Today I’d like to talk to you about the visual novel series, Spirit Hunter, known in Japan as Shinrei Horror (心霊ホラー), a series that seems to have passed many by, but is definitely worth your consideration. The first game, Death Mark, was initially released in 2017 and an English translation was released a year later.
Being a subjective genre, horror, much like its fans, is incredibly varied compared to other genres in film. From solid scares, slow-burning tension or just a general spooky atmosphere, there are a lot of things that can be grouped together under the horror umbrella. But, for those that require something a little more unyielding in
Over the years of watching cinema, we have all experienced something so shocking, so horrifying that it has stuck with us long after the fact, permanently burnt into our memoires. Whether it was a scary movie seen at far too young of an age or something so visually intense that was mentally overwhelming, we have
Siren, or Forbidden Siren in PAL areas, is a horror video game series in a Japanese style, created by Keiichiro Toyama (also known for the games Silent Hill 1 and the Gravity Rush series), consisting of three games plus numerous expansions in other medias like a movie in 2006, novelizations, magazines, hidden websites, and of
For a long period, I have found myself drawn to extreme cinema. The unapologetic approach to subject matters proscribed in mainstream media has always been more alluring to my cinematic tastes. From Japanese Pinku Eiga to French New Wave, I have tried to explore as much of the genre as possible and moreover, having seen
It goes without saying that director Hideo Nakata is one of the most celebrated filmmakers when it comes to Japanese horror. Having helmed two exceptionally well-received adaptations of Koji Suzuki novels, Ringu and Dark Water, which were also heavily responsible for kicking off the J-horror boom overseas, Nakata has continued exploring the supernatural world in his work
For the length of time that zombie movies have been a part of horror, it is only natural that the subgenre would eventually go stale, occasionally requiring a total re-evaluation of the creature design to breathe new life into the genre. As with classics such as White Zombie (1932) becoming obsolete after George A. Romero
Nobuhiko Obayashi’s House (1977) is memorable as a haunted house movie which defines itself through a whimsical absurdity forming a reality independent from any conventional filmmaking. It presents a cartoonish vision of our world, strange as the uncanny artificial foregrounds and otherworldly lighting; ultimately resembling a family-friendly film distorted into the surrealism of slapstick horrors.
Today I want to talk about a little film called Avatar. No, not the bloated CGI-laden thinly-veiled sci-fi retelling of Disney’s Pocahontas directed by James Cameron Avatar, I’m talking about the 2011 J-Horror movie directed by Atsushi Wada. Sure, it’s the only Japanese horror film with the title but unfortunately, the general headspace for most
Biotherapy is a Japanese 1986 sci-fi horror that’s aptly described as a slasher merged into a splatter creature feature. The short movie was released as a project from the limited career of director Akihiro Kashima and it dismays me how we never had the opportunity for more of such fun productions – the splatterpunk scene