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The Phantom: Why ‘Metal Gear Solid V’ Refuses to Die

September 28, 2018 2:00pm
by Jacob Parker-Dalton

At the beginning of August, a 2GB update to 2015’s Metal Gear Solid V: The Phantom Pain sent a jolt through the internet. The final Hideo Kojima-directed Metal Gear game was panned at release by fans, formed a large part of a campaign against the game publisher’s (Konami) shocking business practices, and left what had been a legendary series on a rather sour note. That sour taste still lingers in many fans’ mouths, and to some, that update was a rude reminder of a memory best forgotten - and yet, MGSV refuses to die.

In many ways, it’s hard to blame fans for being disappointed. The promotional material for the game promised many things, and it failed to deliver on many of those promises. Firstly, the game was supposed to show Big Boss’ transformation from a man to a “demon,” and therefore how he would become the antagonist that we first encountered all the way back in 1987’s Metal Gear. Secondly, in showing Big Boss’ descent to the dark side, it was supposed to serve as “the missing link” between the two halves of the franchise - those being the Big Boss games, and the Solid Snake games. But more importantly, it was supposed to end the series on a high note, after what had been a mostly positive 30 years of releases.

Yet, Big Boss was largely static as a character throughout the game, and seemed to act more like a hero than a “demon” - one mission even saw you go out of your way to save several child soldiers. Really, if there was any character that we truly saw become a “demon,” it was Kazuhira Miller - who would go on to betray Big Boss to work for FOXHOUND later in the series anyway. And even though the promise of “the missing link” was addressed in the game’s meta ending, this was executed in such a poor way that many fans were left unsatisfied - with some even believing that the true ending, or the true “missing link,” lay waiting to be uncovered. As a result, MGSV’s story sticks out like a sore thumb in the midst of the deftly woven narratives of previous games.

All of this meant that fans were very disappointed, to say the least, and frustration at the game was only heightened due to how well the game scored during pre-release reviews. Critics from all corners of the internet were giving the game perfect scores, calling it the best game in the series yet, and with the hype this generated, it’s only natural that fans felt frustrated and betrayed. It would only later be revealed that the critics playtested the game in a “boot camp”, only being given a short amount of time to complete what would end up being a 100 hour plus game for those aiming for 100% completion, which didn’t allow them to encounter the major story developments in the second chapter that disappointed so many fans once it was available for general release. No doubt, if time wasn’t so limited for the reviewers, they may have come to much different conclusions - perhaps ones that more actively expressed the flaws in the game’s story.

It’d be foolish to suggest that such a move wasn’t intentional on Konami’s part, who knew full well that the game story was being cut short to rush development forward for an earlier release. Konami is no stranger to such practices, and the treatment of their employees working on MGSV only reinforces their willingness for shady business practices. Several sources close to the company came forward to talk of their mistreatment by the company during the development of the game, with Japanese broadsheet Nikkei detailing the Orwellian practices put in place by the company to monitor its employees (https://kotaku.com/report-konami-is-treating-its-staff-like-prisoners-1721700073), and American YouTuber Super Bunnyhop detailing a series of leaks sent to him via an anonymous source (https://www.youtube.com/watch?v=iMK-kajdgMA) - which only seemed more viable once Konami tried to take down the video. And although Kojima himself has stayed quiet on the subject, he’s not exactly denied it either - and sometimes silence speaks louder than words.

Konami’s frankly disgraceful treatment of their employees fed into the outrage surrounding the disappointment of the game, as now fans had a viable target towards which they could direct their hate - but it’s not as if Konami was acting the villain on purpose. Rather, rushing development was a natural course of action for the company to take considering it’s financial state at the time. Not only were Metal Gear games becoming less and less profitable, but this game was also costing more and more as the game stretched out for five years of development, including the development of a new in-house engine called the ‘Fox Engine.’ Considering that the game wasn’t even finished after the eventual five years of development, imagine how much longer it would have taken to fully complete to Kojima’s standards - that was simply something the company couldn’t take, especially since it was hemorrhaging key staff and IPs left and right, including the mastermind behind Castlevania, Koji Igarashi. So while I won’t condone Konami’s harmful policies towards their employees, strawmanning the company for the game’s flaws wouldn’t be accurate, either.

