Aichi-Nagoya Open-Top Bus

To coincide with the 20th Asian Games and the 5th Asian Para Games, Nagoya City—together with Aichi Prefecture and Nagoya Railroad Co., Ltd.—will operate the Aichi-Nagoya Open-Top Bus as a public-private partnership initiative. This limited-time service runs from September 18 through October 24, 2026, offering a distinct vantage point for observing the city during a period of heightened international activity.

What is an Open-Top Bus?

An open-top bus is a double-decker vehicle with the upper deck fully exposed to the elements. Operating at a height of three meters above street level, the bus provides an unobstructed, elevated perspective of the urban landscape. The experience varies significantly depending on the time of day: daylight hours reveal the architectural textures and density of the city center, while night departures focus on illuminated infrastructure and civic buildings.

Tour Courses

All departures originate and conclude at Meieki Parklet, located near Nagoya Station. The operator runs two distinct itineraries—one optimized for daylight sightseeing, the other designed around nighttime illumination.

Day Course (Approx. 60 minutes): Royal Panorama Course

During daylight operations, the bus tours the city center with stops at Oasis 21, the Osu shopping district, and Sakae. A key feature of the daytime route is the option to disembark at Nagoya Castle to explore the grounds independently before making one’s own way back to the city center.

• Schedule:

  • Day Flight ①: Depart 14:00 → Return 15:00
  • Day Flight ②: Depart 16:00 → Return 17:00

• Route: Meieki Parklet (Boarding) → FUJI Nagoya Science Museum → Osu → Oasis 21 / Chubu Electric Power MIRAI TOWER → Aichi Prefectural Government Office / Nagoya City Hall → IG Arena → Nagoya Castle (Drop-off possible) → In front of Nagoya Station (Alighting)

Night Course (Approx. 85 minutes): Nagoya Night View Enjoyment Course

The extended evening route incorporates a section of the Nagoya Expressway (Urban Expressway from Kogane to Higashishinmachi), providing a dynamic driving experience above street level. The itinerary positions passengers in close proximity to the illuminated facades of the Aichi Prefectural Government Office, Nagoya City Hall, Nagoya Castle, and the high-rise cluster surrounding Nagoya Station.

• Schedule:

  • Night Flight ①: Depart 18:00 → Return 19:25
  • Night Flight ②: Depart 20:00 → Return 21:25

• Route: Meieki Parklet (Boarding) → Nagoya Expressway → Oasis 21 / Chubu Electric Power MIRAI TOWER → Nagoya Castle → Nagoya City Hall → Aichi Prefectural Government Office → In front of Nagoya Station (Alighting)

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Practical Information

Operating Period: September 18, 2026 (Friday) – October 24, 2026 (Saturday)
Closure Days: None—operates daily during the period
Departure Point: Meieki Parklet

Fares:

• Adults: Day flight 2,000 yen / Night flight 2,500 yen
• Children (ages 4–12, elementary school and under): Day flight 1,000 yen / Night flight 1,500 yen
• Children 3 years old and under: Free (however, if occupying a seat, the child fare applies)

Note: Multilingual audio guide devices are available for an additional service fee of 1,000 yen.

Reservations and Inquiries:
Meitetsu Kanko Bus Co., Ltd.
Dragons Pack Reservation Center
Tel: 052-365-1489

Official Website: https://www.dorapack.com/opentopbus

Weather Policy and Safety Precautions

The operator maintains specific protocols for inclement weather. In the event of rain, transparent raincoats are distributed free of charge at boarding; passengers must remain on the roofless second floor and are prohibited from using umbrellas. First-floor seating is not available during precipitation. Operations may be suspended without notice when the Japan Meteorological Agency issues weather advisories or warnings, or when wind conditions compromise safe operation.

Important Safety Notes:

• Seatbelts are mandatory for all passengers on the upper deck and must remain fastened except when staff provide specific instructions to release them.
• Second-floor seats are reserved, though specific seat requests cannot be accommodated.
• The vehicle does not have restrooms; passengers should prepare accordingly before boarding.
• Do not touch vegetation or extend limbs through the open roof area while the bus is in motion.
• Routes may be modified due to traffic regulations or road conditions.
• Operation may be cancelled due to severe weather, mechanical issues, or safety concerns at the organizer’s discretion.
• Passengers should take appropriate measures against heatstroke or cold exposure depending on daily temperature conditions.

Nagoya ranks as Japan’s primary manufacturing hub and the historical seat of the Owari Tokugawa clan. The castle, reconstructed in 1959 after its wartime destruction, retains its original stone ramparts and moats from the early seventeenth century. Its roof is crowned with two gilded shachihoko—mythical tiger-headed carp cast in gold leaf—that were intended to ward off fire. The Tokugawa Art Museum holds the clan’s former collection, including the twelfth-century illustrated Tale of Genji scrolls designated as National Treasures, alongside samurai armor and tea ceremony implements. Meijo Park encompasses the keep, surrounding it with plum groves and the original foundation stones.

