joco as the five legendary warriors, the teams forfeit the tournament in a gambit to stop Hao while he undergoes a process to merge with the Great Spirit while Gandhara acquires the Patch Tribe's five elemental spirits. Though Yoh and his friends defeat ten Patch tribesmen who are obligated to protect the new Shaman King, they are powerless against awaken Hao as he brings their souls and everyone they know within the Great Spirit before he commences with his goal of destroying all human life. But Yoh and his friends acquire the elemental spirits and battle Hao while joined by their friends and associates, revealing their goal is actually ensure Hao would not abuse his powers. It is revealed that the Great Spirit granted Hao's wish for someone to bring back his mother's spirit. With Anna's help, Hao's mother is brought to the Great Spirit. Convinced by his mother to forgive humanity for her death, Hao decides to postpone his plan to eradicate humans so he can observe how Yoh and his friends will change the world.
Seven years later, Hana Asakura waits at a station for the five legendary warriors and his parents, Yoh and Anna.
Before creating Shaman King, Takei, an assistant of Nobuhiro Watsuki's Rurouni Kenshin, exchanged ideas about the series with the other assistants which included the creator of One Piece, Eiichiro Oda.[4] As a colleague of Watsuki, he worked primarily as a manga assistant, only focusing on his own projects during his days off.[4] He was influenced by street art from hip-hop and rap culture,[4] which is apparent in his manga artwork.[5] For drawing, he used calligraphy inks and pen nibs. When illustrating, he used Copic brand color markers.[4]
He chose shamanism as the principal topic of the series because he wanted to choose a subject that had never been approached in manga before.[6] He said he incorporated his own personality and beliefs in Shaman King.[4] He has an interest in the topic, and "choosing shamanism as the subject of this story seemed like a natural extension of that."[6] For the title, he said he used "shaman", an English word, due to the fact that "the nuance is really great" and because he could not find a Japanese word with the accurate meaning of the word "shaman".[4] Another reason to have shamanism as the main subject was because he could explore elements from different cultures and their relationship with the dead and the spirits.[7]
Takei created the stories after he created the characters because he believed the "stories are born because of the existence of the characters". In addition, he felt that "the most important thing [to create a character] is to have originality".[4] Through his characters he wanted to show different cultures, backgrounds and values.[8] When asked "how do shamans of pacifistic religions ever win the Shaman Fight?" he answered that the Shaman Fight is fought using the "strength of the soul".[4] Takei declared "the final message of Shaman King is that fighting is no good."[9]
Written and illustrated by Hiroyuki Takei, Shaman King was serialized in Shueisha's shōnen manga magazine Weekly Shōnen Jump from June 30, 1998,[a] to an abrupt and improvised end[2][7] on August 30, 2004.[b] The first 275 chapters were collected into 31 tankōbon volumes, released from December 3, 1998, to October 4, 2004.[14][15] The release of volume 32—intended for publication on December 3, 2004—was delayed and Shueisha reported they would only publish volume 32 if they receive evidence of demand from approximately 50,000 people.[16] The release of the last ten chapters in tankōbon format happened on January 5, 2005.[17] A spin-off to Shaman King, Funbari Poem (ふんばりの詩, Funbari no Uta), published in Akamaru Jump in 2003 and 2004, lasted for five chapters—all of which were included in volume 32. Taking place seven years after the end of the manga series, it features Hana Asakura, son of Yoh and Anna, and his journey with Ryu to find the Five Elemental Warriors for a reunion before the opening of the Funbari Hot Springs Inn.[18]
Takei declared it was not a decrease in the series profitability that was the reason for its cancellation, but a "fatigue" he had been through because he was no more able to follow his fans' wishes. In the author's opinion, Shaman King was being "normalized" by the desire of his readers with the introduction of typical shōnen aspects and losing its originality.[7] In 2007, he revealed he was planning to end the series with the finale he initially envisioned, to be published in another Shueisha magazine at the end of the year or at the beginning of 2008.[7][8] Eventually the entire series was reprinted in 27 kanzenban volumes with the title Shaman King Kanzen-Ban (or "Perfect Edition"), concluding with the "true ending" to the series.