Manga are comics or graphic novels created in Japan or by creators in the Japanese language, conforming to a style developed in Japan in the late 19th century. They have a complex pre-history in earlier Japanese art; the term manga in Japan is a word used to refer to cartooning. "Manga" as a term used outside Japan refers to comics published in Japan. In Japan, people of all ages read manga; the medium includes works in a broad range of genres: action, adventure and commerce, detective, historical, mystery, science fiction and fantasy, erotica and games, suspense, among others. Many manga are translated into other languages. Since the 1950s, manga has become a major part of the Japanese publishing industry. By 1995, the manga market in Japan was valued at ¥586.4 billion, with annual sales of 1.9 billion manga books and manga magazines in Japan. Manga have gained a significant worldwide audience. In 2008, in the U. S. and Canada, the manga market was valued at $175 million. Manga represent 38% of the French comics market, equivalent to ten times that of the United States.
In France, the manga market was valued at about €460 million in 2005. In Europe and the Middle East, the market was valued at $250 million in 2012. Manga stories are printed in black-and-white, although some full-color manga exist. In Japan, manga are serialized in large manga magazines containing many stories, each presented in a single episode to be continued in the next issue. Collected chapters are republished in tankōbon volumes but not paperback books. A manga artist works with a few assistants in a small studio and is associated with a creative editor from a commercial publishing company. If a manga series is popular enough, it may be animated during its run. Sometimes manga are drawn centering on existing live-action or animated films. Manga-influenced comics, among original works, exist in other parts of the world in Algeria, Hong Kong and South Korea; the word "manga" comes from the Japanese word 漫画, composed of the two kanji 漫 meaning "whimsical or impromptu" and 画 meaning "pictures".
The same term is the root of the Korean word for the Chinese word. The word first came into common usage in the late 18th century with the publication of such works as Santō Kyōden's picturebook Shiji no yukikai, in the early 19th century with such works as Aikawa Minwa's Manga hyakujo and the celebrated Hokusai Manga books containing assorted drawings from the sketchbooks of the famous ukiyo-e artist Hokusai. Rakuten Kitazawa first used the word "manga" in the modern sense. In Japanese, "manga" refers to all kinds of cartooning and animation. Among English speakers, "manga" has the stricter meaning of "Japanese comics", in parallel to the usage of "anime" in and outside Japan; the term "ani-manga" is used to describe comics produced from animation cels. The history of manga is said to originate from scrolls dating back to the 12th century, it is believed they represent the basis for the right-to-left reading style. During the Edo period, Toba Ehon embedded the concept of manga; the word itself first came into common usage in 1798, with the publication of works such as Santō Kyōden's picturebook Shiji no yukikai, in the early 19th century with such works as Aikawa Minwa's Manga hyakujo and the Hokusai Manga books.
Adam L. Kern has suggested that kibyoshi, picture books from the late 18th century, may have been the world's first comic books; these graphical narratives share with modern manga humorous and romantic themes. Some works were mass-produced as serials using woodblock printing. Writers on manga history have described two complementary processes shaping modern manga. One view represented by other writers such as Frederik L. Schodt, Kinko Ito, Adam L. Kern, stress continuity of Japanese cultural and aesthetic traditions, including pre-war and pre-Meiji culture and art; the other view, emphasizes events occurring during and after the Allied occupation of Japan, stresses U. S. cultural influences, including U. S. comics and images and themes from U. S. television and cartoons. Regardless of its source, an explosion of artistic creativity occurred in the post-war period, involving manga artists such as Osamu Tezuka and Machiko Hasegawa. Astro Boy became immensely popular in Japan and elsewhere, the anime adaptation of Sazae-san drawing more viewers than any other anime on Japanese television in 2011.
