Article by hi joiney

FoundingFounder Ed Sabol was a World War II veteran who worked selling topcoats after returning back to the United States. In his spare time, he often used a motion picture camera, received as a wedding gift, to record his son Steve high school football games. Inspired by his own work, Sabol founded a small film company named Blair Motion Pictures, after his daughter. Sabol won the bidding for the rights to film the 1962 NFL championship game for ,000, double the bid for the 1961 championship game. The film of that game impressed NFL Commissioner Pete Rozelle, who asked the owners of the NFL to agree to buy out Sabol’s company. Although the owners rejected Rozelle’s proposal in 1964, they agreed a year later and renamed Sabol’s company NFL Films. He received ,000 in seed money from each of the league’s 14 owners, and in return would shoot all NFL games and produce a highlight film for each team. StyleMuch has been made of the NFL Films style, which follows certain patterns. Film is always used, one camera is dedicated entirely to slow motion shots, microphones are present on the sidelines and near the field to pick up both the sounds of the games as well as the talk on the sidelines, and narrators with deep, powerful, baritone voices are preferred. Narrators have included the late Harry Kalas and Scott Graham, both voices of the Philadelphia Phillies, and the famous John Facenda, the late WCAU-TV anchor called by some “The Voice of God.” The style has been called tight on the spiral, a reference to the frequently-used slow-motion shot of the spinning football as it travels from the quarterback’s hand to the receiver. NFL Films also dubs sound bites of local radio broadcasts over key plays, because radio announcers are typically more enthusiastic about their home teams than are network television broadcasters. In addition, NFL Films often uses multiple camera angles, muscular orchestral scores provided by Sam Spence, Dave Robidoux and Tom Hedden, and film of the players and coaches in the locker room after the game. With these techniques NFL Films turns football games into events that mimic ballet, opera, and epic battle stories. Television programsNFL Films produces the Greatest Moments series, which details classic games from the 1960s, 1970s, 1980s, and 1990s; the Lost Treasures series, which uses old NFL Films footage which had previously never been shown on television to give an inside and largely uncut look at football players, coaches, and referees; and NFL Films Presents, which shows games of today that NFL Films produces in their traditional, dramatic style. They appear on either ESPN or the NFL Network.NFL Films also produces the NFL Game of the Week, which showcases a previous-week’s game of the current season. ION Television has purchased the rights to air Game of the Week, Saturdays at 6PM ET beginning September 15, with the Giants-Cowboys game from September 9, 2007. ESPN Classic has been known to air classic episodes of Game of the Week.Among other television programs NFL Films is credited for producing include NFL Total Access and much of the NFL Network’s programming output.NFL Films’ game highlights were also a staple of HBO’s Inside the NFL for its entire run; this will continue on that show’s new network Showtime, in addition to having the company produce the show. NFL Films also produced for Showtime the five-part miniseries Full Color Football: The History of the American Football League, which aired in fall 2009 as part of the American Football League 50th anniversary celebration.NFL Films is famous for producing an annual highlight film for each team every season. If a team had a good year the film often revels in each victory, while breezing through, or skipping altogether, losses during the season. Inversely, if a team suffered through a poor season, the highlights commonly attempt to still show the team in a good light, however difficult that may be. Losses and pitiful play is commonly, and conveniently, edited out, leaving only isolated moments of success, prompting the viewer to not always realize how bad the team might have actually been. Most films conclude by portraying teams optimistically for the upcoming season, whether founded or not.The Sabols have used NFL Films to showcase their senses of humor, as in the Football Follies series. The Follies used blooper plays, outtakes and silly narration. SuccessAlthough NFL Films earns more than million in revenue a year and is expanding at a double digit rate, compared to the billion in revenue that the NFL earns from television alone, most consider this to be minor. The real value of NFL Films is how it packages and sells the game and many credit it as a key reason that the NFL has become the most watched league in the United States.In addition to covering the National Football League, NFL Films has also ventured into other unrelated documentary films, such as documenting the Munich Olympics massacre for one of NBC’s Olympics telecasts, and serving as back-up film photography for other major events. It also produced the video for Journey’s 1983 hit single “Faithfully”.NFL Films’ distinctive style has been parodied in numerous commercials, particularly for the NFL’s sponsors, including Sprint Nextel and Burger King.NFL Films has won 97 Sports Emmys. AlbumsThe Power and the Glory: The Original Music & Voices of NFL Films (1998)Autumn Thunder: 40 Years of NFL Films Music (2004)NFL Country (1996)Music from National Football League Films, LP NFL-1, circa 1970s. FilmsTruth in 24 (2008) NFL Films LabNFL Films operates its own in-house 16mm and 35mm Color Negative Processing Lab. This enables the film that is shot at each game to be rushed back to the Mt. Laurel facility and processed immediately so as to give the production team the maximum amount of time to produce its weekly shows.Currently employing 12 full-time employess as well as several “seasonal” employees, the lab is open to the public for development needs. Clients include feature length and short films shot on location in Philadelphia as well as students at local universities.The current lab is the third incarnation. The original lab was located in a building next to NFL Films original offices at 230 N 13th St in Philadelphia. The second lab was housed in the center of the NFL Films offices at 330 Fellowship Rd in Mt. Laurel, NJ. That entire one-story building has since been razed and replaced with a modern 4 story office building.The third lab is located in the lobby of NFL Films current location in the Bishop’s Gate industrial park in Mt. Laurel behind a 2-story glass wall. This allows visitors to the offices to see the inner workings of the entire processing lab. Those on morning tours can often watch as employees develop film for use in weekly shows.NFL Films Lab is also in charge of the archiving and maintenance of the vault. Containing over 100 years of football footage, the vault houses all of the film that NFL Films has shot or acquired from other sources in its entire history. Currently, NFL Films is in the process of re-transferring all of its footage into HD format, although the original film will always be kept as it’s likely to outlast tape medium in terms of degredation. See alsoNational Football LeagueAmerican footballFootball Follies References^ NFL Films, Inc., Father-Son Team Establishes Gold Standard For Sports Photography – CBS News^ a b http://www.fortune.com/fortune/smallbusiness/managing/articles/0,15114,361371,00.html^ ION Media Networks Secures Rights to Air 2007 Season of “NFL Game of the Week” Produced by NFL Films, Yahoo!, September 10, 2007^ List of programs offered by NFL Films.^ http://www.nfl.com/nflnetwork/story?id=09000d5d8080fe91&template=without-video&confirm=true External linksNFL FilmsNFLCapturing the Moment – Domenick SatterbergSome early John Facenda and NFL Films historyThe Themes of Fall: Music of Football and FilmNFL Game of the Week on ION TelevisionBrody, Tom C. “C. B. Demille Of The Pros,” Sports Illustrated, November 20, 1967.v  d  eNational Football League on television and radioTelevision broadcast partnersABC (AFL coverage) CBS DuMont Fox NBC SNIMonday Night FootballHistory All-time team standings Series-by-series history Monday Night CountdownResultsGames prior to 1970 19701989 1990resentSunday Night FootballESPN NBC TNTResultsESPN TNT NBCPregame television programsCBS ESPN (Sunday Monday) Fox NBC (former current)NFL NetworkList of programs Thursday Night Football (Results (2006resent))NFL Films television programsNFL Films Game of the Week NFL’s Greatest Games Hard Knocks Inside the NFL NFL Matchup Football FolliesOther television programsNFL Live This Week in FootballRadio broadcast partnersCBS/Westwood One Compass Media ESPN Mutual NBC Sports USASecondary radio broadcast partnersBBC Radio 5 Live FieldPass SiriusLocal radio networksBuffalo Bills Radio Network Dallas Cowboys Radio Network Detroit Lions Radio Network (television network) (history) Green Bay Packers Radio Network New England Patriots Radio Network New York Giants Radio NetworkBroadcasters by eventAFC Championship Game  AFL Championship Game  AFL All-Star Game  American Bowl  Bills Toronto Series  Christmas games  Hall of Fame Game  International Series  NFC Championship Game  NFL Championship Game  NFL Draft  NFL Kickoff Game  Playoff Bowl  Pro Bowl  Super Bowl  Thanksgiving Classic  World BowlTelevision broadcast technology1st & Ten (graphics system) FoxBox Instant replay NFL Sunday Ticket Telestrator WipingOther television informationBlackout (broadcasting) Canadian broadcasts Doubleheader (television) Fox affiliate switches of 1994 List of major sports teams in the United States by city Primary television stations Categories: Companies established in 1962 | NFL Films | Film production companies of the United States | Companies based in Burlington County, New Jersey

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I am a professional writer from China Quality Lighting, which contains a great deal of information about solvent recycling, hp color laserjet 2605dn printer, welcome to visit!

