Blame! (2017)

Netflix delved into original anime filmmaking with Blame! (2017), adapted from Tsutomu Nihei’s manga of the same title. Set in a distant post-apocalyptic future where the last remnants of humanity cling on to survival in a vast, machine-controlled city, it’s a refreshing take on a number of familiar sci-fi and anime tropes. Directed by Hiroyuki Seshita (Knights of Sidonia, Ajin) and produced by Polygon Pictures, a Japanese CG animation studio best known to me for their work on Mamoru Oshii’s Ghost in the Shell 2: Innocence, Blame! is worth a look for any anime fan with a Netflix subscription.

blame-title
It’s pronounced ‘BLAM!’

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Yakuza Zero (A Kino 893 x TGLG Review)

It is not my intention, still early in the run of this blog on Japanese cinema, to branch too yakuzazero-coverwildly into other areas. That said, I do think there are other, relevant things that could be discussed: American re-edits or remakes of Japanese productions, books on the subject, and videogames that draw from the history of film. There’s one series that’s particularly dear to me: SEGA’s Yakuza (龍が如く/ Ryū ga Gotoku). First launching in Japan in 2005 and 2006 in the West, the series transplants recognisable yakuza movie tropes onto a long-running videogame franchise. It’s easy to see the influence Japanese cinema of the ‘60s and ‘70s has had on it, from casting Tetsuya Watari (star of the Outlaw VIP series) as the protagonist’s yakuza mentor Shintaro Kazama, to the dramatic, freeze-frame splash screens that list the various characters’ names, ranks, and affiliations – a stylish technique ripped straight from Kinji Fukasaku’s Battles Without Honor and Humanity.

2017 has seen the belated, but extremely welcome, Western release of Yakuza Zero (originally launching in Japan in March 2015). Set in 1988 at the height of the Japanese Bubble Economy, the game is both a prequel to the series and the first non-spin off released on the PlayStation 4, making it an excellent jumping on point for newcomers.

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