[2] The new series finale was also posted on the official Kanzen-Ban website, in addition to the print editions.[19] The first volume of the Perfect Edition was released on March 4, 2008 with the last (volume 27) being published on April 3, 2009.[20][21] Five years after the end of the series, when the Shaman King Kanzen-Ban was finished, Takei said, "After making the readers waiting [sic] so much for this, the last thing I wanted to do was to disappoint them". He thought the ending was a "huge responsibility".[22] This edition served to make corrections and adjustments and, for Takei, it was something "fun," as it was different from scratch.[23]Shaman King has also been published as part of the Shueisha Jump Remix series of magazine-style books. Sixteen volumes of Shaman King were released under the Shueisha Jump Remix series between April 1, 2011 and October 28, 2011.[24][25]
Viz Media licensed the series for an English-language release in North America; the chapters initially serialized in the American Shonen Jump, beginning in third issue in 2003 and ceasing its serialization in the August 2007 issue.[26][27] From then, it was exclusively published through graphic novel format and Viz said it was done in order to speed up the series' publication.[28][29] Volume 1 was released in August or September 2003,[c] and volume 32 was released to conclude the series on January 4, 2011.[33] In Australasian region, Madman Entertainment licensed and published the series between February 10, 2009 and September 10, 2011.[34][35] The manga has also been licensed in some countries such as in Brazil by Editora JBC,[36] in France by Kana,[37] in Germany by Carlsen Comics,[38] in Italy by Star Comics,[39] in Norway by Schibsted Forlagene,[40] in Russia by Comix-ART,[41] in Singapore by Chuang Yi,[42] in Spain by Editores de Tebeos,[43] in Sweden by Bonnierförlagen,[44] and in Vietnam by Kim Đồng Publishing House.[45]
In December 2017, Kodansha announced the company acquired the "Shaman King" trademark from Shueisha in Japan and Viz Media in North America.[46][47] A website opened on January 1, 2018, to announce Kodansha's celebration for the series' 20th anniversary. For this purpose, Kodansha republished the original manga in 35 e-books, with new cover artwork,[48] between May 1 and October 1, 2018.[49][50] Kodansha republished these volumes in print, released every month; volumes 1–5 were published on June 17, 2020, after that, three volumes were published around the 17th of every month;[51][52] volume 33 and 34 were published on April 15, 2021;[53] the 35th and final volume was released on October 15 of that same year.[54]
In July 2020, ComiXology and Kodansha USA announced that they would publish the thirty-five volumes of the new complete edition of the manga digitally starting in July 2020,[55] however it was delayed to October of the same year.[56][57] Kodansha USA also announced that they would release the series physically in twelve three-in-one omnibus edition volumes. The first volume was published on March 23, 2021,[58] while the last was released on March 7, 2023.[59]
A series of one-shot chapters, called "zero stories", later collected as Shaman King: Zero, detailing Yoh and other characters backstories, were serialized in Shueisha's Jump X from November 10, 2011,[60] to October 10, 2014.[61]
A sequel series, titled Shaman King: Flowers, centered on Hana Asakura's development as a shaman, was serialzied in Jump X from April 10, 2012,[62] to October 10, 2014.[61]
Another series, titled Shaman King: The Super Star, was preceded by three prologue chapters published in Kodansha's Shōnen Magazine Edge on April 17, 2018, and the series started in the same magazine on May 17 of that same year.[63]
Another spin-off by Kusamura, titled Shaman King: Marcos, was serialized in Shōnen Magazine Edge from April 17, 2020, to June 17, 2022.[67][68]
Another spin-off, conceptualized by Kusamura and illustrated by Kyo Nuesawa, titled Shaman King & a Garden, was serialized in Kodansha's shōjo manga magazine Nakayoshi from December 1, 2020,[69][70] to May 2, 2022.[71]
A spin-off manga, illustrated by Aya Tanaka and based on Kakeru Kobashiri's novel Shaman King Faust8: Eien no Eliza, started on the Kodansha's Magazine Pocket app on July 10, 2021;[72][73] its last chapter was made available online on June 25, 2022.[74] Its chapters were collected in three tankōbon volumes, released between October 15, 2021,[75] and August 17, 2022.[76]
