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Interview

Interview with Cowboy Bebop Creator Watanabe Shinichiro

October 11, 2017 12:00pm
by Tatsuya Yamashita, Lachlan Johnston & Mike Tamburelli

Within the world of Japanese animation, there are few individuals more prolific than Watanabe Shinichiro. This fact has become so prevalent in fact, that the term ‘anime’ has almost become synonymous with a majority of his series — many citing shows such as “Cowboy Bebop,” “Samurai Champloo,” and even his more recent “Space Dandy” as their introduction to the world of Japanese animation. As such, the opportunity for us to spend the evening with such an influential creator wasn’t something to be taken lightly, and over a series of both text and video interviews, we’ll be dwelling deep into the mind of Watanabe Shinichiro.

Sitting down with Watanabe, we spoke about his upbringings in the anime industry, as well as looked back at his long-history of creations and ideas. You can find our full text interview below:

OTAQUEST: Watanabe Shinichiro, it’s a pleasure to have you here. Kicking things off, you originally found your footing in the industry as an anime producer at ‘Nippon Sunrise.’ Of all the other active studios existent during that time, why was it you chose to work there? 

Watanabe: I felt like Sunrise was a studio that actively sought to animate original works, rather than adaptations of pre-existing manga series. If I was going to get into the animation industry, I wanted to create my own works rather than adopting someone else’s series.

OTAQUEST: Up until you joined Sunrise, were you studying anime production?

Watanabe: I self-studied pretty much everything I know about movie production and direction on my own accord. I read plenty of books on both film techniques and technology, where I then learned basics such as the 180-degree rule of camera positioning, frame-right, and frame-left. 

As for storyboarding, I learned a lot of that after entering the industry by looking at and mimicking the works of others. There was no proper education system to instruct directors in the anime industry at the time.

OTAQUEST: During that early period of time, were their any creatives who really caught your attention?

Watanabe: Kazuki Akane was kind of a friendly rival of mine — he originally debuted as a director with “The Vision of Escaflowne” at Sunrise in 1996. Even now we occasionally help each other out with projects.

OTAQUEST: Were there any anime directors that you derived a lot of inspiration from, or even those from whom you took reference from?

Watanabe: The director whom I have taken the most personal inspiration from would have to be Masaaki Osumi, who worked on the original “Lupin the Third” TV series. When the series debuted, it had a very adult tone and feel, which wasn’t bringing in the desired ratings, so he was removed from the project. He also assisted in directing the TV series “Moomin,” and it wasn’t until I myself became an adult that I realized he worked on both. 

Since entering the anime industry, I also found myself influenced by Ryousuke Takahashi, who was a part of Sunrise’s third studio and best known for his work on “Armored Trooper VOTOMS.” I learned from him that I shouldn’t rely solely on my own ability to create — I needed to learn to rely more on my staff and their abilities, all while fostering their skills at the same time. For a job done as a team, especially something like the creation of anime, that is of great importance. 

OTAQUEST: It was finally time in 1994 for you to take to the stage with your directorial debut on “Macross Plus.” Can you tell us a little bit about why you were selected to helm such a popular series?

Watanabe: At that time director Kawamori Shoji was producing a film called “Mime” at Sunrise, and it was because of our shared workspace that we originally became acquainted. Unfortunately, however, that film was shelved, but soon after planning for “Macross Plus” began. He approached me and asked if I’d be up for the task.

OTAQUEST: After Kawamori stopped working on “Mime,” his break from the anime industry was an extremely hot topic amongst fans, wasn’t it? 

Watanabe: It was pretty major news. One of the main reasons I accepted the “Macross Plus” offer was to help him make a comeback. Another reason, though, was that I was an episode director at the time, and I felt that I still wasn’t given the freedom I needed to create something of my own. I wanted to be involved with the creative process of something all the way from the beginning.

OTAQUEST: Having done just that, you moved on to work on your very first project you could truly call your own — “Cowboy Bebop.” Can you tell us a little bit about the circumstances that lead to this moment?

Watanabe: Masahiko Minami, who is now the president of Studio Bones, was someone I had known for quite some time. He approached me to ask if I had any good ideas for a new project, and after about 2-3 days of deliberating, something I had thrown together over the course of an hour known only as “Bebop” surfaced. Usually, the things that are quickly slapped together become the big hits, rather than the ones you would painstakingly deliberate on.

