[Video] One-Punch Man Director Shingo Natsume (Part Two)
There's roughly two given rules in this universe; 100 push-ups, 100 sit-ups, 100 squats and 10km of running everyday will undoubtedly give you superhuman powers, and that anything Shingo Natsume touches will turn to gold. While the former may have it's negative side-effects (hair loss, for one), the latter has proven to be nothing but positive. From One-Punch Man to Fullmetal Alchemist: Brotherhood, and even series like Naruto: Shippuuden and Gurren Lagann, Shingo Natsume has played an important role in them all. So when the opportunity arose to personally sit down with Natsume himself, it wasn't something we were going to turn down.
In part two of our video interview series, Shingo Natsume discusses the formative roles that creatives such as Ayumu Watanabe, as well as Watanabe Shinichiro played on him, leading up to his work on One-Punch Man.
At one point or another, everyone takes guidance from another individual. Whether that be big or small, the information learned will often go on to shape various viewpoints and stances. Shingo Natsume was no exception, and it was through his gradual climb up through the ranks that he would go on to learn the things he did. During his work on series such as Doraemon, Tatami Galaxy, and even Space Dandy, Shingo explains that he took on everything those above him would teach. It was through those teachings that he would eventually go on to become a director himself.
Looking back with a laugh, Natsume reminisces on all the things he would change if working on Tatami Galaxy at his current level of knowledge. With the highest of respect for his creatives, he would also go on to discuss his fond appreciation for Watanabe Shinichiro's creative decisions, especially when choosing his staff for the animated projects he was directing.
If you're interested in checking it out, Shingo Natsume's latest directorial work, ACCA: 13-Territory Inspection Dept. can be streamed on Crunchyroll, here. The first part of our interview series with director Shingo Natsume can be found here.
In a recent interview with Japanese newspaper Nikeii, Capcom's CEO and Chairman Kenzo Tsujimoto discussed his desire to bring more of Capcom's expansive game catalog to the Nintendo Switch, including titles that had not previously been released on Nintendo consoles. The statement came after he admitted that the 'portable home console' nature of the Switch was working better than previously expected and that he would like to port more titles to it.
With a number of Capcom titles that have never seen the light of day on Nintendo consoles, including that of Devil May Cry, Dragons Dogma, and a number of others, it's certainly good news for the platform. With both Resident Evil and Street Fighter now on the console, as well as the upcoming Street Fighter 30th Anniversary Collection which hits stores in 2018, we're finally starting to see movement on Capcom's behalf towards Nintendo's monolith console.
It can be said with very little doubt in my mind that when it comes to the icons at the forefront of modern Japanese pop culture, the faces and crudely drawn middle fingers of both Popuko and Pipimi from Pop Team Epic are definitely up there. In what was almost an overnight revolution, the four-panel manga series went from niche nihilistic commentary on the world to nationwide sensation, remaining consistently relevant throughout the year 2017.
For many, the series is most identifiable by the 2015-released Line stickers featuring the manga's two main characters. For others, it's through the original 4-panel series that offered us wonders such as the classic "God of Eurobeat" panel. In early 2018, however, there's about to be a whole new realm explored in way of the series' accessibility and the fanbase it reaches.
With a January 6, 2018, release date scheduled (lest there be another sudden three-month delay), we're less than a month away from the much-anticipated Pop Team Epic anime. We're of course yet to see just how it'll look in any capacity, but we've finally got our first promo videos.
We're yet to receive our first glimpse at the anime in movement, and that only continues to raise a few questions. One particular detail that has me pondering is the studio handling it, Kamikaze Douga, have only been known in the past for their work on CG-anime. Does this mean we'll be seeing a full-CG anime to tackle the likes of both Popuko and Pipimi? If you're looking for an idea of what their previous and upcoming works look like, you might be familiar with a few of their previous works including the JoJo's Bizarre Adventure OP and the upcoming Batman Ninja film which we got a look at the other day.
Either way, there's a lot of excitement mounting for the upcoming anime series, and we can't wait to see how it turns out. If you're wanting to check out any previous info about the series, be sure to check out our archives, here. Further information can be found via the official website, here.
Images: Pop Team Epic / Bkub Okawa / King Records
After a world of anticipation following a global-first screening at Otakon 2017, followed by a subsequent Japanese cinema release, "Eureka Seven: Hi-Evolution 1" is finally heading to theaters across the United States via FUNimation Entertainment. The film is set to screen on both February 5 and 7, offering Japanese audio with English subtitles.The first of a three-part out-of-this-world experience, "Eureka Seven: Hi-Evolution 1" takes us on an adventure through the eyes of Renton Thurston, riding into the skies and pursuing a simple love in such urgent times of war. Taking viewers deeper than ever before into the mysterious "Summer of Love" phenomenon that happened prior to where the original series kicked off, "Eureka Seven: Hi-Evolution 1" is as visually and sonically charming as it is compelling.