The episodes of the Shaman King anime series are directed by Seiji Mizushima and co-produced by TV Tokyo, NAS, and Xebec.[77] At an early stage of anime production, Takei himself helped the anime's staff. However, he soon left the staff due to his time limitations as he was working on the manga.[8] In September 2020, Mizushima commented that the original anime material presented in the latter half of the show was not something he did on his own accord, and it was requested from Shaman King's original publisher Shueisha.[78] The 64 episodes were aired between July 4, 2001 and September 25, 2002 on TV Tokyo in Japan.[79] The episodes were collected into 16 DVDs by King Records and released between October 30, 2001,[80] and January 22, 2003.[81] The DVDs were later collected and released in three box sets between August 27 and December 25, 2008.[82][83] In June 2020, it was announced that the series would be streamed on Full Anime TV and Bonbon TV services in Japan.[84][85]
4Kids Entertainment obtained the rights to broadcast the Shaman King anime in the United States,[86] where it premiered on FoxBox on September 6, 2003.[87] Three DVD compilations of the English adaptation were released by Funimation, in an uncut form,[88] between October 19, 2004, and February 22, 2005.[89][90] In June 2021, Discotek Media announced they re-licensed the series.[91]
At Otakon 2015, former Madhouse president and then MAPPA president, Masao Maruyama, expressed his desire to work on a second anime adaptation of Shaman King.[92] In February 2017, while answering a fan's question, Takei revealed on his official Twitter that he received an offer for another anime adaptation of Shaman King, but he turned the offer down because he was told that the new anime would not be able to use the first anime's voice actors and soundtrack music, although Takei hoped for another chance in the future.[93]
In June 2020, a second anime television series was announced, which would adapt the 35 volumes of the new complete manga edition.[84][85] The anime is produced by Bridge and directed by Joji Furuta, with series composition by Shōji Yonemura, character designs by Satohiko Sano and music composed by Yuki Hayashi. It aired from April 1, 2021 to April 21, 2022, on TV Tokyo.[94] The series consists of 52 episodes from four Blu-ray Disc boxes, each with 13 episodes, released from August 25, 2021, to May 25, 2022.[95]Netflix acquired the streaming rights to the series for an English dub,[96] and it premiered on August 9, 2021 on the streaming platform.[97][98]
The music for the first Shaman King anime adaptation was composed by Toshiyuki Omori.[77] Two CD soundtracks were released; the first one was on March 27, 2002, titled Shaman King: Vocal Collection, and contains 14 tracks, including the first opening and ending themes in their original television lengths;[99] the second one, Shaman King: Original Soundtrack, was released on June 26 of that same year, with an additional 20 tracks and the second opening theme "Northern Lights".[100] Six character song CDs were released on March 24, 2004, sung by the voice actors as their respective characters.[101][102] Three
Born in Chicago in 1901, Disney developed an early interest in drawing. He took art classes as a boy and took a job as a commercial illustrator at the age of 18. He moved to California in the early 1920s and set up the Disney Brothers Studio (now The Walt Disney Company) with his brother Roy. With Ub Iwerks, he developed the character Mickey Mouse in 1928, his first highly popular success; he also provided the voice for his creation in the early years. As the studio grew, he became more adventurous, introducing synchronized sound, full-color three-strip Technicolor, feature-length cartoons and technical developments in cameras. The results, seen in features such as Snow White and the Seven Dwarfs (1937), Pinocchio, Fantasia (both 1940), Dumbo (1941), and Bambi (1942), furthered the development of animated film. New animated and live-action films followed after World War II, including the critically successful Cinderella (1950), Sleeping Beauty (1959) and Mary Poppins (1964), the last of which received five Academy Awards.
Disney was a shy, self-deprecating and insecure man in private but adopted a warm and outgoing public persona. He had high standards and high expectations of those with whom he worked. Although there have been accusations that he was racist or antisemitic, they have been contradicted by many who knew him. Historiography of Disney has taken a variety of perspectives, ranging from views of him as a purveyor of homely patriotic values to being a representative of American cultural imperialism. Widely considered to be one of the most influential cultural figures of the 20th century, Disney remains an important presence in the history of animation and in the cultural history of the United States, where he is acknowledged as a national cultural icon. His film work continues to be shown and adapted, the Disney theme parks have grown in size and number around the world and his company has grown to become one of the world's largest mass media and entertainment conglomerates.
