A video review of the 2013 anime film “The Wind Rises” from director Hayao Miyazaki.
A video review of the 2013 anime film “The Wind Rises” from director Hayao Miyazaki.
A video review of the 1995 anime film “Ghost in the Shell” from director Mamoru Oshii.
Examining the influential Shenmue franchise, from its ambitious beginnings to its controversial current status.
Robot Underdog is creating a Non-Profit, Spec Pilot Episode for a Live-Action Dragon Ball Z web series.
A video review of the 1998 anime film “Perfect Blue” from director Satoshi Kon.
A video review of the 2010 anime film “The Borrower Arrietty” by director Hiromasa Yonebayashi.
A video review of the 2011 anime film “From Up on Poppy Hill” by director Goro Miyazaki.
Details and information on the upcoming film The Dragon Prince from director Jesse Stipek and written by the producer of The Last Unicorn, Michael Chase Walker.
A video review of the 1986 anime film “Laputa: Castle in the Sky” by director Hayao Miyazaki.
A video review of the 1988 anime series “Akira” by director Katsuhiro Otomo.
A video review of the 1984 anime film “Nausicaa of the Valley of the Wind”. The film was directed by Hayao Miyazaki.
A video review of the 2007 anime film “Evangelion 1.11: You Are (Not) Alone”. The film was directed by Hideaki Anno, Kazuya Tsurumaki, and Masayuki.
A video review of the 2013 anime film The Garden of Words. The film was directed by Makoto Shinkai and produced by CoMix Wave.
A video review of the 2012 anime film “Evangelion 3.33: You Can (Not) Redo” by director(s) Hideaki Anno, Kazuya Tsurumaki, and Masayuki.
I think anime has really put itself out there as a viable media form and there is a lot of money and job opportunities that have arisen from the anime industry, both domestically and abroad. But, behind all the good and positive one has to wonder: why exactly is anime not selling?
In recent news, Adult Swim announced that Toonami would be making a comeback on May 26th, 2012. What started out as a simple April Fool’s joke ended up becoming much more as it led to an influx of protests and demands to bring back Cartoon Network’s beloved Anime Action block.
The basic premise of this piece is about how the approach to drama and performance in anime is what really sets it apart from not only other forms of animation but live action as well. It is a rather long piece referencing, in some cases specific scenes, classic films like “Potemkin”, “Citizen Kane”, and “Bambi” to recent animated fare like “Family Guy”, “Up”, “The Triplets of Belleville” as well as more modern live action films from “Raging Bull” and “The King’s Speech” to “United 93” and “Avatar.” In terms of anime, there is “Spirited Away”, “Clannad”, “NANA” and “Evangelion”, both the TV series and Rebuild movies.
Sometime around the first week of January, they announced a huge bombshell: That after the month of February they would no longer distribute any more new DVD, Blu-ray or manga. As a result, many upcoming releases were suddenly cancelled.
Now we are nearing the end of year 2010. Shounen is bigger than ever. The most popular anime/manga are usually of the shounen brand. However there is one problem—many of the shounen titles that were released around 10-15 years ago are still been talked about today. Not because people like to reminisce about these older titles—it’s simply because they still persist to this day.
With the possibility of a live-action Cowboy Bebop film in the near future, many fans of the series speculate on the results of such an endeavor. With a sense of uneasiness felt by fans throughout the world, fan creation ultimately provides an outlet to ease such fears, and in many cases, correctly show mainstream producers how it’s done. Director Roby Behrens has taken the initiative in this regard, delivering a fantastic homage to the classic series by re-enacting a famous scene from its very first episode.
A video review of the 2009 anime film “Evangelion 2.22: You Can [Not] Advance” by director(s) Hideaki Anno, Kazuya Tsurumaki, and Masayuki.
I know it might be presumptuous, but I believe that most Western anime viewers really don’t know much, if anything, about Japanese people and culture besides what is presented to them in anime and manga. Sure, it’s easy enough to look up why Japanese people write wishes on pieces of paper and hang them on trees for Tanabata, or what a tree leaf standing up in a cup signifies, but does anime and manga really give the average Western otaku an informed and accurate picture of Japan?
