My name is Joel Assogba. I am an African-Canadian “Japanese”, with the spirit and soul of a world citizen. I ran a language school in Chikugo City (Fukuoka, Japan) where I taught English and French for 17 years. I am also a writer-illustrator and a passionate public speaker. I have published many trilingual books (Japanese / English / French) and articles in Japanese newspapers.

In April 2011 I moved back to Ottawa-Gatineau (Canada), where I am living with my Japanese spouse, Reiko, and our 3 beautiful children; Karen-Anne (16 years old), Georges-Eric (15 years old) and Erika-Joelle (12 years old ).

You truly are the personification of multiculturalism, having written trilingual works in the past (French, English and Japanese). Is there anywhere that you think of as “home,” or is the old cliche, “home is where the heart is” more suitable?

For me “Home” is the whole planet. It is easier that way, because when I start saying; this city or this country is my home, I go against my belief of being a “World Citizen.”

You lived in Japan for over a decade and even set up your own school there, did you ever feel truly assimilated into Japanese society?

Assimilation is not a concept that I like, because when people assimilate into a culture, then we cannot talk about multiculturalism anymore. I spent almost all my adulthood in Japan (17 years). I spoke no Japanese at all before moving to Japan, but after a year or so, mingling with my ESL students and their parents, I was able to speak the language fluently. After 4 years, I started giving 90-minute talks in Japanese to an audience of 200, 500 or even 1500 people (native Japanese) without referring to any notes.

I think I integrated (not assimilated) very well into Japanese society, and I proudly say to people that I am “Japanese,” too, even though I haven’t taken the citizenship. Even here in Ottawa, I am involved in the Japanese community; I have met the Ambassador, the Minister and several diplomats.

You have given many talks about racial awareness and bullying in Japan, perhaps most notably at the 2005 Expo; is bullying a universal problem, or do you think Japan has some unique hurdles to jump over? If so, what would they be?

Of course the number of bullied Japanese students who commit suicide is worryingly high, but bullying is a universal issue that needs to be addressed more seriously and challenged. It is very unfortunate that many teachers and parents still don’t act quickly before things get out of hands, and someone takes his or her own life. I believe schools need to work closely with homes and communities to prevent bullying from happening, but when it does happen, adults must let children know that it is not to be tolerated. Clear rules and consequences must be set up and applied.

You have written several children’s books which promote diversity and equality; how important are such books in making a healthier environment in school and at home?

I am the author-illustrator of two trilingual (Japanese, English and French in the same book) children’s books;
1)”The Rainbow’s Kids,”
2) “Wind of Freedom.”
And 3 bilingual ones (Japanese and English in the same book);
1)”What Color are Burdocks,”
2) “I’m not a Foreigner,”
3) “Respect for Life”
I have also published a bilingual project(Japanese and English); “平和・ピース・Peace”(96 pages) to commemorate the 60th anniversary of the A-bomb being dropped on Hiroshima and Nagasaki. I have designed and published two colorful posters to promote multiculturalism and prevent Ijime (bullying) in Japan. For about 12 years I traveled to more than 60 cities around Japan and gave more than 500 talks in Japanese on parenting, education, universal values, crime prevention, human rights, anti-racism, nonviolence and peace…

Children in many countries around the world (including Japan and Canada) grow up in classrooms that are increasingly diverse. There are different races, different genders and ever increasing acknowledgment of different sexual orientations. Children who are developing their sense of self may feel threatened when it does not match what is considered the “norm”. For this reason, it is crucial that teachers take a broad view on accepting diversity in their classroom. Parents also need to expose their children to a multicultural education.

There are countless authors of children’s books, do you think all of them know the full extent of their responsibilities? Or are there some books which are needlessly bias, or perhaps even discriminatory?

Many authors, editors and publishers of children books just care about money. Publishing is pure business today; as long as the book sells, the content doesn’t need to respect any human rules. Publishers don’t care much about the message the book conveys, and it doesn’t matter if it encourages bullying or racism. A perfect example for that is the picture book, “Ninjin-san ga Akai Wake” (“The Reason the Carrot is Red”). Written by renowned Japanese author of children’s literature Miyoko Matsutani, the story unfolds like this: A carrot and a burdock ask a white radish (daikon) out to a bath. The burdock jumps in the water but soon hops out because the water is too hot; it remains black. The carrot stays in the hot water longer and turns red. The daikon cools the bath with some cold water and washes himself thoroughly, which turns him shining white. At the end, the three stand beside each other to compare their color. The burdock is black and dirty because he did not wash his body properly; the daikon is white and beautiful because he did.

