#shunji aoki

[warningsine]

Hazuki Izumi (Reno Komine) stands on the edge of a rooftop looking out at the city beneath her. A clutter of competing architecture styles and buildings at various points of development: scaffolding, newly-built, maturing, declining, abandoned, condemned. Traffic lights glow, cars drone, and roads curve. A web of powerlines connects every part of the city. Hazuki is deep in thought, contemplating something or other, almost as if she’s listening to something we can’t quite hear. Her friend Mao (Shinsuke Aoki) notices the rooftop figure and approaches her as he becomes concerned that she might jump. 

This scene takes place in August in the Water (1995) but variations of it can be found in a number of Japanese films and anime of the late 1990s to early 2000s. At the time of release these films and series belonged to different genres and production cycles yet retrospectively we can identify a fascinating pattern of imagery, themes, characters and even locations that recur to form an enigmatic genre called denpa. Little has been written about it in English, so allow me to venture forward.

‘Denpa’ is a Japanese word that means electromagnetic wave or radio wave. Within the genre, characters tune into these waves and feel their effects: they sense things, hear voices and see spectres, indeed the stories of Chiaki J. Konaka begin this way, including his Lovecraft-inspired psychological horror Serial Experiments Lain (1998) and Marebito (2004). The characters are susceptible to the waves due to alienation caused by their oppressive surroundings which is depicted through a distinct, industrial aesthetic: antennas, chain link fences, telephone poles, a web of powerlines across the sky, trains, manholes and sewers, grainy and distorted footage, a muted colour palette. This imagery reoccurs across denpa fiction, from the visionary anime of Satoshi Kon (Perfect Blue 1997, Paranoia Agent 2004) to the live-action poetry Shunji Iwai crafts out of adolescent cruelty (Picnic 1996, All About Lily Chou-Chou, 2001). 

These bleak,alienated urban settings raise questions of tradition vs modernisation, mass-communication and a critical look at new technologies. Denpa situates these themes amongst references to folklore and the paranormal such as ESP, hauntings, aliens and spirits a combination explored by both the cult horror favourite Boogiepop Phantom (2000) and influential franchise starter Ring (1998). These supernatural beings are known to inhabit different realms and through electromagnetic waves these beings can cross over to our world, and humans can cross over to their worlds. The blurred lines between these spaces are illustrated with surreal imagery and experimental filmmaking. Such creative innovation can be found in the surreal psychological torment of Hideaki Anno (Neon Genesis Evangelion 1995-7, Love & Pop 1998, Ritual 2000) and in the breath-taking urban dreamscapes woven by Gakuryu Ishii (August in The Water, 1993’s Tokyo Blood). Within this cocktail of urban alienation and supernatural forces are plot points such as rumours, conspiracy, mental illness, and delusion often with cosmic and apocalyptic consequences, best embodied by the hypnotic horror of Kiyoshi Kurosawa (Cure 1997, Pulse 2001).

So far, denpa has only appeared as a loosely defined genre label on English-language databases for anime and videogames, on the occasional blog post, a handful of letterboxd lists and one lone essay [1]. It is at once both recognisable yet hard to define. I understand it on an emotional level, I can identify it as a vibe, yet I want to tease out the details and define it in more concrete terms: what makes something ‘denpa’?

The genre derives from ‘denpa-san’ or ‘denpa-kei’ a name for a type of person that emerged in the late 20th century. Think of denpa-san as analogous to ‘tin foil hatter’ – someone vulnerable to paranoia, conspiracy theories and delusions hoping that the foil will block out those invasive electromagnetic waves. Or maybe they’re already at their mercy, following instructions heard via the waves and doing unsavoury or even dangerous things. The term initially hit the mainstream consciousness in association with the 1981 ‘Fukugawa Street Murders’ where a 29-year-old man indiscriminately stabbed passers-by, killing several people and injuring more. The highly-publicised trial hinged on the controversial defence of insanity: the perpetrator argued that they were driven to murder after years of torment from electromagnetic waves [2]. Over time the term expanded to become associated with creepy, unpopular people in general, those on the fringes of society with unusual quirks and obsessions. 