Around the same time, there was a very real buzz on the streets in regards to a “Star Wars” revival which had everyone excited. This piqued the interest of Bandai’s toy division in producing something with spaceships as a central element — they thought both the series and affiliated merchandise would sell well. That’s why the offering of my “Bebop” project was taken.

OTAQUEST: At that time it almost felt like robots were a given within the sci-fi genre, but there were few works in the world of anime that delved into the realm of spacecrafts. Because of that, daring to switch was quite a large risk for them, wasn’t it?

Watanabe: It definitely was, and they weren’t very happy with the way we ended up portraying the world of “Cowboy Bebop” either. Around the time we were producing the fourth episode, they actually pulled their sponsorship because they didn’t think such a dark and subdued portrayal of spacecrafts would do any favors to their toy sales. We even considered canceling production after that whole drama, but Bandai’s main film production company Bandai Visual swooped-in to save the project.

OTAQUEST: Looking back on it, it’s absolutely crazy to think that during the first airing of “Cowboy Bebop” in Japan, only the first 12 of 26 episodes were actually broadcasted.

Watanabe: Before the broadcast even began — during the production of the first few episodes, there were a lot of internal stakeholders saying things like “This show is too adult, there’s no way this will work” and “It’s just too pretentious,” as well as other cold things. These very same people began to change their attitudes when the show did manage to grow a following, where they then started saying things like “Oh, I always knew it would sell!” (Laughs) In a sense, it was accepted that things may have changed since the airing of the original “Lupin the Third” series.

OTAQUEST: When do you think the way people viewed “Cowboy Bebop” started to change?

Watanabe: Hmm, when was it that people’s views started to change? To this day, I really couldn’t tell you why “Cowboy Bebop” gained popularity and began selling; even now I still think it went way over budget. If “Cowboy Bebop” had failed, I guarantee I’d be working at a ramen shop by now. I’d be the type of ramen shop owner to get overly fussy regarding minor details and things like ingredients. (Laughs)

Anyway, we’ve spoken a bit about all these moments of misery, so why don’t we talk about something a little more fun?

OTAQUEST: Well, usually when the name “Cowboy Bebop” is mentioned, there’s another name that’s brought up alongside it — Yoko Kanno. Can you tell us a little bit about her, and why you appointed her as the series’ composer?

Watanabe: I first met Yoko during the days of “Macross Plus,” and at that time it was almost as if she was a total newcomer. That being said, however, I too was still a complete newcomer to the project I was about to face. Taking on the role of director — it felt like we had the whole world in front of us. We were also pretty much the same age, and it was almost like we could be comrades-in-arms, so to speak. 

I reached out to Yoko for the project, but when I told her the details she actually indicated that she was likely going turn the offer down because she wasn’t a big fan of jazz. If things really did go that way, and she wasn’t involved, then “Tank!” would have never seen the light of day, and “Cowboy Bebop” may never have realized its full potential. (Laughs)

OTAQUEST: So you’re saying that even though she wasn’t a passionate fan of the jazz genre, she was able to produce such an amazing soundtrack? 

Watanabe: As a result of this, however, I feel as though a genuine synergy between both music and video was created. She inspired me to create songs that I didn’t ask for, and I was inspired by her music to make scenes that I originally didn’t even plan.

OTAQUEST: Can you elaborate on that last part a little bit?

Watanabe: For example, the scene at the end of episode five where Spike falls from the window was inspired by the song “Green Bird,” and was made without having originally been ordered. It’s fair to say “Cowboy Bebop” is full of such occurrences, and that the project’s music budget may have gone well overboard. (Laughs)

OTAQUEST: Was that even allowed?

Watanabe: Normally that would have raised a lot of red flags, but “Cowboy Bebop” definitely wasn’t an ordinary project. 

OTAQUEST: I guess “Cowboy Bebop” just had that sort of power, right?

Watanabe: It honestly wasn’t just the content of “Cowboy Bebop” that was out of the ordinary — the whole production and the circumstances surrounding it were all pretty non-standard. 

OTAQUEST: I’d dare suggest that non-standard feeling has almost become a recurring theme in all of your works, with one of the better examples being the more recent “SpaceDandy.”