Award winning unofficial prequel to The Lord Of The Rings dramatising Aragorn & Gandalf’s long search for Gollum. This 40 minute film, made by fans for fans is based on the appendices of LOTR and was painstakingly shot on a low budget as a homage to Peter Jackson’s trilogy and the writing of JRR Tolkien. Costing less than 00 to make, with a team of volunteers, Independent Online Cinema are proud to have brought Middle-earth to the screen once more. We hope you enjoy The Hunt For Gollum as much as we enjoyed making it. This Youtube version is slightly extended with 1 scene added back in. www.thehuntforgollum.com www.ioniafilms.com – Check out the new feature-length LOTR prequel – Born of Hope www.bornofhope.com

Article by jekky

Everywhere in today’s digital workflow, prepress staff must take the previous work done by electronic color separation, or they must at least understand the electronic color separation work, so you can create a next working procedure to prevent the possible existence of the file in question. If the pre-press production staff know what it should be noted, then to prevent the emergence of the output error becomes relatively simple. To make print production staff will no longer make the same mistake, and find out how to avoid mistakes, and I would like to note the following aspects.

Print Network HC While desktop publishing technology has undergone enormous changes to the graphics processing of information has brought more and more dominant, the output of the output center work has also been constantly improved, but some things have not changed: the customers, the output The file is always there “file is missing fonts”, “image resolution error”, “order error page setup” and so on.

Problems like this often occurs at the output center, using the wrong font on the page or image disappear, or the file can not print, not only a waste of time, but also a waste of money. Faced with these issues, our pre-press production staff what to do.

Everywhere in today’s digital workflow, prepress staff must assume in the past Electronic Separations for their work, or they must at least understand the electronic color separation work, so you can create a next working procedure to prevent possible problems in the paper. If the pre-press production staff knew what it should be noted, then to prevent the emergence of the output error becomes relatively simple. In order to make Print Producers no longer make the same mistakes, and figure out how to avoid mistakes, and I would like to note the following aspects.

A lack of experience in the problems broughtJust use the Windows image that a new generation of software publishers often inexperienced. For starters, the problems encountered in Windows files much more than the Mac issue. However, pre-press and output centers are still problems with these familiar rivalry, because novice will experience the old staff has experienced an error.

Another makes life hard for the change in the output center in color Ink jet Printer More and more applications. Before the ink-jet printer, many designers rely on black and white laser printer error proofing to verify the final output; color printer applications, the disorder becomes more severe. Because many customers only recognize their own play comp, and some even refused to Matchprint play sample because color can not match them to play comp. Because the inkjet printer can print color gamut than the four-color print width, so inkjet print color often looks more vivid than the final saturation or more.

Similarly, the experience of web design has changed many prepress print production staff on the expectations. Such as inkjet printers, as the computer screen is not sensitive to the resolution of differences, and be better than the Offset printing Show more colors. A reasonable pre-press production staff see the web page on a variety of pictures, they want to apply to printed materials in these pictures. Result is placed in the customers want in their re-use brochure GIF image file output type of Web page image film, its printing The results are predictable.

Second, the font: It is still the number one cause of errorsPrepress production staff for each comment on the design error is the largest font. Since the emergence of electronic publishing since the designer has been forgot send the necessary fonts. However, far more than missing font error: designers often send the wrong font, or font altered, or not due to differences between versions are compatible fonts.

Example, some Advertisement Customers will occasionally use MacromediaFontographer software font for amendment. Although they sent a new, modified font, but ATM is often not effectively used as a font file to identify. At this time, it requires a font substitution, which is only for the lock into the other fonts. For advertisers, most of the title font changes, so it should be set in the illustration software title character, preferably in the design of the fonts converted to paths, then the word into the Spring and Autumn typesetting software, so fonts into a vector file, font files no longer needed.

This method also address another frequent question: EPS format files into the font is missing. Because the placement when the software image to the layout is easy to forget the image into the text fonts, especially when other people create the image, in particular.

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fiber-optic-multiplexer.com offers high quality suppliers and high quality products, such as 2-channel optic video multiplexer, 1000M Media Converter TDM over IP suppliers for domestic and oversee buyer

Article by hi joiney

Perhaps the producers can defy a cinema, but one must not dare to defy the cinema has dozens of movie theaters. This is the channel the power of integration. Cinemas integrated results would inevitably produce in order to fund as a link to the unified brand and unified row of tablets, unified operation, unified management of large theater-based combination Cinema only set up its own link to the theater assets in order to ensure the steady development of power should not be reduced to theaters The early pattern of big-league restructuring 2005, the Chinese cinema line 3 years old. 3 years, although only a time scale, but China’s cinema market-oriented road line is, there is a kind of symbolic significance can not be replaced. The first line of all groping in the running in the Pathfinder. Chinese cinema since the advent of that day, there is no ready-made system and the system can copy. Let us cast our minds back over. 2002 6 1st, SARFT, the Ministry of Culture jointly issued “on the reform of film distribution and projection of the implementation details” and change the past, from the central to provincial, provincial city, to operate the county’s 4 issue mode, push forward reform cinema lines, break the administrative level and geographical boundaries, the more City to implement inter-provincial marketing. This is the film industry from planned economy to market economy, an important symbol. Subsequently, the cinema has embarked on a fast track. Up to now, has been the development of 38 theaters, controls 90% of the box office. Perhaps the producers can contempt a cinema, but dare not defy a cinema has dozens of cinemas. This is the channel the power of integration. Cinemas integrated results would inevitably produce in order to fund as a link to the unified brand and unified row of tablets, unified operation, unified management of large theater-based combination. In this case, no combination with the large chains of small cinemas will obviously increase the operating pressure. When the strength of big-league reduced to two smaller theaters, they can not win the latest copy of a large, theater of their respective natural flow of other large chains. Reduced operating status will lead to the disintegration of the internal theaters. Happy Valley enclosure can not be abandoned 3 years cinema integration process, there is a significant feature to the brand as a cohesive elite theaters, studios around the province is to continue to move closer to some of the large theaters, giving rise to larger theaters Group. According to general manager of the new film together high military analysis: the current movie theater-system reform in China is towards regional development. In fact, the future of cinema, will form a new pattern of regional-based battlefield, the final formation of north, northeast, east, southeast Sichuan Basin, several regional theaters. New Film Alliance cinema company in Beijing as the market base has more than 50 cinemas in Beijing, holds the box office in Beijing for more than 80% market share. In addition, Shanxi, there are 14 to join in the new movie theater joint ownership of the unit. Soon there will be Shandong, Hebei theater being added. At present, the new film is being imported wine in conjunction with the three northeast provinces about 45 million in box office cinema coalition Northern Fleet. The person said, then, the new film may be associated with Beijing as the center, radiating to the north and northeast of the North’s largest theaters, the box office may account for the proportion of the national box office about 20% of the total. Shanghai Alliance and the cinema company will be based in Shanghai, Jiangsu, Zhejiang and even larger area coverage. The company is now more than 30 cinema circuits in the country the largest cinema companies. Cinema from Shanghai Alliance join the theater company’s distribution, the present mainly in Jiangsu and Zhejiang coastal provinces along the outward expansion, such as Shanghai, the Shanghai Studios, environment art cinema, Yonghua Film City, Kodak film in the world, Cathay Cinema, Man Yue International Studios, Caoyang Studios, etc.; the field to join Shanghai Alliance theaters, 30 cinemas, such as Nanjing, Shanghai Film Studios Warner, Wuxi Big World Cinema Paradise Film City, Nantong more popular theaters, Changshu Beijing attractions such as the door. Theater in these provinces, the farthest the movie World, Hohhot, Inner Mongolia Hualian Commercial Building, opened in the north is near Shenyang City, New Mart Paradise movie. The end of 2004, Shanghai Alliance Cinemas movie theater, including franchisees box office revenue has exceeded 200 million yuan, became the first breakthrough in 200 million yuan in the cinema box office line. Shanghai Alliance and cinema, according to Xu Xiaoping, general manager, Shanghai Alliance and the cinema in the first built, was signed in June 2002 the pilot contract, when signed three month trial period, in October before the official signing contract. Xu Xiaoping predicted this red-hot in the cinemas this summer merger battle, Shanghai Alliance cinema is relatively stable. Chengdu, Sichuan will be the Pacific theaters as a base for regional development has been the three provinces. Guangdong Southern theaters will be based in Guangdong to Guangxi, Hainan, Fujian and other areas expand. Gao Jun, general manager of the view that the current big-league system for the operation of the Chinese situation, long-term operation, there are still some problems. For example, the base for the market in Beijing New Film Alliance opened a theater in Yunnan, copy supplies, and management seems beyond the reach of. So the new movie together, or focus on regional cinema operators.

