Category Archives: News

Pretty Boy

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It was one of the earliest anime ever made, a ten-minute short from 1939 in which a handsome young boy faced a giant robber with a pole-axe on Kyoto’s Gojo bridge. Much to the giant’s surprise, the boy defeats him, snatching his naginata from him and threatening him with it himself. The giant pleads for his life, and swears to serve the boy until his dying day.

Kenzo Masaoka’s early anime talkie, featuring Masaoka himself as the oppressive giant Benkei, was based on the legend of Yoshitsune (1159-1189), a figure fated to come back into fashion in 2005. Already, there is a Story of Hero Yoshitsune game on the PS2, and the fateful fight scene was recently re-animated by Tezuka Productions for screening at Kyoto’s ultra-modern train station, a few minutes’ walk where it is supposed to have really taken place.

Yoshitsune is the subject of this year’s taiga, the year-long Sunday night historical blockbuster on national Japanese network NHK, designed in equal parts for all the family, so that Dad can watch some swashbuckling samurai action, Mom can see some courtly romance and the kids can learn a little Japanese history. But Yoshitsune stands a good chance with the younger audience who normally regard taiga-watching as a chore rather than a treat. The hero was still a baby when his father was executed for opposing the ruling faction at court. His youth is shrouded in mystery, but he is believed to have been raised by fighting monks in a temple north of Kyoto. As a child (played in the NHK series by Ryunosuke Kamiki), he took the name Ushiwaka, and supposedly sneaked out of the temple grounds to learn martial arts from tengu crow demons in the forests.

NHK’s greatest coup comes in the man they have cast to play the adult Yoshitsune, heart-throb actor Hideaki Takizawa. A former pop idol with the boy-band Johnny’s Juniors, Takizawa graduated to TV stardom with a series of high profile appearances in primetime drama serials. Takizawa is a bishonen made flesh. His androgynous good looks gained him an enthusiastic female following in Strawberry on the Shortcake, in which he played a withdrawn schoolboy who falls for his stepsister, and the manga adaptation Antique, as a retired boxer who goes to work in a cake shop. He played a put-upon student in the Maison Ikkoku-inspired And I Love Her, and managed to tick almost everyone’s wish fulfilment boxes when he got to play a schoolboy who has an affair with his teacher (the gorgeous Nanako Matsushima) in Forbidden Love.

Over the next year, Takizawa will have to prove himself as a serious actor, alongside Yoshitsune’s giant bodyguard Benkei (Ken Matsudaira) and the first genuine samurai warrior-woman, Tomoe Gozen (Eiko Koike). He has the required pretty-boy looks to play Yoshitsune (who died in his thirties and remains an eternally youthful icon to the Japanese), but his role will also demand extensive battle scenes, and the charisma of a natural leader. Can Takizawa (Takky, to his fans) lead cavalry charges down perilous hillsides, and act his way out of the intrigue, as Yoshitsune’s brother becomes Shogun and orders the capture and execution of his popular sibling? The Yoshitsune legend is one of the best to grace taiga drama, but it will be a test of fire for its leading man.

(This article first appeared in Newtype USA, January 2005)

Catnip for Industry Wonks

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Chad Kime, formerly of Geneon, is the special guest at Anime News Network’s podcast this week. It doesn’t take hosts Zac Bertschy and Justin Sevakis all that long to coaxe him into tell-all confessions of inventory, minimum guarantees, sales figures, returns, and honest-to-God numbers. Seriously, if you have any interest in the way the anime business actually works, if you really want to get a handle on the upheavals of the last five years, then put this week’s episode on your MP3 player and listen in wonder. Kime is this blog’s Man of the Year, for essentially delivering an annotated edition of Schoolgirl Milky Crisis, but with all the real names.