I recently got the opportunity to have a chat with Abe Speigel, who is directing The Nujabes Documentary: An Eternal Soul. The documentary chronicles the life of DJ/Producer Seba Jun “Nujabes”. Nujabes was one of the most prolific contributors to the background music and soundtracks of Samurai Champloo, and created a unique musical style that established him as one of the most original producers within Japan and throughout the world. On February 26, 2010, Nujabes was involved in a traffic accident in which he passed away. This documentary is a tribute to his life and talent within music.
Coming up at New York’s Japan Society, the 2010-2011 Monthly Classics series peers into the dark side of the classical repertoire of the late 1950s and 1960s: from Masaki Kobayashi’s Kwaidan (1965), Kon Ichikawa’s Fires on the Plain (1959), Kaneto Shindo’s Onibaba (1964) to Nobuo Nakagawa’s Hell (1960) and Kihachi Okamoto’s Sword of Doom (1966).
Whether it’s due project scope or simply studio politics, the possibility of a live-action Akira has always been a difficult route to maneuver. With the absence of big budget studios seemingly inconsistent on the production side of the film, this has led the gateway to be opened for many adventurous filmmakers and fans to fill in the void. One such director is Mark Tan, founder of Eye Tape Productions and creator of the Akira short film.
As an avid fan of Satoshi Kon’s work, I’m deeply saddened by his recent passing. He was one of my favorite directors from the Japan and I truly enjoyed the creative attitude he always integrated within his works. To state that Kon was a great artist is quite an understatement–he embodied every facet of what I felt an animation director should be.
With the newfound creation of an animation industry firmly established within Japan, the further exploring of what Anime could offer was being steadily more realized. Many genres were being integrated into the realm of animation during this period—especially that of the science fiction.
Exploring the realm of Japanese animation stretches back far and beyond from what we consider “animation” today. Henceforth, like any form or medium of artistic creation, its beginning stages can look quite different from its more modern end result. This series will take a look at the history of Japanese animation.
The dubbing of foreign media has always been something that has interested me. It’s really something I have not thought about for a while. I remember those old kung-fu films and how they were dubbed over in English as well as other foreign films too. It was a good way to introduce the product to a new audience. Nowadays though, you don’t see too many films being dubbed. Many are now subtitled to hold the original authenticity, themes and message. Another thing to consider is that it may be that the culture is more accepting than it was in 1980’s towards showcasing the original content.
As a fan of Japanese cinema, I feel it’s essential to support those who continually support the community in enriching and exposing Japanese cinema to an ever-increasing spectrum of viewers. With that in mind, the Japan Society in New York is going to be putting on their “Japan Cuts” Festival of Contemporary Japanese Cinema–which is now in their fourth consecutive year!
A friend and I were talking one day and suddenly we started talking a bit about anime. He was telling me about some of the anime he had picked up and was thinking of picking up next. We then proceeded to talk about the upcoming Dragon Ball Kai and this is when I asked him: “Are you going to get the Blu-ray?” He then looked at me like I was crazy and said: “Now why would do that?” Just like a sales pitch I tried to sell him on the higher resolution, better audio, etc. He then responded to me in a way I liked: “As if Anime is not already expensive why would I want to pay more for what is essentially the same thing?”
Half-breed warrior Nemuri (“Sleepy-Eyed”) Kyoshiro, the other most popular swordsman of all time (alongside Zatoichi), and the self-proclaimed “Son of the Black Mass,” was the archetypal anti-hero: dark, romantic and desperate! Widely considered to be the strongest entry in the wonderfully perverse and violent samurai Nemuri saga, The Sword of Seduction finds the shadowy outcast mixed up in a labyrinthine intrigue involving persecuted Christians, opium smuggling, a drug-addled princess, and a search for a holy Madonna!
Returning to his hometown in the hope of laying down his cane-sword and renouncing the wayward ways of his hack-and-slash life, Zatoichi reunites with his former sensei, in the throes of his own moral dilemma. Trouble is once again around the corner as a mysterious gang of marauders ravages the town, a fellow drifter thirsty for revenge lurks in the shadows, and a forbidden love threatens to stand between Ichi and his beloved mentor.
When one looks at Japan through the eyes of conflict, one can undeniably point to their history in relation to World War II. After the horrific Hiroshima and Nagasaki atomic bombings, Japan went through a stage of uncertainty, despair, and defeat as they went to pick up the pieces to rebuild their country.
Stemming from the earliest forms of editorial skirmishes into the subcultural realm of anime and manga, the focus of the print magazine has always been used as an essential tool to offer information covering an assortment of topics, nonetheless the areas of both anime and manga.