Disney was born on December 5, 1901, at 1249 Tripp Avenue, in Chicago's Hermosa neighborhood.[b] He was the fourth son of Elias Disney—born in the Province of Canada, to Irish parents—and Flora (née Call), an American of German and English descent.[4][5][c] Aside from Walt, Elias and Flora's sons were Herbert, Raymond and Roy; and the couple had a fifth child, Ruth, in December 1903.[8] In 1906, when Disney was four, the family moved to a farm in Marceline, Missouri, where his uncle Robert had just purchased land. In Marceline, Disney developed his interest in drawing when he was paid to draw the horse of a retired neighborhood doctor.[9] Elias was a subscriber to the Appeal to Reason newspaper, and Disney practiced drawing by copying the front-page cartoons of Ryan Walker.[10] He also began to develop an ability to work with watercolors and crayons.[5] He lived near the Atchison, Topeka and Santa Fe Railway line and became enamored with trains.[11] He and his younger sister Ruth started school at the same time at the Park School in Marceline in late 1909.[12] The Disney family were active members of a Congregational church.[13]
In 1911, the Disneys moved to Kansas City, Missouri.[14] There, Disney attended the Benton Grammar School, where he met fellow-student Walter Pfeiffer, who came from a family of theatre fans and introduced him to the world of vaudeville and motion pictures. Before long, Disney was spending more time at the Pfeiffers' house than at home.[15] Elias had purchased a newspaper delivery route for The Kansas City Star and Kansas City Times. Disney and his brother Roy woke up at 4:30 every morning to deliver the Times before school and repeated the round for the evening Star after school. The schedule was exhausting, and Disney often received poor grades after falling asleep in class, but he continued his paper route for more than six years.[16] He attended Saturday courses at the Kansas City Art Institute and also took a correspondence course in cartooning.[5][17]
In 1917, Elias bought stock in a Chicago jelly producer, the O-Zell Company, and moved back to the city with his family.[18] Disney enrolled at McKinley High School and became the cartoonist of the school newspaper, drawing patriotic pictures about World War I;[19][20] he also took night courses at the Chicago Academy of Fine Arts.[21] In mid-1918, he attempted to join the United States Army to fight the Germans, but he was rejected as too young. After forging the date of birth on his birth certificate, he joined the Red Cross in September 1918 as an ambulance driver. He was shipped to France but arrived in November, after the armistice.[22] He drew cartoons on the side of his ambulance for decoration and had some of his work published in the army newspaper Stars and Stripes.[23] He returned to Kansas City in October 1919,[24] where he worked as an apprentice artist at the Pesmen-Rubin Commercial Art Studio, where he drew commercial illustrations for advertising, theater programs and catalogs, and befriended fellow artist Ub Iwerks.[25]
Walt Disney's business envelope featured a self-portrait, c. 1921
In January 1920, as Pesmen-Rubin's revenue declined after Christmas, Disney, aged 18, and Iwerks were laid off. They started their own business, the short-lived Iwerks-Disney Commercial Artists.[26] Failing to attract many customers, Disney and Iwerks agreed that Disney should leave temporarily to earn money at the Kansas City Film Ad Company, run by A. V. Cauger; the following month Iwerks, who was not able to run their business alone, also joined.[27] The company produced commercials using the cutout animation technique.[28] Disney became interested in animation, although he preferred drawn cartoons such as Mutt and Jeff and Max Fleischer's Out of the Inkwell. With the assistance of a borrowed book on animation and a camera, he began experimenting at home.[29][d] He came to the conclusion that cel animation was more promising than the cutout method.[e] Unable to persuade Cauger to try cel animation at the company, Disney opened a new business with a co-worker from the Film Ad Co, Fred Harman.[31] Their main client was the local Newman Theater, and the short cartoons they produced were sold as "Newman's Laugh-O-Grams".[32] Disney studied Paul Terry'sAesop's Fables as a model, and the first six "Laugh-O-Grams" were modernized fairy tales.[33]
In May 1921, the success of the "Laugh-O-Grams" led to the establishment of Laugh-O-Gram Studio, for which he hired more animators, including Fred Harman's brother Hugh, Rudolf Ising and Iwerks.[34] The Laugh-O-Grams cartoons did not provide enough income to keep the company solvent, so Disney started production of Alice's Wonderland—based on Alice's Adventures in Wonderland—which combined live action with animation; he cast Virginia Davis in the title role.[35] The result, a 12½-minute, one-reel film, was completed too late to save Laugh-O-Gram Studio, which went into bankruptcy in 1923.[36]
