Japan Archives - Ground Control Studios

Why is Japan a “Character Superpower”?

Mizuki — Tue, 24 Feb 2026 13:31:40 +0000

Most people are familiar with Japanese icons like Pokémon, Mario, and Hello Kitty. But if you actually visit Japan and take a stroll through its streets, you’ll encounter characters you’ve never seen before in the most unexpected places—from bank counters and construction site signs to police stations and local government offices.

For instance, the police have “Peepo-kun,” and various municipalities have mascots like “Kumamon” or “Chi-ba kun.” In Japan, it’s perfectly normal for official and public spaces to have their own cute mascots. But why has the culture of creating world-conquering characters taken such deep root here? The answer lies hidden in Japan’s history and spiritual DNA.

Peepo-kun

Kumamon

Chi-ba kun

“Eight Million Gods” and Modern-Day Mascots

One major factor behind Japan’s character boom is its religious background. In Japan’s indigenous religion, Shinto, there is the concept of Yaoyorozu no Kami—the belief that “eight million gods” (or spirits) inhabit everything. There’s even the idea of Tsukumogami, where old tools eventually acquire a soul and come to life. This spiritual mindset leads directly to today’s “Yuru-chara” (laid-back mascots).

Tsukumogami,

Tsukumogami

Take “Hikonyan,” a mashup of a samurai helmet and a cat, or “Funassyi,” the hyperactive pear fairy of Funabashi City. Giving a personality to a building or a piece of fruit might seem quirky, but to the Japanese, it’s essentially the modern-day version of personifying spirits and folklore monsters.

Hikonyan

Funassyi

The Roots: Yokai and Ukiyo-e

The Japanese love for characters actually dates back to the “Yokai” (monsters/spirits) and Ukiyo-e prints of the Edo period. Back then, people gave shape to the threats of nature or the mysteries of daily life by imagining them as Yokai. These creatures weren’t just scary; they were often drawn with a sense of humor and charm, making them Japan’s original “characters.”

Ukiyo-e masters like Katsushika Hokusai and Utagawa Kuniyoshi entertained the public by drawing anthropomorphic animals and bizarre monsters. Centuries ago, Japanese people had already built a culture of enjoying these “character-like entities” as both entertainment and relatable icons.

Yokai

The Strength of “Symbolism” and “Empty Space”

Japan’s legendary characters share a unique strength. Take Hello Kitty, for example. The fact that she has no mouth is an intentional use of “empty space”—it allows the observer to project their own emotions onto her. When you’re sad, she looks sad; when you’re happy, she seems to be smiling with you.

The same applies to Mario and Pikachu. Much like how Ukiyo-e used a few simple lines to capture a subject’s essence, the art of “symbolism” makes these characters instantly recognizable worldwide. Even Doraemon, an “underdog” robot who isn’t perfect but always tries his best, taps into a universal sense of relatability.

From “Familiarity” to “Deep Empathy”

Lately, characters have moved beyond being just “cute” or “aspirational” to becoming voices for the struggles of modern life. The current sensation in Japan, “Chiikawa,” follows tiny creatures who work hard labor and tremble in the face of an unfair reality, yet keep pushing forward. By wrapping the grit of daily life in a “Kawaii” exterior, these characters earn deep empathy from adults who feel, “That’s exactly how I feel.”

The “Heisei Girl” Revival

While new characters are born every day, Japan also loves a good comeback. Currently, the “Heisei Girl” (Heisei Jyoji) trend is taking over. This refers to the girls who grew up during the Heisei era (1989–2019). Think of it as the Japanese version of the Y2K aesthetic.

Millennials are feeling nostalgic, Gen Z thinks it’s “retro-cute,” and together they are driving a massive boom in stickers and stationery. Much like Pokémon cards, stickers of these era-defining characters are being traded among fans.

San-X Characters:

Characters like Kogepan,Tarepanda—which every student in the 90s and 2000s knew—are back in a big way through collabs and Gachapon.

Narumiya Brands:

Pop-fashion brands like Angel Blue and Mezzo Piano were status symbols back in the day (with T-shirts costing over $100!). Their bright, “gap-moe” cuteness is being rediscovered by a new generation.

