In a year marred by industry-wide delays and cancellations due to the COVID-19 pandemic, anime still managed to become more popular than ever thanks in part to streaming platforms.
For Roland Kelts's latest contributions to The Japan Times, see below:
The half-Japanese, half-Australian siblings, who experienced relentless teasing while growing up in Australia, took refuge in music and created their own blend of electro-pop.
Sengan-en, the estate of a samurai clan, is going virtual in honor of the family’s legendary warrior, Shimazu Toyohisa, and the manga modeled on him.
The coronavirus outbreak has altered the reality of mass gatherings worldwide, but canceling an event isn’t something all organizers are in a position to do.
The process of creating the perfect alchemy for Ghost of Tsushima’s score took over two years and spanned three cities: Tokyo, Los Angeles and London.
The spread of COVID-19 has caused many large-scale events to be cancelled, including a lot of anime fan conventions. The question now is, will these events survive to cosplay another day?
For the past quarter century, fans of Japanese pop culture in Australia and New Zealand have been served almost exclusively by a single distributor: Madman.
One Japanese major publisher and producer is seeking to capitalize on YouTube influencers with a highly unusual approach: inviting non-Japanese anime YouTubers to live and produce content within Tokyo.
The lineup of artists onstage at the Tokyo premiere of "Sturgill Simpson Presents: Sound & Fury" was as eclectic as the film they'd all made: a 41-minute anime music video set to an entire album by the Grammy-winning Simpson.
Though relatively unheralded, Gkids scored the rights to U.S. re-releases of the work of anime giants — including Isao Takahata and Makoto Shinkai — by only showing them in cinemas.