People are going to write dissertations about this one-hour interview. Kime makes a humble show like Heat Guy J the epicentre and looking-glass of the entire industry in the 2000s, talking the listener through the many recurring issues and problems that have hampered anime for as long as I have been observing it. He does so with humour, grace, and most importantly, real-world numbers about the years he spent “riding a glowing star, that transformed into a giant black hole.” Listen if you dare, and then go back and read Schoolgirl Milky Crisis again with a whole new perspective!

Now, none of the shows he cites are the *actual* shows mentioned in my book… but that’s even better. It just goes to show that the experiences I was chronicling were recurring all over the anime world.

Project Mayhem

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Detective Yosuke Kobayashi is losing his mind. A malicious killer has been mailing him dismembered parts of his murdered girlfriend. The shock drives Yosuke over the edge – he tracks the criminal down and slays him himself. On trial for the revenge killing, his personality cracks up and he claims to be a psychological profiler called Kazuhiko Amamiya. Released after years in prison, the disgraced and still troubled man finds a job doing the only work he knows: as a freelance private eye where his conflicting identities can at least do what they do best. That’s right, he teams up with himself. Until one fateful day, when Yosuke begins to suspect the unthinkable, that there is yet another personality in his shattered psyche, a brash, violent identity that calls itself Shinji Nishizono, and which may be responsible for the very murder case that the other identities are trying to solve.

In the late 1990s, as The X-Files made spooky forensic procedurals the new TV cool, and David Fincher’s Se7en did likewise in the cinemas, Japanese writers responded with their own variants. 1997’s Gift starred Takuya Kimura as an amnesiac courier. 1998’s Sleeping Forest starred Miho Nakayama as a girl whose true self has been buried beneath a false personality since a childhood trauma. 1999’s Unsolved Cases featured Mulder-and-Scully lookalikes trailing the perpetrators of gory crimes. And then, in 2000, the WOWOW channel screened MPD (Multiple Personality Disorder) Psycho.

The story had been around for a while, first premiering in manga form some three years earlier in Shonen Ace magazine. MPD Psycho the manga was written by Eiji Otsuka, but drawn by Sho-u Tajima, an artist best known for the anime and manga Madara, and for the distinctive character designs in Production IG’s Kai Doh Maru. The manga didn’t pull any of its punches, with infamously graphic depictions of violence and torture. It was hardly the kind of thing likely to be picked up for Japanese terrestrial TV. However, the more forgiving satellite networks found a home for it.

In a tip of the hat to Fight Club, Takashi Miike’s TV version begins inside its protagonist’s brain, riding along his sparking synapses as he duels with his mental problems. Credited with adapting Otsuka’s treatment himself, Miike rearranges some elements of the original story. The above synopsis is taken from the manga, whereas the TV variant keeps the girlfriend around for a while after Yosuke’s personality starts to fall apart.

Despite this major change, many of Otsuka’s grotesque crimes remain: a massacre at a Catholic girls’ school, a woman who kidnaps foetuses from their doomed mothers, and a victim found with a missing brain replaced by flowers. Needless to say, such twists forever confine MPD Psycho to the late-night slot, where its six episodes played to an audience of shocked channel-surfers.

Fresh from directing the infamous movie Audition, Miike continues to play with the notion that everything might be a surreal hallucination, shooting one scene in MPD Psycho on a beach littered with half-buried iMac computers, and deliberately lighting his actors to suffuse them with bright, unreal colors.

In the leading role of Yosuke (and Kazuhiko, and Shinji), Miike cast Naoki Hosaka, an actor who was no stranger to living manga. Other comic adaptations in which Hosaka has starred include the sorcerous Master of Yin and Yang, and four seasons of Miike’s long-running Salaryman Kintaro series. But playing Yosuke and his other identities creates triple the demand for an actor – what’s the betting that Hosaka was still only paid for one role…?

