KILL BLUE Anime Casts Shunsuke Takeuchi as Legendary Hitman Jūzō Ōgami

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DMM.com LLC has officially announced that acclaimed voice actor Shunsuke Takeuchi will portray the adult version of the infamous hitman Jūzō Ōgami in the upcoming anime adaptation of KILL BLUE. Set for release in 2026, the series adapts Tadatoshi Fujimaki’s (Kuroko’s Basketball, ROBOT × LASERBEAM) hit manga and promises a thrilling blend of high-stakes action and coming-of-age drama.

Shunsuke Takeuchi

Speaking about his role, Takeuchi expressed both excitement and humor about bringing the character to life:

“Jūzō has the mind of an adult but the body of a child, so at first I thought I might need to do some detective work—but it seems that’s not the case! What a relief! I’ve often been told I seem a bit older than my age, so I feel a certain kinship with this character. All of the characters in KILL BLUE are incredibly expressive, and I’m excited to pop in from time to time and watch over their energetic interactions. Please look forward to KILL BLUE! ”

– via press release

Takeuchi’s impressive portfolio includes standout roles such as Producer in The Idolmaster Cinderella Girls, Alexander Yamato in King of Prism, Jūza Hyōdo in A3!, and Revolver in Yu-Gi-Oh! VRAINS. Known for his commanding voice and nuanced performances, he’s expected to bring both gravitas and emotional depth to Ōgami’s complex duality as a hardened assassin turned teenager.

First Look: The Silver-Haired Hitman

©Tadatoshi Fujimaki/SHUEISHA, KILL BLUE Production Committee

A legendary assassin at 39. Starting over… as a middle schooler.

Jūzō Ōgami, a notorious hitman with a flawless record, collapses after being stung by a mysterious wasp. When he awakens, the once-feared 39-year-old finds himself in the body of a 13-year-old boy. Ordered by his boss to infiltrate a middle school, Jūzō must now balance an unexpected student life with the deadly world he thought he left behind. As new enemies emerge, the question remains — can Jūzō reclaim his original body, or will his second chance at life be cut short?

©Tadatoshi Fujimaki/SHUEISHA, KILL BLUE Production Committee

Production Staff

Director: Hiro Kaburagi (GREAT PRETENDER, Kimi ni Todoke)

Character Design: Miho Daidōji (Kuroko’s Basketball, Kimi ni Todoke 3rd Season)

Animation Production: CUE

Manga Information

Title: KILL BLUE

Original Story: Tadatoshi Fujimaki (SHUEISHA / Jump Comics)

Current Volumes: 11

Next Release: Volume 12 – November 4, 2025

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Mori Calliope Drops Explosive Music Video for Gachiakuta’s Second Cour Opening “LET’S JUST CRASH”

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Hololive’s rap queen Mori Calliope has officially released the music video for “LET’S JUST CRASH” — the high-energy opening theme for the second cour of the hit anime Gachiakuta. The track showcases Calliope’s signature bilingual lyricism, fusing sharp English-Japanese wordplay with thunderous beats and attitude.

Directed by Yohei Kameyama, best known for Milky☆Subway: The Galactic Limited Express, the music video is a fast-paced visual spectacle, blending razor-sharp editing with stylized animation to match Calliope’s explosive performance.

“From the first time I heard ‘LET’S JUST CRASH,’ its explosive energy hit me like a powerful drug,” Kameyama said. “I’m extremely grateful to have been part of the production and put a lot of thought into expressing the track’s captivating sound visually.”

– via press release

The project also marks Mori Calliope’s first fully 3D-animated music video, produced by Kanaban Graphics, the acclaimed studio behind Usavich. The result is a kinetic, vividly stylized world that amplifies Calliope’s unique musical identity — a blend of idol charisma, street-style rap, and J-pop theatricality.

Song Details

  • Title: LET’S JUST CRASH
  • Anime: Gachiakuta (Second Cour Opening Theme)
  • Director: Yohei Kameyama
  • CG Production: Kanaban Graphics (Usavich)
  • Listen on streaming: lnk.to/mc_ljc

Connect with Mori Calliope

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Anime Expo Chibi 2025 Returns to Ontario with Expanded Events, SPYAIR Concert & Godzilla Experience

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The Society for the Promotion of Japanese Animation (SPJA) has announced the return of Anime Expo Chibi (AXC) for its fourth year, taking place November 7–9, 2025, at the Ontario Convention Center. The fan-favorite mini-convention brings an even bigger celebration of anime, art, and community this year — complete with an additional event day, expanded footprint, and an exclusive live concert by Japanese rock band SPYAIR.

SPYAIR Live in Concert

Best known for their iconic anime themes from BLEACH, Gintama, Mobile Suit Gundam: Iron-Blooded Orphans, and Haikyu!!, SPYAIR will headline an exclusive outdoor concert on Saturday, November 8, followed by a panel and autograph session on Sunday, November 9. Their latest hit single “Orange” from Haikyu!! The Dumpster Battle has already surpassed 200 million streams worldwide, setting the stage for one of AXC’s most anticipated live shows to date.