Tamagotchi:

It’s evolved to have color screens and wireless communication, but the fact that it’s a physical device rather than a phone app gives it a special “object value” that feels fresh again.

Retro Sanrio:

It’s not just Kitty anymore. Characters like Keroppi, Hangyodon, and Pochacco are seeing a huge surge in popularity with retro-style merchandise.

In Japan, characters aren’t just “drawings.” They are born from a deep cultural and religious well and evolve alongside the people.

From the Yokai of the Edo period to the Pokémon of the Heisei era and the Chiikawa of today, characters are essential partners. Like the “eight million gods,” they live alongside us, share our daily struggles, and serve as a universal language across generations. This deep, personal bond is the true secret behind why Japan remains the ultimate “Character Superpower.”

The post Why is Japan a “Character Superpower”? appeared first on Ground Control Studios.

Inside “gene.hackerman”: Exploring Tokyo’s Real Culture Through The Weeknd’s Secret Sub-Account

Mizuki — Fri, 20 Feb 2026 13:08:21 +0000

The rumors are true: The Weeknd has been spending a solid two months in Japan, spanning from December 2025 through January 2026.

While his main Instagram only follows one mysterious account, what started as a feed of cryptic Japanese landscapes was recently confirmed to be his personal sub-account when photos of Abel himself finally appeared. But he’s not just doing the “tourist thing.” His feed, @gene.hackerman, is a deep dive into the daily life and gritty subcultures of Japan, showing a side of the country that feels authentic and lived-in.

In this post, we’re digging into the posts from @gene.hackerman to see what’s actually trending in Japanese culture right now.

https://www.instagram.com/gene.hackerman/?hl=en

Reuniting with a Legend: Hajime Sorayama

You can’t talk about this trip without mentioning Hajime Sorayama. From the very first post, Abel has been showcasing his connection to the artist and the legendary NANZUKA gallery.

Founded in Shibuya in 2005, NANZUKA is an experimental space where pop culture meets contemporary art.

https://nanzuka.com/en

It’s the home of pioneers like Sorayama and the late great Keiichi Tanaami.

The bond between Abel and Sorayama goes way back—they collaborated for the 10th anniversary of Echoes of Silence in 2021, and Sorayama’s 7-meter “Sexy Robot” was the rotating centerpiece of the After Hours Til Dawn Tour.

In his latest posts, Abel shared videos from inside Sorayama’s studio, catching the master at work. Fans are already buzzing—is another collaboration on the horizon?

The New Frontiers of Theme Parks

Next up: the obsession with Japan’s IP powerhouses. Abel was one of the first to hit up PokePark Kanto, the brand-new Pokemon theme park that just opened in Tokyo.

https://www.pokepark-kanto.co.jp/ppark/top/index

Located on the site of the old Yomiuri Land, it’s the world’s first park of its kind, where you can find Pokemon figures hidden throughout the nature-rich grounds. He also made a stop at Super Nintendo World at USJ. Seeing a global star embrace these spots highlights just how much Japan’s character industry is dominating the world right now.

From Cult Classics to Modern Masterpieces

Japan is a haven for high-end anime exhibitions, and Abel’s choices were top-tier:

Evangelion:

He caught the 30th-anniversary exhibition, filled with original cells and massive figures.

Ghost in the Shell:

Not only did he visit the exhibition at TOKYO NODE, https://www.tokyonode.jp/sp/exhibition-ghostintheshell/

but he also dropped by Kodansha (the publisher) to see ultra-rare original manuscripts up close.

- - Look Back:

This one was a surprise. He visited the exhibition for Tatsuki Fujimoto’s Look Back and even got an autograph from the anime director, Kiyotaka Oshiyama.

For those who don’t know, a live-action version is currently in the works, directed by none other than Hirokazu Kore-eda (who won the Palme d’Or in 2028).

Gaming Icons and Retro Digging

Abel also went on a “holy land” pilgrimage to gaming giants like SEGA and CAPCOM, meeting the legendary designers behind the games we grew up on.