The sleuthing finally pays off when Yosuke, his other personality, and his fellow investigators find a university under siege. The students give the Nazi salute to their principal, and spend their lunch breaks marching in the school yard – someone has been tampering with their brains, and it turns out to be the same individual who is behind other incidents in Tokyo. It’s only with the case of the students that Yosuke realises greater forces are at work. What first appeared to be isolated incidents are all part of a larger plan, steered by Lucy Monostone (Tetsuo’s Tomorowo Taniguchi), a religious cult leader who recruits killers from his followers, replacing one eye in each recruit with nifty a barcode crystal that allows him to control them remotely.

MPD Psycho’s run on TV was surprisingly short, and the story continued in print form, albeit no longer as a manga, and in a different publication to the one that birthed it. In later years, after the TV version brought in an audience with weaker stomachs, the series continued in serial novel form in the Japanese edition of Newtype. Creator Otsuka worked on the principle that pictures really weren’t necessary, not when the readers could use their imaginations to produce images scarier than anything an artist could imagine. Or at least, that’s what Eiji Otsuka claimed. Some say he was in two minds about it.

(This article first appeared in Newtype USA, September 2004)

Married to the Mob

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They’ll eat her alive! New math teacher Kumiko (Yukie Nakama) has been assigned to class 3-D, the most notorious group of troublemakers in Shirokin Academy. They stare her down, they throw anything that comes to hand and they just plain ignore her. But Kumiko is tougher than she looks, and she isn’t taking any crap from a gang of teenagers. She’s used to dealing with gangs, after all – she’s the heir to one of the biggest crime syndicates in Japan. This is no normal classroom drama, this is Gokusen.

Yamaguchi Kumiko (the pun only works if you say it in the Japanese name order), is actually a Yamaguchi-gumi Ko, the grandchild of a gang-boss in the yakuza. Her parents tried to go straight, but ended up dead anyway. She was reared by her grandfather and groomed for gangland succession, but the sweet-natured girl prefers to live a normal life. However, when she gets angry, she stops talking like Miss Math, and instead adopts the guttural slang and rolled R’s of a yakuza tough guy.

She wants to teach children, and she wants to fall in love. She even thinks she’s found her man – that sweet Mr Shinohara (Ikki Sawamura) who gets the same bus as her. Except Mr Shinohara is actually Detective Shinohara… can you sense trouble ahead?

Gokusen started life as a manga by artist Kozueko Morimoto, whose early work focussed on the interaction between women and children. Her first big title came in 1990, with the publication of I’m a Mother! by You Comics. No gangsters here; instead Morimoto’s seven-volume classic compiled a series of humorous essays about child-rearing, taking female readers through the post-natal process from birth to a child’s first day at school, and beyond. She followed it up with Medical Intern Nanako in in 1994, a comedy about a student doctor who finds a place in a university teaching hospital after graduation. The 1990s also saw a couple of mini-stories This is Lady Mama and Mystery Mama.

As the 1990s drew to a close, Morimoto gave up on the whole motherhood thing. She’d found something else to interest her. In 1998, heart-throb Takashi Sorimachi shot to unprecedented heights of stardom as the hero of the tough-guy teacher series GTO. Meanwhile, Japanese satellite channel WOWOW began airing an American series whose translated title meant Sorrowful Mafia – you may know it better as The Sopranos. Gangsters out of their natural habitat were cool, they were in fashion, and Morimoto’s Gokusen was born.

For the live-action version on the NTV channel, actress Yukie Nakama had to ditch her previous M.O. as someone who chased crooks. Best known as the crime-fighting circus conjuror of Trick, she also played the photofit artist and sometime sleuth of Face. But Nakama is no stranger to playing roles with something to hide; her finest moments include her turn as a woman whose husband has accidentally married someone else in False Love, and the mind-boggling entanglements of a girl with a yakuza boyfriend whose sister is dating a Russian assassin in Love 2000. Her most prominent co-star in the series is Jun Matsumoto, who plays the unofficial leader of 3-D. A pop-star in the Arashi boy-band, Matsumoto is no stranger to manga adaptations, having starred in the live-action versions of both You Are My Pet and Young Kindaichi Files.