Watanabe: I feel like “Cowboy Bebop” was a project full of content that I wanted to create — it felt as though it was a series full of my own personal color. On the flipside, however, “SpaceDandy” was the bi-product of a more diverse pool of talent and thought. Everyone involved was having a good time piecing together the show in their own little way. 

For the longest time, I felt as though “SpaceDandy” had a totally different color to mine. Looking back on it now though, I do realize there is a fair amount of my own color too. 

OTAQUEST: On the topic of that pool of talent; how did you go about choosing such a diverse team of staff for the project?

Watanabe: When the time to assemble the staff of “SpaceDandy” arrived, I reached out to absolutely everyone I had ever wanted to work with, regardless of whether we were acquainted or not. The world of anime is quite wide, and it was through this project I met a long list of individuals; both industry veterans and newcomers alike. 


 
OTAQUEST: Your most recent animated work, “Blade Runner Black Out 2022,” released just a short while ago. Can you tell us a little bit about it?

Watanabe: It was right after the offer came in to work on a “Blade Runner” spinoff that I decided the rewatch the original film. It was through this viewing that I came to remember just how influential it was in my entire career as a creator. During the entire production process, I felt an immense pressure given the enormous expectations that come with the “Blade Runner” title. The schedule was extremely tight too, so that didn’t help. 

I knew that if I hadn’t taken the job, however, that some other director would come around and mess it up. (Laughs) To put that another way, if it did end up failing, it would be my own personal failure — I didn’t want that pinned on someone else. (Laughs) 

Even though I mentioned that pressure, however, I was able to convince myself it didn’t really matter in the end. Compared to the original film and Denis Villeneuve’s continuation, my work wasn’t as big a deal. It was after I realized this that I was able to work without hesitation and tell the story I wanted to tell. 

Though the blackout incident is mentioned in “Blade Runner 2049,” it’s only in conversation, which is where my work was meant to complement the film. Taking that into consideration, I began developing my script while consolidating with members of the “Blade Runner 2049” staff and even ended up going to the set of the film for a meeting. It was there that I was able to examine not just the scenery and set, but also show my work to Denis Villeneuve and the director of photography, Roger Deakins. That was an incredible moment. 

OTAQUEST: Wrapping things up, as a veteran anime director, are there any issues that you have with the modern anime industry? What do you think will become of the industry going forward?

Watanabe: As of late we’re finally seeing the upper-limits of a business model that relies too heavily on consumer video disc sales. I also firmly believe we’re seeing too much similar work within the same genres. Now, however, with the advent of services like Netflix and Amazon Prime Video, we’re seeing a tremendous change in the way content is delivered. Similarly so, the Japanese animation industry is having to undergo some equally massive changes as well. 

 I feel as though it’s become easier to take greater risks with our projects, and that’s something I think is a great direction for the industry to be heading. On top of that, I’ve also been thinking — hand-drawn animation has a charm that you can’t simply replace. It’s become a global dependency to utilize the power of CG animation, but it’s no longer being done in moderation. I just hope more young people — both in Japan and internationally — can learn to adore the world of hand-drawn animation even more so. 
If you’re interested in checking out even more about the life of Shinichiro Watanabe, as well as all of the incredible achievements he has earned, be sure to stay tuned for even more content in the coming weeks. For now, be sure to check out some of our past interviews with creatives such as “Yuri!!! on ICE” creator Sayo Yamamoto, “One-Punch Man” director Natsume Shingo and plenty more, here.

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Nintendo Celebrates Over 1,000 Games on Switch

November 15, 2018 6:00pm
by Lachlan Johnston

Only two years into its lifecycle and Nintendo is already celebrating the release of over 1,000 games on the Nintendo Switch. That's no small feat, especially given the Wii U failed to even reach the four-digit mark within its entire lifespan. But with that being said, what are all these games, and just how did Nintendo come to the conclusion that they had achieved that milestone? While it certainly doesn't answer that overarching question, Nintendo UK did release a celebratory video to highlight just a portion of the games that made it possible.
 


Opening to the tune of Super Smash Bros. Ultimate, the trailer quickly directs viewers attention towards a slew of other in-house and AAA titles for the Nintendo Switch. All in all, however, we only see a total of 12 games showcased in this trailer -- 11 if you don't count Pokémon: Let's Go! as two games -- so that only further begs to ask, just what are the other 9,988 titles? Well, it would turn out its a lot of different titles, including over eight games that feature the word "Mario" in their title. 