Experience the World of Godzilla

Fans can step into a cinematic, post-apocalyptic Godzilla experience, featuring themed beverages, vehicles, props, audiovisual effects, and exclusive collectibles. This immersive installation promises jaw-dropping photo ops and the kind of large-scale spectacle that only Anime Expo events can deliver.\

Panels, Performances & Party Nights

Anime Expo Chibi 2025 will host over 60 guests and talents, including Mika Akitaka (Mobile Suit Gundam designer), Chiitan the fairy otter mascot, and voice actors SungWon Cho (ProZD) and Alan Lee (KPop Demon Hunter).

Programming highlights include:

Idol showcases, sumo exhibitions, and cosplay runways

Two rave events: the Kick-Off Party with We Touch Grass on Friday and the Anime Rave After Party with Senpai Squad on Saturday night

Workshops, creative panels, and family zones for all ages

The convention will also feature an expanded Artist Alley, Xeno’s Trading Post, and an 18+ zone in the Ontario Convention Center ballroom — offering fans everything from handcrafted merchandise to exclusive collectibles.

Japanese Food Festival & Family Fun

Partnering with Weekly LALALA, the event introduces a full Japanese Food Festival featuring 19 local restaurants serving authentic street food and desserts. Two cosplay-themed cafés, inspired by Akihabara’s maid and butler cafés, will also debut this year.

Kids under 13 can enter for free with a paid adult wristband, with family-friendly zones including the Chibi Cosplay Runway, Parent Lounge, and late-night karaoke, gaming, and food challenges that run until midnight.

This year’s Anime Expo Chibi expands beyond the Ontario Convention Center, incorporating the Delta Hotels Ontario Airport to accommodate larger audiences and more programming areas.

“We’ve put so much thought and care into how we’ve grown Anime Expo Chibi this year,” said Matthew Thomas, SPJA’s VP of Operations. “Every new feature and collaboration was designed with our attendees, artists, and exhibitors in mind. This event is a celebration of the community that makes AXC possible.”

via press release

Event Information

  • Dates: November 7–9, 2025
  • Location: Ontario Convention Center, Ontario, California
  • Website: axchibi.org

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The Kitsune Network Announces Exclusive Collaboration with Emerging VTuber Talent, Krystal Vee

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The Kitsune Network is excited to officially announce an exclusive collaboration with independent VTuber talent up-and-coming talent Krystal Vee, marking the beginning of a new chapter of engaging, creator-driven anime and pop-culture content.

This partnership will expand The Kitsune Network’s multimedia presence across YouTube and Twitch, introducing VTuber-hosted vlogs, interview coverage, in-depth product and content reviews, and exclusive interviews with figures from across the anime, gaming, and entertainment industries. Fans can also look forward to live-streamed gaming, community interactions, and future giveaway opportunities as part of this growing collaboration.

About Krystal Vee

Softly debuting in late 2024, Krystal Vee has steadily cultivated a small yet loyal following through a mix of gaming streams, YouTube videos, and casual vlog-style content. Known for their friendly personality and variety-driven approach, Krystal brings a fresh and interactive edge to anime and gaming discussions online.

Vee streams on Twitch and posts additional content on YouTube. Their growing online presence and genuine connection with viewers make them an ideal collaborator for The Kitsune Network’s mission to celebrate anime culture from both the professional and fan perspectives.

As part of this collaboration, Krystal Vee will work exclusively with The Kitsune Network as an independent partner, helping to bring more personality-driven, community-oriented experiences to viewers worldwide.

Follow Krystal Vee

Twitch: krystalvee
YouTube: @Krystal_Vee
Twitter: @Kry_Vee
BluSky: https://bsky.app/profile/krystalvt.blog
Kick: @krystal-vee
IG: @kry_vee

I Spent an Hour in Electronics Supermarket Simulator (So You Don’t Have To) | VTUBER

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I just clocked in for my first one-hour shift in Electronics Supermarket Simulator, and boy, do I have thoughts. Imagine a game where you run an electronics store: stocking shelves, selling gadgets, living the retail dream (or nightmare). It’s mildly amusing and definitely entertaining enough to kill time between your real games, but it’s also jankier than a bargain-bin USB cable. Strap in, fam – we’re going into Electronics Supermarket Simulator, the good, the bad, and the hilariously awkward in this game. Let’s go!

In-game ‘days’ lasted about 20 minutes, which is actually a pretty solid intro pace. In that short time, I set up shop; furniture, order products, and met a couple of polygonal customers. Pretty much everything is extremely straightforward, specially for those with IRL retail experience, though I wouldn’t put ESS in your resume just yet. This sim is almost too easy – it’s basically Retail 101 with training wheels. There’s a certain simple satisfaction to it, though. It’s the kind of game you boot up when you’re waiting for a huge AAA game to download – a time-killer where you can zen out arranging virtual electronics on virtual shelves.