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I am an expert from Frbiz Site, usually analyzes all kind of industries situation, such as disposable cups lids , toothpaste tube.

Article by barrymosh

Rachael Ray T.V show exhibits her tenderness, vigor and her immense desire to live life to the fullest. The show keeps the viewers glued to TV as Rachel explores different aspects of life in her own way, while dishing out sumptuous meals from her kitchen. She knows that good food goes hand-in-hand with good life.Eminent Guest ListThe show has seen guests like Oprah Winfrey, Diane Sawyer, James Caan & Josh Duhamel, Emmitt Smith, Jessie L. Martin and S. Epatha Merkerson, Jessie L. Martin and S. Epatha Merkerson, Magician Justin Kredible, Actress Ali Larter etc. also trying their hand at cooking or sharing their favorite recipes with the viewers.Special Features Of The ShowRachael Ray T.V show is not like any other cookery show, where the host tells recipes, gives a quick recap of the ingredients and steps. Rachel Ray is very interactive. She not only shares her recipes, but also shares stories, tips and has lot of fun interacting with the viewers. Her dishes are simple and easy to cook and most importantly, quick, i.e. they can be cooked within 30 minutes.

Theme Episodes

Each episode of Rachael Ray T.V show has a theme and both recipes and locations are chosen accordingly. For e.g. school lunches for kids, dishes for a theme party – complete from drinks to the dessert, low calories recipes, take-out meals etc. This gives the show, a feel of a story, where a series of events follow, rather than just a monotonous cookery show.

All the episodes of Rachael Ray T.V Show have sections namely : ‘Tip Alerts’, ‘Tricks & Tips’, ‘Snack of the Day’, and ‘scrumptious, easy to fix dishes’. The lifestyle tips given by her may not necessarily concern cooking, like tips to clean your closet, giving haircut to children, buying jewelry on a budget, make-up tips, decorating a dinner table etc. Tips from viewers are also invited, so they definitely feel that they are a part of the show.

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India vs Sri Lanka 2nd ODI Tri-Series Live Streaming – Jan 5th 2010

Tri-Series in Bangladesh, 2010
Tue, Jan 05 2010, 14:00
Shere Bangla National Stadium, Dhaka

The tri series between India, Sri Lanka and Bangladesh would take place in Dhaka in early January at the Shere Bangla National stadium. The ODI series would be held in a day/night format and take place over two weeks as per the tri series schedule..

India will play Sri Lanka in the BANGLADESH The second game will be played on Saturday at Mohali. The Indians will be on a high after having achieved the number one slot after having beaten the Sri Lankans rather easily by an innings in two successive games.

So far, the new stadium in Nagpur, at Jamtha, has so far, hosted two games; one ODI and one test match. And both games have been high-scoring encounters, with India scoring 354 in the ODI and almost 450 in the test match. Coincidentally, India has won both the games, and now, the ground will see its first ever T20I played here!

India has made quite a few changes to their squad and it is difficult to gauge what their playing eleven will be. There are a few first timers as well, as the likes of R. Ashwin, Ashok Dinda and Sudeep Tyagi make it for the first time into the T20I team, whereas S. Sreesanth makes a return to the side as well. Pragyan Ojha has also been selected to the side in place of Amit Mishra too. After having missed the third and the final test due to his sister’s marriage, Gautam Gambhir will also make a comeback to the side.

YOU CAN WATCH LIVE TRI SERIES CRICKET MATCHES ONLINE ON THESE WEBSITES

Virender Sehwag and Gautam Gambhir should continue to open the innings, while Yuvraj Singh, MS Dhoni, Suresh Raina and Rohit Sharma should definitely make it to the playing eleven for India. Yusuf Pathan should be a certainty as well, now that Ravindra Jadeja has been chucked out of the side, whereas amongst the bowlers, Ashish Nehra and Sreesanth look certain. The other two positions in the side should, in all probabilities, go to a spinner and a quick bowler, and in that case, Pragyan Ojha and one of Tyagi, Dinda or Ishant Sharma should be taken into the eleven.

For the Sri Lankans, the captain was sore about the review system not being used for the series and hence he losing out on almost 500 runs. The same trend is going to continue for this T20I series as well, and he may well need to make the most out of the new guys in the side. T.Dilshan will continue to open and in all probabilities will have Sanath Jayasuriya as his partner, but it will be the bowling of Lasith Malinga that the captain will use to unleash against the hosts.

There cannot be any doubt that it is difficult to pinpoint favourites, and the same will continue in this series. However, India has not had a great time in the T20Is ever since the times of winning the ICC World T20.

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I.           Introduction

Traditional forecasting methods can deal with many forecasting cases, but they cannot solve forecasting problems in which the historical data are linguistic values. Song and Chissom [12] presented the concept of fuzzy time series based on the historical enrollments of the University of Alabama. They presented the time-invariant fuzzy time series model and the time-variant fuzzy time series model based on the fuzzy set theory for forecasting the enrollments of the University of Alabama.

The fuzzy forecasting methods can forecast the data with linguistic values. Fuzzy time series do not need to turn a non-stationary series into a stationary series and do not require more historical data along with some assumptions like normality postulates. Although fuzzy forecasting methods are suitable for incomplete data situations, their performance is not always satisfactory [9,11].

Huarng [6] proposed heuristic models; by integrating problem-specific heuristic knowledge to improve forecasting.

Tsaur, et al [14] proposed an analytical approach to find the steady state of fuzzy relation matrix to revise the logic forecasting process. Based on the concept of fuzziness in Information Theory, the concept of entropy is applied to measure the degrees of fuzziness when a time-invariant relation matrix is derived. In order to show the forecasting performance, the best fitted regression equations are applied to compare with the proposed method.

Yu [15] proposed weighted models to tackle two issues in fuzzy time series forecasting; namely, recurrence and weighting. Weighted fuzzy time series models appear quite similar to the weight functions in local regression models; however, both are different. The local regression models focus on fitting using a small portion of the data, while the fuzzy relationships in weighted fuzzy time series models are established using the possible data from the whole of the database.

Jilani and Burney [7] presented two new multivariate fuzzy time series forecasting methods. These methods assume m-factors with one main factor of interest. Stochastic fuzzy dependence of order k is assumed to define general methods of multivariate fuzzy time series forecasting and control.

Cheng et al [4] proposed a novel multiple-attribute fuzzy time series method based on fuzzy clustering. The methods of fuzzy clustering were integrated in the processes of fuzzy time series to partition datasets objectively and enable processing of multiple attributes.