When I was talking about this story during one of my lectures on human rights issues at a PTA meeting in Fukuoka, one of the participants, a Japanese mother of an African-Japanese preschool boy, started crying and saying that her son was taunted, ridiculed and called “burdock” after his pre-school teacher read the aforementioned book to the class. When the little boy returned home that day, he jumped into the bathtub, started washing his body and crying, “I hate my light brown skin, I hate the burdock, I’m dirty and I want to be like the white radish!” How can this child have a positive image of himself?

We all felt sad after hearing this story, because the book associates the color black with dirt. The story’s underlying message is clear: “You’ll be black and dirty like burdocks if you don’t wash yourself well in the bath.” So children with darker skin will be victimized by the message it conveys. How can such a book still be in libraries and preschool classrooms in increasingly multiracial contemporary Japan?

I called the publisher, Doshinsha Publishing Co., and demanded the book be recalled, saying it was racist. The publisher disagreed. My demand to meet with Matsutani to discuss revising the portions of the book I considered objectionable was also rejected. Yoichi Ikeda, the editor of the book published in 1989, told me over the phone that the story was the author’s version of a Japanese folktale. “Matsutani is not promoting racism, she was just handing down to Japanese children our rich culture,” he said. “And anyway, there are not many black children in Japanese preschools.” Surprisingly, the book is quite popular and was even selected as one of the Japan School Library Association’s “good picture books.”

The author, editor and publisher, as well as Japanese educators who use the book, should face the fact that it insults many people in today’s multi-ethnic society. It’s important to have characters with a positive image, so children who identify with them can develop high self-esteem.

“Gobo-san no Iro wa?” (“What Color Are Burdocks?”) is my counterargument to Matsutani’s picture book. The story goes: One sunny day, a group of children visits a farm and harvests daikon radishes, carrots and burdock. They put the muddy vegetables in a bath but find the burdocks are still black after washing.
The children take the “dirty burdocks” to the bath again. The burdocks get upset and jump out of the water, saying, “We are already clean. Black is our natural color.”
Carrots and radishes join them, saying, “Yes, we are all clean,” and they all sing and dance together. “Black is beautiful, white is Beautiful, red is beautiful — all the colors in the world are equally beautiful!”

How well do you think the education system in Japan deals with international students? What kind of changes would you encourage?

It is very confusing in Japanese Schools. MEXT (the Ministry of Education,Culture,Sports,Science & Technology of Japan) tries to teach Japanese students kokusaika　(internationalization), but no programs exist in which Japanese students can exchange their culture and customs with children new to the classroom and possibly Japan. The Central Educational Council of MEXT submitted a proposal for revision of the Fundamentals of Education Act on March 20, 2003 , but the purpose of the revision is to encourage Japanese to acquire an “international way of thinking” by cultivating “love for Japanese culture, tradition and patriotism” .

Also, the MEXT pamphlet Kyôiku no kôzô kaikaku (structural reform of education) emphasizes educational reforms to cultivate shakai-sei(sociability) and kokusai-sei (an international way of thinking), and to accomplish these reforms MEXT propose English classes in compulsory education, and other language classes and cultural exchange by studying abroad in higher education (2003). In these two policies, it seems that education in Japan is open only for Japanese, and that cultural exchange with other countries and studying English are the only ways for Japanese to develop kokui-sei. The Japanese educational policy of kokusai-sei is a peculiar system, a proposal for an international way of thinking made without consideration for the international children who live within Japanese society.

How did the audience generally react to your point-of-view?

From 1999 to 2011, I traveled to more than 60 cities and gave more than 500 talks; at kindergartens (for kids and their parents), elementary schools, junior high schools, junior colleges, universities, public halls, community centers, public libraries, etc.. I can’t even keep track on all the cities that I have been to.
I was very popular among grade-school children, the majority of parents and teachers. I have visited more than 250 elementary schools, talked to and mingled with more or less 100, 000 children. I love kids, and if we educators really take time to touch their hearts with universal messages of tolerance, diversity, compassion and respect for life; they won’t bully each other.