It is here that the term overlaps with another: ‘otaku’. A social outcast who obsesses over a hobby to the detriment of their social life. Think ‘geek’ but usually uttered with more contempt. Otaku is typically associated with anime, but contrary to popular belief can be about many subjects from videogames to cars. What ties them together is the negative effect it has on the self. Much like denpa, the term otaku gained traction in association with a horrific crime; in the 1990s it was elevated from merely a pejorative label to the centre of a moral panic in relation to the years-long trial of a serial killer nicknamed by the media as ‘the otaku killer’ for his extensive video collection of pornography and horror films [3]. In the years since, the collective otaku have shaken off the worst of these associations and become a phenomenon as they developed a distinct culture and became a major economic force that has been embraced by the media they obsess over. On the darker end of the subculture some favour the fantasy world of their hobby over the real world and get lost in it, which in itself has become a common denpa narrative with an iconic example being the idol otaku in Perfect Blue.

Critics ascribe the emergence of denpa-san and otaku to society at the time. The Japanese economic bubble burst in 1991 and the decade that followed became known as ‘The Lost Decade’. The population faced a recession which stunted young people as they came of working age. And yet Japan was known on the global stage to be at the forefront of home electronics and new technology. This was in tension with traditions of the past and complicated their national identity as new cultural connotations outpaced traditional ones posing the question: can an old culture survive as a new one emerges?

The development of these new technologies also introduced new issues as they quickly became part of everyday life. Camcorders in every hand, phones in every pocket, so easy to use that soon everyone had one without knowing how they really worked. Life was changing as there was now constant recording, growing access and intimate conversations were now held not in person but via phones and on internet forums. As people became increasingly reliant on these technologies, people began to wonder, what is the existential cost of these new conveniences? 

From moral-panics and national identity crises to new technologies denpa fiction responds to this new cultural landscape. 

The war between tradition and modernization often forms the backdrop of denpa fiction in urban spaces where a dedicated few keep old customs alive, while others push on for progress. Gakuryu Ishii (previously known as Sogo Ishii) depicts the tension of this conflict well in August in the Water where participants of the centuries-old festival in Hakata pulse through the city in historical costumes with traditional matsuri floats surrounded by modern buildings and stopped traffic; Ishii finds strange beauty in the cityscapes that engulf and imprison his characters. Investigations lead Detective Takabe (Koji Yakusho) in Cure to abandoned buildings and disused factories which signal the failure of a once-promising industry. In Love & Pop and Tokyo Blood, supporting characters are construction workers who signify this changing landscape as they meet on noisy building sites that are the eyesore we must endure for another dubious future.  

The rooftop is a recurring location for these films. It can be a place for a clandestine conversation with a confidante, or a place for solo contemplation. The sight of a lone person on a rooftop can be startling to passers-by: the threat of suicide looms and in denpa often does happen. Cinematographically speaking it’s an opportunity to view an urban vista: the buildings, antennas and powerlines that populate the skyline. Again and again characters are drawn to the rooftop where they can get the clearest signal to the electromagnetic waves that mesmerise and influence them. 

Alternatively, the clearest signal can be found by going right to the source. In Serial Experiments Lain we meet Lain’s father (Ryusuke Obayashi) at his impressive 6 monitor desktop and over the course of the series Lain’s (Kaori Shimizu) simple computer set-up evolves to be larger and larger. A soundscape is built from keyboard tapping, mouse clicking and monitors gently beeping. Denpa characters are often found hunched over a desk or workstation in the dark, the only light source being the glow of a screen or the small bulbs of a switchboard that gently whir as a pen scratches while detailed notes are being made. It’s an image with unhealthy connotations indicating obsession and someone losing touch with the outside world. In Boogiepop Phantom, the deskbound character is a videogame otaku finding solace in a fictional fantasy world. In Cure they’re a detective and in Ring a journalist whose respective investigations turn fanatical as they uncover disturbing histories. In each instance the foundations of their worldview will soon be shaken and their mental health questioned as conspiracies and paranormal explanations become more and more likely. Are the characters’ paranoid, or are they seeing things clearly for the first time? 

These paranoid thoughts or deteriorating mental states are often heard through voice-over narration. Depending on the film the voice-over could be the trademark psychological introspection of Neon Genesis Evangelion, or the expansive philosophical musings of August in the Water or even the sinister and somewhat incoherent rambling of Marebito. Though superficially different, what they share is a painfully personal and poetic type of soliloquy.  

