LONDON: One of the most notable happenings at Apple’s event for developers on Monday is likely the iPhone maker’s tweak that will keep its autocorrect feature from annoyingly correcting one of the most common expletives to “ducking.”
“In those moments where you just want to type a ducking word, well, the keyboard will learn it, too,” said Craig Federighi, Apple’s software chief.
The iPhone keyboard autocorrect feature has always had its quirks, sometimes taking a misspelled word while texting and substituting what it deems a logical option that ends up changing the meaning of a particular phrase or sentence.
Such occurrences generally produce follow-up texts along the lines of “damn autocorrect!” But the “ducking” substitution is a long-standing source of mirth or frustration, depending on how many times one has had to rewrite their own texts or scream at one’s own device (the iPhone cannot correct one’s verbal epithets).
Apart from the texting tweak, the company had a lot on its agenda — an expensive new mixed-reality headset, details on a revamping of its desktop and a laptop revamp.
Apple shares hit an all-time record Monday, putting the company’s market valuation just shy of $3 trillion, which would also be a record. Its gains of 280 percent over the past five years clearly demonstrates the power of the iPhone’s market share.
Of course, iPhone users have always had the option to turn off the autocorrect feature on their phones, which would allow its foul-mouthed users to be as profane as they want.
About ducking time: Apple to tweak iPhone autocorrect function
https://arab.news/c9gsz
About ducking time: Apple to tweak iPhone autocorrect function
- Texting tweak to stop changing some of the most common expletives
To infinity and beyond: Grendizer’s 50 years of inspiring Arabs
- 50 years after its creation, the Grendizer anime series continues to capture Arab imagination
- Arab News Japan speaks to creator Go Nagai, Middle Eastern fans and retells the story behind the UFO Robot tasked with protecting our planet
LONDON: Few cultural imports have crossed borders as unexpectedly, or as powerfully, as Grendizer, the Japanese giant robot that half a century ago became a childhood hero across the Arab world, nowhere more so than in Saudi Arabia.
Created in Japan in the mid-1970s by manga artist Go Nagai, Grendizer was part of the “mecha” tradition of giant robots. The genre was shaped by Japan’s experience during the Second World War, and explored themes of invasion, resistance and loss through the medium of science fiction.
But while the series enjoyed moderate success in Japan, its true legacy was established thousands of kilometers away in the Middle East.
The anime “UFO Robot Grendizer” arrived on television in the region in 1979, dubbed into Arabic and initially broadcast in Lebanon during the Lebanese civil war. The story it told of the heroic Duke Fleed, a displaced prince whose planet had been destroyed by alien invaders, struck a chord with children growing up amid regional conflict and occupation by Israel.
Its themes of defending one’s homeland, standing up to aggression and protecting the innocent were painfully relevant in the region, transforming the series from mere entertainment into a kind of emotional refuge.
Much of the show’s impact came from its successful Arabization. The powerful Arabic dubbing and emotionally charged voice-acting, especially by Lebanese actor Jihad El-Atrash as Duke Fleed, lent the show a moral gravity unmatched by other cartoons of the era.
The theme song for the series, performed by Sami Clark, became an anthem that the Lebanese singer continued to perform at concerts and festivals right up until his death in 2022.
By the early 1980s, “Grendizer” had spread across the Middle East, inspiring fandoms in Saudi Arabia, Kuwait, Iraq and beyond. For many, it was not only their first exposure to anime, it also delivered lessons on values such as justice and honor.
Grendizer was so influential in the region that it became the subject of scholarly research, which in addition to recognizing the ways in which the plight of the show’s characters resonated with the audience in the Middle East, also linked the show’s popularity to generational memories of displacement, particularly the Palestinian Nakba.
Half a century later, “Grendizer” remains culturally alive and relevant in the region. In Saudi Arabia, which embraced the original version of the show wholeheartedly, Manga Productions is now introducing a new generation of fans to a modernized version of the character, through a video game, The Feast of The Wolves, which is available in Arabic and eight other languages on platforms including PlayStation, Xbox and Nintendo Switch, and a new Arabic-language anime series, “Grendizer U,” which was broadcast last year.
Fifty years after the debut of the show, “Grendizer” is back — although to a generation of fans of the original series, their shelves still full of merchandise and memorabilia, it never really went away.