Entertaining enough? Sure, for an hour or so. But don’t expect depth or any surprises; by Day 3 I felt like I’d seen it all. The gameplay loop is so simple that I was wondering if the target audience was literally former cashiers in need of flashbacks.

“Whyy??”

Now, simplicity isn’t inherently bad. The game does nail some basics: the 20-minute day cycle kept things moving so I never got bored in that first hour. It’s quick enough that you get a taste of opening up shop, selling stuff, closing up and analyzing the market to keep your store profitable, without the game dragging on. On the upside, if you have worked in retail, you’ll slide right in and probably chuckle at how straightforward everything is. On the downside, you might also roll your eyes and say “Been there, done that,” because it’s all very surface-level.

Let’s address the controls. Oh my goodness. The mouse sensitivity in this game is slower than a grandma on dial-up. Seriously, the camera movement around feels so sluggish and there’s no setting to fix it. None. One frustrated Steam reviewer basically said they “can’t play more than 30 minutes without wanting to rip [their] hair off” due to not being able to adjust the molasses-slow mouse look. Another player chimed in that an option to change mouse sensitivity is desperately needed. Note to devs: patch a sensitivity slider in ASAP, I beg you.

Trying to grab an item that apparently I can’t grab…

Then there’s the object interaction, which is, how do I put it… awkward at best. Ever play a sim where you’re fighting the controls more than the actual challenges? Yeah, that’s this game when you try to stock a shelf. I attempted to add more products to a shelf and the game just flashes a cryptic message “can’t interact” and refuses to let me place the item. No explanation, no hint if I was doing something wrong, had an uncompleted task, nothing. This lack of feedback had me wandering the store wondering if I missed a step. (Spoiler: I didn’t. The game just doesn’t tell you how or when you can restock properly.) The shelving and restocking mechanics need serious work – even a simple pop-up saying “Shelf full” or “restock” would’ve saved me from running around the store confused.

By day 2 I was already feeling like an Amazon pallet reseller.

Let’s talk presentation, because a VTuber’s gotta comment on the aesthetics, right? Graphics in Electronics Supermarket Simulator are… how to put this nicely… low-quality. We’re talking low quality models, stiff movements, and textures that look straight out of a 2010 bargain game. The store environment could have been charming and more spacious, but instead it feels a bit lifeless, like an empty warehouse with some gadget props tossed in. Customers walk like robots, and don’t even get me started on the character models – one of the NPCs had a stare that bored into my soul with all the emotion of a spreadsheet.

Simply put, the visuals need improvement, big time. Store aesthetics are another lacking feature. Though you have the ability to “design” your store with the necessary furniture to display your merchandise, there is zero personalization. No in store decor, no option to choose flooring designs, no color customizations. The devs have acknowledged they plan on improving the game’s visuals and UI during Early Access, so here’s hoping they give the graphics a much-needed glow-up. Because right now, it ain’t winning any beauty contests in the sim genre. Did I also mention the game’s currency is in Euros? Yeah! there’s no way to change it to the player’s country currency.

Environmental sounds were surprisingly alright too! The distant chatter of customers, traffic sounds, the beep of a checkout scanner – the ambient sound actually made me feel like I was in a small electronics shop. HOWEVER, the NPC voice lines leave a lot to be desired. As store simulator, you’d probably expect, your customers interacting with you (via text or small OV lines) but instead, you get robotic interactions and zero conversations bits like “Wow, I’ve been looking for this” or “thank you”. You do however get a random NPC laughing “Ah HAHA”, in the same awkward way every five minutes for no reason. If the devs are reading: please either hire some better voice actors or add text interactions, even thought bubbles would work, they might actually help us run things better if we might get hints on what our customers want.

The unintentional comedy of the voices is the only thing keeping me from muting the game, not that I could find a volume slider anyway. Did I forget to mention? There’s no way to control the in game music or Environmental sounds, no slider. It’s these little quality-of-life oversights that give the game that rough, unpolished vibe.

The gameplay loop is as basic as it gets: open shop, analyze the market, stock items and furniture, wait for customers, rinse, repeat. The developers tout it as an “ultimate sandbox” where you grow a tech empire, but let’s be real – at least in the first hour, it’s more like a tiny sandbox with one shovel and no sand bucket. You unlock a few products, you put them on shelves, customers come in and grab stuff, and you collect money (Which btw its in ERUOS and no way to change it). You can eventually expand your store, get new stock, but early on it’s pretty linear. For Day 1-3 (about an hour of play), I didn’t really need to strategize or plan. Just keep the shelves from being empty and you’re golden.

“FINALLY! PROFIT!”