Disney moved to Hollywood in July 1923 at 21 years old. Although New York was the center of the cartoon industry, he was attracted to Los Angeles because his brother Roy was convalescing from tuberculosis there,[37] and he hoped to become a live-action film director.[38] Disney's efforts to sell Alice's Wonderland were in vain until he heard from New York film distributor Margaret J. Winkler. She was losing the rights to both the Out of the Inkwell and Felix the Cat cartoons, and needed a new series. In October, they signed a contract for six Alice comedies, with an option for two further series of six episodes each.[38][39] Disney and his brother Roy formed the Disney Brothers Studio—which later became The Walt Disney Company—to produce the films;[40][41] they persuaded Davis and her family to relocate to Hollywood to continue production, with Davis on contract at $100 a month. In July 1924, Disney also hired Iwerks, persuading him to relocate to Hollywood from Kansas City.[42] In 1926,[43] the first official Walt Disney Studio was established at 2725 Hyperion Avenue; the building was demolished in 1940.[44]
By 1926, Winkler's role in the distribution of the Alice series had been handed over to her husband, the film producer Charles Mintz, although the relationship between him and Disney was sometimes strained.[45] The series ran until July 1927,[46] by which time Disney had begun to tire of it and wanted to move away from the mixed format to all animation.[45][47] After Mintz requested new material to distribute through Universal Pictures, Disney and Iwerks created Oswald the Lucky Rabbit, a character Disney wanted to be "peppy, alert, saucy and venturesome, keeping him also neat and trim".[47][48]
In February 1928, Disney hoped to negotiate a larger fee for producing the Oswald series, but found Mintz wanting to reduce the payments. Mintz had also persuaded many of the artists involved to work directly for him, including Harman, Ising, Carman Maxwell and Friz Freleng. Disney also found out that Universal owned the intellectual property rights to Oswald. Mintz threatened to start his own studio and produce the series himself if Disney refused to accept the reductions. Disney declined Mintz's ultimatum and lost most of his animation staff, except Iwerks, who chose to remain with him.[49][50][f]
Creation of Mickey Mouse and following successes: 1928–1934[edit]
To replace Oswald, Disney and Iwerks developed Mickey Mouse, possibly inspired by a pet mouse that Disney had adopted while working in his Laugh-O-Gram studio, although the origins of the character are unclear.[52][g] Disney's original choice of name was Mortimer Mouse, but his wife Lillian thought it too pompous, and suggested Mickey instead.[53][h] Iwerks revised Disney's provisional sketches to make the character easier to animate. Disney, who had begun to distance himself from the animation process,[55] provided Mickey's voice until 1947. In the words of one Disney employee, "Ub designed Mickey's physical appearance, but Walt gave him his soul."[56]
Mickey Mouse first appeared in May 1928 as a single test screening of the short Plane Crazy, but it, and the second feature, The Gallopin' Gaucho, failed to find a distributor.[57] Following the 1927 sensation The Jazz Singer, Disney used synchronized sound on the third short, Steamboat Willie, to create the first post-produced sound cartoon. After the animation was complete, Disney signed a contract with the former executive of Universal Pictures, Pat Powers, to use the "Powers Cinephone" recording system;[58] Cinephone became the new distributor for Disney's early sound cartoons, which soon became popular.[59]
To improve the quality of the music, Disney hired the professional composer and arranger Carl Stalling, on whose suggestion the Silly Symphony series was developed, providing stories through the use of music; the first in the series, The Skeleton Dance (1929), was drawn and animated entirely by Iwerks. Also hired at this time were several artists, both local and from New York.[60] Both the Mickey Mouse and Silly Symphonies series were successful, but Disney and his brother felt they were not receiving their rightful share of profits from Powers. In 1930, Disney tried to trim costs from the process by urging Iwerks to abandon the practice of drawing every frame individually in favor of the more efficient technique of drawing key poses and letting assistants sketch the inbetween poses. Disney asked Powers for an increase in payments for the cartoons. Powers refused and signed Iwerks to work for him; Stalling resigned shortly afterwards, thinking that without Iwerks, the Disney Studio would close.[61] Disney had a nervous breakdown in October 1931—which he blamed on the machinations of Powers and his own overwork—so he and Lillian took an extended holiday to Cuba and a cruise to Panama to recover.[62]
With the loss of Powers as distributor, Disney studios signed a contract with Columbia Pictures to distribute the Mickey Mouse cartoons, which became increasingly popular, including internationally.[63][64][i] Disney and his crew also introduced new cartoon stars like Pluto in 1930, Goofy in 1932 and Donald Duck in 1934.[65] Always keen to embrace new technology and encouraged by his new contract with United Artists, Disney filmed Flowers and Trees (1932) in full-color three-strip Technicolor;[66] he was also able to negotiate a deal giving him the sole right to use the three-strip process until August 31, 1935.[67] All subsequent Silly Symphony cartoons were in color.[68]Flowers and Trees was popular with audiences[69] and won the inaugural Academy Award for best Short Subject (Cartoon) at the 1932 ceremony. Disney had been nominated for another film in that category, Mickey's Orphans, and received an Honorary Award "for the creation of Mickey Mouse".[70][71]