Most of my talks to adults were full, often with a range of 500 to 1500 people. Roughly, I have talked to more than 500,000 people in 10 years. Of course, not all the people agreed with what I was talking about. On many occasions, I have been yelled at and told to go back to my country if I “badmouthed” Miyoko Matsutani (the author of “Ninjin san ga akai wake,”). Miyoko Matsutani, (born in 1926), and considered as the “Mother” of Japanese juvenile literature. It seems like nobody has the right to counter what Miyoko Matsutani has written, even if it is not right. I vividly recall an incident that really flipped me off::
While talking to the kids, their parents and teachers about “Ninjin-san ga Akai Wake” and why I created “Gobo-san no Iro wa?” at an elementary school in Fukuoka, a mother stood up and interrupted my presentation; “Don’t badmouth our beloved Matsutani-sensei in front of our kids,” She furiously said, “You are a Gaijin and you don’t know anything about our beautiful culture…” She didn’t even get it all off her chest when the principal jumped in ;“Don’t brainwash our kids, stop your lecture, thank you.” Then the parents started leaving the hall, and teachers told the students to go to their classroom.

I never badmouth anyone, but every time that I find something wrong in our societies, I stand up with fearless courage to challenge it. Let’s not confound “criticism” with “badmouthing.” BADMOUTHING is charging falsely or with malicious intent; attacking the good name and reputation of someone, but CRITICISM is the practice of judging the merits and faults of something or someone in an intelligible (or articulate) way. After all, when the criticism is valid, it must be made by all means necessary, because it is the only way we can make the world a better place to live.

I was quite satisfied about the coverage I have received in the Japanese media, though. The three main national newspapers (Yomiuri, Asahi, Mainichi) and several other regional newspapers have written excellent reviews about the book and my social actions. Several radio and television shows also have allowed me to express my views on the issue of racism. Many public libraries purchased not only “What Color are Burdocks?” but my other books as well. I was honored to find out that seven of my publications are at Japan National Diet Library in Tokyo: http://www.ndl.go.jp/en/index.html (Search Joel Assogba)

The National Diet Library (国立国会図書館 Kokuritsu Kokkai Toshokan) is the only national library in Japan. It was established in 1948 for the purpose of assisting members of the Diet of Japan/National Diet of Japan (国会 Kokkai) in researching matters of public policy. The library is similar in purpose and scope to the U.S. Library of Congress

If someone has a child and they suspect that they are being bullied, what action would you suggest the parents take?

Just make sure that your kids tell you everything that happens at preschool or school (good news and bad news) every day after they come back home. Do not tolerate any racist comments. Kids need to take pride in their ethnic background while growing up, and do not forget to tell them very often; “You are very Beautiful!”

I believe in a good human nature, so I help my kids and other kids practice compassion, and nurture their good inner-selves with universal human values such as Peace, Love, Tolerance and Respect for Life.”If you want to be happy, practice compassion. If you want others to be happy, practice compassion.” (Dalai Lama)

Lastly, what do you have planned for the remainder of 2012?

I will work tirelessly to fight against discrimination of all forms, e-publish a few books, promote my work, give talks at schools, community centers and public hall around the nation to preach universal values such as love, compassion, tolerance, diversity, respect for life, etc..

There is a kind of subtle racism going on now in Canada, especially in the media. When I moved to Canada in March 2011, I wasn’t active for about half a year. But after, I started going to schools to talk to children, parents and teachers about Anti-Bullying, Tolerance, Diversity, just like I was doing in Japan. I also started giving talks, and displaying my illustrated books & posters at book fairs and events to promote the values that I named above, in both English and French. These are values that Canada is proud of.

To find out more about Joel and his body of work, be sure to visit his website here, or you can contact him directly and get your hands on some of his books by emailing: joel5711@gmail.com

Known as the biggest art and design event in Asia, the 35th International Tokyo Design Festa [ link ] continued its long tradition in bringing together artists from all over the world. Held biannually at Tokyo Big Sight, the gathering of creatives number in the thousands as each designer, artist, and presenter creates their own unique space to display work. Among these artists was one in particular who captured the attention of each passing guest.

Known as Banako, we met up with one of the events youngest and most charismatic artists. Encapsulating the genre of “Kimo-kawai” (gross but cute), Banako’s conceptual art space had those passing by sucked into an elaborate world full of fantastic colors and goo. The artist herself is a Tokyo native who was encouraged at a young age to express herself visually as she grew into an artist. Axiom had the chance to get a sneak peek into the Banako’s world built around an extraterrestrial love story.

It’s great to finally have a chance to speak with you. Could you tell us a bit about yourself as an artist?

B: Sure! My name is Banako, and I am a 20 year old artist living in Tokyo. I have just finished college where I studied art and design. I now work as a graphic designer and production assistant at Natural Paradox [ link ]. But at the end of the day I spend all my time with Tsumashi-Kun, he and I are inseparable!