He posted shots of himself buying vintage Famicoms and Game Boys. In Japan, these might just be “used items” in a second-hand shop, but through his lens, they are redefined as powerful icons of nostalgia.

Connecting with the Music Scene

The trip wasn’t complete without some heavy-hitting musical meetups. He hung out with Kenshi Yonezu, the J-pop titan who previously collaborated with him and recently sang the theme for Ghibli’s The Boy and the Heron.

He also met with Creepy Nuts, the hip-hop duo taking the world by storm. Their tracks became massive hits in 2024, proving once again that in Japan, an anime tie-in is the ultimate launchpad to superstardom.

Finally, he paid homage to the late Nujabes.

Even 15 years after his passing, Nujabes remains a king of the “Lo-fi” sound. Abel was seen hanging with the creator of Samurai Champloo (the anime that made Nujabes famous) and buying stacks of Nujabes vinyl.

The “Chiikawa” Plot Twist

To wrap things up, we have to talk about Chiikawa. This small, “cute but stressful” character is a massive phenomenon in Japan right now. Even BLACKPINK’s Jennie is a fan, and Abel joined the club by posting a photo of himself wearing a Chiikawa hat.

Seeing one of the biggest artists on the planet fully vibing with Japan’s “Kawaii” culture is the wholesome content we didn’t know we needed.

If you’re planning a trip to Japan soon, @gene.hackerman just gave you the ultimate itinerary.

The post Inside “gene.hackerman”: Exploring Tokyo’s Real Culture Through The Weeknd’s Secret Sub-Account appeared first on Ground Control Studios.

Media Mix Strategy in Japanese Film Industry

admin — Wed, 18 Feb 2026 15:53:00 +0000

Media mix with the idol-based star system is a significant strategy that has evolved in the Japanese film industry. Kadokawa Haruki, a Japanese entrepreneur and filmmaker, pioneered a commercial-driven approach to filmmaking by merging film, publishing, and music into a unified marketable model. He also applied an idol-driven approach, where idols were designed as transmedia commodities rather than just film stars. Kadokawa thus pioneered and introduced the media mix strategy with the idol-based star system in Japanese cinema, which moved away from traditional storytelling to marketable filmmaking, revolutionising film production and marketing in the 1970s to 1980s. These strategies remain highly influential today and have shaped the entire entertainment landscape, where cross-media expansion and idol-based branding have become the foundation of modern media industries.

Kadokawa emerged at a moment of crisis. As the traditional studio system collapsed in the 1970s, such as Daiei going bankrupt, Nikkatsu surviving through Roman Porno, Kadokawa proposed a new commercial vision. Films would be launched alongside bestselling novels, pop soundtracks, magazines, and television advertising. Each medium existed to promote the others. Cinema became the centrepiece of a larger consumer experience.

Crucially, Kadokawa understood that stars were the most powerful connectors across media. His idols, such as Hiroko Yakushimaru and Tomoyo Harada, were not just actresses but carefully managed transmedia figures. They sang theme songs, appeared in commercials, featured in photobooks, and circulated endlessly across magazines and television. Films like School in the Crosshairs (1981) Sailor Suit and Machine Gun (1981) and The Little Girl Who Conquered Time (1983) wrapped youthful idols in fantasy-driven narratives that avoided social realism in favour of escapism. These films were optimistic, glossy, and borderless introducing the idea of franchising.

Today’s Japanese entertainment industry runs almost entirely on media mix logic. Anime franchises such as Demon Slayer or Jujutsu Kaisen expand seamlessly from manga to television, cinema, games, merchandise, and theme-park collaborations. Characters function like idols: stable, recognisable, scandal-proof commercial assets. Even voice actors now perform as multi-platform celebrities, blurring the line between fictional and real stardom.

Recently, idol stars in a drama, sings its theme song, promotes it on variety television, appears on magazine covers, and sells concert tickets, all while reinforcing the group’s brand. The success of Hana Yori Dango (2005–2008) illustrates this perfectly. Adapted from a manga with an existing fanbase, the drama starred Arashi’s Jun Matsumoto and turned its theme songs into chart-topping hits. The franchise expanded across television, cinema, music, and international remakes, proving how tightly integrated stardom and storytelling had become.