The Gokusen series isn’t afraid to throw in a number of storylines that have nothing to do with gangsters. She may be able to have people taken away and killed, but Kumiko prefers to fret over her pupils’ education like any number of TV teachers. When 3D are forbidden from participating in the school volleyball tournament, she enlists them as male cheerleaders (but only by promising them the chance to meet the more common female variety). She defends her school’s shoddy reputation, even if it means dumping a potential suitor from a snooty prep school. And all the while, she tries to hang onto her place in the everyday world, desperate for her criminal origins to remain in the shadows.

Of course, it’s a rare Japanese TV classroom that doesn’t have a dark secret lurking in it somewhere these days. The medium is also no stranger to gangsters trying to go straight; Kumiko’s TV ancestors include 1991’s Downtown Detectives, in which two yakuza make a buck as private investigators. Then there’s The Quiet Don, about a salaryman with a “Family” business on the side, which was made into both anime and live-action versions.

Gokusen has followed suit. After the success of the live-action TV version in 2002, it’s back as an anime on NTV, further strengthening the connections between the worlds of animation and Living Manga. The role of Kumiko is taken in the anime version by Risa Hayamizu, who has previously appeared in anime such as Kaleidostar and Kiddy Grade. She also had a cameo in a series that sounds just like something a gangland teacher might say to her quivering pupils – Read or Die!

(This article first appeared in Newtype USA magazine, June 2004)

The Imperfect Storm

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There was a time when the $17,000 budget for an episode of Getbackers was considered obscenely low. Now industry figures claim that allocations of anime budgets have sunk to a shocking $14,000. That’s less than ten thousand pounds, divided among every sketch artist, colourist, animator and designer on an episode of TV anime. It means that there are some anime that cost less to make than this issue of NEO! Terrifyingly, it suggests that it can now cost more to dub certain anime into English than it does to make them in the first place. Unsurprisingly, some insiders are already questioning the figures, and asking if this is not perhaps an attempt by anime’s notoriously cunning accountants to squeeze taxpayers’ money to pay for the likes of Naruto, which, let’s face it, is hardly begging on the street corner with a tin cup and an eyepatch.

Meanwhile, of course, self-styled otaku prime minister Taro Aso (you’ll miss him when he’s gone!) wants a National Media Arts Centre in Tokyo Bay, a $120 million boondoggle where people can go and… well, nobody really knows yet. Watch anime. Read books. Look at someone’s colouring-in.

“If there really is money for this Centre,” notes Junichi Takagi, the producer of Red Garden, “I’d rather see it going to renewing the Japanese animation business and hence our national industry.” The pundits agree. Nobuyuki Tsugata, a noted historian of Japanese animation at Kyoto Seika University, is precisely the sort of person to benefit from a big boondoggle like the Centre, as it would sure to require talking heads, sign-writers, catalogue writers and speakers. But Tsugata isn’t in it for the money, he’s in it for anime, and he can see what’s happening.

“It is vital,” he told the Mainichi, “that we help medium- and small-scale anime productions.” Otherwise, there won’t be anything to look at, and after that I guess it’ll be nothing but cosplayers looking at each other.

Anime has been heading this way for 20 years. The demographic decline in juvenile audiences (who are, whatever way you cut it, still a big part of the revenue stream), and the aging otaku sector have created an industry that is increasingly self-referential. Aso’s white elephant isn’t even the first of its type; it is merely the largest. There is already an “Anime Centre” in Tokyo that offers visitors the chance to watch certain aspects of the production process. Anime’s publicity relies on the hoary cliché that it is taking the world by storm… and yet what kind of storm is it if it has to go cap in hand to the government? What kind of storm is it if the average monthly salary is $700? The public already subsidise anime by buying it in the first place, now we must pay to watch it getting made, merely so that it is made at all!?