Yes, about Tsumashi-kun, could you tell us a little more about him and your project?

B: Well, you see, it’s a bit complicated because I’m in love. Tsumashi-kun was born out of a series of oil paintings and sketches and came to life through this project. I am always chasing after him and I’m not sure when I’ll ever see him again. Everything I create is really just an image built from what I remember through my memories. I’m hoping that one day it will all come back to me and I’ll finally be able to meet the real Tsumashi-kun…

That is quite the story, but it seems like you are not the only one who finds Tsumashi-kun interesting. Can you tell us a bit how people are reacting to your work at this event? Has it always gathered this much attention?

B: Everyone is always curious about things they aren’t quite sure of, but I am always happy to explain. People are really interested in the food I make from Tsumashi-kun’s world. A lot of it is based off of recipes and ingredients that most people can’t pronounce, after all, they are from the far ends of the universe. At the end of the day I’m just glad to have people interested in something new and get them as excited to experience something unusual.

You must be satisfied then, we had to wait in a line just to get a chance to talk with you! How long have you been sharing your work…erm…story at this show?

B: This is my third time having a space to share at the Design Festa, and so far things are going really well. A lot of people want to know if they can buy my things or if I will make something for them. But the truth is I am just here to tell them about Tsumashi-kun. It is a bit selfish, but he’s the most important thing about this whole process.

To take a glimpse into the world of Banako & Tsumashi-kun be sure to check out her blog [ link ]

It does not take much effort to be aware of the influence that Japanese idols, characters, and visual media have in the western world. Whether you find the growing trend of Pokemon characters and Japanese fashion interesting or not, big-eyed, hyper-colored imagery is here to stay. Although animation and dime-a-dozen teen idol groups seem to be as easy to create as they are to fall out of popularity, there is a new type of trend that is emerging out of the heart of the Otaku culture. One that encompasses everything from comics, to music, to live performances.

Kaminarikozo has been a project two years in the making by character designer, and all-round great guy, Dice-K Jacksun. As a freelance designer and producer in the Japanese television industry, he is currently investing most of his efforts with the debut of a new character series he created himself. We had the chance to sit down with Dice-K, and one of his colleague/characters, Osiris, to talk more about the project and where its heading.

Hello again, Dice-K, we had the chance to meet you at your last event, but not so much time to talk! Could you introduce yourself to our readers?

DJ: Sure! Thanks again for coming to the event. Let’s see, I grew up in Osaka and have always been interested in character design and illustration. Back then there was a huge character boom in Japan and a lot of characters and mascots (especially from kid’s snacks) turned into their own televised series. I was a big fan of Bikkuriman [ link ], which was a character that did just that.

After being really interested in pro-models [plastic models] , anime, and games, I started to grow more curious about foreign TV shows like Jim Henson’s Seasame Street, which was aired in Japan in English as a children’s show. I really liked the idea of real characters interacting with real people.

After moving to Tokyo to pursue a career in design when I was around 18, I set my sights on working for Disney (this was way back when they still mostly hand-animated).

When you finally got overseas did you find that the experience changed the way you approached your own work?

DJ: Nope, not really. I was there for 6 months and it was an interesting time in my career, but the only thing that really stuck with me was “Man, pizza is cheap!” It was really fun to be in a new country and of course I had the chance to meet a lot of great people. At the time the whole Dragonball and Pokemon thing had just started to become really popular and Disney was losing to Pixar. By the time I got back to Japan, I had a lot to catch up on.

Speaking of Dragonball, you are working with the original voice actor for Piccolo from the series, 　Toshio Furukawa　[ link ], who has voiced other famous characters like Gundam, Fist of the North Star, and One Piece, just to name a few! How is it working with such an established professional in the industry?

DJ: Mr. Furukawa is amazing! Being able to work with him is a dream come true, and having him be the voice for one of my characters is really awesome. Of course, I have to consider that his name carries a lot of weight through working with him on this project, but at the end of the day any decisions still come down to me. Mr. Furukawa is a real professional in the way that he respects that.

Can you tell us a bit more about the Kaminarikozo project and how it came together?

DJ: Let’s see…Working as a freelance designer in Tokyo, I was able to make a lot of great, lasting relationships in the industry that I have always kept going. A lot of those I made through working on an anime called Macross Robotech which was a great experience. However, after working on stories which ended with definitive plots and characters, I thought it would be more interesting to have a series were the characters were more alive. I really liked the idea of creating a character that fans can see and interact with in the real world. The events that we have done so far have proven that it is something that people are looking for. We are all really excited for what we have planned next.