Even recent projects like Grand Maison Paris (2024), starring former SMAP icon Takuya Kimura, show how the system adapts. Linked to a television series, branded as a long-term project, and promoted through collaborations with the Michelin Guide, the film demonstrates how media mix now extends into global branding and lifestyle culture.

From virtual idols to streaming-era franchises, Japan continues to refine a model where cinema is only one part of a much larger machine. Kadokawa may have started the revolution by turning films into commodities and idols into platforms. Decades later, his vision still defines how Japanese cinema is produced, marketed, and consumed, endlessly circulating worlds of images, music, and stars.

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How has Japanese Cinema Been Reaching UK/Global Audiences? Looking from Late 20th Century ~

admin — Fri, 19 Dec 2025 16:52:38 +0000

Japanese cinema is known for its incredible variety of styles, genres, and cultural influences, and over time it has gained increasing recognition around the world through distribution. In the UK in particular, the way Japanese films have been distributed has played a key role in shaping how they are viewed and appreciated, especially for their bold creativity and distinctive genres.

For a long time, access to Japanese cinema, especially live-action films, were fairly limited in the UK. This began to change in the late 20th century, when cult and genre titles started circulating through VHS and DVD. Distributors such as Tartan Films were especially influential during this period, introducing UK audiences to Japanese cinema through physical media.

Tartan’s Asia Extreme label became particularly well known, bringing films like Ring (1998, Hideo Nakata), Audition (1999, Takashi Miike), and Battle Royale (2000, Kinji Fukasaku) to British audiences.

These releases helped establish a strong, but sometimes narrow image of Japanese cinema as intense, shocking, and experimental. Although the label helped introduce British audiences to Japanese films that they might otherwise never have had the chance to see, it encouraged an image of Japanese films as strange or exotic, rather than reflecting the full range of styles and stories being produced. Some critics have pointed out that this approach reinforced a narrow view of Japanese cinema, linking it to ideas of Orientalism, where Eastern cultures are often presented through stereotypes shaped by Western perspectives.

More recently, distribution efforts have taken a broader approach. Initiatives such as the Japan Foundation Touring Film Programme (https://www.jpf-film.org.uk/about) from Japan Foundation in the UK aim to expand audiences’ understanding of Japanese cinema by showcasing a wider mix of contemporary and classic films across different genres. At the same time, streaming platforms have made Japanese films or drama series easier to access than ever before, allowing them to reach global audiences instantly.

However, challenges still remain, especially when looking at live-action streaming series. One of the recent examples is Shogun (2024, Rachel Kondo and Justin Marks), an FX and Hulu co-production that received major international recognition, including the Primetime Emmy Award for Outstanding Drama Series and multiple Golden Globe Awards.This drama was created by American filmmakers, but became one of the successful Japanese-language series to gain popularity across the world. On Netflix, series such as Alice in Borderland (2020–, Shinsuke Sato) and House of Ninjas (2024, Dave Boyle) also gained significant attention, as well as Last Samurai Standing (2025, Michihito Fujii) became a major hit this year.

While these dramas are well made and widely praised internationally, there seems to be a similarity to Tartan’s Asia Extreme approach in the late 20th century. Many of these streaming series frame Japanese culture in ways that feel designed for Western audiences, often drawing on familiar themes such as samurai nostalgia, historical mythology, and cult or extreme elements. Although a wide range of Japanese dramas across many genres is now available on global streaming platforms, this kind of orientalist framing continues to be especially “marketable” internationally. This remains an ongoing challenge for Japanese cinema and drama to achieve broader and more balanced recognition within the global cultural landscape

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Is Ramen Really Japanese?

Mizuki — Fri, 28 Nov 2025 13:58:32 +0000

A question I often get asked abroad.

When people think of famous Japanese food, sushi is usually the first thing that comes to mind.

But right next to sushi, you’ll often find another global favourite: ramen.

In London, the ramen boom has been going strong for years. New shops pop up all the time, and weekend queues outside ramen restaurants are now a common sight. (I’ll be sharing a full “London Ramen Guide” soon!)

