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(click to play) Now that a U.S. politician has called  Dragonball Z "anime porn, " this interview I gave to CNN is unfortunately apt. <<"Miller condemned DBZ in a tweet on Wednesday, where he claims that 'They are now introducing a great deal of anime porn into the internet matrix,' and that 'Dragon Ball Z is one of the top issues here.' Without offering any additional context, Miller then continues his accusations of an unspecified 'they,' saying that, 'They are sexualizing cartoon characters to push a depraved agenda on our kids. What’s next? Where will it end?'">> Oh, that internet matrix. Where will it end, indeed.

Thanks to the Nippon Foundation for the honor of being a chosen book .

Honored to be appearing at this year's Virtual Crunchyroll Expo 2020 with my friend Arthell Isom, anime director, background artist and co-founder/CEO of D'ART Shtajio , Japan's first black-owned anime studio.  We'll be talking about Anime and Race  — a timely topic, and one that is rarely addressed.   

(click to play)   I gave an interview in Tokyo to the BBC for a documentary about Japan's birth rate. I talked about Japan's expanding menu of options for virtual romance and sex — from dating sims to erotic manga, anime and video games. It's not just Japan, of course. The annual birth rate here remains higher than it is in South Korea, Singapore or Hong Kong, and birth rates have also been steadily declining in the United States and across Europe. Options for virtual romance and sex are increasingly popular in developed nations worldwide. Dating app , internet hookup and pornography addiction are hackneyed phrases by now. But what I didn't know during the shoot was that virtual romance and sex would be among the safest, sanest and most responsible options for intimacy in the middle of a global pandemic.

The Details of Hiroshima The New Yorker The first time I visited the Hiroshima Peace Memorial Museum, I carried a notebook and a sense of dread. The mood was as solemn as I expected, but the place was crowded and not very peaceful. Visitors were silently urged to go with the flow, move in step with others and not linger too long. The displays were impressively well kept—maybe too well kept. There were life-size dioramas of the victims trudging barefoot through ashen sludge, shredded and bloodied; massive models of the city as it was, pinpointing the exact location of ground zero; bent and crushed watches and clocks frozen to the moment—8:15 a.m., August 6, 1945. The feeling that all the carefully curated and eye-catching exhibits sometimes felt like part of a Hiroshima theme park was probably unavoidable. “A lot of people died instantly,” I wrote, but I was wrong. While trying to soothe burning skin, some died in the river when fireballs swept up the oil-slicked water. Others died year

Soundtrack to Ghost of Tsushima stands out for its seamless blend of musical influences The Japan Times Here in the middle of 2020, a terrible year by nearly every measure, cultural authenticity is the name of the game. Pretending to be what you are not will get you canceled in a TikTok minute. Fortunately for Sony Interactive Entertainment (SIE) and developer Sucker Punch Productions, they have just released the year’s most celebrated transcultural video game, Ghost of Tsushima. The last major title created exclusively for Sony’s PS4 console platform and already a money-spinning international hit, Ghost of Tsushima earned its online street credentials through painstaking research and collaboration. The game’s stunning visual depiction of feudal Japan under Mongol invasion in the year 1274 is rendered so convincingly that it has won praise from industry critics both here (Weekly Famitsu gave it a coveted perfect score) and abroad, as well as near-unanimous thumbs-ups from gamers on soc