Could you tell us a bit more about Osiris from Kaminarikozo?

DJ: I would, but it’s probably best you ask her yourself…

Hello, Osiris. Sorry to keep you waiting!

O: Hello! No problem at all! Thanks for taking the time to speak with me!

So we understand that you are not exactly from around here. Can you tell us a bit more about who you are?

O: Well, it’s a bit hard to believe but I am a cosmic ninja from a place called Hot Jupiter. I came to Nagoya to learn more about anime (some of my favorites are City Hunter and Ranma 1/2) and I really, really like sweet foods! Everyone in this city is super nice and is always inviting me to try new local foods and visit interesting places. Have you tried this thing called 揚げまん棒　”a-ge manbo” ?! It is made out of deep fried sweet red bean paste and is served on a stick, a-m-a-z-i-n-g!!

We’re glad to hear you are enjoying your time here…on earth. We are also glad to have had the chance to meet you at your first live event, which was great! How was it to be in front of so many of your fans for the first time?

O: It was fantastic! Of course, I was a bit nervous, but seeing everyone there having fun and interacting with the performance was great. And Mr. Furukawa, wow! He is such an amazing person. It’s so cool being able to work with him, the voice of Piccolo! There are so many other people who are a part of Kaminarikozou that make every day really fun and exciting.

Is there anything you would like to say to your soon-to-be and already fans out there?

O: Yes, of course! For those of you who came out to the last event, Thank you! And for those who couldn’t make it, I am looking forward to meeting you next time! I hope to travel all over Japan, and then the world, so wait for me! I’ll see you soon, and until then, check out my blog here! [ link ]

Kaminarikozou Events are filmed live against a green screen using live actors and audience participation. The finished footage is then edited and streamed through radio broadcasts and produced into a TV show. For more information about the events please visit the website here [ link ]

Writer, actor and revolutionary, Yukio Mishima is heavily decorated despite an austere constitution. He was a man of dynamic build whose devotion to the union of mental and physical brawn culminated in the self-inflicted slashing of both.

His 1963 Sailor follows the actions of three individuals: a boy called Noboru, his mother Fusako, and her new lover, a sailor named Ryuji. Noboru is thirteen and precocious, seeking self-education in a band of adrenalized teens with a Lord of the Flies-like mentality, deriding the sentimentality and simplicity of the adult world as they form their own mores.

Significant as a study of human nature, the writing, too, is startling. The language, grandiose, potent and precise, seems to feed directly off of the characters’ psyches as it manipulates and governs their behavior from the other end, resulting in a continual projection of expectations and punishments of heroic proportions. It’s a gripping portrayal of the process of adaptation humans undergo—from boy to man, widow to wife, sailor to shore man—through which the world swells and shrinks, between liberation and stability, like the sea.

The Three-Cornered World Soseki Natsume
Translated by Alan Turney
184 pp., Tokyo: Tuttle

Author of dozens of novels, for twenty years the face on the 1000yen note, and Japan’s first Japanese literary scholar; if Natsume Soseki were alive today, he’d look at this modern world of ours and shake his head.

In a time when loud western thingamabobs were beginning to extend their creaking arms, Soseki was writing novel-length poetry about a man who turned away from modern materialism and into the mountains. Of his days in a mostly uninhabited town, wandering through valleys, studying trees, the poet-painter of TTCW makes notes of the epiphanic musings he is moved to by the scenery: on being an artist, liberating oneself from earthly fetters, the unpleasant, unwelcome multitude of niggling fart-counters (big-city types who think their shit don’t stink).

While his sentiments have a clear brother in romantic period lit—necessary isolation, bare “truth,” a veiled seductress—Soseki’s pastoral escape is markedly Japanese. At the core, indistinguishable from personal philosophy, are tenets of Eastern ideology. Aesthetics of traditional Japanese art. Haiku for self-expression and more thought than plot. But where it lacks in cohesion, it rewards in imagery, beautiful phrasing and inspiring ideas worth turning your materialistic mind to.

Thousand Cranes Kawabata Yasunari
Translated by Edward G. Seidensticker
147 pp., Tokyo: Tuttle

A boy, Kikuji, orphaned by four and relative-less by fifteen, Kawabata writes through a filter of loss and isolation. His characters seem predisposed to the nighttime; they creep about in the dark, conversing in the shadow of a corner, engaging in activities that must never see the light for their depravity. All told is quiet and spare, and for such lyrical portrayals of traditional Japan he claimed the Nobel Prize for Literature in 1968, a then unprecedented feat for a Japanese writer.