In 1933, Disney produced The Three Little Pigs, a film described by the media historian Adrian Danks as "the most successful short animation of all time".[72] The film won Disney another Academy Award in the Short Subject (Cartoon) category. The film's success led to a further increase in the studio's staff, which numbered nearly 200 by the end of the year.[73] Disney realized the importance of telling emotionally gripping stories that would interest the audience,[74] and he invested in a "story department" separate from the animators, with storyboard artists who would detail the plots of Disney's films.[75]
Walt Disney introduces each of the seven dwarfs in a scene from the original 1937 Snow White theatrical trailer
By 1934, Disney had become dissatisfied with producing cartoon shorts,[65] and believed a feature-length cartoon would be more profitable.[76] The studio began the four-year production of Snow White and the Seven Dwarfs, based on the fairy tale. When news leaked out about the project, many in the film industry predicted it would bankrupt the company; industry insiders nicknamed it "Disney's Folly".[77] The film, which was the first animated feature made in full color and sound, cost $1.5 million to produce—three times over budget.[78] To ensure the animation was as realistic as possible, Disney sent his animators on courses at the Chouinard Art Institute;[79] he brought animals into the studio and hired actors so that the animators could study realistic movement.[80] To portray the changing perspective of the background as a camera moved through a scene, Disney's animators developed a multiplane camera which allowed drawings on pieces of glass to be set at various distances from the camera, creating an illusion of depth. The glass could be moved to create the impression of a camera passing through the scene. The first work created on the camera—a Silly Symphony called The Old Mill (1937)—won the Academy Award for Animated Short Film because of its impressive visual power. Although Snow White had been largely finished by the time the multiplane camera had been completed, Disney ordered some scenes be re-drawn to use the new effects.[81]
Snow White premiered in December 1937 to high praise from critics and audiences. The film became the most successful motion picture of 1938 and by May 1939 its total gross of $6.5 million made it the most successful sound film made to that date.[77][j] Disney won another Honorary Academy Award, which consisted of one full-sized and seven miniature Oscar statuettes.[83][k] The success of Snow White heralded one of the most productive eras for the studio; the Walt Disney Family Museum calls the following years "the 'Golden Age of Animation' ".[84][85] With work on Snow White finished, the studio began producing Pinocchio in early 1938 and Fantasia in November of the same year. Both films were released in 1940, and neither perfo
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
The Witchblade comic was adapted into a television series in 2001, as well as an anime, a manga and a novel in 2006. A feature film based on the comic, titled The Witchblade, was announced for a 2009 release,[2] but was never produced. A second Witchblade television series was announced for development in January 2017,[3] but there has been no update since.
Top Cow relaunched Witchblade comic in December 2017 with the creative team of writer Caitlin Kittredge and artist Roberta Ingranata. The series features journalist Alex Underwood as the main character.[4][5][6]
The first of a new Witchblade comic series was released in July 2024 featuring new Witchblade creative team, writer Marguerite Bennett, artist Ariel Kristantina, colorist Bryan Valenza and letterer Troy Peteri.
The series follows Sara Pezzini, an NYPDhomicidedetective who comes into possession of the Witchblade, a supernatural, sentientgauntlet that bonds with a female host and provides her with a variety of powers in order to fight supernatural evil.[citation needed] Sara struggles to hone the powers of the Witchblade and fend off those with a nefarious interest in it, such as entrepreneur Kenneth Irons and his bodyguard Ian Nottingham.[citation needed]
The Witchblade is a sentient gauntlet; described as being the offspring of the Darkness and Angelus and serving as the balance between the two forces. Often described as being a male entity, though occasionally taking a feminine form whenever it manifests itself, the Witchblade symbiotically bonds itself to humans—typically women—to serve as its bearers.
A New York City detective, Sara first encountered the Witchblade while on a case with her then partner, Michael Yee. After both officers were mortally wounded by criminal Ian Nottingham, the gauntlet suddenly left the possession of his employer, Kenneth Irons, and gave its power to Sara, healing her wounds. When Jackie Estacado, the host of the Darkness, was possessed by its influence, he impregnated a temporarily comatose Sara as part of an effort to sway the Witchblade's balance. However, neither of them became aware of this until later. Eventually, Sara met and relinquished the Witchblade to Danielle Baptiste, to whom the artifact had a strong affinity. Amidst complications during the birth of her daughter, Hope, Sara's life was saved when she received half of the Witchblade from Dani. Sara now possesses the full Witchblade and Dani is now the host for the Angelus.