Yoshikazu Yasuhiko, famous anime hyphenate, is having none of it. “Anime has the vitality of a weed. I want it to be left alone,” he told the Mainichi. “And with government support, I worry about potential restrictions being placed on freedom of expression.” Because nobody has yet asked if the Centre will be showing the Right Sort of anime. Or will Urotsukidoji be getting a subsidy, too…?

(This article first appeared in NEO Magazine #63, 2009)

The Embers of Black Flame

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News arrives via David Bishop’s blog that a number of novels in the old 2000ad line, including my own Strontium Dog: Ruthless, have suddenly appeared in Kindle editions.

Ruthless had a bizarre gestation. I’d written two Strontium Dog audio plays for Big Finish Productions. Featuring Simon Pegg (now better known as Scottie in Star Trek) as Johnny Alpha, they were critically acclaimed, albeit not stellar sellers, and eventually sold to the BBC Cult website, which offered them in the user-unfriendly streaming format.

The first of my Strontium Dog scripts, Down to Earth, featured a car chase in the dark, the execution of which impressed someone at Black Flame enough for him to ask me if I would consider writing the novelisation of the movie Highwaymen, which was frankly one long car chase in need of fleshing out. While that was limping through the production process (and, curiously, never actually going on sale, despite the claim of some second-hand booksellers to have copies available), I was then put forward to write the first of the Strontium Dog novels for Black Flame’s new line.

Soon after, my original contact was kicked upstairs in a well-deserved promotion, leaving me to the less able ministrations of his minions. The original commissioning editor had been great to work with, but faded into the background to be replaced with someone who kept sending me other people’s emails, a sub-editor with a chip on her shoulder, and a man who once accused me of breaking the terms of a contract that he hadn’t actually read, only to slink back and acknowledge that I had done exactly what I was asked to do. Black Flame began pushing my Strontium Dog novel to the trade, and took a couple of thousand advance orders. They did, however, forget one crucial point. At the time, they hadn’t actually contracted me to write it.

So it was that I had a panicked message from a new editor with a week to go before a deadline that only existed in his head, asking me if there was any chance I could knock out the book by the day before yesterday. Er… no, I said.

Black Flame scrabbled around and found another book to plug the gap, with the ironic title of Strontium Dog: Bad Timing. My own novel, Ruthless, eventually limped out as the third in the series, complete with an opening chapter designed to introduce new readers to the franchise, even though they would now have been reading two other books first.

Despite all this, I had a fantastic time. There is nothing, I repeat, nothing as much fun as writing a novel. I spent a lazy summer in a shed by a lake in Finland, writing my required number of words per day, and loving every minute of it. I veered off into tangents about alien biology, blocked out fight scenes on hijacked space liners, and speculated on the future of Martian journalism. After so many years squeezing my ideas into haiku, song lyrics and short stories, suddenly I had the freedom offered by 70,000 words. It was never going to set the literary world alight (as one Finnish newspaper article unkindly suggested), but I loved it anyway.

Now I hear that Black Flame is no more, which shows you how much attention I’ve been paying. I stopped pitching ideas to them in 2005 or thereabouts, having long since tired of broken promises and petty cock-ups, souring what had begun as a very cordial relationship. I’m pretty sure, too, that they remembered me ever after as the guy who refused to bail them out when they accidentally sold a book that hadn’t been written yet.

Now, apparently, the time elapsed since the demise of Black Flame means that the rights have reverted to Rebellion, the owners of Strontium Dog, which allows Rebellion’s Abaddon imprint to re-release the book in Kindle format. Like the other authors in the line, there’s nothing in it for me personally – we were working with other people’s characters, and signed away our rights to future royalties, but that’s not the point. It’s just nice to see that it’s still out there.

China Crisis?

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To Wuhan in China’s Hubei province, where prime minister Wen Jiabao had some words of complaint for animation students.

