japanamerica

'Cannon Busters': Bending anime rules in all the right ways The Japan Times South Bronx, New York native LeSean Thomas is making anime in Tokyo partly owing to a mistake.  In the early ’90s he bought a video cassette of what he thought was “Akira” but turned out to be a behind-the-scenes “production report”  documenting the film’s creation. Instead of returning it, Thomas watched it every day. When he saw director Katsuhiro Otomo and his team working through the night at their cramped desks, he thought: That’s what I want to do. More than 20 years later, Thomas, now 43, has become an anime showrunner with “Cannon Busters,” a 12-episode series based on his 2005 comic book of the same name and rendered by Tokyo animation studio Satelight Inc. The multinational project was created by an American, co-financed by Britain’s Manga Entertainment Ltd. and Taiwan’s Nada Holdings Inc., produced by a Japanese studio and released on major U.S. and Chinese streaming portal...

Breaking the comic book glass ceiling Four years ago, Chinese-American writer Marjorie Liu had a simple but persistent idea: create an epic fantasy comic book series about a classic Japanese kaijū (strange beast) movie monster that has a connection to a girl. She knew it should take place entirely in Asia, and that Asian women should be the main characters. She also knew that she wanted to work with an Asian artist. The West, and men, would remain peripheral. The artist she wanted to realize her vision was Japanese illustrator Sana Takeda. The two had worked together on the Marvel comic series “X-23” in 2010, and Liu says their chemistry was uncanny. Marjorie Liu “She was one of the finest artists I ever worked with,” she tells me at a cafe in Cambridge, Massachusetts, where she lives and teaches at Massachusetts Institute of Technology. “Sana is capable of illustrating silence, quiet moments. That’s rare in comics. And I write superheroes as real people wi...

Disney’s ‘Big Hero 6′ animates a bridging of cultures BY ROLAND KELTS This year’s Tokyo International Film Festival was hot on animation, featuring screenings of the collected works of Hideaki Anno, creator of the epic franchise, “Neon Genesis Evangelion,” and 3-D shorts directed by Nintendo’s Shigeru Miyamoto, producer of “Donkey Kong” and “Super Mario Bros.” But the festival’s opening animated film was from America — even if Japan is very much on its mind. The world premiere of “Big Hero 6″ (released in Japan as “Baymax”) from Disney and Marvel Comics took place in Tokyo on Oct. 23. It opened in theaters in the United States on Nov. 7, and will drop in Japan on Dec. 20. Last month, as I swung through Los Angeles, where the film was produced and directed, the pre-release buzz was palpable. The eponymous hero of the film is a “Hiro” — Hiro Hamada, a half-Japanese, half-Caucasian boy genius with a flair for robotics. Hamada and his robot companion, Baymax, fight evil forces wh...