Danielle is a young ballet dancer who was born in New Orleans. After moving to New York to pursue her career, she experienced a mysterious dream in which she saw herself inheriting great power by means of a mystical gauntlet. Dani found herself taking a walk and wandering to an antique shop the next day. It was there that she encountered Sara Pezzini, the current host of the Witchblade. Having become pregnant, Sara realized that the time had come for her to relinquish the artifact. Sara relinquished the Witchblade to Dani when she realized that she was meant to become its next host. While exploring her powers, Dani faced and overcame a number of mystical opponents. Eventually, Dani returned half of the Witchblade to Sara in order to save Sara's life following the birth of her child. She currently does not have any portion of the Witchblade as she is the present host to the Angelus.
An NYPD detective, Sara's partner and boyfriend. Following Hope's birth, he serves as the baby's surrogate father and Sara's confidant in issues involving the Witchblade.
The owner of an antiques shop, the Curator is a sage-like spectator, occasional informant, and the second primary antagonist of the series. One of Sara and Dani's most trusted confidants, he knows much about the various Artifacts. The Curator later dies, spontaneously exploding after saying "all hope is lost". It was later revealed that the Curator was actually the Survivor, the mysterious mastermind behind all of the recent events in Sara's life. He is the sole survivor of the previous universe in which he was the "Codex", a being meant to ensure its survival in the event of Armageddon. Having failed in his duty and witnessed the destruction of his family, the Survivor has been gradually gathering and manipulating the Artifacts and their bearers throughout history as part of his plan to resurrect his universe.
The Curator's brother, Tau'ma has sided with the Darkness and can pull Darklings from out of his head to attack or spy on others. He also wields a powerful cane with a gem-encrusted hawk head.
Sara's daughter with Jackie Estacado. She is neither of the Darkness nor the Angelus, but has unknown powers that are dormant. Hope is the subject of a search by several Artifact bearers following her capture by the Survivor. Hope is the "Codex" for the entire universe, meant to survive and ensure its survival. The Survivor planned to kill Hope and replace her as the Codex in order to guarantee the resurrection of his own universe.
Sara's sister. She was romantically involved with Jake, but the two broke up when Jake discovered that she was running drugs. Jake later returned and shot Julie, but she survived, leading to her arrest and imprisonment. Julie was later released after serving her sentence and was reunited with Sara. While taking Hope to a fair, Julie was surprised by Aphrodite IV, who killed her after shooting her in the head.
Formerly a Captain of the British Special Air Service, Ian subsequently joined MI5. He underwent behavioural modifications for the purpose of infiltrating the Yakuza. Afterwards, he forgot his past and became Kenneth Irons' bodyguard. Ian has phenomenal skill with both ancient and modern weapons. Ian kills Sara's partner, Michael Yee. For a time he underwent a great change, allowing him the capability to absorb great quantities of energy and to drain energy from entities, even going so far as to temporarily host both the Witchblade and the Darkness. He also temporarily wielded Excalibur, the Witchblade's twin, but it was revealed that Excalibur was merely a shard of the Witchblade, which quickly reabsorbed it. After he lost Excalibur and was defeated by Sara, Ian was taken to prison, only to be freed later by Aphrodite IV. He then retrieved the Blood Sword from Michael Finnegan, gravely wounding the wielder of the Glacier Stone in the process, and left him in the river to die.
The first main antagonist of the series, Kenneth Irons is a wealthy entrepreneur who discovered the Witchblade in Greece. Irons' age is unknown. It was eventually revealed that he was a Templar Knight of the Third Crusade and that he once drank from the Holy Grail, granting him a healing factor and immortality, establishing his age as greater than 800 years. However, due to his exposure to the Witchblade during an attempt to host it, Irons does not age at a normal rate; he appears to be no older than 35. In a failed bid to gain control of the Witchblade, Irons lost his hand and sacrificed his wife. Later he was one of two characters left in the Deathpool. As a result, Chief Joe Siry killed Irons for all of the trouble that he had unleashed on Sara. Kenneth is the father of Geraud Irons.