It's a lot of indie titles, it's a lot of AAA action, and it's probably a sizeable amount of fun overall. Whatever it is, the Nintendo Switch actually has a decently sized library -- though I'm not gonna go and vouch for all of the games in that library. While the number of titles on the console sits around the 1,200 mark, it's quite quickly catching up to the likes of Sony's PlayStation 4 which holds around 1,800 titles, as well as Microsoft's Xbox One at 1,700 titles. 

I probably couldn't name more than 30 titles on the Nintendo Switch, but them keeping track of over 1,000 is definitely an impressive feat, and one that the company should probably give themselves a pat on the back for. We're sure we'll be seeing that number increase over these next couple of years too, so until then, we'll be sure to keep you up-to-date on all (maybe not all) the latest releases, as they happen.

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David Productions to Helm Adaptation of ‘Soul Eater’ Creator’s ‘Fire Force’

November 15, 2018 4:00pm
by Jacob Parker-Dalton

Is it me, or is it getting a bit hot in here? Perhaps it’s something do with the recent announcement of an anime adaptation of Atsushi Ohkubo’s Fire Force manga, which has left me a little more than hot under the collar in anticipation.

Launched in 2015 not long after Ohkubo’s long-running and incredibly popular series Soul Eater came to end, Fire Force takes place in alternate Tokyo which is terrorized by “Infernals” - fire-based destructive beings that threaten the very existence of the human race. To counter this threat, special firefighting squadrons comprised of people with special abilities are formed, and it is into one such squadron that our protagonist, Shinra Kusakabe, enters with the intention of helping people as well as solving the mystery behind his family’s death in a fire some years ago.

Despite the changes that Ohkubo has had to endure as a creator - not only a stark departure in subject matter from Soul Eater but also changing magazine from Monthly Gangan to Weekly Shonen Magazine - these have not had an adverse effect on the series. Rather, it has continued to entertain since it’s inception, both due to the author’s own creativity as well as his decision to slowly open up the story and it’s world over time. It’s also been a solid success for Magazine, in which the series shares pages with such heavy hitters as Hajime no Ippo and The Seven Deadly Sins.

With that in mind, it’s very exciting for me to be able to say that after nearly three years of publication - which is a pretty long time considering Ohkubo’s previous successes - the manga has finally been picked up for an anime adaptation. And helming the project will be none other than the now legendary David Productions, who aside from being almost single-handedly responsible for the recent Jojo’s Bizarre Adventure boom, have also seen considerable success with their recent adaptation of Cells at Work.

Given David Productions’ incredible track record, I have no doubt that the Fire Force adaptation will be a very good adaptation, if not even better than the original manga - after all, there’s plenty of things for the talented staffers at David Productions to work with, from the inventive character designs to the multitude of fire-based abilities that can only benefit from full animation. They’ve also demonstrated in recent times that they’re not afraid to change elements of the original for the sake of a good adaptation - something that far too many studios are far too afraid of doing.

As a result, even though details on the adaptation are very scarce - with no staff or even a release date being shared - I can’t help but be incredibly stoked for what should be an excellent adaptation of a great manga. If you’d like to check out the manga in the meantime, then Kodansha Comics are translating the volumes into English, here.

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Fans Stranded in Saitama After ‘iDOLM@STER’ Concert

November 15, 2018 3:00pm
by Jacob Parker-Dalton

When you’ve just spent four hours sweating buckets at a concert, just about the only thing you want to do is have a bath and go to sleep - not get stranded in the middle of nowhere. But that’s exactly what happened to many fans of the iDOLM@STER series who went to one of the franchise’s concerts last weekend.

Saitama prefecture’s MetLife Dome played host to the sixth annual iDOLM@STER Cinderella Girls (or Deremas) concert, and while this may have been one of the biggest venues for the franchise yet - with an overall capacity of around 36,000 people - it certainly seems as though the public transport system was not prepared at all for the mass of people that were to descend upon it.

That being said, arrival at the venue went very smoothly for fans, as people tend to arrive at different times depending on if they want to purchase goods before the live or not, but it was after the live that true chaos descended on the station, as the whole stadium poured out at the same time towards Seibu Kyujou-mae station, all tired and all wanting to head home after a fun, yet no doubt exhausting live event.

