Ichigo vs Aizen: let the showdown for the sake of the two worlds begin!
Humans and Soul Reapers realize their powerlessness against the astonishing might Aizen obtained through the Hogyoku.
They once again owe their salvation to Ichigo, back from his training between worlds. More mature and more power ful, has the young man really reached a new stage of his evolution? Will he finally match for the relentless Captain Aizen?
Tom Smith on Aqua Timez, the band from the Bleach 6.2 soundtrack.
Many of the artists who perform the many themes of Bleach can attribute their entry to mainstream success to the famous anime series. And if not to Bleach, then to anime in general. That was until the five-strong pop squad Aqua Timez entered the scene.
Tom Smith reports on YUI, the all-caps rock chick.
It’s been suggested that Japan’s singer, song-writing guitar chick YUI is her country’s answer to Avril Lavigne. Amid an industry manufactured and micro-managed to levels that make England’s best pop efforts seem amateur in comparison, she stands out as beacon of musical delight. For teenage girls, she’s proof that you don’t need to buy into the squeaky clean, plastic smiles of sickeningly sweet J-pop to be a successful female musician; for guys she’s the girl next door, and for anime fans she’s composed and performed themes in some of the most prominent series of recent years, including Bleach and Fullmetal Alchemist: Brotherhood.
Tom Smith on the band behind Bleach’s 14th Opening Theme
"The song is based on the singer’s own experiences of forming a band and the hardships endured while keeping the faith for a brighter future, with lyrics just vague enough that they could easily represent the struggles of Ichigo and pals, too."
It’s gratifying to see a generation of people so interested in hygiene – that must be why you’re lining up to buy a series called ‘Bleach’, right? If some orange haired janitor with a fancy mop (mop, magical talking death sword – whatever) excites you, hold on for these other heroes of the Japanese cupboard space!
“Try ‘n boogie, guns n’ tattoo” – there’s no greater embodiment of Kenichi Asai’s work than that opening line. As the words are dragged across the bluesy, rock n’ roll riff of Mad Surfer – the Japanese rebel’s song used as the 20th closing of Bleach – it’s difficult not to imagine smoke filled bars, motorcycles or leather jacketed misfits sporting hairdos your mother wouldn’t approve of.
Tom Smith on the band behind Bleach’s 21st Ending Theme
SunSet Swish held their first-ever live performance on Valentine’s Day 2004, at a small venue in Osaka Prefecture’s Hirakata city. A fitting introduction to the music world for a band whose claim to fame is having quite possibly the soppiest theme in Bleach history: ‘Sakurabito’.
Opening with a running fight down a freeway where anti-tank missiles and heavy vehicles are tossed around like party favours, the first episode never lets up, setting a standard that the show maintains throughout.
What's been added to the Black Flag spin-off comic?
You can never go wrong with pirates. There’s the romance of the open sea, and the rebellion of taking what you want, and the adventure of looking for buried treasure. And in the Japanese magazine Monthly JumpX, there is the massive marketing synergy of being able to put Assassin’s Creed IV on the cover.
Actually, Aesthetica should be called The New Boobfest where Girls Fight Monsters and Lose Panties, From The People Who Brought You Master of Martial Hearts, Queen’s Blade and the Ikki Tousen Franchise. That tells us where we are!
The director’s path from Sci-Fi London to Hollywood
“We pulled all our favourite moments from Akira and had this library of reference, so whenever we got stuck, or we ever felt like a sequence wasn’t inspired enough, or we didn’t know exactly how to give it that edge to made it feel as epic as we could, we would always thumb through the Akira imagery and suddenly get a wave of excitement or a new direction.”
Does the future of anime lie on the big screen, and if so, will developments in cinema exhibition technologies redefine its form, content and audiences in the digital age? These are questions many are asking as pundits declare conventional anime’s glory days to be a thing of the past.
Despite her great fame, her stage persona was so far removed from her everyday self that she was rarely recognised in the street. “It makes me happy,” she confessed, “that living in Japan has given me such a great opportunity to have a personal life and a professional life. But I never forget that I have a mother and two sisters back near Novosibirsk. I make sure to visit them every year.”
The Wolf Children is a family film about a family. This may help explain while Mamoru Hosoda’s movie was a hit in Japan, something that’s very unusual for a standalone cartoon film not linked to an entrenched brand. A well-rounded portrait of a family offers many ways in for different generations. The Wolf Children is the story of an unassuming ‘ordinary’ mum who must find reserves of superhuman strength; of a rambunctious girl and a troubled boy, each with different relationships to their animal sides; of a magic, mythic love between a human woman and a gentle werewolf; and of everyday, practical living away from city lights and mod-cons.
Andrew Osmond on the history of animation’s corner-cutting secret
Rotoscoping and its descendants are an important part of American cinema, and recognised today. Many film fans know, for example, that Gollum, Peter Jackson’s King Kong and the rebel anthropoid Cornelius in the Planet of the Apes reboot are all based on physical performances by one actor, Andy Serkis. Again, it’s common knowledge that the Na’vi aliens in Avatar were human actors ‘made over’ by computer – the digital equivalent of those guys wearing prosthetic foreheads and noses in the older Star Trek series.
One of the biggest, best and most jam-packed weekends of anime madness yet
“By focusing on 'Everything about Anime,' and 'offering more opportunities to experience animation,' we aim to create an event that can be enjoyed by people of all ages and that contributes to the future of animation.”