TC is considered an exemplary sample of Kawabata’s talents and fixations. Kikuji can’t seem to get his desires attuned with his fate which destines solitude, dithering, and lots of tea parties based on pretense.

Specifically: He has fallen for and lost his father’s ex-lover, taken to visiting her colorless, runaway daughter, blown off a miai with the only balanced female in his tea circle, and now sits, pained, as he contemplates the somewhat incestuous careers of his lacquered wares, which he inherited from his father. It’s a study of the duplicity of gestures embedded in the restrictive environment of the tea ceremony. Still, despite turmoil, cold though it burns with passion—a deceivingly quiet execution.

モモへの手紙 – A Letter for Momo

Although Hiroyuki Okiura has been involved in the animating department for some of Japan’s best modern anime (Paprika, Ghost in the Shell 1 & 2, Metropolis), A Letter for Momo will be his directorial debut. The film follows our eleven-year-old protagonist, Momo (Karen Miyama), as she moves from the bustling city life of Tokyo, to the subdued beauty of a remote island, Shio, with her single mother.

Momo’s father has died and left Momo with little besides memories and a hand-written letter. Confused, upset and longing to return to Tokyo, Momo has difficulties adjusting to the country life, especially as strange things are afoot, besides knickknacks disappearing, Momo spies ghostly apparitions and mumbled conversations, which her mother tells her to ignore.

Unknown to Momo and those around her, she has stumbled across a community of odd looking, but gentle-spirited monsters, including the infantile Mame (Cho), the ill-mannered Kawa (Koichi Yamadera) and their bulky leader, Iwa (Toshiyuki Nishide). Going from fear to affection is a long and delicate process, but as Momo learns more about her unique neighbors, she discovers that her new home may have a mysterious tie to the letter she holds so dear.

Spec 〜天〜 – Spec The Movie

Since the success of the 20th Century Boys triology, director Yukihiko Tsutsumi has enjoyed a favorable time in the spotlight. His adaptation of the popular anime series, Beck, was better than most fans anticipated and Spec The Movie promises to be just as enjoyable, as well as a little stranger.

Saya Toma (Erika Toda) has an IQ of 201 and is one of Tokyo Metropolitan Police Force’s top detectives. She is paired with the feisty Takeru Sebumi (Ryo Kase) and together they determine a criminal’s “Spec” and so hunt down their criminal in a science of deduction, Sherlock Holmes style. This time around, a pile of bodies turn up on a cruise ship and the pair are sent in to investigate.

The film also stars Tarantino’s favorite schoolgirl, Chiaki Kuriyama, who plays the cool action-chick with real style, although the illusion is somewhat broken, along with the fourth wall, as references to Kill Bill are dropped into the conversation. The film itself will either be too dramatic for some, or perfectly stylistic to others. The plot takes a back seat, which is for the better as it is a little confusing, but the action and fun more than make up for it.

Troll Hunter

The best non-Japanese movie this month is not from Hollywood, nor is it in English, it is a Norwegian movie by Andre Ouredal, so be sure that the film is played with your desired subtitles, as otherwise you may struggle to understand what is going on!

Following a band of students, Thomas, Johanna and Kalle, all budding filmmakers hoping to put together a winning documentary, the film goes from realism to absurdity at a flick of a switch. What starts out as an investigation into the strange deaths of wild bears, turns into the hunt for monsters, as the poacher they find, Hans (Otto Jespersen), is not concerned with hunting bears, but ancient trolls.

The premise may seem daft, but the film balances humor, action and a fair dose of fear perfectly. The documentary style it plays through helps you forgive the shaky CGI and only increases the dead-pan jokes that litter the script. It may seem a contradiction in terms, but this monster-hunting flick is a subtle masterpiece and should be tracked down at all costs. And fear not, it doesn’t take itself as seriously as The Blair Witch Project, nor is it as forced or cheesy as Cloverfield, it is just good, honest fun!

Atsuta Shrine itself is revered in Japan as one of the finest shrines in the country, reportedly dating as far back as the 1st century and the reign of the legendary Emperor Keiko (景行天皇). Its grounds are a staggering 200,000 squared meters and no less than 9 million people visit the sacred shrine every single year.