Abd Elaal et al [1-2] proposed a novel forecasting fuzzy time series model depend on fuzzy clustering for improving forecasting accuracy. Kai et al [8] proposed a novel forecasting model for fuzzy time series using K-means clustering algorithm for forecasting.

In this paper, researchers propose an efficient fuzzy time series forecasting model based on fuzzy clustering to handle forecasting problems and improving forecasting accuracy. Each value (observation) is represented by a fuzzy set. The transition between consecutive values is taken into account in order to model the time series data.

II.         Related works

In this section, two related works including: fuzzy clustering and fuzzy time series.

A.        Fuzzy clustering (FCMI)

Fuzzy c-means (FCM) is a method of clustering which allows one piece of data to belong to two or more clusters. Fuzzy C-Mean Iterative assume that: the existence of pattern space X={x1, x2,…, xm) and c fuzzy clusters, whose centers have initial values y10, y20,…,yc0. Every iteration the membership function values updated and the cluster centers also. The process terminates when the difference between two consecutive clusters centers do not exceed a given tolerance [5].

(1)

Fuzzy clustering is carried out through an iterative optimization of the objective function , with the update of membership and the cluster centers  by:

(2)

(3)

This iteration will stop when

(4)

B.       Fuzzy time series

Song and Chissom [13] presented the concept of fuzzy time series based on the historical enrollments of the University of Alabama. Fuzzy time series used to handle forecasting problems. They presented the time-invariant fuzzy time series model and the time-variant fuzzy time series model based on the fuzzy set theory for forecasting the enrollments of the University of Alabama. The definitions and processes of the fuzzy time-series presented by Song and Chissom are described as follows [6,12].

Definition 1. (FTS) Assume Y (t) (t = . . 0, 1, 2, . . .) is a subset of a real numbers. Let Y (t) be the universe of discourse defined by the fuzzy set fi (t). If F(t) is a collection of f1(t), f2(t). . . then F(t) is defined as a fuzzy time-series on Y (t) (t = . . . , 0, 1, 2, . . .).

Definition 2. (FTSRs) If there exists a fuzzy logical relationship R(t − 1, t), such that F(t) = F(t − 1) × R(t − 1, t), where “×” represents an operation, then F(t) is said to be induced by F(t − 1). The logical relationship between F(t) and F(t − 1) is  F(t − 1) à F(t).

Definition 3. (FLR) suppose F(t − 1) = Ai and F(t) = Aj . The relationship between two consecutive observations, F(t) and F(t − 1), referred to as a fuzzy logical relationship, can be denoted by  Ai à Aj , where Ai is called the Left-Hand Side (LHS) and Aj the Right-Hand Side (RHS) of the FLR.

Definition 4. (FLRG) All fuzzy logical relationships in the training dataset can be grouped together into different fuzzy logical relationship groups according to the same Left-Hand Sides of the fuzzy logical relationship. For example, there are two fuzzy logical relationships with the same Left-Hand Side (Ai ): Aià Aj1 and Ai à Aj2. These two fuzzy logical relationships can be grouped into a fuzzy logical relationship group Aià Aj1 Aj2.

Definition 5. (IFTS & VFTS) Assume that F(t) is a fuzzy time-series and F(t) is caused by F(t − 1) only, and F(t) = F(t − 1) × R(t − 1, t). For any t, if R(t − 1, t) is independent of t, then F(t) is named a time-invariant fuzzy time-series, otherwise a time-variant fuzzy time-series.

a)      Song and Chissom model

Song and Chissom employed five main steps in time-invariant fuzzy time-series and time-variant fuzzy time series models as follows:

Step 1: Define the universe of discourse U. Define the universe of discourse for the observations. According to the issue domain, the universe of discourse for observations is defined as,

U=[Dmin – D1, Dmax + D2]

(5)

where, Dmin is the minimum value,

Dmax is the maximum value,

D1, D2 is the positive real numbers.

Step 2: Partition universal of discourse U into equal intervals.

Step 3: Define the linguistic terms. Each linguistic observation, Ak can be defined by the intervals u1,u2,…,un, as follows:

(6)

Step 4: Fuzzify the historical data. Each historical data can be fuzzified into a fuzzy set.

Step 5: Build fuzzy logic relationships. Build fuzzy logic relationships. Two consecutive fuzzy sets Ai(t-1)and Aj(t) can be established into a single FLR as Aià Aj.

III.        Proposed model

In this section we proposed an efficient fuzzy time series forecasting model based on fuzzy clustering to handle forecasting problems and improving forecasting accuracy. Most researchers have been taken the same way according to processes of the fuzzy time-series, which are presented by Song and Chissom, but we introduce a novel model based on fuzzy clustering to determine the membership values not as Song and Chissom model, and to increase the performance. Proposed model employed eight main steps in time-invariant fuzzy time-series and time-variant fuzzy time series models as follows:

Step 1: Cluster data into c clusters: Apply fuzzy clustering on a time series Y(t) with n observation  to cluster this time series into c  (2 ≤ c ≤ n) clusters. FCMI is used because it is the most popular one and well known in fuzzy clustering field.

Step 2: Determine membership values for each cluster: In this step, membership values is determining after doing fuzzy cluster. The proposed model selected the maximum membership grade of each value for each cluster which it belong to.

Step 3: Rank each cluster: Proposed model ranking clusters by the center of each cluster, where first cluster has the minimum center, and last cluster has the maximum center.

Step 4: Define the universe of discourse U: In this step, the proposed model defines the universe of discourse as Song and Chissom were defined it as in (5).

Step 5: Partition universal of discourse U into equal intervals: According to this step, the proposed model, partition the universe of discourse into c intervals.

Step 6: Fuzzify the historical data: In this step, proposed model fuzzufy historical data, where the proposed model determine the best fuzzy cluster to each actual data

Step 7: Build fuzzy logic relationships: Proposed model in this step build fuzzy logic relationship as definition 3. if F(t−1) = Ai and F(t) = Aj then the relationship between two consecutive observations:   Ai à Aj

Step 8: Calculate forecasting outputs: The forecasting value for each cluster is calculated by proposed model as:

(7)

Where dfj is the membership grade,

Xj is the actual value.

A.       Evaluating of the proposed model

To evaluating the performance of the proposed model, the researchers compare the forecasting values of enrollments of the University of Alabama with some famous models such as Jilani and Burney [7], Tsaur and Yang [14], Yu [15], Kai et al [8], and Cheng, et al [4].

The forecasting accuracy is compared by using (NRMSE) Normalized Root Mean Square Error. NRMSE, in statistic is the square root of the sum of the squared deviations between actual and predicted values divided by the sum of the square of actual values.

(8)

In this study, to evaluate the forecasting accuracy of the proposed model, the researchers use the enrollments of the University of Alabama as the forecasting target in the existing forecasting models.

Based on the enrollments of the University of Alabama from 1971 to 1992, we can get the universe of discourse U=[13055,19337], partition U into 7 equal intervals, D1=13, and D2=55. Hence, the intervals are u1; u2; u3; u4; u5; u6; u7; where :-

u1=[13024.00, 13933.71]

u2=[13933.71, 14843.43],

u3=[14843.43, 15753.14],

u4=[15753.14, 16662.86],

u5=[16662.86, 17572.57],

u6=[17572.57, 18482.29],

u7=[18482.29, 19392.00],

Table I lists the enrollment of the University of Alabama from 1971 to 1992, and membership grades of enrollments for each linguistic. Define the fuzzy set Ai using the linguistic variable “Enrollments of the University of Alabama”, let A1 = (very very few), A2 = (very few), A3 = (few), A4 = (moderate), A5 = (many), A6 = (many many), A7 = (too many).The proposed model selected the maximum membership grade for each cluster, the forecasting value for each cluster calculating as in (7):

TABLE I.            Data of enrollments of the university of Alabama and membership grades.