But it is a reality that Konami was made into a strawman immediately after the game’s release, and as a result, Hideo Kojima was painted as the victim in all of this. And while he definitely was affected by Konami’s practices, Kojima also has to take his share of the blame in sowing the seeds for disappointment among fans. He has always had an eye for flashy PR through trailers, and it was from these trailers that the ‘promises’ fans expected to be fulfilled emerged. Of course, he probably expected to be able to finish telling the story he set out to tell in full, but perhaps creating such lofty goals for himself as presenting the “missing link” between 30 years of video game history was a bad idea in the first place. Even now, Kojima’s ambitions threaten to get the best of him as he builds anticipation for his upcoming title Death Stranding through flashy trailers alone, leaving many frustrated that we still don’t have any specifics on the title, nearly 3 years after it’s announcement.

In another sense, perhaps it was foolish to try and give the Metal Gear series a proper ending, anyway. In fact, Kojima has developed every game since Metal Gear Solid 2: Sons of Liberty to be an end to the series, and each time he came back for a sequel, he only ended up complicating the series’ timeline further. That came to a head in Metal Gear Solid 4: Guns of the Patriots, which bombarded the player with lengthy cutscenes in an attempt to sort out its own timeline and put an end to the series once and for all. In this sense, while it is incredibly flawed, Guns of the Patriots is the closest thing to an ending that the series has seen. It even features a “missing link” between the Big Boss and Solid Snake storylines in the epilogue of the story - already fulfilling one of MGSV’s promises. In addition, when it comes to how Big Boss become a “demon,” the precedent for this was clear in the epilogue of Metal Gear Solid 3: Peace Walker, following the emotional impact Big Boss’ betrayal left on him, as well as the player. This, therefore, begs the question - was there even any need MGSV to serve as an “end”?

I’ll admit, I was one of those infuriated fans back in 2015. I’d played through the whole series again in preparation for that September 1 release, I woke up at 4 am to begin the download on Steam, and woke up promptly at 7 am to play it for almost 15 hours straight before my eyes could take no more. I was shocked by the ending, by the game’s broken promises, and the whole thing meant that I couldn’t even take one more look at what had once been one of my favorite franchises of all time.

But that update changed everything - I realized that the game was still alive. I reinstalled it and found myself surprised. The game was not dead. Despite the bad press and fan backlash, it was still being updating and had more content now than it did on launch.

Even though Konami have been made out to be the bad guys in the past, they haven’t done anything bad by MGSV post-launch. The servers still run, they still update it, and events are still going on. Far from abandoning the game, they have continued to stick by it and deliver on the gameplay that the critics were so enthralled by, back in the days of the boot camp. Metal Gear Online was even added, which while I’ve never been a big fan of, represents a sizeable dedication of time and resources into a property nearly universally loathed by its fanbase.

Or is it universally loathed? Just taking one look at the MGSV modding scene challenges that notion. It’s one of the most active communities on the Nexus mod site, with the Snakebite mod manager allowing easy development and installation of mods - many of which iron out the glaring gameplay flaws of the vanilla version, refining what was already a solid gameplay experience. Online multiplayer in the form of FOBs still goes on, with fans still striving to rid the world of nuclear weapons and trigger the hidden “PEACE” cutscene. Konami has helped keep this mode alive as well, thanks to the constant events that they schedule and organize.

All of this is because, at its core, MGSV is a good game. It might not have the best story, particularly compared to other entries in the series, but it’s gameplay still makes it the best game to play in the series, and one of the best stealth games ever made. There’s endless replayability to it, whether it be through trying to S rank every mission or completing a European Extreme, no tranquilizer, no kills run, or just simply trying to rid the world of nuclear weapons. 

In this sense, it’s not hard to see why MGSV lingers on. The aforementioned 2GB update was innocuous enough, simply adding Quiet as a playable character for FOB invasion. But for me, who was blinded by the flaws in the game’s story, it was a wake-up call. MGSV is a damn good game, and because of this, it will continue to linger on - despite everything.

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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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