Hope’s Peak Academy is an exclusive private school that only accepts the best of the best. Graduates of this elite – yet enigmatic – institution have the world at their fingertips, but getting a cap and gown is easier said than done. The hallowed halls are ruled by the sadistic administrator Monokuma, who declares that the only way to pass the class is by sending a fellow student home in a body bag. If you can get away with murder, you’ll get your diploma. But if you’re caught red handed, you’ll find yourself on the receiving end of a deadly detention slip! When your principal is psychotic and your finals are fatal, high school goes from being the best years of your life – to your last.
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.
The Japan Foundation’s annual touring film programme is back for another year, and kicking off at London’s Institute of Contemporary Arts at the end of the month. Now in its tenth iteration, the season offers audiences across the UK an insight into Japan and its cinema by way of a wide-ranging and accessible selection of titles assembled under a certain theme. This year, that theme is youth, with the eleven-film ‘East Side Stories: Japanese Cinema Depicting the Lives of Youth’ programme travelling to eight venues across England, Scotland and Northern Ireland from 31 January to 27 March.
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.)
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.
Culture shocks and military musings, in Gen Urobuchi's hard-hitting anime
"It’s an interesting time to have a hero with a militarist outlook. This blog has discussed the arguments over the alleged political content in the blockbusting Attack on Titan and Ghibli’s film The Wind Rises. In both cases, the controversies connects to Japan’s own militarist past in the 1930s and ‘40s, and the spectres they conjure up in countries round the world; of Japanese kamikaze pilots, of torturers ruling POW camps, of the so-called “banzai charges” of soldiers sworn to die for their Emperor."
By the time Fairy Tail Part 9 hits the shops here, the J-pop band responsible for its ending theme will be fast approaching their second anniversary – of breaking up! Though, this particular writer can’t help but think Fairy Tail may have had something to do with the band’s demise…
Evangelion started as Neon Genesis Evangelion, a 26-part TV serial in 1995. It used a familiar Japanese plot template: the teenage boy who drives a giant robot (or in Eva’s case, cyborg), using the huge and frightening body to fight monsters and save Earth. The lyrics of the TV song express the myth. “Like an angel without a sense of mercy / Rise young boy to the heavens as a legend!”