Year

Actual

enrollments

A1

A2

A3

A4

A5

A6

A7

1971

13055

0.8

0.1

0

0

0

0

0

1972

13563

1

0

0

0

0

0

0

1973

13867

0.9

0.1

0

0

0

0

0

1974

14696

0.1

0.7

0.2

0.1

0

0

0

1975

15460

0

0

1

0

0

0

0

1976

15311

0

0.1

0.9

0

0

0

0

1977

15603

0

0.1

0.6

0.3

0

0

0

1978

15861

0

0

0

1

0

0

0

1979

16807

0

0

0

0

1

0

0

1980

16919

0

0

0

0

0.9

0

0

1981

16388

0

0

0.1

0.3

0.6

0

0

1982

15433

0

0

1

0

0

0

0

1983

15497

0

0

0.9

0.1

0

0

0

1984

15145

0

0.8

0.2

0

0

0

0

1985

15163

0

0.7

0.2

0

0

0

0

1986

15984

0

0

0

0.9

0

0

0

1987

16859

0

0

0

0

1

0

0

1988

18150

0

0

0

0

0

1

0

1989

18970

0

0

0

0

0

0

1

1990

19328

0

0

0

0

0

0

0.9

1991

19337

0

0

0

0

0

0

0.9

1992

18876

0

0

0

0

0

0.1

0.9

Figure 1.     Forecasting enrollments of the University of Alabama by the proposed model

TABLE II.          Data enrollments the university of Alabama, linguistic values, and forecasted values

Years

Enrollments

Linguistic

Forecasted

1971

13055

A1

13563

1972

13563

A1

13563

1973

13867

A1

13563

1974

14696

A2

15145

1975

15460

A3

15446

1976

15311

A3

15446

1977

15603

A3

15446

1978

15861

A4

15861

1979

16807

A5

16833

1980

16919

A5

16833

1981

16388

A4

15861

1982

15433

A3

15446

1983

15497

A3

15446

1984

15145

A3

15446

1985

15163

A3

15446

1986

15984

A4

15861

1987

16859

A5

16833

1988

18150

A6

18150

1989

18970

A7

18970

1990

19328

A7

18970

1991

19337

A7

18970

1992

18876

A7

18970

Figure 2.     Forecasting results curve of enrollments of the university of Alabama

The forecasting value for year 1971 is 13563 while the actual value was 13055. Fig.1 and Table II show linguistic terms and forecasting values deduced by proposed model.

Figure 3.     NRMSE-chart for the existing models and the proposed model

The line-chart comparison in Fig. 2 shows that the proposed model has higher accuracy than the other models. And the empirical comparison among the existing models in Table III also shows that, the proposed model can further improve the forecasting results than the other model.

Fig. 3 shows the comparisons among the existing models by using NRMSE, where Jilani and Burney [7] model has 0.02, Tsaur and Yang [14] model has 0.025, Yu [15] model has 0.026, Kai et al [8] model has 0.024, Cheng, et al [4] model has 0.028 and proposed model has 0.015.

TABLE III.        Forecasting enrollments of the university of Alabama

Year

Actual enrollments

Tsaur and Yang

(2005)

Yu

(2005)

Jilani and Burney

(2008)

Cheng et al

(2008)

Kai et al

(2010)

Proposed

1971

13055

13934

13934

13769

13563

1972

13563

13934

13934

13769

14242

13997

13563

1973

13867

13934

13934

13769

14242

13997

13563

1974

14696

15298

15298

14360

14242

13997

15145

1975

15460

15753

15623

15271

15474.3

15461.2

15446

1976

15311

15753

15623

15271

15474.3

15461.2

15446

1977

15603

15753

15623

15271

15474.3

15461.2

15446

1978

15861

16208

16511

16182

15474.3

15461.2

15861

1979

16807

17118

17269

17094

16146.5

16861.7

16833

1980

16919

17118

17269

17094

16988.3

17394

16833

1981

16388

16208

16511

16182

16988.3

17394

15861

1982

15433

15753

15623

15271

16146.5

15461

15446

1983

15497

15753

15623

15271

15474.3

15461.2

15446

1984

15145

15753

15623

15271

15474.3

15461.2

15446

1985

15163

15753

15623

15271

15474.3

15461.5

15446

1986

15984

16208

16511

16182

15474.3

15461.5

15861

1987

16859

17118

17269

17094

16146.5

16861.7

16833

1988

18150

18937

18937

18004

16988.3

17394

18150

1989

18970

18937

18937

18624

19144

18932.2

18970

1990

19328

18937

18937

18624

19144

18932.2

18970

1991

19337

18937

18937

18624

19144

18932.2

18970

1992

18876

18937

18937

18624

19144

18932.2

18970

NRMSE

0.025

0.026

0.02

0.028

0.024

0.015

IV.        Empirical study

Based on the data of the iron and steel production witch are provided by the International Iron and Steel Institute in Brussels, Belgium, and publications of the U.S. geological survey from 1975 to 2008 (production values in thousand metric tons), we can get the universe of discourse U=[457000, 954000], partition U into 7 equal intervals, D1=6000, and D2=7000. Hence, the intervals are u1; u2; u3; u4; u5; u6; u7; where :-

u1=[ 451000.00, 523857.14]

u2=[ 523857.14, 596714.29],

u3=[ 596714.29, 669571.43],

u4=[ 669571.43, 742428.57],

u5=[ 742428.57, 815285.71],

u6=[ 815285.71, 888142.86],

u7=[ 888142.86, 961000.00],

Figure 4.     Forecasting of the world production of iron and steel by the proposed model

Table IV lists the World Production of Iron and Steel from 1975 to 2008, and membership grades of enrollments for each linguistic. Define the fuzzy set Ai using the linguistic variable “World Production of Iron and Steel”, let A1 = (very very few), A2 = (very few), A3 = (few), A4 = (moderate), A5 = (many), A6 = (many many), A7 = (too many).

Fig. 4 and Table V show linguistic terms and forecasting values deduced by proposed model. The forecasting value for year 1975 is 494875 while the actual value was 479000 and the forecasting value for year 2008 is 943000 while the actual value was 932000.

TABLE IV.         Data of the world production of iron and steel, and membership grades.

Year

Production

A1

A2

A3

A4

A5

A6

A7

1975

479000

1

0

0

0

0

0

0

1976

498000

1

0

0

0

0

0

0

1977

488000

1

0

0

0

0

0

0

1978

506000

0

0

0

0

0

0

0

1979

532000

0

1

0

0

0

0

0

1980

514000

0

0

0

0

0

0

0

1981

502000

1

0

0

0

0

0

0

1982

457000

0

0

0

0

0

0

0

1983

463000

0

0

0

0

0

0

0

1984

495000

1

0

0

0

0

0

0

1985

499000

1

0

0

0

0

0

0

1986

495000

1

0

0

0

0

0

0

1987

509000

0

0

0

0

0

0

0

1988

539000

0

1

0

0

0

0

0

1989

546000

0

1

0

0

0

0

0

1990

531000

0

1

0

0

0

0

0

1991

509000

0

0

0

0

0

0

0

1992

503000

1

0

0

0

0

0

0

1993

507000

0

0

0

0

0

0

0

1994

516000

0

0

0

0

0

0

0

1995

536000

0

1

0

0

0

0

0

1996

516000

0

0

0

0

0

0

0

1997

540000

0

1

0

0

0

0

0

1998

535000

0

1

0

0

0

0

0

1999

539000

0

1

0

0

0

0

0

2000

573000

0

0

1

0

0

0

0

2001

585000

0

0

1

0

0

0

0

2002

608000

0

0

1

0

0

0

0

2003

673000

0

0

0

1

0

0

0

2004

720000

0

0

0

1

0

0

0

2005

802000

0

0

0

0

1

0

0

2006

881000

0

0

0

0

0

1

0

2007

954000

0

0

0

0

0

0

1

2008

932000

0

0

0

0

0

0

1

The proposed model selected the maximum membership grade for each cluster, the forecasting value for each cluster calculating as in (7):

TABLE V.           Data of the world production of iron and steel, linguistic values, and forecasted values

Year

Production

Linguistic

Forecasted

1975

479000

A1

494875

1976

498000

A1

494875

1977

488000

A1

494875

1978

506000

A1

494875

1979

532000

A2

537250

1980

514000

A1

494875

1981

502000

A1

494875

1982

457000

A1

494875

1983

463000

A1

494875

1984

495000

A1

494875

1985

499000

A1

494875

1986

495000

A1

494875

1987

509000

A1

494875

1988

539000

A2

537250

1989

546000

A2

537250

1990

531000

A2

537250

1991

509000

A1

494875

1992

503000

A1

494875

1993

507000

A1

494875

1994

516000

A1

494875

1995

536000

A2

537250

1996

516000

A1

494875

1997

540000

A2

537250

1998

535000

A2

537250

1999

539000

A2

537250

2000

573000

A2

537250

2001

585000

A2

537250

2002

608000

A3

588667

2003

673000

A4

696500

2004

720000

A4

696500

2005

802000

A5

802000

2006

881000

A6

881000

2007

954000

A7

943000

2008

932000

A7

943000

The researchers used famous models: Huarng[6], Tsaur and Yang [14], Yu [15], Jilani and Burney [7] to test the proposed model by forecasting of the world production of iron and steel as in Table VI.