Alongside narration, different psychological states are expressed through surreal imagery and experimental filmmaking, which often leads to a striking use of mixed-media with live-action moments in anime. In Boogiepop Phantom, a drug-addled videogame otaku experiences visions which are depicted by heavily edited live-action footage in a break from the traditional animation of the series. In Serial Experiments Lain there are animated character figures over live-action backgrounds which has the uncanny effect of blurring the lines between the different worlds that Lain traverses. In the case of Neon Genesis Evangelion: End of Evangelion, the sequence of live-action footage breaks the diegetic barrier between the text and audience, seeming to directly address not only the delusions of its’ characters but its own otaku fandom. 

This subtle sense of self-awareness can be seen in the eerie experience of watching characters watching screens. Frames within frames or looking at a picture within a picture, voyeurism becomes infinite. New technologies allow people to see people through a thick glass lens or a pixelated screen. Distant yet paradoxically seeing each other more intimately than ever. In Perfect Blue this newfound intimacy fuels the obsessions and delusions of both Mima and her otaku fan.

The spectre of denpa is not limited to Japan. The same themes and same motifs can be found in English-language films from around the same time. There is Donnie Darko (2001), Richard Kelly’s film about a schizophrenic teenager who is told to commit crimes by a phantom in a rabbit suit and whose survival of a near-death-experience has apocalyptic consequences. You can find denpa in the films of M. Night Shyamalan: from the delusion of Bruce Willis in The Sixth Sense (1999), to the haunting image of mass rooftop suicides in The Happening (2008) and to the potent mix of aliens and religion in Signs (2002). Even in the music video of Eminem’s Stan (2000)– in which a disturbed otaku hunches over a desk under a perpetual raincloud. When I recognise denpa motifs in films made outside Japan, I begin to think of denpa less as a genre and more as a zeitgeist. A restless, nihilistic gen x moan of exasperation. That feeling of living in The Matrix (1999); groaning at the end of the century and looking to the new one with only pessimism. Yes, there are new technologies but there are as many negative possible outcomes as there are positive ones. It seems inevitable that people will succumb to their worst impulses. 

[byneddiedingo]

Shoji Yasui in The Burmese Harp (Kon Ichikawa, 1956)

Cast: Rentaro Mikuni, Shoji Yasui, Jun Hamamura, Taketoshi Naito, Shunji Kasuga, Ko Nishimura, Tomio Aoki, Tanie Kitabayashi. Screenplay: Natto Wada, based on a novel by Michio Takeyama. Cinematography: Minoru Yokayama. Film editing: Masanori Tsujii. Music: Akira Ifukube

No film that contains as many reprises of Henry Bishop's old parlor song "Home, Sweet Home" as Kon Ichikawa's The Burmese Harp does can escape charges of sentimentality. It's sung in both Japanese and English by male choruses accompanied by the titular harp -- which sounds a lot more like a full-size orchestral harp than the smaller Burmese saung that appears on the screen. But although the film contains scenes of the carnage of war, Ichikawa is clearly not aiming for realism here. The source of the film was a novel serialized in a children's magazine in 1946 that became an adult bestseller when it was published as a book. The book was designed as antiwar statement, a corrective to the militarism that had plunged Japan into disaster, and Ichikawa's film, which elaborates on the book's themes of Buddhist pacifism, still retains some of the power to stir sentiments in that direction. It focuses on Mizushima (Shoji Yasui), member of a company of Japanese soldiers led by Capt. Inouye (Rentaro Mikuni), who had been a music teacher before the war and tries to keep up morale as they trek through the Burmese jungle by having the men sing. Mizushima has found a harp and learned to play it extremely well, accompanying the singing as well as using the harp when he goes on reconnaissance missions, playing one tune for "all clear" and another for "danger." When the war ends, the company is sent to a temporary prison camp, from which Mizushima is sent out to try to persuade a recalcitrant group of Japanese soldiers that the war is over and they should surrender. The fanatics refuse, but Mizushima is unable to leave their hillside stronghold before the deadline passes and the place is shelled, killing most of the holdouts and leaving Mizushima unconscious. The company moves on, thinking Mizushima dead, and are about to be repatriated when they discover that he has survived. A flashback tells how Mizushima became a Buddhist monk, so devoted to the task of burying the Japanese corpses that still remained in the Burmese countryside that he refuses to return to Japan. The Burmese Harp is beautifully filmed by Minoru Yokayama, and became an international hit. There have been charges that the film "whitewashes" the Japanese campaign in Burma, ignoring atrocities committed under orders from the Japanese high command, and this criticism deserves to be heard. But the underlying antiwar fable of the film still holds its strength.