“Your work is meaningful. You should play a leading role in bringing Chinese culture to the world,” he told students at Jiangtong Animation. “Let Chinese children watch more of their own history and own country’s animation.” But this was meant less in praise than in criticism. After spending time with a grandson we shall call Wen Junior, the prime minister was shocked to discover that the boy preferred Japanese imports to China’s homegrown animation.

“He always watches Ultraman,” complained Wen. “He should watch more Chinese cartoons.”

Wen says this like it’s the animators’ fault. I fully believe the Culture Ministry’s statement that there are 200,000 animators at work in China today. It’s just that a big chunk of them are working on The Simpsons, or Family Guy, or take your pick. And while that’s great for Chinese industry and keeps people in employment, it doesn’t automatically translate to a rich local creative culture.

The Chinese animation industry, according to its Deputy Culture Minister, produces 41 hours of content a week, a number that appears to even top the output of Japan, which was 35 hours per week at its 2006 height, and is probably more like 20 hours a week today. But statistics are never the whole story. In many cases, those cartoons are being counted twice. When the Japanese broadcast a cartoon (let’s call it Schoolgirl Milky Crisis) on TV Tokyo, that’s 25 minutes of animation claimed on the Japanese figures. But if the same show is a Chinese co-production, and broadcast in China as Exemplary Scholar Heroines of Dairy Production Problem-Solving, then those same minutes will also go on the Chinese slate. Meanwhile, Chinese in-betweeners and colourists doing the dogwork on a bunch of Japanese or American serials, will be surely registering that as even more “Chinese” hours. None of that is going to help them make the Greatest Chinese Cartoon of All Time, although one day it might help pay for it.

Moreover, discussion of media in China often suffers from significant vagueness in definitions. There is often an infuriating unwillingness to distinguish between movies and TV shows, or pirates and legal imports, which in turn leads to woolly thinking and bizarre non-facts. Shows are “banned” that are not actually available. Fan-bases develop for titles that haven’t been sold. We can see this at work here, as well. Wen Jiabao’s thoughts are certainly relevant, but Ultraman isn’t a cartoon at all. There was, true enough, an Ultraman anime, but it’s difficult to imagine that Wen Junior is watching a cartoon that’s older than he is. Although if he is, and he still prefers it to homegrown product, then Chinese animation is in even bigger trouble than Wen Jiabao thinks. But if, as I suspect, his complaint was correctly translated but perhaps misinterpreted, and Junior really was watching a recent live-action Ultraman TV show, then Wen is being awfully unfair on China’s creatives by comparing apples and oranges. The cost of live-action TV is an order of magnitude above the cost of animation. He’s asking them to make an impossible leap.

(This article first appeared in NEO 64, 2009)

The Usual Suspects

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(This article first appeared in NEO #33, 2007, and was subsequently reprinted in the book Schoolgirl Milky Crisis)

An attractive English teacher, apparently strangled by a student stalker, Lindsay Hawker was front-page news. As I write, Hawker’s murderer is still at large, and her grief-stricken father proclaimed that the death had “shamed” Japan. Hawker’s murder is heartbreaking and horrifying, but if Japan should feel ashamed, it is at the fact that a fugitive, barefoot homicide suspect can elude trained police. Somebody knows where he is, and I don’t know how they sleep at night.

The Hawker case has other elements to occupy pundits. She worked at a language school that discourages its teachers from ‘fraternizing’ with students after hours — a controversial policy that led a disgruntled employee to seek legal action in 2005, but which could have saved her life. The school’s motives revolved around its simple desire to control the purse-strings for the lessons and to avoid classroom romances that might turn sour through misunderstandings, but such things are easy to say on paper. When I lived in the Far East, I often went to teach at strangers’ houses — back then it seemed innocent and everyday, now it seems silly and sinister. I was just as trusting as Lindsay Hawker, but not so unlucky.