But a small faction of people come to celebrate Eiyoudo Shinji, which sees a group of around a dozen senior representatives of the shrine walk through the grounds and at four different locations, laugh. The men are followed by their junior cohorts, who carry lanterns in the darkness, as the procession takes place after dark (from 7pm) and all of the lights in the grounds are switched off. Once they arrive at their special locations, the lanterns are blown out, and in the pitch-black, the older men chuckle, starting with a subtle “o-ho-ho” and erupting in loud belly-aching laughs.

　
The festival is unlike most others in Japan, with no food stalls, games or loud crowds, just a respectful following and their cameras. The festival itself is centuries old, dating back to the reign of Emperor Tenji (626-671). It is reported that Emperor Tenji returned a sacred artifact to the shrine, a Godly sword, and at the time those at the Shrine were so pleased to see both the Emperor and his holy cargo that they burst out laughing. Thereafter, every year on the 4th of May, a collection of those working at the shrine show their gratitude and thanks, by tracing the footsteps and their ancestors and laughing into the night sky.

Eiyoudo Shinji is officially known as a “kisai” (奇祭) or Strange-Festival. To be referred to as a kisai, a festival usually has an unusual ritual involved, and the secrets of Eiyoudo Shinji are rather odd; underneath the white garments of the men, they each hide a God like mask, which members of the public are not allowed to see, hence the festival taking place in the dark. When they stop to laugh, they lightly tap the mask with their folding fan (扇子) and chuckle. Onlookers who are keen to take a picture are welcome to use flash-photography but only when they are behind the men involved with the festival, as flashing a light directly in the face of the hidden masks is seen as inappropriate and disrespectful.

A prime example of Kisai would be the unique and strange Honen Matsuri, or Penis Festival, another annual event which draws a much larger crowd than Eiyoudo Shinji. If you know of any strange festivals, be sure to let us know in the comments section below.

It is no secret that Japan is in a world of its own when it comes to the sex industry and everything related to it. After arriving in any metropolitan city in the country, it does not take much effort to stumble upon a neon fitted establishment that attempts to lure you down its ornate entrance. 

For a country that is known for its reserved people, there are a large number of institutions that offer to alleviate the stresses of everyday life. Be it the weary salarymen, women, or couples, the options are abound to take them as far as their imaginations can (legally) go. 

Love Hotels

From a western perspective, love hotels are an extremely odd concept, but at home in Japan, the one stop overnight rooms are a part of daily life. Usually built with elaborate facades and exotic themes, the hotels are easy to spot. Carrying interesting names such as The Blue Lagoon, Forever Oasis, and Love Paradise, it is relatively easy to identify a love hotel by its name alone. 

As one might imagine, these hotels offer services a bit more unique than their standard counterparts. In Japan, where land is sold at a premium and families tend to share a small space together, privacy is hard to come by. Based on this fact, love hotels have continued to be a popular destination for couples hoping to escape their one room apartments and enjoy a more intimate environment. Each room is equipped with all the necessities for getting the mood just right, including themed hotels ranging from Christmas to the Amazon Jungle. 

Of course, it would not be very Japanese if the process for entering such an establishment was not discrete and anonymous. As the hotels go to great efforts to make their guests comfortable, staff are often behind frosted glass and conduct transactions through vacuum tubes, drop boxes, or digital displays. For patrons who travel by car, their license plates are covered in the parking lot which is usually tucked away behind a passage. 

Naturally, the hotels are exclusive to couples and are a decent choice for cheap accommodation for travelers. For those who are just interested in a short “rest,” most of these hotels offer a “quick refresh” three hour package at a discounted price. Guests who get hungry after a session at one of these specialty establishments can take advantage of the food delivery service that is often available straight to the room.

Whether you go intending to use the facilities thoroughly, or just out of plain curiosity, love hotels are definitely an interesting experience. Just make sure to keep the black light at home. 

Resident Evil: Operation Racoon City is unlike any other Resi title. Set during the events of RE 2 and 3, you are part of the Umbrella Security Service (USS), and are out to eradicate all traces and evidence of the T-virus, that would otherwise incriminate your bosses, those at the heinous Umbrella Corp. If the thought of being nameless goons seems a bit disappointing, there is ‘Heroes’ mode, which allows you to star as Leon S. Kennedy and other real characters from the RE universe.

This is not designed as a single-player game, co-op is key, whether it’s with your friends or strangers. Once you get over the change to the game mechanics, ORC can be a lot of fun. There are six classes to choose within the USS, each with their own abilities that can be upgraded as you progress. There are also some boss battles that require the use of your whole team in a more tactical fight; going in all guns blazing will simply result in a quick and embarrassing death.