[cruorlupus]

@sellyouforastarcruiser please check my tags let me know if I’ve properly tagged everything in a manner you find acceptable, seeing as you are have a hard time reading the source line in the post I made that angered you.

[newsintheshell]

Date e locandine della trilogia cinematografica “Psycho-Pass Sinners of the System”

Il futuro distopico di Psycho-Pass tornerà da gennaio.

Svelate in occasione del Tokyo International Film Festival le locandine e le date di debutto dei film che andranno comporre la trilogia cinematografica denominata “Psycho-Pass Sinners of the System”. I primi due lungometraggi saranno mostrati in anteprima durante l’evento, iniziato il 25 ottobre, che si chiuderà il 3 novembre. 

"Case.1 Tsumi to Bachi" (Caso.1 Crimine e Punizione), sarà incentrato su Nobuchika Ginoza e Mika Shimotsuki. La sceneggiatura è stata curata da Ryō Yoshigami, l’autore dei romanzi Psycho-Pass Asylum e Psycho-Pass Genesis. La pellicola debutterà in Giappone il 25 gennaio 2019 e la sigla di chiusura sarà “Fallen” degli EGOIST, remixata da Masayuki Nakano.

Altri membri dello staff:

Direttore delle animazioni: Satoru Nakamura

Supervisione animazioni Ryouta Shinya, Ryouta Furukawa, Shunji Suzuki, Fuhito Morita, Satoru Nakamura, Tetsurou Moronuki

Direttore tecnico: Tomoyuki Kurokawa, Yasuhiro Geshi

3D: Sublimation

Direttore della fotografia: Eiji Arai

Colorazioni: Emiko Ueno

Direttore artistico: Shuichi Kusamori

Direttore del suono: Yoshikazu Iwanami

Musiche: Yuugo Kanno

Character Design: Naoyuki Onda, Kyoji Asano, Hisashi Abe 

Il cast:

Izumi Yasaka: Saori Yumiba

Takeya Kukuri: Sachie Hirai

Kyouka Tsujikari: Horie Oka

Rojion Matsuki: Rikiya Koyama

Aiko Gentaku: Kimiko Saito

Kouji Notou: Youhei Tadano

Akira Karasuma: Keiichi Nakagawa

Akane Tsunemori: Kana Hanazawa

Teppei Sugou: Hiroki Touchi

Shou Hinakawa: Takahiro Sakurai

Yayoi Kunizuka: Shizuka Itou

Shion Karanomori: Miyuki Sawashiro

"Case.2 First Guardian" (Caso.2 Primo Guardiano), sarà focalizzato su Tomomi Masaoka e Teppei Sugo. La sceneggiatura qua è stata curata da Makoto Fukami, già dietro a quella della prima stagione televisiva e del film del 2015. La pellicola debutterà in Giappone il 15 febbraio 2019 e la sigla di chiusura sarà “All Alone With You” degli EGOIST, remixata da Masayuki Nakano.

Altri membri dello staff:

Direttore delle animazioni: Hisashi Abe

Supervisione animazioni: Miyuki Nakamura, Ryouta Furukawa, Hisashi Abe, Tetsurou Moronuki

Direttore tencico: Yasuhiro Geshi

3D: IG 3D 

Direttore della fotografia: Eiji Arai

Colorazioni: Emiko Ueno

Direttore artistico: Shuichi Kusamori

Direttore del suono: Yoshikazu Iwanami

Musiche: Yuugo Kanno

Character Design: Naoyuki Onda, Kyoji Asano, Yasuhiro Aoki

Il cast:

Risa Aoyanagi: Masumi Asano 

Itsuki Ootomo：Masaki Terasoma

Rin Ootomo: Sayaka Ohara

Shinya Kougami: Tomokazu Seki

Nobuchika Ginoza: Kenji Nojima

Shuusei Kagari: Akira Ishida

Yayoi Kunizuka: Shizuka Itou

Shion Karanomori: Miyuki Sawashiro

Fredelica Hanashiro: Takako Honda 

Akane Tsunemori: Kana Hanazawa 

Mika Shimotsuki: Ayane Sakura 

"Case.3 Onshuu no Kanata ni＿" (Dall’altro lato di amore e odio＿), vedrà invece come protagonista Shinya Kougami. Lo sceneggiatore anche in questo caso è sempre Makoto Fukami. La pellicola debutterà in Giappone l’8 marzo 2019 e la sigla di chiusura sarà “Namae no nai Kaibutsu” degli EGOIST, remixata da Masayuki Nakano.

Altri membri dello staff:

Direttore delle animazioni: Naoyuki Onda, Hisashi Abe, Satoru Nakamura

Supervisione animazioni: Miyuki Nakamura, Ryouta Furukawa, Tomomi Takeuchi, Hisaki Furukawa, Miho Ichikawa, Kazuchika Kise, Hisashi Abe, Tetsurou Moronuki, Ryouta Shinya, Satoru Nakamura

Direttore tecnico: Toshiyuki Kouno, Hirotaka Endou

3D: Sublimation

Character Design: Naoyuki Onda, Kyouji Asano, Hisashi Abe 

Direttore della fotografia: Eiji Arai

Colorazioni: Emiko Ueno

Direttore artistico: Shuichi Kusamori

Direttore del suono Yoshikazu Iwanami

Musiche: Yuugo Kanno

Il cast:

Tenzing Wangchuck: Sumire Morohoshi 

Fredelica Hanashiro: Takako Honda

Kinren Doruji: Tomoyuki Shimura 

Guillermo Garcia: Tsutomu Isobe 

Tshering Gurung: Wataru Takagi 

Jean Marcel Belmondo: Satoshi Tsuruoka 

Tutti e tre i progetti sono stati diretti da Naoyoshi Shiotani, che ne ha anche fornito il concept originale, presso lo studio Production I.G e saranno distribuiti da TOHO. Il tema musicale di tutti i film sarà “abnormalize” dei Ling Tosite Sigure, remixato da Masayuki Nakano.

In un futuro prossimo, lo stato mentale, la personalità e il potenziale criminale dei cittadini possono essere monitorati attraverso un sistema di scansione chiamato Psycho-Pass. Quando il Coefficiente di Criminalità di un individuo supera una certa soglia, la Sezione Anticrimine del Dipartimento di Pubblica Sicurezza ha il compito di arrestarlo. Per farlo, Ispettori e Agenti ricorrono a speciali armi chiamate Dominator in grado di sparare solo ai cittadini con un Coefficiente di Criminalità superiore alla soglia.

La prima stagione, di 22 episodi, della serie originale animata da Production I.G ha fatto il suo debutto nel 2012, seguita nel 2014 da una seconda, questa volta composta da 11 puntate e animata da Tatsunoko Production. L’anno successivo è uscito nei cinema giapponesi il film “Psycho-Pass Movie”. In Italia è attualmente distribuita da Dynit solo la prima stagione, sia in home video che in streaming su VVVVID.

L’opera ha ispirato diversi spinoff manga e la visual novel Psycho-Pass: Mandatory Happiness, disponibili anche nel nostro paese.

SilenziO)))

[FONTE]

[kchasm]

Shameful Original Characters I Have Created Part 6: Shunji Aoki

There’s this subset of stories where some kid is going about his day—la-dee-dah, and so on—when this or that or the other happens and the next thing they know, they’ve been whangoed into an alternate fantasy world full of magic and creatures and magic creatures and whatnot. Said kid has to adjust themself to the whole, y’know, having-gotten-whangoed-into-an-alternate-fantasy-world thing, but eventually they do, and then this or that or the other happens still and whaddya know, there’s some danger the kid’s gotta face down. Or some world-threatening big bad to defeat. Quests to complete, royalty to rescue. It’s a grand old adventure.

Do you ever notice how quickly these kids forget about home?

(Eustace Scrubb had a point.)