Tezuka and Hasegawa both made stylistic innovations. In Tezuka's "cinematographic" technique, the panels are like a motion picture that reveals details of action bordering on slow motion as well as rapid zooms from distance to close-up shots; this kind of visual dynamism was adopted by manga artists. Hasegawa's focus on daily life and on women's experience came to characterize shōjo manga. Between 1950 and 1969, an large readership for manga emerged in Japan with the solidification of its two main marketing genres, shōnen manga aimed at boys and shōjo manga aimed at girls. In 1969 a group of female manga artists made their shōjo manga debut ("year 24" comes from the Japanese name for the year 1949, the
The Return of the Sister Street Fighter
The Return of the Sister Street Fighter is a 1975 Japanese martial arts film directed by Kazuhiko Yamaguchi and starred by Etsuko Shihomi. This movie is a sequel to Sister Street Fighter and Sister Street Fighter: Hanging by a Thread. Etsuko Shihomi as Lǐ Hóng-Lóng Yasuaki Kurata as Go Kurosaki Akane Kawasaki as Xiu-Li Miwa Cho as Li-Hua Mitchi Love as Michi Katahira Jirô Yabuki as Xiang De-Ki Rin'ichi Yamamoto as Wang Long-Ming Matt Paprocki from the website "DoBlu" gave the film three out of five stars and wrote: "A highlight reel of its predecessors, Return of the Sister Street Fighter isn’t one for original ideas, but it’s still a goofy blast of fun." Don Anelli from the "Asian Movie Pulse" said: "With some engaging action and a lot to like elsewhere, ‘Return of Sister Street Fighter’ returns to the fun of the original with some of the same problems that emerged in the previous entry as the flaws are just a touch more enhanced here. Give this one a shot if you’ve made it this far in the series or just looking for a light, breezy action film while those looking to get more out of their films should heed caution."
David Brook from the online magazine Blueprintreview wrote about the "Sister Street Fighter" series of films, giving it three and a half stars out of five and stating: "So, the films in the set are flawed, with a little too much repetition and the first three could have benefitted from a breather here and there in amongst the near-constant fighting. The fourth film goes too far the other way, lacking the energy of its predecessors, but regardless, the films are a lot of fun. With lashings of gore, high-quality martial arts sequences with wacky flourishes thrown in to the mix, they’ll be sure to please fans of Japanese genre movies." The Return of the Sister Street Fighter on IMDb
United Artists Corporation doing business as United Artists Digital Studios, is an American film and television entertainment studio. Founded in 1919 by D. W. Griffith, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, the studio was premised on allowing actors to control their own interests, rather than being dependent upon commercial studios. UA was bought and restructured over the ensuing century; the current United Artists company exists as a successor to the original. Metro-Goldwyn-Mayer acquired the studio in 1981 for a reported $350 million. On September 22, 2014, MGM acquired a controlling interest in Mark Burnett and Roma Downey's entertainment companies One Three Media and Lightworkers Media merged them to revive United Artists' TV production unit as United Artists Media Group. However, on December 14 of the following year, MGM wholly acquired UAMG and folded it into MGM Television. UA was revived yet again in 2018 as United Artists Digital Studios. Mirror, the joint distribution venture between MGM and Annapurna Pictures was renamed as United Artists Releasing in early February 2019 just in time for UA's 100th anniversary.
Pickford, Chaplin and Griffith incorporated UA as a joint venture on February 5, 1919. Each held a 25 percent stake in the preferred shares and a 20 percent stake in the common shares of the joint venture, with the remaining 20 percent of common shares held by lawyer and advisor William Gibbs McAdoo; the idea for the venture originated with Fairbanks, Chaplin and cowboy star William S. Hart a year earlier. Hollywood veterans, the four stars talked of forming their own company to better control their own work, they were spurred on by established Hollywood producers and distributors who were tightening their control over actor salaries and creative decisions, a process that evolved into the studio system. With the addition of Griffith, planning began; when he heard about their scheme, Richard A. Rowland, head of Metro Pictures said, "The inmates are taking over the asylum." The four partners, with advice from McAdoo, formed their distribution company. Hiram Abrams was its first managing director, the company established its headquarters at 729 Seventh Avenue in New York City.
The original terms called for each star to produce five pictures a year. By the time the company was operational in 1921, feature films were becoming more expensive and polished, running times had settled at around ninety minutes; the original goal was thus abandoned. UA's first film, His Majesty, the American, written by and starring Fairbanks, was a success. Funding for movies was limited. Without selling stock to the public like other studios, all United had for finance was weekly prepayment installments from theater owners for upcoming movies; as a result, production was slow, the company distributed an average of only five films a year in its first five years. By 1924, Griffith had dropped out, the company was facing a crisis. Veteran producer Joseph Schenck was hired as president, he had produced pictures for a decade, brought commitments for films starring his wife, Norma Talmadge, his sister-in-law, Constance Talmadge, his brother-in-law, Buster Keaton. Contracts were signed with independent producers, including Samuel Goldwyn, Howard Hughes.