The pacing, as mentioned, is decent for an intro. A 20-minute day cycle means you won’t be stuck waiting forever for closing time. It was kind of fun hustling through a day, making what felt like a handful of sales, then seeing the “Day End” summary. It gives you a sense of completion and readiness for the next day. By Day 3, I had the routine down pat: open up, maybe order a couple more items, restock, close shop, repeat. I kept expecting something new to happen – like maybe a rush hour of customers or a random event (shoplifter? power outage? anything!) – but nope. The game sticks to safe and simple. On one hand, that makes it accessible. On the other hand, it can get repetitive fast. If you’re hoping for wild sandbox chaos or creative freedom early on, you might be disappointed. At least there’s a “hiring” feature that allows you to employ a few, robotic but helpful NPCs to help with the store’s sales goal.

The game feels like shovelware in its current state. The low-rent graphics, clunky controls, minimal content, and that overall feeling of “we slapped this together, have fun” – all the signs of a quick cash-grab sim are there. It reminds me of those random simulator games that pop up out of nowhere, get a little attention, then vanish into Steam obscurity. Harsh? maybe, but that’s my snarky gut feeling after an hour of play. If you asked me right now if it’s worth buying, I’d say not yet unless you’re really hard-up for a little retail role-play.

And yet… there’s a spark of something here. Dare I say, potential? The concept is solid – running your own tech store could be a blast with enough depth and polish. A couple of players on Steam even pointed out that the game is “promising” despite the rough edges, and I agree. I found myself oddly engaged, envisioning how cool it would be if the devs leaned into the sandbox promise. The developers themselves call it the ultimate sandbox of electronics retail, and they plan to expand the management features, product range, and improve the economy as development continues. They’re aiming to implement more store management features and even improve visuals and performance as they go. If they commit to regular updates and really flesh out the gameplay, this could graduate from “time-killer shovelware” to “legit fun simulator” in a few months after release.

Electronics Supermarket Simulator is the kind of game you play when you’re bored and have 30 minutes to kill; you’ll chuckle at the weirdness, maybe enjoy the chill vibe of running a tiny store, and then likely shelf it (pun intended) until it improves. As one frustrated player said, “I’ll try this game again if they update it often”, and that’s exactly my sentiment. Keep an eye on it. The devs seem aware of the issues and are gathering feedback. If they hustle on those patches and deliver some major updates to controls, polish, and content, this could be worth a revisit down the line.

Store design NEVER changes, No color customizations.

Electronics Supermarket Simulator isn’t ringing up a sale from me today. But with some major updates and a cleanup on Aisle Everywhere, it might just become a checkout-worthy sim in the future. I’ll definitely be back to see if they turn this discount store into a premium experience – but only after a few patches (and maybe after they hire a new voice actor or two or give NPC some text lines). Until then, I’ll be in the break room sipping coffee and waiting for this potential sandbox to actually become the ultimate tech retail adventure it promises.

TL;DR: A janky yet oddly amusing retail sim that’s okay for killing time, but seriously needs polish and improvements. Might be worth picking up after a couple of big updates – for now, consider it “early access” in every sense and maybe let it sit on the shelf until it’s cleaned up.

Join me over on my Youtube & watch my 6min, playthrough of Electronics Supermarket Simulator,

Disclosure: I received a free review copy of this product from https://www.game.press

Be on the look out for more VTUBER content from TKN!

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Gundam Takes Over New York Comic Con 2025 With “Barbatos Rises at NYC” Visual, Screenings, and Citywide Gundam festivities

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Gundam fans, prepare for liftoff. Bandai Namco Filmworks has revealed a brand-new commemorative visual, “Barbatos Rises at NYC,” as the centerpiece of an unprecedented Gundam celebration at New York Comic Con 2025 and across New York City. Illustrated by Naohiro Washio, the artwork depicts the mighty Gundam Barbatos standing tall against the Manhattan skyline—an image that will symbolize this fall’s Gundam festivities.

Illustration by Naohiro Washio

From October 4–19, 2025, Gundam will transform New York into a fan paradise, combining exclusive convention events with city-wide activations, screenings, pop-ups, and giveaways.


NYCC Highlights: Meet Gundam Legends

One of the most anticipated events is the exclusive director autograph session with Tatsuyuki Nagai (Mobile Suit Gundam Iron-Blooded Orphans).

  • Date/Time: Thursday, October 9 @ 2:00 PM
  • Location: TAMASHII NATIONS Booth #2417
  • Tickets: Free (first 70 attendees, distributed starting at 10:00 AM)
  • Bonus: Signed commemorative poster featuring the Barbatos Rises at NYC visual

Attendees will also receive a generous giveaway bundle, including a Gundam Card Game promo card, headbands, balloons, an intro booklet, an Iron-Blooded Orphans mini-poster, and even a GUNPLA Trial Kit RX-78-2 Gundam.

Later that evening, fans can keep the momentum going with the Gundam Fan Meet Up (7:30 PM, Room 1E05), a casual gathering for cosplay, photos, and community bonding.


Gundam Film Festival at Japan Society

On October 11–12, Japan Society will host a two-day Gundam Film Festival, featuring English-dubbed screenings, cast appearances, and exclusive giveaways.

