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.
Jonathan Clements on the movie that turns anime on its head
Boy-meets-girl has never been so strange as in this feature, in which the leads must literally cling to each other or fall away to an uncertain fate. Patema Inverted winningly plays with matters of spatial awareness, perspective and weight, regularly flipping its angles until the viewer literally can no longer remember which way is truly up.
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 catches the live-action premiere of Hitoshi Iwaaki’s Kiseiju
The Tokyo International Film Festival closed with the live-action Parasyte, a superb blend of SF, comedy and primarily horror, where the levity of the early scenes freezes into a drama with an ice-cold alien grip.
Arthur Rankin Jr, who died last Thursday, was not often thought of in connection with Japanese animation, though he played a major part in its history. In America, he’s best known as the co-founder of Rankin/Bass Productions. A stateside brand, the Rankin/Bass name is linked with handmade family cartoons as fondly as Oliver Postgate or Aardman are in Britain. But while the studio’s cartoons – especially the stop-motion Christmas classic Rudolph the Red-Nosed Reindeer (1964) – are evergreens, few people know their animation was Japanese.
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.”