In 1933, Schenck organized a new company with Darryl F. Zanuck, called Twentieth Century Pictures, which soon provided four pictures a year, forming half of UA's schedule. Schenck formed a separate partnership with Pickford and Chaplin to buy and build theaters under the United Artists name, they began international operations, first in Canada, in Mexico. By the end of the 1930s, United Artists was represented in over 40 countries; when he was denied an ownership share in 1935, Schenck resigned. He set up 20th Century Pictures' merger with Fox Film Corporation to form 20th Century Fox. Al Lichtman succeeded Schenck as company president. Other independent producers distributed through United Artists in the 1930s including Walt Disney Productions, Alexander Korda, Hal Roach, David O. Selznick, Walter Wanger; as the years passed, the dynamics of the business changed, these "producing partners" drifted away. Samuel Goldwyn Productions and Disney went to Wanger to Universal Pictures. In the late 1930s, UA turned a profit.
Goldwyn was providing most of the output for distribution. He sued United several times for disputed compensation leading him to leave. MGM's 1939 hit Gone with the Wind was supposed to be a UA release except that Selznick wanted Clark Gable, under contract to MGM, to play Rhett Butler; that year, Fairbanks died. UA became embroiled in lawsuits with Selznick over his distribution of some films through RKO. Selznick considered UA's operation sloppy, left to start his own distribution arm. In the 1940s, United Artists was losing money because of poorly received pictures. Cinema attendance continued to decline; the company sold its Mexican releasing division to Crédito Cinematográfico Mexicano, a local company. In 1941, Chaplin, Orson Welles, Selznick, Alexander Korda, Wanger—many of whom were members of United Artists--formed the Society of Independent Motion Picture Producers. Members included Hunt Stromberg, William Cagney, Sol L
Shinichi Chiba known as Sonny Chiba, is a Japanese actor, film producer, film director, martial artist. Chiba was one of the first actors to achieve stardom through his skills in martial arts in Japan and before an international audience. Born Sadaho Maeda in Fukuoka, Japan, he was the third of five children in the family of a military test pilot; when he was four years old, his father was transferred to Kisarazu and the family moved to Kimitsu, Chiba. After Chiba went to junior high school in Kimitsu, the physical education teacher advised him to do artistic gymnastics, he was passionate about track and field sports and volleyball. He participated in those four sports championships of Chiba Prefecture. In high school, Chiba dedicated himself to artistic gymnastics and won the National Sports Festival of Japan while in his third year, he enjoyed watching Western movies like High Noon. Chiba went to the Nippon Sport Science University in 1957, he was a serious candidate for a place in the Japanese Olympic team in his late teens until he was sidelined by a back injury.
While he was a university student, he began studying martial arts with the renowned Kyokushin Karate master Masutatsu "Mas" Oyama, which led to a first-degree black belt on October 15, 1965 receiving a fourth-degree on January 20, 1984. Sometime around 1960, he was discovered in a talent search by the Toei film studio, he began his screen career soon after; the CEO of Toei at the time bestowed him with the stage name "Shinichi Chiba." His acting career began on television, starring in two tokusatsu superhero shows, first replacing Susumu Wajima as the main character Kōtarō Ran/ Seven Color Mask in Seven Color Mask in the second half of the series starred as Gorō Narumi/Messenger of Allah in Messenger of Allah. His movie debut and first starring movie role was the 1961 science fiction movie Invasion of the Neptune Men; that year, Chiba appeared in the first Kinji Fukasaku film, Wandering Detective: Tragedy in Red Valley which marked the beginning of a long series of collaborations for the two.
Over the next decade, he was cast in crime thrillers. By 1970, Chiba had started his own training school for aspiring martial arts film actors and stunt performers known as J. A. C, he starred in the Karate Kiba, after appearing on the Battles Without Honor and Humanity: Deadly Fight in Hiroshima in 1973. Karate Kiba was the first movie for him about martial arts. Chiba's breakthrough international hit was The Street Fighter, brought to Western audiences by New Line Cinema; the film and its sequels established him as the reigning Japanese martial arts actor in international cinema for the next two decades. It was New Line Cinema founder Robert Shaye who gave Chiba the English name "Sonny", which Chiba would adopt as his own from that point on, his subsequent projects included such pictures as The Bullet Train, Karate Warriors, Doberman Cop, Golgo 13: Assignment Kowloon and The Assassin. He occasionally returned to the science fiction genre, in movies such as Message from Space, he began to star on some jidaigeki such as Shogun's Samurai, The Fall of Ako Castle, G.