Highlights include:

  • Mobile Suit Gundam GQuuuuuuX -Beginning- (Oct. 11)
  • Mobile Suit Gundam Wing: Endless Waltz Special (4K remaster, Oct. 12) with a talk show featuring Mark Hildreth (voice of Heero Yuy)
  • Mobile Suit Gundam Hathaway (Oct. 12) with Megan Shipman (Gigi Andalucia) & Aaron B. Phillips (Kenneth Sleg) joining a live discussion

Tickets go on sale Sept. 22 via Japan Society’s website.


Gundam Beyond the Con: Buses, Pop-Ups & More

  • Gundam-Wrapped Buses: From Sept. 28–Oct. 12, specially wrapped Gundam buses will roam Manhattan, with select routes offering free rides.
  • The Gundam Base Pop-Up World Tour: From Oct. 4–19 at American Dream Mall (NJ), fans can enjoy exclusive merch, hands-on Gunpla building, Gundam card game workshops, and model-painting activities.
  • TAMASHII NATIONS Store New York (Times Square): Special Iron-Blooded Orphans displays, giveaways, and collectibles will be featured during the event.

What’s Next for Gundam

The NYC celebration also teases Gundam’s upcoming Japanese theatrical releases, including:

  • Mobile Suit Gundam Hathaway: The Sorcery of Nymph Circe (Winter 2025)
  • Mobile Suit Gundam Iron-Blooded Orphans Urdr-Hunt -Path of the Little Challenger- (Special Edition, Oct. 31, 2025)

With a striking new visual, exclusive fan signings, city-wide screenings, and immersive pop-ups, NYCC 2025 is set to be a Gundam experience like no other. From Barbatos towering over Manhattan to buses wrapped in Gundam glory, fans across New York will feel the series’ legendary impact like never before.

For updates and full schedules, fans can follow Gundam Info and Gundam Info NA on social media.

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Friendship Bonds Blur in “Sabae is Just a Friend, Maybe” — New Manga Hits North America

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Manga fans searching for their next slice-of-life obsession can now dive into Sabae is Just a Friend, Maybe, the latest work from author Keigo Hayasaka, now digitally available in North America through emaqi.

Originally released in Japan under the title Sabae to Yattara Owaru and later adapted into a hit 2024 live-action series, the story humorously unravels the fragile balance between friendship and desire.

The manga follows Uji, an easygoing college student, and Sabae, his tomboyish, rough-around-the-edges best friend. When an evening of casual drinks and dating advice turns unexpectedly intimate, their bond is thrown into question. Suddenly, Uji finds himself navigating uncharted waters of attraction, uncertainty, and college chaos.

Hayasaka injects comedy into these moments, turning classroom life into a stage for witty banter, awkward missteps, and playful confrontations. Fans of coming-of-age and romantic comedies will find themselves grinning at every scene that pushes the line between innocent mischief and something more.

From PAGE to SCREEN

©早坂啓吾・新潮社/ヤッたら終わる製作委員会

The manga’s quirky yet relatable storytelling already proved its universal appeal when it was adapted into a 2024 live-action series, introducing its characters and humor to an even wider audience. With this official English release, Hayasaka’s story is now poised to reach readers across North America for the first time.

Localization

The localization and international release are spearheaded by Orange Inc., a Tokyo-based startup founded in 2021 by CEO Shoko Ugaki. Through their digital platform emaqi, Orange aims to reduce piracy, expand official manga accessibility, and ensure fair compensation for creators worldwide.

Is this manga worth reading?

If you’ve ever had a college friendship that felt “a little more than just friends,” or simple love quirky drama this manga might hit close to home. With humor, heart, and just the right dose of awkward tension, Sabae is Just a Friend, Maybe is a fresh addition to the slice-of-life genre worth adding to your digital library today. Now available!

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CRUNCHYROLL & NOAH LYLES UNVEIL GOLD MEDAL ANIME CAPSULE WITH ADIDAS

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The race for anime-inspired fashion heats up today as Crunchyroll unveils its first-ever capsule collaboration with Olympic champion Noah Lyles, powered by adidas.

Designed by Lyles in collaboration with Crunchyroll, the capsule reflects his identity as both the world’s fastest sprinter and the world’s fastest anime fan. Lyles channels the determination of Dragon Ball’s heroes, the grit of Tokyo Ghoul, and the resilience of Fullmetal Alchemist into a collection that captures the essence of his journey.

When I’m on the track, I channel the same energy as the heroes I grew up watching,” Lyles says. “Their determination, their style, their fight to push beyond limits; this collab is my way of sharing that love with fans everywhere

– via press release

The lineup includes bold essentials with anime-flair:

Speedline Saga Tee ($40)

The Poster Tee ($40)

Crunch Mode Hoodie ($70)

Speedline Saga Hat ($35)

Each piece incorporates anime-inspired visuals, Lyles’ love of manga aesthetics, and his signature red — built for both trackside energy and everyday fandom.

Crunchyroll describes the partnership as a cultural milestone, further bridging anime with sports and lifestyle. Following past activations with athletes and entertainers, the Crunchyroll x Noah Lyles x adidas capsule marks a new stride into the global sportswear scene.