Because of this, I get asked one particular question all the time:

“Is Ramen Japanese?”

And honestly, even as a Japanese person, I sometimes hesitate.

China has lamian, but it doesn’t feel quite the same as the ramen I grew up eating in Japan.

So this time, I decided to dig a little deeper—using resources from the Shin-Yokohama Ramen Museum—to figure out what ramen really is.

The conclusion: Ramen is Chinese-born, Japanese-raised.

In short, ramen began as a Chinese noodle dish, and then evolved dramatically after arriving in Japan.

Because of this blended origin, it’s not easy to classify ramen as “purely Japanese” or “purely Chinese.”

It’s an immigrant dish that took root and grew into something uniquely Japanese.

The earliest form of ramen is believed to be Nankin soba, a dish introduced by Chinese cooks who came to Japan between the late 19th and early 20th centuries.

It spread from port cities like Yokohama, Kobe, and Nagasaki, where Chinatowns were first established.

Nankin soba was simple: wheat noodles in a soy-based broth, topped with sliced pork and spring onions.

From there, Japanese chefs started adapting it—adding pork bone broth, miso, fish stock, and other flavours—slowly shaping the ramen we know today.

Ramen truly exploded in popularity after World War II, thanks to the rise of street food stalls.

At night, yatai (mobile food carts) would appear throughout the cities, serving hot, cheap, fast bowls of ramen to crowds of hungry workers.

At the time, Japan was facing severe food shortages.

But wheat flour was relatively easy to obtain because of U.S. food aid.

Ramen was filling, affordable, and nutritionally substantial—so it spread quickly and became a national everyday food.

Before it was known as “ramen,” people called it shina soba or chuka soba.

The turning point came in 1958, when Nissin Foods launched Chicken Ramen, the world’s first instant ramen.

The product name helped popularise the word “ramen” nationwide.

Instant noodles—and later Cup Noodles—then carried Japanese ramen culture around the globe.

Today, Japan is home to an estimated 20,000 ramen shops.

And in London, ramen restaurants have become increasingly common, offering flavours that rival many bowls back home.

(Stay tuned for my London ramen recommendations coming soon!)

Ramen has now taken its place beside sushi as one of Japan’s best-known foods.

But tracing its history reveals that it’s actually a hybrid dish—born in China, transformed in Japan, and loved worldwide.

Living abroad makes this cultural evolution even more fascinating.

And wherever you go, there will always be someone slurping a warm bowl of ramen somewhere in the world.

The post Is Ramen Really Japanese? appeared first on Ground Control Studios.

Japanese love abbreviations

Rina — Mon, 01 Sep 2025 10:08:09 +0000

GRCON — GRA CON? GRCN? Why not just say “Ground Control”?

When I was scrolling Instagram, I came across this funny and interesting video.

Instagram Reel

This account introduces many fun tips about Japanese. From a Japanese perspective, we’d say: “I totally get them, but I never really cared about these things.”

Yes, we do love abbreviations. Maybe it’s because we’re a little lazy — I won’t deny that — but we also enjoy wordplay. I found an article explaining why Japanese people use abbreviations. If you have some time, please check it out:

Like Haiku, Tanka, and Waka, we are used to shortening words or adjusting them to fit the sounds from old times.
To create stronger bonds within communities or between generations.

I feel the second reason is more familiar to us than laziness.

We can also find many abbreviations in the advertising industry:

CREDEN — Credentials
PRESEN — Presentation
APO — Appointment
BRESTO — Brainstorming
CONSAL — Consultant
SUBSCU — Subscription
INFRA — Infrastructure

…When I hear a PRESEN full of abbreviations, it can either sound interesting or make absolutely no sense at all. That’s because they sometimes change the meanings as well. It means I have no clue what they’re saying! I worry that changing both the sounds and the meanings could make learning English from Japanese even harder.

I also heard from a friend that only 16.8% of the Japanese population have passports! Does that mean they don’t care about learning English? I looked it up, and one article said that only 7% of Japanese are above B2 level (CEFR).

…Just contact us anytime if you need our help!

Rina

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