The sheer mass of people quickly overwhelmed the station, and far from the crowd thinning once the trains started departing, it only grew - leading to some truly “hellish” scenes being posted on social media.



It’s unclear what the problem was, as the station staff had clearly done what preparation they could beforehand, having put out fences to funnel the crowd towards the entrance gates, but the sheer mass of people quickly shut down the entire station. This also lead to two of the lines that pass through the station, the Seibu Yamaguchi and Sayama lines, to have to cease operations entirely, which led to trains further back along the line to be delayed considerably. According to some fans who were waiting towards the back of crowd, it took nearly an hour and a half for them to get home from the end of the live - and that’s to say nothing of those who were further along the line than them who simply wanted to get home from work on that Friday night!

Regardless of why this abject failure on the Seibu railway company’s part happened, it’s clear that the organizing staff for iDOLM@STER concerts, and concert staff, in general, will have to seriously consider whether or not to use the MetLife Dome again for their events. It’s simply something that shouldn’t be happening, especially when downtown Tokyo can function so well despite far more people being concentrated in the stations during rush hour. As one Twitter user put it, “iM@S may be the best, but Seibu Kyujou-mae is the worst!”.

Source: Matomame

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Daichi Miura’s Theme Song for 'Dragon Ball Super: Broly' Embraces Hypebeast Goku

November 15, 2018 2:00pm
by Lachlan Johnston

With the theatrical release of Dragon Ball Super: Broly drawing near, we're starting to see more and more content from the film revealed to drum up hype -- one of which includes the release of Daichi Miura's theme song for the film, "Blizzard". If you haven't had a chance to check out the theme song, I'd definitely recommend it. Despite its ice-cold name, the track is a total heater, and I'm sure the sequences in which it appears during the film will be equally intense. But that's not the most important part of the track; instead, I'm going to direct your attention to Super Saiyan Blue Goku on the cover.


 


Released as one of two alternative covers for the single release of "Blizzard", Goku's looking fresh in his 19 A/W blizzard fit from hair to toe. Honestly, it looks like the sort of cover I'd expect to see anywhere but an official Dragon Ball release, but I'm completely for it -- especially if we get some new streetwear pieces out of it too. On the flip-side, we see vocalist Daichi Miura rocking a similar fit for the standard digital edition of the single release.

With the street fashion industry pulling numerous cues from both anime and manga over recent years, it's exciting to see a reverse inception of such styles. Screening in theaters across Japan as of this week, and set to begin screening in North America from January 16, 2019, Dragon Ball Super: Broly is shaping up to be on a whole other level, and I can't wait to check it out. Those interested in checking out even more on the upcoming film, be sure to take a look at its official website.

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[Review] Everything Falls Into Place in Tetris Effect

November 15, 2018 1:00pm
by Matt Mirkovich

At the intersection of music and video games, there are two names that immediately come to my mind. The first is Naoki Maeda, credited with birthing arcade games like Beatmania and Dance Dance Revolution, Maeda and his team successfully married the gameplay elements to the music, making addicting arcade games that you still see regularly played in Japan and America a full twenty years after their inception. The second, is Tetsuya Mizuguchi, the creator of games like Rez, its successor, Child of Eden, Lumines, and Meteos, who wove the visual elements together with the music in an attempt to convey the sense of Synesthesia, a phenomenon that people describe as being able to ‘see’ music.

His first attempt at that, Rez, was a cult title from the Dreamcast era, and ever since its release I have followed each and every title that Mizuguchi has worked on, from Every Extra Extend to Ninety-Nine Nights, and I thought that the Lumines games released on the PSP would be the end all be all of Tetris rivals. But what happens when Mizuguchi gets to put his hands directly on Tetris? Well, you get Tetris Effect.
 

I don’t think I really need to explain Tetris, but let’s just get this out of the way. It’s the same gameplay it has always been, blocks are falling, create lines of blocks to eliminate them from the field, and if they reach the top, it’s game over. Okay, that’s done. But what is it that makes this version so special? The original is still a classic and is regularly played at a competitive level amongst seasoned pros, along with all variations of Tetris: The Grand Master. Tetris is a game that has endured. But it is with the touch of Mizuguchi, bringing the element of Synesthesia blending the visual and audio elements to create an experience that is very much different from anything that came before it, but still maintains that intense satisfaction that one can experience by playing Tetris.