The exclusive collection is now available only through the Crunchyroll Store in the U.S.

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Arist Acky Bright on Originality, Collaboration, and His Global Vision | Exclusive Interview

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Japanese illustrator Acky Bright has become one of the most exciting names in global pop culture, fusing his signature kawakakkoii (cute × cool) aesthetic into projects that bridge anime, gaming, music, and fashion.

Over the past two years, Bright’s work has exploded onto the international stage. In 2024, he spearheaded McDonald’s worldwide “WcDonald’s” campaign, designing manga-style packaging, original characters, and a digital manga series that brought anime culture into fast-food history. He also teamed up with chart-topping band ASTERISM on the Planet of Metal concept album, creating a 28-page artbook that expanded their musical world into visual storytelling. Fans of gaming saw his touch in the Monster Hunter Now × Ayase collaboration, where Bright’s illustrations powered an energetic crossover of music and monster hunting.

Characters Designed by Acky Bright (Left to Right): Mia, Carm, J, Flurry, Mr.Bev, Wicke, Burg, Midnight, Quart Sr, and the WcDizer 3000.
Planet of Metal concept by Acky Bright

On the fine art side, Bright’s “Studio Infinity” solo exhibition at Japan Society in New York blurred the line between gallery and studio. Visitors watched him live-draw massive murals and even join in on the process, highlighting his love for interactive creation.

At Anime Expo 2025, Bright delivered one of the convention’s most talked-about panels, mixing live art games like “Guess the Sketch” and the “3 Deck Challenge” with big announcements. He teased a major cross-industry project set for October 2025, showcased a prototype of his upcoming Underverse collectible figure, and reaffirmed his lifelong dedication to designing original characters.

© Acky Bright

Acky Bright’s journey demonstrates not only his versatility but also his commitment to making art that’s playful, edgy, and deeply personal.

Exclusive Interview with Acky Bright

We at The Kitsune Network had the honor of speaking with Acky Bright to discuss his recent projects, his artistic philosophy, and what fans can expect next,

Krystal:

You’ve worked with McDonald’s on some high-profile anime-inspired projects – from the global “WcDonald’s” campaign (complete with manga-style ads and even an immersive LA restaurant experience) to a viral McDonald’s Japan music video promotion featuring popular artists like Ado, YOASOBI, and Hoshimachi Suisei. How did you approach blending your manga-style art with such an iconic fast-food brand, and what was most challenging or rewarding about bringing these campaigns to life?

WcDonald’s iconic Manga paper bag, designed by Acky Birght.

Acky:

Regarding WcDonald’s, I found it incredibly cool that the actual McDonald’s launched a global campaign using the “WcDonald’s” parody—a concept long familiar in anime and manga. I was truly honored and excited to be selected as the campaign’s main designer. I also had a great degree of creative freedom, which made the entire experience genuinely enjoyable from beginning to end. Given my understanding of Western culture, I think I was able to deliver work that left both the client and fans highly satisfied. In Japan, McDonald’s campaigns are major cultural moments each year, and this one was led by a creative team composed of some of the country’s top talents, so it was a fantastic project to be a part of. I was also given considerable freedom in designing the characters, which made the process all the more enjoyable. One additional point: each popular artist has their own loyal fanbase. So when creating the designs, I considered not only the artist themselves, but also how to make their fans happy through the visuals.

Krystal:

At Anime Expo 2025, you surprised fans with a sneak peek of an upcoming figure based on one of your original designs. This is part of your partnership with collectible company Underverse to create high-end figures. How does it feel to see one of your illustrations come to life as a detailed 3D figure, and what can you tell us about the design or story behind this character? Are there more figures or plans in the works through this collaboration?

Acky:

As for the UNDER VERSE project, while I can’t go into too much detail as this was shown as a bit of fan service, I’m absolutely thrilled that a figure of mine is being produced as part of the “SEVEN STARS” series. The official setting is as follows: when the silicon-based civilization tore through the constraints of the “Three Laws of AI,” a torrent of machines was unleashed within the quantum matrix, issuing a final judgment upon human civilization and bringing it under machine rule. In response, humanity leveraged the “GAME” system—featuring rogue AI warriors that still retained remnants of the Three Laws—to ignite rebellion through a bounty-based mechanism. The first figure in the series is MONICA, once a member of the “Number 7s.” Originally created by AI as the perfect warrior to carry out humanity’s extinction, she now fights back—having lost those memories. The plan is to release more figures of these “Number 7s” warriors, and I hope the project will eventually evolve into something like an anime.

Krystal:

Your solo exhibition “Studio Infinity” at Japan Society in New York essentially turned the gallery into your personal studio – you were live-drawing on site, letting visitors watch and even participate as you created manga-style murals in real time. What was that experience like for you, performing your art live in a museum setting? Did interacting with visitors on the spot influence the pieces you created?

