The exciting conclusion to the psychological thriller, based on the manga written and illustrated by Sakae Esuno, is about Yuki, a loner who's not very good with people. He prefers to write a diary on his cell phone and talk to his imaginary friend, Deus Ex Machina – The God of Time and Space. However, Yuki soon learns that Deus is more than a figment of his imagination when he makes Yuki participate in a battle royale with eleven others. The contestants are given special diaries that can predict the future, each diary possessing unique features that give it both advantages and disadvantages. Within the next 90 days, the contestants must try to survive until there is only one left standing. The winner will become the new God of Time and Space.
Matt Kamen follows the white rabbit in this brutal prison saga
After an environmental disaster ravages Tokyo, three quarters of the city is wiped from the Earth. What’s left of the once-bustling metropolis is re-developed into Japan’s largest prison, a privately owned concern known as Deadman Wonderland, that forces inmates into sadistic carnival shows for bloodthirsty spectators. To force participation, prisoners are collared with a device that slowly poisons them, a lethal dose building up over three days unless they eat a foul-tasting piece of candy to purge their system and reset the timer. The prison’s chief warden Makina is a no-nonsense ball-buster who never hesitates to punish insubordination or misbehaviour, often with a slash of her lethal sword.
Spoilers for part one ahead, as Andrew Osmond gets timey-wimey
The show’s finale is squarely in anime traditions, combining heartfelt child-parent reunions, a boy’s resolution to ‘lift the curse’ of his origins, and an orgasmically explosive deus ex machina that lets a character write the end he wants – one that happens to have shades of another Gainax anime classic, Gunbuster. There’s fanservice for you!
Andrew Osmond on the history of man-machine interfaces
RoboCop is thrown into interesting perspective by looking at his anime cousins. In Japan, RoboCop is one of a crowd. Two of anime’s greatest poster icons – Motoko Kusanagi in Ghost in the Shell and Tetsuo in Akira – are or become cyborgs. Moreover, a man-turned-robot was an anime hero back in 1963. We’re talking about 8th Man, shown in America as Tobor the Eighth Man. It’s a policeman who, yes, gets murdered by a crime gang, then resurrected in a robot body.
Paul Browne on the bombastic opener for the fan-favourite anime
Based on Hajime Isayama’s manga series, Attack On Titan has inspired TV adverts, a live action adaptation and, more recently, a crossover with Marvel comics that will see the titans battling the likes of Spider-Man and The Avengers on the streets of New York.
Andrew Osmond on why the Kaguya director deserves an Oscar
On February 22nd, The Tale of the Princess Kaguya, directed by Isao Takahata, will compete at the eighty-seventh Academy Awards. It’s a moment long overdue. Takahta has been called the Ozu of animation; it’s a medium he’s worked in since 1959, making both rarefied artworks and nationally-beloved favourites.
Babystars may want to change their name; Two of the remaining members are now pushing towards 40-years of age, making them more middle-aged than babies. As for being stars, a lot has changed since their debut back in 2002…
Tom Smith on the Britmaniacs behind the Naruto theme.
They’re so loud and proud that they insist on writing it all in caps: ASIAN KUNG-FU GENERATION – possibly one of Japan’s most important alternative rock acts. The group’s tenth single ‘After Dark’ makes for the energetic, guitar-heavy opening theme to the latest volume of Bleach, released in the UK this month, and the group’s sound might at first seem reminiscent of America’s indie scene dashed with elements of punk, it actually has a lot more in common with The Who, their generation, and the sea of British-based guitar heroes that have appeared since.