Several hundred years ago, humans were nearly exterminated by giants. Giants are typically several stories tall, seem to have no intelligence, devour human beings and, worst of all, seem to do it for the pleasure rather than as a food source. A small percentage of humanity survived by enclosing themselves in a city protected by extremely high walls, even taller than the biggest of giants. Flash forward to the present and the city has not seen a giant in over 100 years. Teenage boy Eren and his foster sister Mikasa witness something horrific as the city walls are destroyed by a super giant that appears out of thin air. As the smaller giants flood the city, the two kids watch in horror as their mother is eaten alive. Eren vows that he will murder every single giant and take revenge for all of mankind.
This is the burning question for Attack on Titan fans, and it’s certainly not answered in the second volume of the anime series. Rather, Volume 2 shows a world which is still in the process of expanding, bringing on a great many vivid new characters – and arguably the most vivid of all isn’t even a human, but a sexy woman Titan who stomps all over the series.
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.
You know Tokyo; you know Neo-Tokyo. Now welcome to San Fransokyo, the mashup metropolis imagined by Disney’s CG cartoon Big Hero 6, released in British cinemas today. It’s a city where the Golden Gate Bridge sports Shinto gates, where ramen bars and lucky cats are as common as Victorian residences and hill-climbing trams. All this is the stage for a team-superhero adventure, which is itself window-dressing for the tale of a grieving boy and a gentle, huggable, cushion-soft robot.
The hyperrealism of the “cartoon” Akira and the cartoonishness of the live-action Tetsuo struck Western viewers unaccustomed to such mould-breaking cinema with equal force, and it is no real surprise to note that Manga Entertainment was responsible for the subsequent releases of both Tsukamoto’s big-budget colour rerun of his debut, Tetsuo II: Bodyhammer (1992) and his later Tokyo Fist.
The new Manga Entertainment podcast includes a discussion of legitimate anime streaming sites – in other words, the ones that send money to the Japanese studios which make anime, thereby supporting the industry. (Rather than the other streaming sites, which just steal anime and make it less likely there’ll be anime to steal in the future.)