Acky:

This was my first solo exhibition in the U.S., and it was held at a gallery with more than a century of history—one that has hosted only world-renowned artists. It was truly an unforgettable experience for me. Some people came back to visit every week, and I was able to form real friendships with them. I imagine it’s unlikely that another artist will exhibit something similar at Japan Society in the future, which makes me feel incredibly grateful. I look back on this time with nothing but happiness.

Krystal:

Any plans on bringing “Studio Infinity” to Los Angeles?

Acky:

If the opportunity arises, I’d definitely love to do it again. There are many great galleries in Los Angeles, so I hope to make it happen someday.

Krystal:

Your art style is often described as kawakakkoii – a blend of “cute” and “cool” aesthetics. When designing characters, how do you decide what elements should be charming or adorable versus which should be edgy or “cool” to achieve that mix?

Acky:

I’m not the type of artist who draws based on theory, so I can’t say for sure how my style developed. However, the phrase “kawa-kakkoii” (“cute and cool”) has become somewhat of a signature descriptor for me. It actually originated from manga artist Yusuke Murata (of Eyeshield 21 and One-Punch Man fame), who once posted on social media that he had purchased my art book and used that term to describe my work. I’ve proudly adopted it ever since.

Krystal:

You’ve mentioned that you have a lifelong passion for creating your own original characters rather than working on pre-existing IPs. How has focusing on original designs (instead of fan art or existing IP) helped shape your career and identity as an artist?

Acky:

When I was in middle school and first dreamed of becoming a professional artist—with no real basis for that dream—I told myself: “You can’t become a true artist by copying others.” Of course, as we live, we naturally absorb influences from everywhere, and as professionals, it’s important to understand trends. But even within that, I try to maintain originality and focus on expressing what makes my work me.

Krystal:

What elements in daily life inspire you to create your own original characters?

Acky:

My inspiration comes from everything I see. In that sense, traveling the world and experiencing different cultures is an incredible source of creative fuel. I also make a conscious effort to absorb input—whether it’s watching all kinds of videos or listening to music—especially because when work gets busy, output tends to take over.

Krystal:

You’ve achieved so many collaborations across music, gaming, and even fashion – Looking to the future, is there a dream project or medium you haven’t tackled yet that you’d love to try next? Overall, what new goals or aspirations are you excited to pursue as you continue to evolve your artistic journey?


Acky:

My next goal is to build a studio in the U.S., where I can take on even larger projects as a producer, working with other artists from around the world. I want to go beyond just anime and games—live-action, too. My ultimate dream is to recreate the energy and excitement of 1990s shonen manga magazines, but on a global scale. I already have a concrete idea that might make it possible, so this may very well be my “dream project.”

Krystal:

As an artist who has overcome your own artistic challenges, What advice or messages would you have for those who want to pursue an artistic career?

Acky:

That’s why I want to encourage people to free themselves from comparing their work to others or measuring their value by the number of likes on social media. If you keep going, you’ll come to understand: once you choose the path of art, “creating” becomes a lifelong journey. So don’t get caught up in momentary praise, fleeting trends, or surface-level recognition. They don’t matter in the long run.

Acky Bright’s career is a testament to how art can transcend borders, industries, and mediums without losing its soul. From redefining global branding campaigns to reimagining gallery spaces a interactive canvas, he continues to push the boundaries of what manga-inspired art can achieve. As Bright himself reminds us, true artistry isn’t about likes or fleeting trends, but about the lifelong journey of creation. With October’s mysterious new project on the horizon, fans around the globe have every reason to stay excited: Acky Bright is just getting started.

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Review: Paru Itagaki’s Sanda Vol. 1 — A Chaotic, Comedic, and Surreal Return

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Paru Itagaki has never been a creator who plays it safe. With Beastars, she turned a high school animal society into a raw allegory of identity, desire, and power. Now with Sanda, her latest manga series, she once again pushes manga into unexpected territory — this time by transforming Santa Claus into a supernatural curse passed through generations. What sounds like a gag premise becomes, in Itagaki’s hands, a biting satire of society wrapped in slapstick comedy and manga charm.

At its core, Sanda asks: What if becoming Santa Claus was a hereditary curse? Our protagonist, high schooler Kazushige Sanda, learns the hard way when he suddenly transforms into a hulking, bearded Santa on Christmas Day. His classmate Shiori Fuyumura, unhinged after the disappearance of her friend Ono, forces him into accepting this role — claiming his powers are the key to saving her missing friend.

SANDA vol.1

From that moment on, the manga snowballs into chaos: part supernatural mystery, part high school melodrama, and part black comedy. What begins as a surreal Christmas joke morphs into a sharp critique of society’s obsession with youth, image, and forgotten traditions.

Episode 1

The debut chapter sets the tone with a mix of chaos and satire. We meet Kazushige Sanda, an ordinary high schooler, and his volatile classmate Shiori Fuyumura, who brandishes a knife and makes cryptic claims about Santa Claus. The narrative escalates quickly as she reveals Sanda is a descendant of Santa, forcing him to undergo the transformation into a hulking, red-suited old man.