Calling on much of the original staff from the 2005 animated series, including the likes of Tomoki Kyoda, Dai Sato, and Kenichi Yoshida, we can't wait for audiences in the United States to experience the trilogy's first film. For those of you interested in checking further into the film, as well as the screening locations, be sure to check out FUNimation's official website, here. We've also got a lengthy archive of content related to both the film, as well as scriptwriter Dai Sato available for your viewing pleasure, here.
Once upon a time between an alley leading into Nakano Sun Plaza and a local-branch of Yoshinoya, where a small pharmacist now stands, there used to be a timeless café by the name of Meikyoku Kissa Classic. Its leaning walls, old 78 RPM records, and horribly sweet coffee had been a haven for people wanting a reprieve from the overcrowded streets of Nakano for seventy glorious, long years.
The café was something special for a long list of reasons. Having survived the bombings of World War II and the endless decadence of the early 90’s, however, it was finally torn down in 2005 when owner Yoshiko Mimasaka passed away. (A second generation location has since opened in Koenji carrying over all of the furniture and records. You can look for Meikyoku Kissa Renaissance to find it.)
To this day, Classic is still one of my favorite spots in Nakano -- even a decade plus after its destruction. It represented many of the ward’s defining quirks. Tenacious, obsessive, obscure, mysterious, weird; it was a spot that defied time and space, almost as if it existed in a dimensional warp known only to the savviest of explorers. Nakano houses many of these worlds in its endless corridors and corners. A realm for every obsession, each more bizarre than the last. Nakano was where I was born, and Nakano is where I learned that the rest of the world is not Nakano.
Walking through Sun Plaza into Broadway is like crossing the threshold of the regular human world to that of uncontrollable fantasy. The brightly lit shopping strip at the front is squarely a spot for families and hungry weekenders, unremarkable save for maybe the density of pedestrians in this age of dying shotengais. However, as you reach the end of the strip, you may begin to notice a few fast-footed geeks striding defiantly against the crowd to reach the gates of Broadway.
There is a clear distinction that Broadway doesn’t reside in the same world from the get-go. A giant wall of rare doujins to the right, a used PC parts store to the left, and a general sense of eeriness to the dim lighting. Its still populated with people, but they seem to be here for a wholly different reason than the normals outside. You’ve just entered Broadway, the Holy Land of Subculture.
From the very beginning, the Broadway building was fraught with complications. A whole book can be written on this subject alone, but the long and short of it is that it cost ¥60,000,000 to construct (in 60’s money no less) and had a laundry list of people with a finger in the same pie. One of which was the children of a former Japanese General who committed suicide after the fall of Imperial Japan.
Incurring debt was like breathing air for the people attempting to maintain development, and construction had taken a large hit for it. With the grand design altered to favor both convenience and money for those involved, corridors inevitably turned into unintelligible spaghetti, with most corners leading to painful dead-ends. Storefronts are commonly hidden from pedestrians by random walls, and escalators and elevators are often placed in the most inconvenient locations for workers and customers alike. Its a far cry from what could have been.
This was the late 80’s and early 90’s, a time when money was flowing in uncontainable streams. Shinjuku and Shibuya were booming, absorbing cash flow like a parched sponge, thus sucking up revenue from most of the surrounding areas. No sane business owner would set up shop here, much less make a profit. The chaos within the walls was much too untamable, the world outside much too alluring. That was, of course, until rent prices were so low that one individual couldn’t pass up on the opportunity.
As those fortunate enough to have visited Nakano Broadway before may already know, a good 40% of the location is occupied by Mandarake, a used merchandise, and subculture haven. With a charming Kowloon-esque aesthetic and a penchant for scaring the life out of children, there's a whole lot to be said about the now legendary location.
Founded by Furukawa Masuzo in 1980, the former comic creator-gone-psychonaut entrepreneur clearly envisioned something incredible when he modestly borrowed the initial 6.5 square meter share space that would become Mandarake. Filled to the brim with old comics, signatures of famous creators, and animation cells, the visionary was able to capture the ease of access to creators in nearby locations and bring a bit of their magic to the general public. As patronage increased, the tiny store grew steadily until he was able to incorporate in 1987, spreading like wildfire into the surrounding unoccupied spaces. Once he obtained the main space on the third floor, the entire building breathed a new life never seen before.
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I remember it clearly, the first time I went up that escalator to the third floor in Broadway -- it was nearly 20 years ago. The sheer amount of information being presented to me in one moment was enough to give me a fever that night. Since then, I've been totally obsessed with the place. It was a dark portal to every material thing that I’d ever want to be around in life. Mandarake was a catalyst for every niche hobby to find purchase in at Broadway.