Toyota maintains its headquarters here, continuing the automotive production that began in 1937 when the company spun off from the Toyoda family’s automatic loom business. The Toyota Commemorative Museum of Industry and Technology occupies the original red-brick factory, displaying textile looms beside vehicle assembly lines. The city center reflects this technical history: JR Central Towers house offices and a hotel directly above the Shinkansen platforms, while Oasis 21 in Sakae district suspends a water-filled glass roof above a bus terminal and underground shopping concourse.

Local cuisine relies on akamiso, a red miso fermented for up to three years in the region’s climate to produce a dark, dense paste. Restaurants serve it with miso katsu (breaded pork cutlet), tebasaki (crispy fried chicken wings glazed with garlic and spices), and hitsumabushi (grilled eel chopped over rice, traditionally eaten in three stages: plain, with condiments, then with tea poured over the remainder). Nagoya will host the 2026 Asian Games, utilizing port warehouses repurposed as media centers alongside new athletic venues in Aichi Prefecture.

The 2026 Hawaii Fair transforms Hankyu Umeda Main Store into a concentrated presentation of contemporary Hawaiian culture, operating under the theme “Nā Lei Aloha (The Aloha Spirit Connected by Lei).” This iteration distinguishes itself from previous editions through unprecedented expansion: approximately 110 vendors—the largest participation in the event’s history—will occupy not only the ninth-floor event space and Celebration Square but also multiple additional floors throughout the department store.

The culinary programming focuses specifically on current Hawaiian food trends, featuring burgers and sweets from vendors making their Japanese debut alongside established favorites. Complementing these edible imports, the fair offers fashion items and lifestyle goods rooted in traditions passed down within Hawaii. What separates this market from standard import exhibitions is the direct presence of staff members and artists traveling from Hawaii; these individuals will reside at the venue for the full two-week duration, facilitating authentic cultural exchange rather than mediated retail transactions.

Educational programming runs parallel to commercial activities. Visitors can attend live performances by ukulele and guitar musicians or participate in hands-on lei-making workshops designed to teach traditional craftsmanship techniques. These sessions provide structured opportunities to engage with Hawaiian cultural practices beyond the retail environment, offering context for the goods on display.

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Event Details

Period: July 1 (Wednesday) – July 13 (Monday), 2026
The event operates in two distinct phases: the first half runs from July 1 through July 6, while the second half begins July 8 and concludes July 13. The venue closes entirely on Tuesday, July 7.

Hours: 10:00 – 20:00 daily
Exceptions: The ninth-floor event space closes at 17:00 on July 6 and on the final day (July 13).

Location: Hankyu Umeda Main Store, 9th-floor event space, Celebration Square, and various additional floors
Address: 8-7 Kakuda-cho, Kita-ku, Osaka City

Important scheduling notes: While the ninth-floor event space operates only during July 1–13 (closed July 7), floors other than the ninth remain open from July 1 through July 14. Certain areas within these various floors are excluded from the event. On July 6 and July 13, the ninth floor closes early at 17:00.

Admission: Free

Contact: 06-6361-1381 (Main)

Website: https://website.hankyu-dept.co.jp/honten/h/hawaii/index.html

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What is Hankyu Umeda Main Store?

The Hankyu Umeda Main Store is the flagship location of the Hankyu Department Store chain, situated directly above Hankyu Umeda Station in Osaka. The building spans thirteen floors, including two underground levels. The basement depachika stocks ingredients and prepared food from across Japan, while the lower floors focus on cosmetics, luxury accessories, and women’s fashion. Upper floors house men’s clothing, household goods, and restaurants. A rooftop garden occupies the top level, offering open space above the dense Umeda district.

Opened in 1929 and rebuilt several times since, the store functions primarily as a traditional department store, but the upper floors regularly transform into exhibition halls. Throughout the year, these spaces host temporary fairs that bring together vendors, tourism boards, and craftspeople from specific regions. The Hawaii Fair, held annually in various forms, utilizes these floors to display Hawaiian goods, offer regional cuisine, and stage performances, allowing visitors to handle products and speak directly with exhibitors rather than simply observing displays.

The store connects directly to Hankyu rail lines and sits adjacent to one of Osaka’s largest transit hubs. Underground walkways link it to JR Osaka Station, the Midosuji subway line, and the Hanshin railway. This placement makes it a practical stop for commuters and a central meeting point. Visitors often combine attendance at the store’s events with routine errands: purchasing food from the depachika, meeting contacts at the station gates, or accessing the broader Umeda shopping district without surfacing to street level.

Kimoi Exhibition 2026

The Kimoi Exhibition has returned to Tokyo Solamachi, presenting its distinctive collection of globally sourced organisms from May 23 through July 5, 2026. Following successful runs in Tokyo, Nagoya, and Osaka that attracted diverse audiences including families and couples, this edition continues to challenge conventional perceptions of biological aesthetics. Rather than showcasing nature’s most charismatic specimens, the exhibition—named after the Japanese kimochi-warui (roughly translating to “disgusting” or “creepy”)—focuses on creatures whose unusual appearances mask sophisticated evolutionary achievements. Visitors have previously reported gaining new perspectives on ecology and rare species behavior, noting that encounters with these highly adapted organisms provoke genuine intellectual engagement beyond initial visceral reactions.