I. Samurai, Shadow Warriors, Samurai Reincarnation, he was not only actor but stunt coordinator at G. I. Samurai, Burning Brave, Shogun's Shadow and executive producer, film director at Yellow Fangs. Chiba was busier in the 1980s, doing dozens of movies as well as making forays into television, with roles in such high-profile adventures as the popular Hong Kong comic-based movie: The Storm Riders, starring alongside Ekin Cheng and Aaron Kwok, his fame in Japan remained unabated into the 1990s. In his fifties, the actor resumed working as a choreographer of martial arts sequences. At the dawn of the 21st century, Chiba was as busy as in feature films and starring in his own series in Japan. Roles in Takashi Miike's Deadly Outlaw: Rekka and his work with directors Kenta and Kinji Fukasaku's Battle Royale II bridged the gap between modern day and yesteryear cinematic cult legends. Chiba's enduring onscreen career received a tribute when he appeared in a key role as Hattori Hanzo, the owner of a sushi restaurant and retired samurai sword craftsman, in director Quentin Tarantino's bloody revenge epic Kill Bill in 2003.
Chiba has starred in more than 125 films for Toei Studios and has won numerous awards in Japan for his acting. In November 2007, he announced the retirement of the stage name Shinichi Chiba and will now be known as J. J. Sonny Chiba as an actor and Rindō Wachinaga as a film director. Chiba established the Japan Action Club, now Japan Action Enterprise to develop and raise the level of martial arts techniques and sequences used in Japanese film and television. Chiba divorced his first wife, actress Yōko Nogiwa, with whom he has a daughter, Juri Manase, an actress, he has two sons from his second marriage to Tamami Chiba: child actor Mackenyu Arata, born on November 16, 1996, Gordon, born in 1998. He lives in Yokohama, Japan, his younger brother, Jirō Yabuki, was an actor. Christian Slater's character Clarence Worley in True Romance is a fan of Chiba. In a pivotal early scene he watches a Sonny Chiba triple feature; the writer of True Rom
Koreans in Japan
Koreans in Japan comprise ethnic Koreans who have permanent residency status in Japan or who have become Japanese citizens and whose immigration to Japan originated before 1945 or who are descendents of those immigrants. They are a distinct group from South Korean nationals who have emigrated to Japan after the end of World War II and the division of Korea, they constitute the second largest ethnic minority group in Japan after Chinese immigrants due to many Koreans assimilating into the general Japanese population. The majority of Koreans in Japan are Zainichi Koreans known as Zainichi, who are the permanent ethnic Korean residents of Japan; the term Zainichi Korean refers only to long-term Korean residents of Japan who trace their roots to Korea under Japanese rule, distinguishing them from the wave of Korean migrants who came in the 1980s, from pre-modern immigrants dating back to antiquity who may themselves be the ancestors of the Japanese people. The Japanese word "Zainichi" itself means a foreign citizen "staying in Japan" and implies temporary residence.
The term "Zainichi Korean" is used to describe settled permanent residents of Japan, both those who have retained either their Joseon or South Korean/North Korean nationalities, sometimes, but not always, includes Japanese citizens of Korean descent who acquired Japanese nationality by naturalization or by birth from one or both parents who have Japanese citizenship. In 2014, there were over 855,725 ethnic Koreans resident in Japan. According to the Ministry of Internal Affairs and Communications, 453,096 South Koreans and 32,461 Koreans are registered in 2016; the modern flow of Koreans to Japan started with the Japan-Korea Treaty of 1876 and increased since 1920. During World War II, a large number of Koreans were conscripted by Japan. Another wave of migration started. Noteworthy was the large number of refugees from the massacres on Jeju Island by the South Korean government. Statistics regarding Zainichi immigration are scarce. However, in 1988, a Mindan youth group called Zainihon Daikan Minkoku Seinendan published a report entitled "Father, tell us about that day.
Report to reclaim our history" The report included a survey of first generation Koreans' reasons for immigration. The result was 13.3% for conscription, 39.6% for economics, 17.3% for marriage and family, 9.5% for study/academic, 20.2% for other reasons and 0.2% for unknown. The survey excluded those. People from the Korean Peninsula have immigrated to Japan since prehistory, but pre-modern immigrants did not form a separate group from the Japanese People - indeed, they may well have been the primary ancestors of the Japanese People, though this theory is viewed with disfavor within Japan. In the ice age, Japan was connected to mainland Asia by at least two land bridges in north and south and was peopled from the mainland. In late prehistory, in the Iron Age Yayoi period, Japanese culture shows some Korean influence, though whether this was accompanied by immigration from Korea is debated. In the Kofun period and Asuka period there was some flow of people from the Korean Peninsula, both as immigrants and long-term visitors, notably a number of clans in the Kofun period.