Shunji Aoki was an (overbearingly) sensible kid who spent most of his free time with his nose buried in a book about chemistry or physics and absorbing the information like a sponge (though he wasn’t necessarily averse to fiction, either). A real whiz kid when it came to homework and putting together a good science experiment. And I mean “whiz kid”—dude was eleven years old, but could explain to you pretty well how a tokamak worked, if you asked him. One of his most prized possessions was a spiral-bound notebook where he could jot down his notes on a situation, for cryin’ out loud.

(His other most prized possession was a set of polarizing filters. He liked to overlay them on each other and then rotate one of the layers to make them go light—then dark—then light again. Hey, he could be a kid in his own way.)

And then one day his anemic, heavily spectacled self got dragged onto a hiking field trip, and wouldn’t you know it, but partway through he got whangoed into another world. A fantastic one, one with magic spells and powers. A fantastic one, one with monsters, some kind, some dangerous, some both. A fantastic one, one with—

—out electricity, or modern plumbing, or a general standard of living anywhere past the late nineteenth century to the early twentieth.

Can you really blame a guy like Shunji for wanting to go home?

Especially considering one of the dude’s flaws: Shunji loved the scientific theory and its relative reliability, but the flipside of that was that magic—where something as nebulous as intent could mark a big difference—rankled at him something fierce. Maybe magic did have a logic behind it, but whatever it was, it wasn’t logic enough for him. This, in other words, was a world full of everything Shunji plain ol’ couldn’t stand. So he wasn’t just far mome, but miserably so.

In conclusion: If he’d been strong, he could have joined in roughhousing with the village boys. If he’d been able to love magic, he could have spent his time in wonder. But Shinji Aoki was only ever Shinji Aoki, with values too far out of time and place, and there was no one to talk to about Antarctica or aluminum or art deco.

(What, all that and art deco’s the detail you come to gripes about? Dude was a physics nerd primarily. Not like he didn’t read a hardcover on modern art now and then. People are vast, mang. Multitudes.)

...And then one day, while he was still waiting for the way home to open up, a different breed of monsters closed in on the village of humans, him included, and that’s when all the troubles really kicked into high gear.

So, what happened to Shunji Aoki? Did he make it out? Did he make it back? Sorry, but your guess is as good as mine. The most I can do is leave you with this little treat:

[recentanimenews]

Visuals, Cast, and More Revealed for PSYCHO-PASS: Sinners of the System Film Trilogy

The official movie posters, the main staff, and the main cast have been revealed for all three films in the upcoming PSYCHO-PASS: Sinners of the System anime film trilogy, which will be released sequentially in Japanese theaters in the Winter and Spring seasons of 2019.

    The first film, PSYCHO-PASS: Sinners of the System Case .1 "Sin and Punishment", hits Japanese theaters on January 25, 2019. The main staff includes:

  SS original story, director: Naoyoshi Shiotani

Screenplay: Ryō Yoshigami

Chief animation director: Satoru Nakamura

Animation director: Ryota Niino, Ryōta Furukawa, Shunji Suzuki, Fumi Morita, Satoru Nakamura, Tetsurō Moronuki

Technical direction: Tomoyuki Kurokawa, Yasuhiro Geshi

Director of photography: Eiji Arai

3D: Sublimation

Color design: Emiko Ueno

Art director: Shuichi Kusamori

Sound director: Yoshikazu Iwanami

Music: Yugo Kanno

Character design: Naoyuki Onda, Kyōji Asano, Hisashi Abe

Original series planning: Gen Urobuchi

Original character design: Akira Amano

Animation production: Production I.G

Distribution: TOHO Visual Entertainment

  The main cast for PSYCHO-PASS: Sinners of the System Case .1 "Sin and Punishment" includes:

  Kenji Nojima as Nobuchika Ginoza.

Ayane Sakura as Mika Shimotsuki.

Saori Yumiba as Isumi Yasaka.

Sachie Hirai as Takeya Kukuri.

Hiroe Oka as Kyōka Tsujichō.

Rikiya Koyama as Rodion Matsuki.

Kimiko Saitō as Aiko Gentaku.

Yōhei Tadano as Kōji Noto.

Keiichi Nakagawa as Akira Karasuma.

Kana Hanazawa as Akane Tsunemori.