If there’s a ‘preferred’ way to experience Tetris Effect, I would have to recommend it be played with a PSVR headset, if only for the immersion factor alone. Tetris Effect is a beautiful game from both a visual and audio perspective, and as a fan of Rez VR, I knew what I was getting in to; but at the same time, I still wasn't prepared for what I was about the see and hear. Even from the initial trailer for Tetris Effect, I knew this was going to be something special, and across the game’s ‘Journey’ and ‘Effect’ modes, the experience is nothing short of phenomenal. Even without the immersion of VR, the teams at Monstars and Resonair have outdone themselves. But let’s get into the how and why.

The ‘Journey’ mode is the base game for Tetris Effect -- spread across 27 different stages, broken up into three to five song blocks, each grouping boasts a wide variety of visuals and sounds. The first course starts with what could be considered the game’s theme song, ‘Connected,’ an uplifting pop song with undersea visuals set to the backdrop of the earth, and after clearing the requisite number of lines, the song in the block comes up, ‘Pharaoh’s Code,’ with its own set of unique visuals and sounds, and this continues through to the final stage, ‘Metamorphosis.’ The gameplay for Journey mode is best described as Tetris meets Lumines. One thing Lumines loved to do was alter the speed of the blocks to keep gamers on their toes, and they’ve brought that over to Tetris Effect with what I consider to be a pretty good success. It keeps things interesting and doesn’t just smother the player in faster and faster speeds like a normal round of Tetris would. If I’m looking for that classic flavor of Tetris gameplay, then it’s over to the ‘Effect’ modes.

In Effect mode, players can find a number of different game modes, like Infection, that requires players to clear the ‘infected’ blocks in order to keep things from spreading out of control, or the classic Marathon mode, where 150 lines need to be cleared as quickly as possible. Effect mode also features weekly community events that allow players to contribute to a weekly goal by playing the requisite modes, participating in these events will unlock new avatars that can be used to represent your player on the global leaderboards. In addition to this there is a personal leveling system, and clearing different stages will award experience points toward your level, and while there is the chance for duplicate avatars to get picked up, those duplicates result in bonus experience, which is a nice addition, since it’s very likely that some of these avatars are going to be ‘rare.’
 

So, to say Mizuguchi has some experience with combining visual and music elements to great effect is something of an understatement, and this is especially true with Tetris Effect. Every stage in this game has visuals to match the audio component, and they intersect in interesting ways. Playing the stage, ‘Da Vinci,’ players are sent flying through the air with the tetrominoes displayed as gears that turn with each line clear, and the sounds of tetrominoes falling compliments the music track. Each level does this to varying levels of success, and to say there is a ‘bad’ track in the bunch is nearly impossible. The different styles may not be everyone’s cup of tea, but there is certain to be one track out there at the very least every person can latch on to. The discordant piano of Downtown Jazz, or the EDM festival sound of Celebration, the work put down by composer Noboru Mutoh, and the Hydelic group is a master class in video game soundtracks that to me, only compares with Keiichi Okabe’s NieR: Automata soundtrack in terms of ‘near-perfection.’

The VR functionality of Tetris Effect is what really separates this game from its peers and elevates it to ‘Game of the Year’ contention. When you combine the immersion of playing Tetris with the visual and auditory elements, it left me in a state of something short of ecstacy. And to try to describe that feeling is complicated. I feel like this effect is going to vary from person to person, but for me, it’s about a sense of control. To play Tetris Effect is to take control of a very chaotic situation, and when I’m clicking, and the game is going my way, the game responds in kind with explosions of color and sound. It’s incredibly easy for me to find a rhythm while playing this game, I’m tapping my foot, I’m bobbing my head, the tetrominoes are falling in time with the music. It all melts together into this sensation that is both calming and euphoric, which is something I haven’t experienced since, maybe the first Lumines game.