While some families today can trace their ancestry to the immigrants, they were absorbed into Japanese society and are not considered a distinct group. The same is applicable to those families descended from Koreans who entered Japan in subsequent pre-modern periods, including those who entered Japan in captivity as a result of pirate raids or during the Japanese invasions of Korea. Trade with Korea continued to the modern day, with Japan periodically receiving missions from Korea, though this was limited to specific ports. In the Edo period trade with Korea occurred through the Tsushima-Fuchū Domain in Kyūshū, near Nagasaki. After the conclusion of the Japan-Korea Treaty of 1876, Korean students and asylum seekers started to come to Japan, including Bak Yeonghyo, Kim Ok-gyun, Song Byeong-jun. There were about 800 Koreans living in Japan before Japan annexed Korea. In 1910, as the result of the Japan–Korea Annexation Treaty, Japan annexed Korea and all Korean people became part of the nation of the Empire of Japan by law.
In the 1920s, the demand for labor in Japan was high while Koreans had difficulty finding jobs in the Korean Peninsula. This coincidence of interests boosted the migration to Japan. A majority of the immigrants consisted of farmers from the southern part of Korea; the number of Koreans in Japan in 1930 was more than ten times greater than that of 1920 reaching 419,000. However, the jobs they could get on the mainland of Japan were curtailed by open discrimination limited to physical labor due to their poor education, they worked alongside other groups of ethnic minorities subject to discrimination, such as Burakumin. Before World War II, the Japanese Government tried to reduce the number of Koreans immigrating to Japan. To accomplish this, the Japanese government devoted resources to the Korean Peninsula. In 1939, the Japanese government introduced the National Mobilization Law and conscripted Koreans to deal with labor shortages due to World War II. In 1944, the
Sister Street Fighter
Sister Street Fighter is a spin-off of The Street Fighter. The plot revolves around the female martial artist of the title; when her brother Lǐ Wàn-Qīng is kidnapped by drug lords, she seeks revenge. The drug lord's colorful collection of "killers" includes a toga-clad group of Thai Boxers called the "Amazons Seven", along with representatives of every martial art. Hóng-Lóng breaks into the drug lord's compound with the help of Seiichi Hibiki and other members of the Shorinji Kempo dojo. After all of his minions are defeated, the drug lord himself battles Hóng-Lóng, wearing a steel claw in imitation of Han, the villain from Enter the Dragon; this was the first in a trilogy of films. It was followed by Sister Street Fighter: Hanging by a Thread and The Return of the Sister Street Fighter; when Lee Long, a shorinji kempo champion and Hong Kong drug agent, goes missing during an investigation into the activities of a dummy corporation called Central Export, his sister, Tina, is called in to continue the investigation in his place.
On her way to Club Mandarin, she visits her uncle, who operates a restaurant, her cousins Jerry and Remi. At Club Mandarin, she receives a red rose, the signal to look for Lee's partner in the investigation, Fanny Singer; when assassins for Central Export abduct Fanny, Tina takes them on singlehandedly, but they manage to capture Fanny and load her in their car, hijacked by shorinji kempo student Sonny Hibachi, who proceeds to transport her to the ballet studio operated by his girlfriend, Shinobu Kojo. Furious at his minions for failing him, Ryozo Hayashi hires a mercenary, Hammerhead, to spy on the shorinji kempo school, led by Tetsudo Fujita; when Tina stops by, she's formally introduced to another student, Emmy Kawasaki. After Sonny assures Tina that Fanny's all right, she hurries over to Kojo's ballet studio to question Fanny. After Fanny reveals that Lee was captured, she gives Tina a necklace before spasming from a lack of exposure to heroin, which she had been forcefully addicted to, as Hammerhead's minions attack the ballet studio.