As a stand-alone title, ORC would generate a lot of interest. As a RE title, opinions are likely to be divided as to whether its worthy of the RE moniker.

Ninja Gaiden 3 (PS3/360)

This is the first title without series creator Tomonobu Itagaki. Whether it is because of his departure or irrespective of it, there are some notable changes. Most notably the difficulty; NG3 is far easier than its predecessors. It may make some purists angry, but opens up the potential for new players to be enticed. The second is that a lot of the fantasy elements have been removed, making the title a little more believable. Ryu Hayabusa now works for the UN, taking on unknown terrorists, instead of, say, skeletons, around the world. There are still things such as the use of Ninpo and the Dragon Sword, but it is a more grounded effort by Team Tecmo.

There is also the new addition of multiplayer, which is fast becoming the norm these days, even for traditionally single player experiences. Here, you can take part in 8 player death matches, either ‘free-for-all’ or ‘4 vs. 4.’ Battles are fast paced, and a little difficult to follow, but there is a nice sense of satisfaction when defeating an enemy with a Ninpo-Blast.

With these changes, it’s hard to gauge exactly how the Ninja Gaiden community will react to such a title, but sometimes, a little change can be a good thing.

Mario Party 9 (Wii)

Following the theme of change this month, Mario Party 9 also sees a reboot of sorts. This time, instead of boards, there are maps or stages for characters to move across. Players also do not throw their own dice; everyone travels in a vehicle, which each player taking turns to be the captain. When travelling as the captain, anything you land on – mini stars, Bowser squares etc – only affects you, not the other travellers. There are also a lot more special dice items, and without going into too great a detail, all these changes allow for a more tactical Mario Party than ever before.

Anyone who buys/plays Mario Party, do so for one main reason – the mini games. There are 78 mini games this time round, and thankfully the good outweigh the boring. You have button mashers, racers, platformers, reaction based games, and of course games based entirely on luck. Some of the mini games are likely to infuriate players, but the fun of Mario Party was always to work out what your opponents were terrible at, and selecting that genre when battle was due.

So get out that dust-covered Wii and start having some multiplayer goodness.

Although recently brought back to some degree of interest after, appearing in Hayao Miyasaki’s “Ponyo,” these tin toy boats have been chugging around the world for over a century.

Of course it depends on who you ask, but the “Pon Pon Maru” was officially credited to a Frenchman named Thomas Piot in 1891, and was later improved by American Charles J McHugh in 1915. The basis of the design contains no moving parts and is powered by a simple steam-engine-like propulsion system. The more common examples are made up of a small, disc-like diaphragm made of tin or copper with two pipes leading from it into the water. After water is forced into the diaphragm through one of the pipes, a heating element (usually a candle) is placed under it. Once the water heats to a vapor it is expelled out of both pipes and propels the boat forward. The vacuum created in the diaphragm from the exhausted steam then pulls water back up into the diaphragm, and the process is repeated again. This action is what gives the boat its trademark sound as it zips along the water.

Whether you call it a “Pop Pop Boat,” “Putt Putt,” “Knatterboot,” or the Japanese equivalent “Pon Pon Maru,” the simply designed toy craft is great physics powered fun!

Although the drink originated in Japan, namely Kobe in 1876, it was actually invented by a Scottish pharmicist, Alexander Cameron Sim, who worked in Honk Kong and Nagasaki before settling in Kobe. After over a decade of running his own business he launched the Ramune line, which were based on western lemonades, but reported to quell the ill-effects of cholera, a nasty little bacterium that infects the small intestines and brings on vomiting and diarrhea. No doubt aided by a mention in the Tokyo Mainichi Newspaper.

The bottle itself is also a genius design, the marble like ball seemingly defying gravity by being held in place by the pressure built up in the bottle. The narrow shaped designed bottle was invented by an English engineer called Hiram Codd and the bottle is still named in his honor, known as a Codd-Neck Bottle.

The new flavors that the Kimura Drinks Company have launched are as unique as might be expected, namely Curry Ramune and Wasabi Ramune. The Wasabi drink is suitably green and the bottle warns that the drink has an adult taste. The Curry flavor has an odd orange tinge and boasts a mix of spice and crispness…it also has a stereotypically incorrect mascot holding a plate of curry, claiming “Even Indian people will be surprised!?”.

The taste isn’t that offensive and leaves only a slight shadow of spice on the tongue. But if you are after something with a little more kick, a spicier version of the curry is also available.

Both drinks come in 250ml bottles and cost around 2 American dollars. To find out more about this awesome company, be sure to check out their website.