Hiro In Exile

The first monograph on the achievements of Hiro of EXILE, one of the most influential figures in contemporary music and pop culture in Asia. With tours that pack 50,000-seat stadiums, the J-Pop band EXILE is one of the most popular bands on the planet. Founded as a six-man group in 1999 by Hiro Igarashi, now EXILE and its associated boy bands and singer-songwriters are platinum acts many times over, having sold more than twenty-five million records in Japan alone, and count Pharrell, A$AP Rocky, and Afrojack as collaborators. This lavishly illustrated book documents Hiro’s empire, one of the most unique media and entertainment companies in Japan. Images of EXILE’s innovative stadium tours, stage designs, and fashion photography will draw in Western readers, and offer a unique collectible for fans in Asia. The book emphasizes the engagement with fashion and its links to pop music, as it describes the rise of Hiro and EXILE as a force in streetwear—with collaborations with NIGO®, Mastermind, Adidas Originals, and Dr. Romanelli.

EXILEのリーダーとして、稀代のプロデューサーとして、才能を発揮するエンターテインメント界の風雲児・HIRO。熱く疾走する生き様に迫った。

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EXILE、THE SECOND、三代目J Soul Brothers、E‐girls、GENERATIONS、EXILE TRIBEの映像監督・久保茂昭による責任監修。未公開写真を含むEXILE TRIBEメンバーのライブ写真。EXILE TRIBEのミュージックビデオ映像&絵コンテやセット図などを収録。GENESISというキャラクターはいかにして生まれたか。GENESIS、GREEN DRAGON、BLUE SCORPION、GENERATION ROBOT、Sweet Revengeのキャラクター解説。EXILE HIRO、久保茂昭、神風動画へのインタビュー。

"Impressive, exhaustive, labyrinthine, and obsessive—The Anime Encyclopedia is an astonishing piece of work."—Neil Gaiman Over one thousand new entries . . . over four thousand updates . . . over one million words. . . This third edition of the landmark reference work has six additional years of information on Japanese animation, its practitioners and products, plus incisive thematic entries on anime history and culture. With credits, links, cross-references, and content advisories for parents and libraries. Jonathan Clements has been an editor of Manga Max and a contributing editor of Newtype USA. Helen McCarthy was founding editor of Anime UK and editor of Manga Mania.

This work examines the creation of an East Asian cultural sphere by the Japanese imperial project in the first half of the twentieth century. It seeks to re-read the “Greater East Asian Co-prosperity Sphere” not as a mere political and ideological concept but as the potential site of a vibrant and productive space that accommodated transcultural interaction and transformation. By reorienting the focus of (post)colonial studies from the macro-narrative of political economy, military institutions, and socio-political dynamics, it uncovers a cultural and personal understanding of life within the Japanese imperial enterprise. To engage with empire on a personal level, one must ask: What made ordinary citizens participate in the colonial enterprise? What was the lure of empire? How did individuals not directly invested in the enterprise become engaged with the idea? Explanations offered heretofore emphasize the potency of the institutional or ideological apparatus. Faye Kleeman asserts, however, that desire and pleasure may be better barometers for measuring popular sentiment in the empire—what Raymond Williams refers to as the “structure of feeling” that accompanied modern Japan’s expansionism. This particular historical moment disseminated common cultural perceptions and values (whether voluntarily accepted or forcibly inculcated). Mediated by a shared aspiration for modernity, a connectedness fostered by new media, and a mobility that encouraged travel within the empire, an East Asian contact zone was shared by a generation and served as the proto-environment that presaged the cultural and media convergences currently taking place in twenty-first-century Northeast Asia. The negative impact of Japanese imperialism on both nations and societies has been amply demonstrated and cannot be denied, but In Transit focuses on the opportunities and unique experiences it afforded a number of extraordinary individuals to provide a fuller picture of Japanese colonial culture. By observing the empire—from Tokyo to remote Mongolia and colonial Taiwan, from the turn of the twentieth century to the postwar era—through the diverse perspectives of gender, the arts, and popular culture, it explores an area of colonial experience that straddles the public and the private, the national and the personal, thereby revealing a new aspect of the colonial condition and its postcolonial implications.

With Yui's problems solved, Kako and Kota can finally spend more time together. Kota helps Kako study, then rewards her with a kiss! Finally, the chance to act like a pair of lovebirds! ...Or so they thought, but thanks to Kota's busy work schedule, they end up not seeing each other for a while. During that time, some kind of major incident seems to befall Kako?! Realizing this, Kota enters "coddle Kako like crazy" mode! A full-volume romantic comedy, and the sweetest volume in series history!

Reunited with those from his past, Kilik confronts Empress Luna, Matriarch of the Armoon Empire, and warns her of the coming danger from Vires. Her troops spread thin, she can offer no help until her people in the cities of Emerald, Night, and Chaka have been saved. But his journey is not without its dangers. A group calling themselves the Sky Hawks are spreading ill will about the end of Armoon and the people are without hope. Kilik's mind falls deeper into an abyss as a dark entity strives to control the power of the warrior and mage that flows through his veins. How long can Kilik keep his sanity in order to fulfill his destiny? Or will Shiana be forced to watch the one she loves become the Harbinger of Death?