Tina and Kojo ward them off, but Fanny is killed in a sneak attack using a poison dart. Some time Emmy swears the shorinji kempo school's allegiance to Tina in her investigation as she stumbles across another piece of evidence in the form of a lock of hair. Central Export's leader, offers Hammerhead a great reward if he disposes of Tina. After Tina clears out several minions, she encounters Hammerhead, they fight on a bridge. Hammerhead reveals the truth to Tina, that Lee is still alive and captive in Kaki's dungeon, before sending her off the bridge into an apparent watery grave. Emmy helps Tina destroy a warehouse owned by Central Export. Though Kaki is furious at Hammerhead, he allows him and his minions to directly attack the shorinji kempo school with the hope that the attack will lead to Tina's demise in the process. Sonny wards off the ambush in a one-on-one duel against Hammerhead himself and when Hammerhead subsequently sinks into a depression and starts to drink himself to death, a frustrated Kaki is forced to use her uncle against her by forcing him to divulge a false lead.
Kaki believes Tina will be killed by his minions. She returns to her uncle's restaurant with Emmy just as he's killed by a poison dart in front of Jerry and Remi. Tina returns to Central Export and enters the dungeon, where she extracts Lee right before a sinister minister wielding an arrow gun offs him before her eyes. Tina herself is dropped into a pit and nearly killed when Kaki ties her by her feet above a bed of spikes, but as he burns the rope she breaks free and throws his mistress onto the bed of spikes, she proceeds to take down several more minions before confronting Hayashi and killing him by twisting his neck. Sonny and Kojo arrive as backup and kill many of the remaining minions, including Hammerhead. Tina kills him with his own claw hand. Similar to its predecessors, Sister Street Fighter was rated X when first presented to the MPAA. New Line cut 6 minutes of graphic footage, removing all shots with considerable amounts of blood and gore. Additionally, Etsuko Shihomi was deliberately credited with the more Western name of Sue Shiomi.
Brentwood Communications, who had released a public domain DVD of this censored version released the uncut version on DVD and Blu-ray, in Japanese with English subtitles. NOTE: English-translated names, if given or known, will be in parentheses. Etsuko Shihomi - Lǐ Hónglóng Emi Hayakawa - Emi Hayakawa Sanae Ōhori - Shinobu Kojō Xiè Xiùróng - Fanshin Hiroshi Kondō - Lǐ Yùtáng Tatsuya Nanjō - Jirō Nami Tachibana - Reiko Hiroshi Miyauchi - Lǐ Wànqīng Bin Amatsu - Shigetomi Kakuzaki Shōhei Yamamoto - Ryōzō Hayashi Seiya Satō - Murakami Toshiyuki Tsuchiyama - Kurokawa Tatsuya Kameyama - Shimura Teruo Shimizu - Hamano Masashi Ishibashi - Kazunao Inubashiri Kengo Miyaji - Kizaki Shinichi Chiba The film is well received. Fans cite the variety of battle. Detractors state there is flat acting and over-reliance on wire special effect during the final battle. Sonny Chiba's "Tsurugi" character
Mikio Narita was a Japanese actor. He was most famous for playing villains, he appeared in many Kinji Hideo Gosha ` s films. Narita joined Daiei Film, his career as a screen actor started in 1963. In Japan he is best known for his role in Tantei Monogatari, he is well known for his part in Battles Without Honor and Humanity series. He portrayed the evil character in Mito Kōmon, he died of Linitis plastica on 9 April 1990. The Hoodlum Soldier Zatoichi and the Chess Expert Shinjuku outlaw: Step On the Gas Kage Gari Kage Gari Hoero taiho Battles Without Honor and Humanity: Deadly Fight in Hiroshima Battles Without Honor and Humanity: Proxy War Female Convict Scorpion: Beast Stable Hanzo the Razor – Who's Got the Gold? Champion of Death Graveyard of Honor Cops vs. Thugs New Battles Without Honor and Humanity: The Boss's Head New Battles Without Honor and Humanity: The Boss's Last Days Yakuza Graveyard Hokuriku Proxy War Shogun's Samurai Message from Space The Resurrection of the Golden Wolf Nihon no Fixer G.
I. Samurai Yaju-deka Fireflies in the North The Sea and Poison A Chaos of Flowers Mito Kōmon 3rd season as Tsuge Shin Heike Monogatari Taiga drama Amigasa Jūbei as Funazu Yakurou Edo o Kiru The Yagyu Conspiracy Shadow Warriors - I, II, IV Akō Rōshi as Yanagisawa Yoshiyasu Tantei Monogatari as Detective Hattori Tokugawa Ieyasu as Imagawa Yoshimoto Mikio Narita on IMDb