Stores that exclusively sold Warhammer 30k miniatures, weapon shops selling faux blades, tacky shirt stores, a dozen different branches of Recomints (now defunct), an arcade dedicated specifically to “poverty” fighting games, fashion doll stores, a real-deal military surplus store, a bookstore filled with poetry and leftist literature, a bookstore filled with really questionable pornography and more. It was the only place you could buy a rare Otomo Hiroyuki compilation comic, cross the path to get your fortune told, go upstairs to look at animation cells, and then go downstairs to the basement to get some bleeding edge Japanese fashion.
The stores were strange because that building was the only place where they could thrive without judgment, not because they had any notion of strange subcultures being cool. Just as that sentiment was starting to turn on its head, however, Murakami Takashi began his expansion into Broadway totally changing what it means to be a nerd in the modern age.
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As Meikyoku Kissa Classic was beginning to be torn down, Murakami Takashi was in the middle of his big foray into becoming the pop art legend he is today. His DOB series was a giant success, and his collaborations with figure maker and sculptor Bome regularly netted billions of dollars in the art market. He had rebranded nerddom as profitable, using Superflat aesthetics to validate the previously socially embarrassing past-time. Murakami was a household name in Japan; from Louis Vuitton to Kanye West, he had permeated the zeitgeist of the 00’s in a deep way.
One of the methods he used to retain a sense of currentness was to begin hiring prolific net illustrators and artists such as JNT, ob, and the now independent Chaos*Lounge crew to aid him in creating relevant work. In order to maximize the effectiveness of his new hires, Murakami opened Kaikai Kiki Gallery so that he could feature them and other internet-based artists in a fine art context, suddenly legitimizing an art form that was essentially no-brow. Something neither low for its subject matter or high for its commercial usability. Several new Murakami affiliated galleries and stores would pop up soon after, solidly ingraining his influence in the building. Almost overnight, Broadway becomes a hub for young artists and creators as a place to connect, research, and create.
Nakano Broadway is where I learned to be a creator as well as a consumer. Its a place where subcultures collide and new worlds are born, bringing waves of new appreciators with them. Its a place I sincerely want the best for, and god willing, a long and healthy lifespan. As it stands, the new Murakami developments are bringing in new customers from around the world, all of whom I hope grasped the magic of Broadway. Every dim corridor, every nonsensical corner of this building should be protected, and every weird soul that resides it celebrated.
May Nakano Broadway Live Ten Thousand Years.
Words by: Isaac Wong
It comes but once a year; held within the confines of the utopian-like city-state of Singapore, the largest anime convention within its entire region -- C3 Anime Festival Asia Singapore. It's a convention with much to offer, but perhaps the most alluring being the multi-day spanning "I Love Anisong" concert event. This year's event, in particular, was something special; calling on the likes of ClariS for their first international performance, as well as the likes of fripSide, and Konomi Suzuki. We'll get back to that last name in a second.
Being at the convention under the "press" moniker, I was given the unique opportunity to interview the extremely talented Konomi Suzuki, perhaps best known for her works on the "No Game No Life," "Re:Zero − Starting Life in Another World," and the "The Pet Girl of Sakurasou " theme songs. The barely twenty-one-year-old superstar has had quite the expansive career, spanning all the way back to when she won the 5th Anison Grand Prix in 2011 -- a competition designed to highlight the best within the field.
Sitting down with the anison icon, we discussed a number of topics ranging from her expansive career as a musician, all the way to her advice towards younger musicians looking to get into the field. You can find the full interview below:
I want to give a special thank you to Anime Festival Asia, and in particular for them allowing us to conduct this interview. On top of this, I want to offer my eternal gratitude to Konomi Suzuki for being such a genuine and nice individual while taking the time to answer our questions. If you're interested in checking out any of our previous industry interviews, you can find them here.
It's a pleasure to speak to you today! Firstly, how do you feel about this year’s C3 AFA Singapore?
I went to C3 AFA last year too, so I’m very happy to be back for a second time. Besides this event, Singapore is a city that is very special to me personally; I actually came here as a student on a school trip whilst studying. I'm beyond happy to have the opportunity to perform here!
When it comes to songs you've performed, you specifically stated that "DAYS of DASH," the ending theme to "The Pet Girl of Sakurasou," is memorable to you. Can you tell us a little bit about why this is?
When "The Pet Girl of Sakurasou" originally came out, I was still studying as a full time student. I felt like I could really relate with the characters within the show. "The Pet Girl of Sakurasou" is partly about running towards your dreams, and with "DAYS of DASH" being the second single, I put myself together in with the characters. It had not been that long since my debut, so it really felt like running towards a dream is what I was doing!
When working on the theme song for "No Game No Life: Zero," the incredible "THERE IS A REASON," how did you find the creation process?
