japanamerica

Sleeper hit anime 'Blue Giant' gets an encore In 2023, releasing a big-budget anime feature about three Gen Z boys in a post-bop jazz band sounds like commercial suicide. Jazz is boomer music; anime is for kids weaned on Pokemon. But the sleeper hit of the year was by far director Yuzuru Tachikawa’s “Blue Giant,” an adaptation of Shinichi Ishizuka’s jazz-centric manga series. The film was so popular with audiences in Japan and overseas after its first run this spring that it warranted an even bigger budget for a re-edited second release, which premiered last month at this year's Tokyo International Film Festival (TIFF) before opening in cinemas across Japan. Jazz has been featured in popular anime soundtracks since the 1970s, when Yuji Ohno’s funky fusion scores for the “Lupin III” series were broadcast on network TV and incorporated into Hayao Miyazaki’s first feature film, “Lupin III: The Castle of Cagliostro.” Jazz and sci-fi anime cemented their synergy with Yoko Kanno’

One of my favorite recent English-language books on Japan is AMETORA ("American Traditional"), the enthralling, novelistic story of postwar Japan told through its brilliant refashioners of Western fashions (Take Ivy! Selvedge Denim! BAPE!). I will host a talk w/author W. David Marx at The Foreign Correspondents' Club of Japan on Wednesday, Dec 13th , 6pm JST, both live and via Zoom. If you're in Tokyo (or not), please join us by registering here :  https://www.fccj.or.jp/event/book-break-w-david-marx-author-ametora-how-japan-saved-american-style-presentation  "Tokyo-based author W. David Marx will speak about his 2015 cultural history of American fashion in Japan — AMETORA: How Japan Saved American Style — which has recently been re-released by Basic Books with a new afterword after surprising global success. Marx will give a presentation in conversation with JAPANAMERICA author and moderator Roland Kelts on this fascinating micro-history of how Amer

  Kaori Drome Of all the projects I've worked on over the years, this one is the dearest and most rewarding. So I'm thrilled to announce our first LIVE streaming event to launch the latest edition of MONKEY: New Writing from Japan , the world's only annual English-language literary magazine of Japanese stories, poetry, art and essays. I will be joining co-founding editor Motoyuki Shibata and author-artist Satoshi Kitamura to introduce our new issue for the Japan Society of Boston on Tuesday, December 5th at 6pm EST / Wednesday, December 6th 8am JST . Please join us to learn how Japanese stories have come to captivate a global audience. This event is free and you can now register here : https://www.japansocietyboston.org/events/how-japanese-stories-hook-the-world We first launched 12 years ago, spreading the word about several award-winning Japanese writers who are now internationally renowned bestsellers. We're back this 2023/2024 holiday season with Volum

Portraits by Satoshi Kitamura I am both humbled and honored to be featured in the brand new Fall/Winter 2023 issue of the original Japanese MONKEY, the nation's leading literary magazine, in conversation with founding editor/scholar/author/translator Motoyuki Shibata on what makes a good sentence and the more granular mysteries of translating literature between Japanese and English. Among the authors we discuss are Ernest Hemingway, Raymond Carver, Cynthia Ozick, Denis Johnson, Jorge Luis Borges, Kyohei Sakaguchi, Don DeLillo, Rebecca Brown, Tim O'Brien, Amy Hempel and Ehud Havazelet. The lovely illustrations accompanying the interview are by artist and author Satoshi Kitamura, and Shibata's translation of Hempel's piercing classic, "In the Cemetery Where Al Jolson is Buried," follows my interview. This issue (Volume 31) is now available in bookstores across Japan and online here .  Cover by Haruna Kawai

    photo Aki Mizutani (editor, JP)   I was interviewed for the Japan episode of the new Netflix doc series "Encounters," about cultural perceptions of UFOs and alien beings, produced by Steven Spielberg's Amblin Entertainment. The episode features a highly sensitive take on Japan's spiritual imagination. It's called "Lights Over Fukushima" and is now watchable here . I was a tad leery of this gig at first. But the director and crew were great and genuinely keen to tell a true story. And the opportunity to talk about Astro Boy, Ultraman and Totoro in one fell swoop was too good to pass up.      photo Joe DeMarie (LA)     photo Chris Yap Wooi-Hoe (SG)     This Japan story is beautifully shot and brilliantly pieced together by director Yon Motskin and consulting producer/novelist Marie Mutsuki Mockett, without whom I wouldn't be involved. I am typecast in my usual role--resident alien--which I hope to one day play to perfection.    Behind the s

The Johnny's fiasco in Japan is but one reminder that tight corporate/big business control over creative industries can result in corruption and stymie creativity (leaving aside charges of sexual abuse). When I was tasked to write about contemporary Korean vs. Japanese films in my latest column for The Japan Times , one of the starkest differences I found was between the processes of movie and series production in the two countries. In Japan, delivering a product on or under-budget and on-schedule is prioritized, and creatives are treated by corporate owners like disposable gig-economy workers. In Korea, it's more about making works of art. When you see films like "Parasite" and series like "Squid Game" and "D.P.," you get the gist. Does South Korea now have the edge over Japan when it comes to film?         Thirty minutes into “Iron Mask,” the debut feature from Korean writer-director Kim Sung Hwan, its kendo-crazed antihero, Jae-woo (Jo