Figure 5.     Forecasting results curve of the world production of iron and steel

Figure 6.     NRMSE-chart for the existing models and the proposed

The line-chart comparison in Fig. 5 shows that the proposed model has higher accuracy than the other models. And the empirical comparison among the existing models in Table VI also shows that, the proposed model can further improve the forecasting results than the other model.

Fig. 6 shows the comparisons among the existing models by using NRMSE, where Huarng[6] model has 0.0496, Tsaur and Yang [14] model has 0.0598, Yu [15] model has 0.0551, Jilani and Burney [7] model has 0.0399, and proposed model has 0.0296.

TABLE VI.         Forecasting of the world production of iron and steel

Year

Actual

Huarng 2001

Tsaur 2005

Yu 2005

Jilani 2008

Proposed

1975

479000

504571

523857

510762

509514

494875

1976

498000

504571

523857

510762

509514

494875

1977

488000

504571

523857

510762

509514

494875

1978

506000

504571

523857

510762

509514

494875

1979

532000

545714

560286

560286

555508

537250

1980

514000

504571

523857

510762

509514

494875

1981

502000

504571

523857

510762

509514

494875

1982

457000

504571

523857

510762

509514

494875

1983

463000

504571

523857

510762

509514

494875

1984

495000

504571

523857

510762

509514

494875

1985

499000

504571

523857

510762

509514

494875

1986

495000

504571

523857

510762

509514

494875

1987

509000

504571

523857

510762

509514

494875

1988

539000

545714

560286

560286

555508

537250

1989

546000

545714

560286

560286

555508

537250

1990

531000

545714

560286

560286

555508

537250

1991

509000

504571

523857

510762

509514

494875

1992

503000

504571

523857

510762

509514

494875

1993

507000

504571

523857

510762

509514

494875

1994

516000

504571

523857

510762

509514

494875

1995

536000

545714

560286

560286

555508

537250

1996

516000

504571

523857

510762

509514

494875

1997

540000

545714

560286

560286

555508

537250

1998

535000

545714

560286

560286

555508

537250

1999

539000

545714

560286

560286

555508

537250

2000

573000

545714

560286

560286

555508

537250

2001

585000

545714

560286

560286

555508

537250

2002

608000

706000

706000

706000

628923

588667

2003

673000

742429

742429

754571

702221

696500

2004

720000

742429

742429

754571

702221

696500

2005

802000

851714

851714

851714

775435

802000

2006

881000

924571

924571

924571

848587

881000

2007

954000

924571

924571

924571

898939

943000

2008

932000

924571

924571

924571

898939

943000

NRMSE

0.0496

0.0598

0.0551

0.0399

0.0296

V.          Discussion and conclusion

The research proposed an efficient fuzzy time series forecasting model based on fuzzy clustering with high accuracy. The method of FCMI is integrated in the processes of fuzzy time series to partition datasets. Experimental results of enrollments of the University of Alabama, and the comparison between the existing models: Jilani and Burney [7], Tsaur and Yang [14], Yu [15], Kai et al [8], and Cheng, et al [4] and the proposed model show that, the proposed model can further improve the forecasting results than the other models and also the experimental results of the world production of iron and steel, and the comparison between the existing models: Huarng[6], Tsaur and Yang [14], Yu [15], Jilani and Burney[7] and the proposed model show that, the proposed model has higher accuracy than the other models.

VI.        References

[1]        A. K. Abd Elaal, H. A. Hefny, and A. H. Abd-Elwahab, “A novel forecasting fuzzy time series model”, in: Proceeding of International Conference on Mathematics and Information Security, Sohag Univ., Egypt, 2009.

[2]        A. K. Abd Elaal, H.A. Hefny, and A. H. Abd-Elwahab, “Constructing Fuzzy Time Series Model Based on Fuzzy Clustering for a Forecasting”, J. Computer Sci., vol. 7, 2010, pp. 735-739.

[3]        T.-L. Chen, C.-H. Cheng, and H.-J. Teoh, “High-order fuzzy time-series based on multi-period adaptation model for forecasting stock markets”, Physica A, vol.387, 2008, pp. 876–888

[4]        C.-H. Cheng, J.-W. Wang, and G.-W. Cheng, “Multi-attribute fuzzy time series method based on fuzzy clustering”, Expert Systems with Applications, Vol.34, 2008. pp. 1235–1242.

[5]        M. Friedman and A. Kandel, “Introduction to pattern recognition statistical, structural, neural and fuzzy logic approaches”, Imperial college press, London, 1999, p. 329.

[6]        K. Huarng, “Effective lengths of intervals to improve forecasting in fuzzy time series”, Fuzzy Sets and Systems, vol.123, 2001, pp. 387–394.

[7]        T.A. Jilani and S. Burney, “Multivariate stochastic fuzzy forecasting models”, Expert Systems with Applications, vol.35, 2008, pp. 691–700.

[8]        Kai, F. Fang-Ping, and C. Wen-Gang, “A novel forecasting model of fuzzy time series based on K-means clustering”, IWETCS, IEEE, 2010, pp.223–225.

[9]        G. Kirchgässner and J. Wolters, “Introduction to modern time series analysis”, Springer-Verlag.Berlin, Germany, 2007, p.153.

[10]     H.-T. Liu, “An improved fuzzy time series forecasting method using trapezoidal fuzzy numbers”. Fuzzy Optimization and Decision Making, vol. 6, 2007, pp.63-80.

[11]     A.K. Palit and D. Popovic, “Computational intelligence in time series forecasting theory and engineering applications”, Springer-Verlag.London, UK, 2005, p.18.

[12]     Q. Song and B.S. Chissom, “Forecasting enrollments with fuzzy time series. I”, Fuzzy sets and systems, vol. 54, 1993, pp. 1-9.

[13]     Q. Song and B.S. Chissom, “New models for forecasting enrollments: fuzzy time series and neural network approaches”, ERIC, 1993 p. 27, http://www.eric.ed.gov

[14]     R.-C. Tsaur, J.-C. Yang, and H.-F. Wang, “Fuzzy relation analysis in fuzzy time series model”, Computers and Mathematics with Applications, vol.49, 2005, pp. 539-548.

[15]     H.-K. Yu, “Weighted fuzzy time series models for TAIEX forecasting”, Physica A, vol.349, 2005, pp.609–624.

Meeting of blind Piper, deaf Phoebe and mute Paige

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Whether you consider trade paperbacks and graphic novels the same thing or not, the point is that format is becoming increasingly popular in modern times.  And by that format I mean more pages than a typical comic book bound with a spine as opposed to stapled.  More and more comic fans are moving exclusively to the format of graphic novels, and graphic novels are more appealing to the non-comic fan as well.