Hiroki Tōchi as Teppei Sugo.

Takahiro Sakurai as Sho Hinakawa.

Shizuka Ito as Yayoi Kunizuka.

And Miyumi Sawashiro as Shion Karanomori.

    The second film, PSYCHO-PASS: Sinners of the System Case .2 "First Guardian", hits Japanese theaters on February 15, 2019. The staff for the film includes:

  SS original story, director: Naoyoshi Shiotani

Screenplay: Makoto Fukami

Chief animation director: Hisashi Abe

Animation director: Satoru Nakamura, Ryōta Furukawa, Hisashi Abe, Tetsurō Moronuki

Technical director: Yasuhiro Geshi

Director of photography: Eiji Arai

3D: I.G3D

Color design: Emiko Ueno

Art director: Shuichi Kusamori

Sound director: Yoshikazu Iwanami

Music: Yugo Kanno

Character design: Naoyuki Onda, Kyoji Asano, Yasuhiro Aoki

Original series planning: Gen Urobuchi

Original character design: Akira Amano

Animation production: Production I.G

Distribution: TOHO Visual Entertainment

  The main cast for PSYCHO-PASS: Sinners of the System Case .2 "First Guardian" includes:

  Hiroki Tōchi as Teppei Sugo.

Kinryuu Arimoto as Tomomi Masaoka.

Masumi Asano as Risa Aoyanagi.

Masaki Terasoma as Itsuki Ōtomo.

Sayaka Ohara as Rin Ōtomo.

Tomokazu Seki as Shinya Kōgami.

Kenji Nojima as Nobuchika Ginoza.

Akira Ishida as Shuusei Kagari.

Shizuka Itou as Yayoi Kunizuka.

Miyuki Sawashiro as Shion Karanomori.

Takako Honda as Frederica Hanashiro.

Kana Hanazawa as Akane Tsunemori.

And Ayane Sakura as Mika Shimotsuki.

    The third film, PSYCHO-PASS: Sinners of the System Case .3 "Beyond Love and Hate...", hits Japanese theaters on March 08, 2019. The main staff includes:

  SS original story, director: Naoyoshi Shiotani

Screenplay: Makoto Fukami

Chief animation director: Naoyuki Onda, Hisashi Abe, Satoru Nakamura

Animation Director: Miyuki Nakamura, Ryōta Furukawa, Chikai Takeuchi, Hisaki Furukawa, Miho Ichikawa, Kazuchika Kise, Hisashi Abe, Tetsurō Moronuki, Ryota Niino, Satoru Nakamura

Technical director: Toshiyuki Kono, Hirotaka Endo

Director of photography: Eiji Arai

3D: Sublimation

Color design: Emiko Ueno

Art director: Shuichi Kusamori

Sound director: Yoshikazu Iwanami

Music: Yugo Kanno

Character design: Naoyuki Onda, Kyoji Asano, Hisashi Abe

Original series planning: Gen Urobuchi

Original character design: Akira Amano

Animation production: Production I.G

Distribution: TOHO Visual Entertainment

  The main cast for PSYCHO-PASS: Sinners of the System Case .3 "Beyond Love and Hate..." includes:

  Tomokazu Seki as Shinya Kōgami.

Sumire Morohoshi as Tenjin Wangchuck.

Tomoyuki Shimura as Kinley Dorji.

Tsutomu Isobe as Guillermo Garcia.

Wataru Takagi as Tshering Gurung.

Satoshi Tsuruoka as Jean-Marcel Belmondo

  Sources:

Comic Natalie

Anime News Network

  --- 

Paul Chapman is the host of The Greatest Movie EVER! Podcast and GME! Anime Fun Time.

By: news+feed@crunchyroll.com

[cintvee-blog]

MONKEY

NAME OF FILM OR TV SHOW: Monkey

LENGTH: 50 min episodes

(SERIES)

(FULL LENGTH HERE)

DIRECTOR/WRITER: Toshi Aoki et al.

PRODUCTION COMPANY: BBC / NHK

STARRING: Masaaki Sakai, Masako Natsume, Shunji Fujimura

MADE: 1978

An adaptation of a Chinese folktale about a pilgrimage to the West undertaken by a monk and his divine guardians.