The medical term ‘Tetris Effect’ is described as the result of intense focus and repetition, as studied with the use of the game Tetris, people who played the game could remember seeing the tetrominoes, even after playing the game, out of the corner of their eyes, or as part of their dreams. Playing Tetris Effect is like experiencing one of those dreams, as Mizuguchi and his teams at Monstars and Resonair have woven music and impressive visuals wrapped in the Unreal Engine into one of the most visually arresting games released in this current generation of hardware. It’s not enough that I tell you that you need to play Tetris Effect, you need to experience it -- there really is nothing else like it.

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'Alita: Battle Angel' Live-Action Movie Receives New Trailer

November 15, 2018 12:00pm
by Lachlan Johnston

If the neon-tinged stylings of the upcoming ALITA: BATTLE ANGEL live-action Hollywood adaptation are your kind of thing, then you're in luck, with an all-new trailer for the film releasing earlier this week. Scheduled to hit theaters across North America on February 14, 2019, the upcoming film adapts Yukito Kishiro's 1990 manga series Battle Angel Alita and brings its cyberpunk setting and dystopian world to life in a blend of live-action and CG content that's sure to be a spectacle. 
 


Focusing on the fast-paced sport of the future, Motorball, the latest trailer highlights Alita's struggles with her past, as well as the threat it presents to her present. The film looks visually incredible, with director Robert Rodriguez seemingly doing an excellent job of representing the source material onscreen. The film is described by 20th Century Fox below:

From visionary filmmakers James Cameron (AVATAR) and Robert Rodriguez (SIN CITY), comes ALITA: BATTLE ANGEL, an epic adventure of hope and empowerment. When Alita (Rosa Salazar) awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido (Christoph Waltz), a compassionate doctor who realizes that somewhere in this abandoned cyborg shell is the heart and soul of a young woman with an extraordinary past. As Alita learns to navigate her new life and the treacherous streets of Iron City, Ido tries to shield her from her mysterious history while her street-smart new friend Hugo (Keean Johnson) offers instead to help trigger her memories. But it is only when the deadly and corrupt forces that run the city come after Alita that she discovers a clue to her past – she has unique fighting abilities that those in power will stop at nothing to control. If she can stay out of their grasp, she could be the key to saving her friends, her family and the world she’s grown to love.

Set to release in theaters across North America on February 14, 2019, this might just be the film to keep an eye on at the beginning of next year. Those interested in checking out even more information on the film, including staff listings and theaters, be sure to check out the film's official website.

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‘Evangelion Pub’ Set to Serve Themed Food and Drinks in Ikebukuro

November 14, 2018 5:00pm
by Jacob Parker-Dalton

With Neon Genesis Evangelion being such an integral part of modern Japanese culture (at least in the pop culture sense), perhaps it was only a matter of time before it was combined with another age-old Japanese tradition - that of the ‘izakaya.’

Loosely translating to ‘pub,’ izakaya are a mainstay in Japanese nightlife as not only do they serve alcoholic drinks at very reasonable prices but also a wide array of special food designed especially to accompany a cool beer or highball. So you can bet we were excited to hear that the legendary Evangelion series will be opening an izakaya of its own - but not without a distinctly Evangelion flavor, of course.

Set to open November 16 in Ikebukuro, the ‘Evangelion Pub’ will be serving up more than 30 different Evangelion-themed food and drink items for fans of the series to enjoy. The menu will draw inspiration from scenes and famous lines from the series for its offerings, such as the “I Mustn't Run Away! Super Spicy Mapo Tofu Bowl” and the “Anta Bataaa? Asuka’s Corn Butter” dish. 


Furthermore, the various drinks on offer - many of which are themed after the Evangelion units themselves - are all only 390 yen, which makes the pub very competitive with the cheap prices of other, regular izakayas. What’s more is that ordering a drink will enter you into a prize draw, from which you can receive a special calendar for the year ahead.

And speaking of the year ahead, this year is a rather special one as it will mark the last year of the ‘Heisei’ era, with Japan’s current Emperor abdicating at the end of the year, thus bringing in a new, as of yet unnamed era presided over by his son, Naruhito. To ring in the end of this historic period, the pub will also be hosting an event with none other than Yoko Takahashi on December 26, who lent her voice to the series’ original opening song, A Cruel Angel’s Thesis. 

Other events are set to be announced (including a ‘rock-paper-scissors grand tournament’) so keep your eye on the official Evangelion website for more details, here. The full menu for the pub can also be found here. You’ll have until January 6, 2019, to check it out.

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