For years and years the standard format for comic books was 22-32 pages stapled together in what some refer to as floppies, while others refer to them as funny books (even when they’re not comical).  And even though comics originated in magazine format, many resisted the change to the format of graphic novels for a long while.  It is something special to get that short serial every month and anticipate the next month’s arrival with bated breath.

Had graphic novels been prevalent in the days of old, though, before comic shops were popular and comics were typically only found in spinner racks in the local drugstores, then I’d imagine that tune would change.  More times than not, one would pick up a comic and read it and never see the next issue.  Had they been in the format of graphic novels people would have been able to keep up with the story instead of being left at a cliffhanger eternally unresolved every time they picked up a comic.

With trade and hard cover collections of classic comic books these days many old time fans can go back and read all the issues they missed, but it isn’t quite the same.  It’s not fresh and pertinent anymore, even if they are still good stories.

Another reason for the shift of fans to the format of graphic novels and trades is the cost.  Trades or graphic novels are typically anywhere from -20, and hard covers -50 give or take a few dollars.  With trade collections usually 4-6 issues worth of a serial comic are collected, and the same amount of pages for original graphic novels in some cases.  At the current standard of -4 per issue for a floppy, you stand to save anywhere from -16 for buying in the format of graphic novels!

There will always be proponents of the monthly single issue serials as opposed to graphic novels, just as there will always be proponents to printed comics as opposed to digital comics.  But one cannot argue the advantages of collecting graphic novels and trade paperback collections.

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Article by Danny Morales

Graphic novels retain a novel status within the comic book market nowadays. They are considered as more constant and financially rewarding than a monthly comic book series. A conventional comic is changed every few months, and offers a reduced amount of profits. That makes for a more attractive deal to small and large booksellers alike.

Throughout the years, comics were being produced the same way; the stories had been meticulously drawn in pencil, hand lettered, afterward inked and at last sent out to get a special hand color separation method. The end result appeared second-rate but serviceable for that narrative.

Shortly around the 1980′s in addition to nineties, color processing increasingly grew to become more affordable and new techniques were being put to qualify for the task of making these multi-colored stories much more beautiful and vibrant. Nowadays artists exploit Photoshop, and other graphics computer programs to enhance the speed along with quality of the material.

It will be fair to mention that even with the most effective artwork imaginable, the story is still what makes people revisit seek out added titles and read further adventures of a character or go after a certain line of books. That is for the reason that the material is still internalized because it is read in sequence. Great stories require the reader to invest emotionally in the material regardless of the genre.

Graphic novels ordinarily offer an entire account in much a similar fashion as an average novel would. This puts greater demand on the story and its characters for the reason that there is no series long build up.

1. Watchmen2. Sandman,3. The Dark Knight Returns 4. Maus,5. Miracleman: The Golden Age

The expansion of graphic novels in the U.S. continues to be no match for the great quantity of material produced by the Asian countries. Japan has long been the leader in generating publications called Manga.

The majority of U.S. graphic novels give attention to super heroes but Asian and European publications have a much more diverse number of genre from office situations to sports. These pocket sized graphic novels have created decade’s long storylines and characters.

If you’re interested to examine them or know who they are, listed here are a few examples of just what you can actually get. Their storylines are assorted, complex and thoroughly addictive. Listed below are a small number to choose from:

6. Cardcaptor Sakura 7. Happy Mania 8. Lone Wolf and Cub 9. Maison Ikkoku 10. Shonen Jump

If you are new to this type of reading matter or you are just wondering what is out there, you have a wide selection to pick from. Examples appear in volumes or in the series. Whether you prefer American style graphic novels or Asian style manga, just take your time and go through the material until you find your favorites. You are going to be hooked no matter what your age.

Go to my website for more information on graphic novels and manga. Read the latest ongoing series Jax and the Hellhound and pick up a few graphic novels and manga from my store while you’re there. Go to http://www.graphic-novels.com.

About the Author

Danny Morales is a writer and author who creates content for clients on the web. He works for DiD Publishing Inc. and is a comic book, graphic novels and health and fitness fanatic.

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Graphic Novels for Children – Paradigm shift from Old Comic Books

Unlike conventional and old comic books, modern graphic novels are source of real fun and entertainment for whole family. It makes reading much more interesting and engaging. And why not, with 3D computer generated illustrations and 3D graphics, modern graphic novels and comic books present a visually engaging stroryline for the readers of all ages and class.

The development of computer generated graphics has made the representation of story through graphic novels much more interesting and attractive. Although there are cynics who cry hoarse over the growing popularity of graphic novels for children, the demand for graphic novels has been skyrocketing. There are in fact few other factors as well that fuelled this growth. For instance, Graphic novels are easily comprehensible even for kids who otherwise struggle to read or write conventional reading books.

Why hate Graphic Novels for Children?
The main criticism against graphic novels is that they take the fizz out of your own imaginative ride through the fantasy world of fiction. But do you think the modern children would care a bit for such serious thoughts when they have got 3d animation studio and cartoon sketches powered graphic novels that combine narrative with computer generated illustrations of picture books and convey a story using sequential art in experimental computer generated design or in a traditional comic book format.

The growth saga of Graphic Novels for Children
Although the genesis of such graphic novels is disputed, its universal appeal over the ages has always excited readers of all ages. Cave paintings and illuminated manuscripts in Middle Ages are often loosely considered to be the precursors to modern graphic novels for children. Even the immensely popular old comic books for children in 1920s meant to narrate stories through sequential graphic designs and cartoon sketches. But the term Graphic novels found its way in modern literary lexicon in 1970s only. However, the introduction of 3d animation software and modern free flowing graphic designs led a dramatic turnaround in graphic novel segment. After being scorned-off for ages as non-serious comic stories for kids, it has been lately recognized as a critical component of literature for kids. Libraries across the world have nowadays piled up graphic novels and graphic design books for kids.

Growing up in the 1960′s and 1970′s in England one of my favourite things was buying and reading comics. My favourite comic’s were Valiant, Victor, Shiver and Shake which were ones with War Stories, Horror stories or Science fiction stories.

In the 19th century, story papers (containing illustrated text stories), known as “Penny Dreadfuls”due to their cover price, served as entertainment for British children. Full of close-printed text with few illustrations, they were essentially no different to a book, except that they were somewhat shorter and that typically the story was serialised over many weekly issues in order to maintain sales.

These serial stories could run to hundreds of instalments if they were popular. And to pad out a successful series, writers would insert quite extraneous material such as the geography of the country in which the action was occurring, just so that the story would extend into more issues. Plagiarism was rife, with magazines pirating competitors’ successes under a few cosmetic name changes.

Apart from action and historical stories, there was also a fashion for horror and the supernatural, with epics like Varney The Vampire running for years. Horror, in particular, gave rise to the epithet penny dreadful. Stories featuring criminals such as ‘Spring-Heeled Jack’, pirates, highwaymen (especially Dick Turpin), and detectives (including Sexton Blake) dominated decades of the Victorian and early 20th-century weeklies.

Comic strips – stories told primarily in strip cartoon form, rather than as a written narrative with illustrations – emerged only slowly. Ally Sloper’s Half Holiday (1884) is reputed to be the first comic strip magazine to feature a recurring character, and the first British comic that would be recognised as such today. This strip cost one penny and was designed for adults. Ally, the recurring character, was a working class fellow who got up to various forms of mischief and often suffered for it.

In 1890 two more comic magazines debuted before the British public, Comic Cuts and Illustrated Chips, both published by Amalgamated Press. These magazines notoriously reprinted British and American material, previously published in newspapers and magazines, without permission. The success of these comics was such that Amalgamated’s owner, Alfred Harmsworth, was able to launch The Daily Mail and The Daily Mirror newspapers on the profits.

Over the next thirty years or so, comic publishers saw the juvenile market as the most profitable, and thus geared their publications accordingly, so that by 1914 most comics were aimed at eight to twelve year olds.

The period between the two wars is notable mainly for the publication of annuals by Amalgamated Press, and also the emergence of DC Thomson launching both the Beano and the Dandy in the late 1930s, as previously noted.