An NYPD detective, Jake was Sara's best friend and former partner. He fell in love with Sara, but his feelings were unrequited. A demon came to Earth and entered Jake's body, possessing him while he was wounded defending a weakened Sara. While in a coma he was placed in a hospital. When he woke up later, the god-like demon took full control of his body. The demon was bent on destroying the world to remake it into a hellish kingdom with him as ruler. Sara eventually drove the demon's influence out of Jake's mind, but Jake, still possessed by the demon, committed suicide to ensure that the demon could never control his body again.
Jackie Estacado is a former mob hitman and later becomes the host for the Darkness. The Darkness is one of the parents of the Witchblade and one of the primordial forces of the Witchblade universe. He is a supporting character in the Witchblade series and is the main character in his own spin-off series.
The Angelus is the light counterpart of the Darkness and one of the parents of the Witchblade. The Angelus possesses many female hosts and is the arch-enemy of the Darkness. The Angelus was the primary antagonist of the Darkness series and the third primary antagonist of the Witchblade series.
Following a pilot film in August 2000, TNT premiered a television series based on the comic book series which ran for two seasons from June 12, 2001 to August 26, 2002. The series was directed by Ralph Hemecker, written by Marc Silvestri and J.D. Zeik, and starred Yancy Butler as Sara Pezzini.[7] Although critically acclaimed and popular with audiences, the series was canceled in September 2002, reportedly due to Butler’s issues with substance abuse.[8]Warner Home Video released Witchblade: The Complete Series—a seven-disc collector's set including the original made-for-TV movie, all 23 episodes of the series, and special features—on DVD on July 29, 2008.[9]
Witchblade the Music is a compilation album of music from/inspired by the Witchblade TV series and the comic book. The songs included on this album are performed by Various Artists. It was compiled and produced by G Tom Mac, it was conceived by Christina Z and released in 2004 on the Edge Artists record label.
The album notes credit G Tom Mac a.k.a. Gerard McMahon for the music and Eddie Kislinger for the lyrics for "Wicked Town", "Drop Dead Pretty", and "Was It Magic”. McMahon is also credited for "Greater Powers"; "Child of Mine" with Roger Daltrey; and "Cry Little Sister" which he wrote with Michael Maineri. In addition, McMahon and Kislinger are credited as the Executive Producers of the soundtrack.
Top Cow and Japanese animation studio Gonzo produced an anime adaptation of Witchblade,[10] which began broadcast during April 2006 and ran for 24 episodes.[11] Although the anime features a new story with all new characters, it exists in the same continuity as the comic book and manga.[12] The anime focuses on Masane Amaha, who has no recollection of her past beyond six years earlier.[13][14]
In August 2004, Top Cow made an agreement with manga publisher Kodansha to produce a manga adaptation of Witchblade.[10] The subsequent adaptation, Witchblade Takeru (ウィッチブレイド丈流, Wicchibureido Takeru),[15][16] was released in March 2006, written by the anime's main writer Yasuko Kobayashi (小林靖子) and drawn by Kazuasa Sumita (隅田 かずあさ, Sumita Kazuasa).[12] The manga features a different plot and characters from the Witchblade anime and comic book but is set in the same continuity as both.[17] The manga focuses on Takeru Ibaraki, an average Japanese high school girl raised in a Buddhist convent who experiences recurring nightmares about the Witchblade and eventually becomes its newest bearer.[15] The manga was released in the U.S. by Top Cow and Bandai Entertainment from February 2007 to February 2008.[12]
Witchblade: Ao no Shōjo (ウィッチブレイド 碧の少女, Witchibureido Ao no Shōjo) is a Japanese novel written by Satoshi Ichikawa (市川智士) with art and illustrations by Makoto Uno (うのまこと), who previously worked on the Witchblade anime as the lead art and character designer. It was published in August 2006.[17] The protagonist is Yuri Miyazono, a sickly 15-year-old Okinawan girl who bonds with the Witchblade for her own survival.[17] The novel is set the same continuity as the Witchblade anime and manga, with Yuri as the immediate successor of Takeru Ibaraki from Witchblade Takeru and the immediate predecessor of Masane Amaha from the Witchblade anime.[17]
Cancelled film and untitled video game adaptation[edit]
A feature film adaptation of the comic was announced in 2008 and scheduled for a 2009 release,[2] but was never produced. The film was to have been produced by Platinum Studios, Top Cow Productions, and Arclight Media, with Top Cow's Matt Hawkins & Marc Silvestri, Platinum's Rich Marincic, and Greenberg Group's Randy Greenberg serving as executive producers. Production was planned for September 2008, with filming to be done in Australia.[18] A video game was announced but was later scrapped.[19][20]
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