China makes its first shots and corrects for windage and elevation
by Punch Rockgroin
If the new Diablo: Immortal game is any indication, mobile gaming has yet to take off in the West in the way it has in Japan. Mobile gaming continues to grow in popularity, while the Diablo fiasco is only exacerbated by the statement “You guys don’t have phones?” As other parts of the gaming market lag and dwindle, mobile gaming has found its footing.
Japan is spoiled for choice when it comes to mobile, such as Granblue Fantasy and Fire Emblem Heroes, among others. One such mobile game I have mentioned before, Kantai Collection (for a time overtaking Touhou Project as the top spot for doujins released at Comiket), has stagnated and is falling behind a rival with a similar premise.
-or- How I Learned To Stop Worrying About the Radio In My Supra by Gristle McThornbody
Once the domain of vaporwave-blaring hipsters pining to be ironic under the guise of A E S T H E T I C, city pop is Japan’s answer to the bombastic 80s. Clawing back from relative obscurity, we are treated to neon-filled, tape deck fueled ode to the big city life. Filling this watercolored, pastel world is the melodic and often horn-filled songs that toast to the bustling life of a never-ending, 24-hour day. To some degree, it mirrors America in the same time, with artists like Chris Cross who –well sparkle- with some technopop elements, while letting the mix aerate with elements that naturally advect into our stream of consciousness, and you have the recipe for that musical entrée.
Ungrounded Jin-Roh retread misses the point by Bolt Vanderhuge
When I heard that there was going to be another addition to the Kerberos Saga, a live-action movie made in South Korea, I was cautiously optimistic. While plenty of my fellow weebs know of Jin-Roh: The Wolf Brigade, most don’t realize it’s actually the third adaptation of an alternate-history manga written by Mamoru Oshii (Ghost in the Shell, 1995). It’s set before the two live-action films, both directed by Oshii. Thing is, these films are not like Jin-Roh.
The Japanese approach to copyright and trademarks used to seem a lot more relaxed, especially when it came to characters. In the 1980s it seemed like every other character was lifted straight out of a Hollywood film! In those days, to use some famous character in an anime, was seen as a parody in itself, or failing that, as no big deal. Probably the biggest example of this relaxed era is Lupin III, whose manga spawned an eternal fountain of new TV shows and feature films – plus a lawsuit from the Maurice Leblanc estate. By the time the family of the creator of the original Arsène Lupin caught on to the craze, their lawuit was essentially ruled to be too late.