During the Second World War the Beano and Dandy thrived, due to the wartime paper shortage which forced many rival comics to close. It is these two titles, more than any other, that have come to define a comic in the British public’s mind. Their successful mix of irreverence and slapstick led to many similar titles, notably Topper and Beezer. However the originators of this format have outlasted all rivals, and are still published today.

During the 1950s and 1960s the most popular comic magazine for older age-group boys was the Eagle published by Hulton Press. The Eagle was published in a more expensive format, and was a gravure-printed weekly. This format was one used originally by Mickey Mouse Weekly during the 1930s. The Eagle’s success saw a number of comics launched in a similar format, TV Century 21, Look and Learn and TV Comic being notable examples. Comics published in this format were known in the trade as “slicks”. At the end of the 1960s these comics moved away from gravure Printing, preferring offset litho due to cost considerations arising from decreasing readership.

By 1970 the British comics market was in a long term decline, as comics lost popularity in the face of the rise of other popular pastimes for children. Initially the challenge was the rising popularity of television, a trend which the introduction of colour television to Britain during 1969 set in stone. In an effort to counter the trend, many publishers switched the focus of their comics towards television-related characters. The television shows of Gerry Anderson had begun this in 1966 with the launch of tie-in comics such as TV21 and Lady Penelope that included only strips related to Anderson’s TV shows. Polystyle Publications already published a TV-related comic for young children called TV Comic, and in 1971 moved into the older market with Countdown (later retitled TV Action).

The teenage market saw Look-In magazine feature strips solely based on popular television programmes. Another strand of the reaction to television was the launch of comics focused entirely on football (soccer being as popular as television amongst boys), with titles such as Shoot and Scorcher and Score. Those comics which didn’t address the issue of television began to close, merging with the few survivors.

However, the boys adventure comic was still popular, and titles such as Valiant and Tiger

Published by IPC saw new adventure heroes become stars, including Roy of the Rovers who would eventually gain his own title. Oldham Press was a company which mainly printed new material that was adventure oriented.

In the 1970s very few boys’ comics in the “slick” format were launched, although Countdown was one exception, launching in 1971 with content similar to TV 21 (which had closed by then) and TV Comic. Vulcan, a reprint title, was another, in 1976. Girls’ titles which had launched in the “slick” format in the 1960s continued in that format into the 1970s; and others, such as Diana and Judy, changed to become slicks. They found themselves in the same market as teenage titles for girls such as Boyfriend and Blue Jeans, which had changed their content and were featuring mainly product-related articles and photo-strips.

Viz began life in 1979 as a fanzine style publication, before, in 1989, becoming the biggest selling magazine in the country. Based upon bad taste, crude language, crude sexual innuendo, and the parodying of strips from the dandy (among them Black bag – the Faithful Border Bin Liner, a parody of The Dandy’s Black Bob series about a Border Collie), the popularity of Viz depended entirely upon a variant of Sixties counter-culture; it is still one of the United Kingdom’s top selling magazines.

The Star Wars magazine lasted into the late 1980s, although it changed its name in line with each movie release. In 1982 The Eagle was relaunched, this time including photo-strips, but still with Dan Dare as the lead story. The comic moved him from the front page to the centre pages to allow a more magazine-style cover.

In the 21st Century there have also been changes in the comics market with a growth in home-grown Graphic Novels and Manga.

There have been hundreds of comics in the UK, including the following A to Z:

2000 AD (1977–current)

Action (1976–1977)

Adventure (1921–1961)

Air Ace Picture Library (1960–1970)

Andy Capp (1957–current)

Battle Picture Weekly (1975–1988)

The Beano (1938–current)

BeanoMAX (2007–current)

Bear

The Beezer (1956–1993)

Bella

The Big One (1964–1965)

Birthrite (1989–1990)

The Boy’s Own Paper (1879–1967)

Boys’ World (1963–1964)

Bullet (1976–1978)

Bunty (1958–2001)

Buster (1960–2000)

Buster Classics (1996)

Buzz (1973–1975)

BVC (1995)

The Champion

The Chatterbox

Cheeky (1977–1980)

Classics from the Comics (1996–current)

Cometman (1951–1956)

Comic Cuts (1890–1953)

Commando Comics (1961–current)

Cor!! (1970–1974)

Countdown (1971–1972)

Cracker (1975–1976)

Crisis (1988–1991)

The Dandy (1937–current)

Deadline magazine (1988–1995)

The DFC (2008–2009)

Dice Man (1986)

The Eagle (1950–1969) and (1982–1994)

Fantastic (1967–1968)

Film Fun (1920–1962)

Funny (1989-early 1990s)

Fun Size Beano (1997–current)

Fun Size Dandy (1997–current)

The Gem (1907–1939)

Girl (1951–1964) and (1981–1990)

Giggle (1967–1968)

Heven & Hell (1990)

Hoot (1985–1986)

Hornet (1963–1976)

Hotspur (1933–1981)

Illustrated Chips (1890–1953)

Jackpot (1979–1982)

Jack and Jill (1885–1887) and (1954–1985)

Jackie (1964–1993)

Jet (1971)

Jinty (1974–1981)

The Judge Dredd Megazine (1990–current)

Judy

Knockout (1939–1963) and (1971–1973)

Krazy (1976–1978)

Linzy & Charcol (2006)

Lion (1952–1974)

Look and Learn (1962–1982)

The Magic Comic (1939–1941)

The Magnet (1908–1940)

Mandy (1967–1991)

Mickey Mouse Weekly (1936–1955)

Mirabelle (1956–1977)

Misty (1978–1980)

Monster Fun (1975–1976)

Night Warrior (2005–current)

Nikki (1985–1988)

Nipper (1987)

Nutty (1980–1985)

Oink! (1986–1988)

Picture Politics (1894–1914)

Picture Fun (1909–1920)

Pippin (1966–1986)

Plug (1977–1979)

Poot! (2009–current, 1980s–1990s)

Pow! (1967–1968)

Prehistoric Peeps (1890s)

Puck (1904–1940)

Radio Fun (1938–1961)

Rainbow (1914–1956)

Revolver (1990–1991)

Robin (1953–1969)

Romeo (1957–1974)

Roy of the Rovers (1976–1993)

Sandie (1972–1973)

School Fun (1983–1984)

Scream! (1984)

Sgt. Mike Battle (2001–current)

Shiver and Shake (1973–1974)

Smash! (1966–1971)

Smut (1989–current)

Sonic the Comic (1993–2002)

Sparky (1965–1977)

Speed (1980 when merged into Tiger)

Spellbound (1976–1978)

Spookhouse (1990)

Starlord (1978)

Star Wars (Weekly) (1978–1986)

The Swift (1954–1963)

Tammy

Tank Girl

Terrific (1967–1968)

Thunder (1970–1971) and (to 1974 with Lion)

Tiger (1954–1985 when merged into The Eagle)

Tiger Tim’s Weekly (1920–1940)

Tina (1967)

The Topper (1953–1990) and (to 1993 with Beezer)

Tornado (1978–1979)

Toxic! (1991)

Trixton (2005–2007)

Tube Productions (2005–Present)

TV Action (1972–1973)

TV Century 21 (1965–1971)

TV Comic (1951–1984)

Twinkle (1968–1999)

Valentine (1957–1974)

Valiant (1962–1976)

Victor (1961–1992)

Viz (1979–current)

Vulcan (1975 to 1976)

War Picture Library (1958–1984)

Warlord (1974–1986)

Wham! (1964–1968)

Whizzer and Chips (1969–1990)

Whoopee! (1974–1985)

Wonder (1942–1953)

Wow! (1982–1983)

Zit (1991–2002)

Please visit my Funny Animal Art Prints Collection @ http://www.fabprints.com

My other website is called Directory of British Icons: http://fabprints.webs.com

The Chinese call Britain ‘The Island of Hero’s’ which I think sums up what we British are all about. We British are inquisitive and competitive and are always looking over the horizon to the next adventure and discovery.

Copyright © 2010 – 2011 Paul Hussey. All Rights Reserved.

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