  2023 My latest interview for History Channel airing this month pursues my work on a story I started researching and writing about 20 years ago: the fate of billions of dollars (at least) worth of treasure plundered from Asia by the Japanese military in World War II, much of it buried in an underground network of tunnels and caves in the Philippines.  It's now watchable online here . The loot was discovered forcibly by the Americans (i.e., GHQ), kept off the books, and deposited in bank accounts across the world--known primarily as the "M-Fund" ( M-Shikin in Japanese). How was that money used? You can probably count the ways, but don't overlook the Marcos regime.   Last time the producers cast me as a cafe-haunting journo. This time I'm playing an author/prof in a gulag.     Here's the first story I ever wrote on the conspiracy, published in The Japan Times and based on my work with the late authors Sterling and Peggy Seagraves and their book GOLD WARRIORS

Letters from Tokyo by Roland Kelts, February - May : What a Long Strange Spring It’s Been  We swallowed an entire season in the latest of my "Letters from Tokyo" series for The Japan Society of Boston, partly because I was away from Tokyo for huge chunks of it. This spring Japan opened its borders and the tourists rushed into Tokyo and Kyoto, PM Kishida survived an attempted assault via pipe (smoke?) bomb--and while Covid eased its grip, roller-coaster climate changes have swung many of us (i.e, me) in and out of summer colds. Let's look back before we fast-forward too far.  The February night I returned to Tokyo from New York felt like spring had landed ahead of me. I shed my jacket in the unusually long taxi line outside Haneda, watched two teenage boys order an Uber and promptly copied them, stepped over the ropes, skipped the line, and settled after five minutes into the backseat of my driver’s minivan, rolling down the windows on both sides.  The weather during my

A couple of weeks after I wrote this story for Rest of World , the Tokyo Stock Exchange hit a 33-year high. Credit my editor. Japan’s sleepy tech scene is ready for a comeback After decades of slumber, the country that brought us bullet trains and Nintendo has mustered some momentum. Sho Hayashi might be a walking cliche in San Francisco or Austin. The 33-year-old founder, with two successful startups and a string of degrees to his name, met me in a light-filled coworking space before flying overseas for a weekend of meetings.  But here in Japan, Hayashi is a new breed of revolutionary. A graduate of the elite University of Tokyo, his standard path would have been to settle into a lifetime job — perhaps as an international diplomat, or at a time-tested corporate empire like Mitsubishi. When he attended a massive startup conference in Singapore in 2010 and realized Japan didn’t have a single representative, he asked to become one and found a new calling: entrepreneurship. “I realized th

Anime may be booming, but Japanese manga (comic book) sales are astronomical. I was interviewed about the explosive overseas sales of manga during the pandemic and the recent proposal by Keidanren, Japan's biggest business federation, to quadruple overseas manga sales over the next 10 years. You can read Julian Ryall's full story  here . Excerpt: "'I was stunned when I saw the figures for 2020 and 2021, which showed that year-on-year manga sales in the US were up by 171%,'  Kelts told DW. 'That's just an astonishing number, and the figures made it clear that the overall graphic novel market grew much faster than the standard market for books.' There are key differences between the Japanese and US markets, however, with sales of print manga in North America driven in recent years by anime that consumers will have seen on television, including such famous titles as 'One Piece,' 'Attack on Titan,' and 'Spy Family,' Kelts highlighted

Belated thanks to Yuri Kageyama of the Associated Press for her story about Hollywood anime adaptations that grew out of my  FCCJ  event for the new  Blade Runner: Black Lotus book. This article was published well before the live-action  Saint Seiya movie   (called  Knights of the Zodiac , btw) dropped and disappeared, and word from the One Piece  set ain't so great either. (Original mangaka Eichiro Oda apparently has a lot of notes.) You can read Yuri's full article here . It was a particular honor for me to be featured alongside one of my former students, Nina Oiki, for whom I was happy to sign a book at the press club.  Excerpt: "The cross-pollination of Hollywood and Japan goes back for decades. References to Japan, such as the image of a geisha on a screen, are plentiful in the 1982 sci-fi movie “Blade Runner,” directed by Ridley Scott. The film, in turn, influenced anime, including the “Blade Runner: Black Lotus” anime that first aired in 2021. Japanese pop cultur

When Katsuhiro Otomo (Akira), Mamoru Oshii (Ghost in the Shell) and Shinichiro Watanabe (Cowboy Bebop) show up in the same small venue in the same small city on the Sea of Japan--magic happenstances. I was invited to attend the first annual Niigata International Animation Festival and I'm glad I went. My take below. New Niigata film festival brings out the big names in anime Roland Kelts JAPAN TIMES column CULTURE SMASH It’s no secret that Japan loves animation. Despite being a marginalized medium elsewhere, animation in Japan regularly tops the domestic box office, earning billions of yen for films made without movie stars and on relatively low budgets. Of Japan’s 10 highest-grossing movies ever, seven are animated. But there’s a hitch: six of those top seven titles are homegrown. Animation produced elsewhere, aside from the occasional old-school Disney blockbuster like “Frozen,” rarely gets seen in Japan, let alone embraced by moviegoers. Like short-grain white rice and unagi (fr