What does this have to do with manga? If you’re lucky, nothing at all. But there are already whispers that Hawker’s alleged killer fancied himself as something of an artist. Supposedly, he had a collection of ‘manga’, although reporting has been so vague and full of insinuation that it has been unclear so far if journalists are referring to hentai games or pornography or, you know, comics.

None of which automatically turns anyone into a killer. The usual tabloid suspects have been quick to dust off their anti-manga tirades, going so far as to suggest that the killer may have been inspired by a comic, without a shred of evidence.

By the time you read these words, maybe he’ll be in custody. If he says “manga made me do it”, get ready for the backlash. If they haven’t caught him, yes, shame on Japan.

(Tatsuya Ichihashi was apprehended by the Japanese police in November 2009. Press coverage immediately began circling his apparently dangerous love of One Piece and Bleach, which is sure to turn anyone into a killer).

Bad Luck

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In New York for a meeting with Ari Messer, publicity guy for Stone Bridge Press. At least, that’s the official excuse. Unofficially, I am here to drop in on the New York Met, whose exhibition on the Art of the Samurai features a whole bunch of old friends.

Well, I am not sure we would have been friends in real life, but after spending many months writing the Brief History of the Samurai, I feel I already know them. A suit of bright crimson armour with golden horns dominates the entranceway, and belongs to the Ii clan, whose legendarily “accidental” charge against orders kicked off the regime-changing Battle of Sekigahara. There are sword-guards and daggers, signalling-fans and arrows, but amidst it all is Exhibit 96.

Exhibit 96 is a sword. Others on show are deemed more expensive. There are older and newer blades, many with airtight provenances that they were held by this general or that general, conferred as gifts by the great movers and shakers of history. But this one has mottled blotches of dark mist on the blade, as if the metal is alive but somehow rotting, clouds boiling on the steel as if it is not a sword but a silver abyss. Etched into the tang with characteristically choppy handwriting are two simple characters: Mura Masa.

It isn’t the first time I have seen a Muramasa. I do have a habit of hunting them down whenever I get a chance. As a child, I found one in London, sitting on a rack at the Toshiba Gallery at the V&A. In 2003, I found another, in pride of place in a Tokyo Museum. This one at the Met comes with a sign that readily acknowledged the badly-kept secrets of the Muramasa blades: that in the 18th and 19th century they were believed to carry a curse against the family of the Shogun.

Muramasa swords, it was said, were cursed. In 18th century kabuki theatre, acquisition of a Muramasa did the same for one’s well-being as building a hotel on an Indian burial ground. The swords were indubitable works of art, but brought such awful woes upon their owners that people did everything they could to get rid of them. Many were destroyed.

In the late 19th century, as the tide turned against the Shogun, Muramasa swords acquired an unexpected, rebellious frisson. Suddenly, they were the thing that all the coolest samurai wanted to carry, and as a result, there were many fakes. Exhibit 96, however, is the genuine article.

Pimpage

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“Jonathan Clements is one of the rare commentators who writes for the English speaking anime enthusiast without resorting to supposition. .. Clements’ work stands as an effective testament to the value of print commentary in anime. Personally, I couldn’t be more pleased to have more of this work captured in a shelf-suitable bound edition.” (Ain’t It Cool News)

Tomorrow, this blog is a year old. It’s been twelve whole months since the Big Giant Heads showed me the negatives, and assured me that they would release them to the press unless I updated this blog twice a week with titbits from a writer’s life, rants at the injustices of the world, and pictures of cats. Although I talked them round about the cats.

In the process, I’ve uploaded a whole bunch of things that didn’t quite fit in Schoolgirl Milky Crisis, as well as many more articles that might well turn up in a sequel, should I ever be able to talk the Big Giant Heads into printing it. With that in mind, nothing sways a publisher like a massive spike in December sales, so do please consider Schoolgirl Milky Crisis as a Christmas gift for an anime fan in your life. Or an eccentric uncle. Or anyone on an award committee who complains that there are too many books on the market about women who “find” themselves or men who like blowing stuff up. Every little helps.