Itagaki wastes no time in establishing her surreal style and getting to the point. The art here is loose, jittery, and full of nervous energy, perfectly reflecting Fuyumura’s instability and Sanda’s panic. The comedy lands in the absurdity of seeing a teenager instantly morph into a massive Santa, yet the undertone is dark — Ono’s disappearance and Fuyumura’s desperation set up the emotional stakes. This opening captures Itagaki’s greatest strength: taking a ridiculous premise and grounding it in genuine drama.

Episode 2

As Sanda struggles to understand his transformation, while Fuyumura tests his powers by planting a bomb in the science lab. Sanda is forced into action, torn between saving lives and accepting his bizarre identity as Santa. His resistance to fire — chalked up to “a chimney thing” — adds to the absurd comedy, while the situation underscores how reckless and unhinged Fuyumura is.

The bomb scenario is over-the-top, but it works as a way to test the limits of Sanda’s curse. The comedy shines in his reluctance — this isn’t a heroic power fantasy, but a curse that drags him into embarrassing and dangerous situations. Artistically, Itagaki uses chaotic paneling to amplify the tension, contrasting the students’ nonchalance with the absurdity of Sanda running around as Santa. It’s slapstick layered over genuine suspense, showing Itagaki’s mastery of tonal whiplash.

Episode 3

Sanda’s roommate Amaya steps into the spotlight. Having witnessed Sanda’s secret, Amaya manipulates him and Fuyumura, even demanding they kiss to secure their freedom. Sanda refuses on the grounds that “Santa DNA” won’t allow him to kiss a child, invoking his role’s bizarre moral code. The tension between them escalates, revealing Amaya as a cunning antagonist who thrives on control and cruelty.

This chapter is both the funniest and most disturbing so far, in my opinion. The kiss demand reads as playground bullying amplified by Itagaki’s sense of humor, but it also critiques the exploitation of innocence. Sanda’s refusal is played for laughs yet builds on the manga’s underlying rules: Santa is bound by folklore, even in absurd situations. The artwork shines in Amaya’s twisted expressions and Fuyumura’s manic energy, with exaggerated anatomy and angles that heighten the uncomfortable comedy. It’s quintessential Itagaki — chaotic, satirical, and emotionally charged.

Episode 4

The grotesque principal is introduced in this chapter, a 92-year-old man who maintains a youthful appearance with cosmetic injections, embodying society’s obsession with youth. He prowls the school seeking out “traumatized” students to drag into a rumored basement. When Fuyumura becomes his target, Sanda intervenes, unleashing violent Santa powers to protect her.

This episode pivots the manga into social critique. The principal is both hilarious and horrifying, a literal caricature of vanity and authority. Itagaki’s linework exaggerates every wrinkle, injection, and grotesque smile, making him one of the most visually striking characters so far. Thematically, this chapter solidifies Sanda as not just a gag manga but a satirical commentary on societal decay — the corrupt adult world preying on fragile youth, if you will. The fight scenes here are messy and violent, with energy lines and distorted anatomy giving them a frantic, unsettling edge.

Episode 5 & 6

Sanda and Fuyumura’s alliance deepens, driven by her obsession with finding Ono. Their relationship swings between manic comedy and poignant vulnerability, with moments of tenderness breaking through the chaos. Ono’s disappearance remains the driving mystery, while the presence of manipulative classmates and corrupt adults expands the sense of conspiracy around the school.

These chapters show Itagaki’s pacing — she doesn’t rush answers but layers mysteries with bizarre detours. Comedy continues to clash with heartfelt emotion: one moment we see a ridiculous Santa gag, the next a touching glimpse into Fuyumura’s dramatic, grief. The visual rhythm keeps readers off-balance, jumping from slapstick to action to melancholy in the span of a few pages. This unpredictability is what makes Sanda stand out among current manga titles.

Overall Impression

Volume 1 of Sanda is pure Paru Itagaki: raw, experimental, and deeply strange. The artwork is unpolished yet expressive, bursting with emotion. The comedy lands in its absurdity but beneath the humor lies real commentary on trauma, youth, and a society, subjects Itagaki fans are very much familiar with.

Personally, I do not like seeing Christmas item 3 months before December rolls in however, for anime and manga readers, Sanda is a refreshing break from formula, making it a MUST READ. It’s messy, surreal, and often thought-provoking, funny, and emotionally resonant. Like Beastars, it’s not afraid to push genre boundaries — but where Beastars explored love and instinct, Sanda wields Santa Claus as a weapon against societal decay. A bold, chaotic opening volume that combines comedy, satire, and action into something wholly unique. Sanda isn’t for readers who want polish or predictability — but for those who crave manga that experiments, provokes, and entertains.

Get your copy of Sanda volume 1 here, volume 2 is set to release November 18 and is available to preorder here.

The Anime series

The anime is slated to premiere on October 4, 2025 and will be able to stream on Amazon Prime Video.

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