When I saw "No Game No Life: Zero," I was actually in the audience with everybody else. On top of that, I was actually crying alongside everybody else. As a song, "THERE IS A REASON" is definitely very different to what I'm used to -- especially being more of a ballad than usual.The song certainly focuses on the love the characters have for one another, so I put a whole lot of raw emotion into the track.
You are the voice actress for one of the main roles in the upcoming anime "Lost Song." Can you tell us a little bit about your character?
Rin loves singing and she also loves to eat! Throughout the show you’ll see that her dream is to sing in a place called Oto. As "Lost Song" progresses, Rin meets more people and gains more experiences, so you witness a lot of her growth as a person. Please look forward to both Rin and "Lost Song!"
Do you perform any sort of good luck ritual before a concert?
I usually get really nervous before concerts, and it often gets to the point that the night before I can’t sleep and, on the day, I can’t eat. So I alway ask someone on my team to slap me on the back, really hard. That way, all the nervousness can get out of my body. After this is done, I feel like I can focus and do my best during my performance!
In the early years of your career, did you encounter difficulty while establishing yourself in the industry?
When I started off my music career it was very fun, however, there were a lot of hardships too. It was the same for me as it is for anyone starting off on a new venture. For example, when I was recording, it sometimes didn’t go as well as I would have hoped. Sometimes it was frustrating and, sometimes, I did cry quite a bit. But, because of that, songs have been created from all of those kinds of experiences. As an artist, you constantly have to keep up to ensure that you can share your work with the world. It is difficult, but I strive for a good balance.
Drawing from your experiences in the past, do you have any advice for young aspirational artists who want to try and work towards a career related to their creative passion?
If you think about it, realistically, pursuing your passion or dream is something very difficult. The key is to not fear that difficulty, simply put. Keep tackling it, and keep moving forward. When I first became a singer, I found that this was one dream I was able to take control of. But from that, I realised that I have so many more dreams! Pursuing dreams is something that we never stop doing. For those chasing their ambitions, my advice is to never give up. Ask yourself "Do you love what you’re doing?" If you do, then it is special to you and you should keep working on getting to where you want to be.
Finally to cap things off, are there any artists who you would like to collaborate with in the future?
The reason why I decided to pursue a career as an anison singer was because of Macross Frontier. If an opportunity arises, I would love to work with Sheryl Nome (voiced by Aya Endou) because she is someone who kickstarted my career.
Words & Interview: @AnimeRuss
Images used with permission from C3 Anime Festival Asia Singapore
The highly-competitive landscape of digital advertising is truly a dog-eat-dog world for the mega-corporations that operate within our digital frontier. Companies are seemingly giving it their all to ensure that their brand comes across the sassiest, as shown by the likes of the Wendy's, or even the most creative, as represented by the likes of Arby's. Well, now Adobe is stepping forward with their own take on the social media game, introducing their new chief advertiser: Maru the Shiba Inu.
However this ends up going down for Adobe, we're definitely excited to see how it all paws out. To celebrate their newfound employee, they're currently running a design contest for a New Year's card featuring the small friend. By visiting the official website you can download your own template to get right into it. Here's a little picture of Maru being a good friend sitting in on one of the business meetings during the design of his very own New Year's card:
In celebration of the upcoming Year of the Dog, Adobe Systems has gone ahead and appointed the ever-important role of chief-advertiser to the incredibly Instagram famous good boy. With a little over 2.6 million followers on the Instagram platform, Maru is far from your ordinary dog. Tackling the role previously filled by clearly lesser humans, Maru is the perfect ambassador for more dog roles in the industry. In 2013 the fluffy entrepreneur proudly boasted his job to be enjoying the beach, though now he's clearly stepped it up in the professional business world:
P.S. If my New Year's card doesn't have Maru on it, I probably won't be hanging it up. Sorry.
In a Blue Bombshell of an announcement, Capcom has announced that they are continuing Mega Man's legacy, and that they are doing so in an exciting new 2.5D style.
The announcement of Mega Man 11 was part of a livestream for the series' 30th anniversary. The new game will feature character designs by veteran character designer Yuji Ishihara. The game will be launching for the Nintendo Switch, PlayStation 4, Xbox One and PC at the end of 2018. Check out the trailer below.
It seems that we can now finally forget about Mighty Number 9, as the true Blue Bomber is back to claim his rightful throne -- even if that is a strange thing to say considering that series creator Keiji Inafune worked on Mighty Number 9 and presumably not on this title.
More information is slated to be revealed next Summer, but the trailer does certainly put some big gameplay tidbits on display, including the all-important powers. That block raining power? Just beautiful!
Finally, in addition to the new game announcement, the company also revealed that the Switch, PlayStation 4, Xbox One and PC would also be receiving all of the Mega Man X series games, and that the Switch will also play host to a release of Mega Man Collection 1 and Mega Man Collection 2 featuring the classic originals, complete with amiibo support.