Understanding “Kimoi”

The exhibition operates on the principle that biological value exists independently of human aesthetic preferences. Each creature on display possesses specific morphological traits—unusual body plans, defensive colorations, or specialized feeding apparatuses—that represent optimized solutions to environmental challenges. While these forms may trigger immediate discomfort, they demonstrate the functional ingenuity required for survival in extreme or competitive habitats. The exhibition invites viewers to move beyond reflexive judgment and examine how these organisms influence and participate in their respective ecosystems.

Exhibition Features

AR Zone
Visitors can scan QR codes positioned throughout the venue to activate augmented reality experiences on their smartphones, revealing giant creature visualizations integrated into the physical space.

GM Street
This area employs projection mapping technology to emphasize the textural and structural details that contribute to the animals’ unsettling appearances.

Monster BOX
An interactive installation presenting mission-based challenges designed to engage visitors with the subject matter through structured activities.

Interaction Corner
Available Mondays, Wednesdays, and Fridays from 15:00 to 15:30, this limited-duration program offers direct encounters with “Kimo-Ani” (Kimochi-warui Animals). Check schedules in advance, as this opportunity operates for only thirty minutes on select days.

Edible Insect Sales Corner
The specialized brand TAKEO operates a retail area selling edible insect products, providing a practical extension of the exhibition’s theme regarding alternative food sources and entomophagy.

Detailed programming information is available through the official website.

Visiting Information

Venue Location
Tokyo Solamachi, 5th Floor, Space 634
1-1-2 Oshiage, Sumida-ku, Tokyo 〒131-0045
Nearest Stations: Tokyo Skytree Station / Oshiage <Skytree-mae> Station
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Dates and Hours

• Period: May 23, 2026 (Saturday) – July 5, 2026 (Sunday)
• Hours: 11:00 – 19:00 daily
• Final Day: July 5 closes at 18:00
• Last Entry: 30 minutes before closing time

Admission

• Adults (Junior high school students and above): ¥1,200
• Children (Elementary school students and below): ¥800
• Toddlers (3 years old and under): Free
• Tax included in all prices

Contact
Kimoi Exhibition Secretariat
Email: [email protected]
Official Website: https://kimoiten.jp/kimo2026/site_tokyo.html

Exhibition content is subject to change. Please verify current information through the official venue and organizer websites.

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What is Kimoi?

Kimoi (キモい) derives from kimochi warui (気持ち悪い), meaning “unpleasant” or “gross.” The word pins down a specific biological fascination: animals that trigger immediate physiological revulsion yet hold our attention through sheer mechanical oddity.

Consider the blobfish, whose gelatinous body—adapted to high deep-sea pressure—collapses into a sagging mask when brought to the surface; the hagfish, which coats itself in defensive slime and ties its eel-like form into reversible knots to escape predators; or the Surinam toad, whose eggs embed in the skin of her back and hatch directly through. These creatures violate mammalian standards of bodily integrity: the sealed envelope of skin, symmetrical proportions, clear boundaries between interior and exterior. Deep-sea species compound this with translucent flesh, exposed needle teeth, and bioluminescent lures that look like engineered traps rather than organic growth.

This reaction has roots in disease avoidance. Human disgust evolved to detect corruption, parasitism, and boundary violations—signals that something is consumable, contaminated, or unsafe. Yet the same features that trigger recoil often mark extreme specialization. The lamprey’s circular sucker mouth, lined with concentric teeth of cartilage, efficiently anchors the parasite to host fish. The bone-eating worm Osedax extends acid-secreting “roots” into whale skeletons, dissolving collagen and lipids in an energy-scarce abyss. These are not evolutionary errors but precise solutions to specific environmental constraints.

Japanese popular culture has mapped this duality onto consumer aesthetics. Where kawaii culture privileges infantile proportions and softened features, kimoi encompasses the asymmetrical, the porous, and the incomplete. Blobfish plush toys and hagfish keychains share shelf space with traditional cute merchandise, suggesting that biological ingenuity can generate affection without requiring aesthetic comfort. The Kimoi Exhibition relies on this premise: by presenting these animals without sanitizing their strangeness—displaying the intestinal papillae of the hairworm or the prolapsed stomach of the starfish—it allows visitors to move past visceral reaction into an examination of how life actually functions when shaped by pressure, darkness, and scarcity rather than by human preferences for symmetry and fur.

Furukawa Art Museum / Tamesaburo Memorial Museum (Annex) Special Exhibition: “The World of Shinsuke and Sumie Yamamoto — Scenes of Prayer”

The Furukawa Art Museum and its annex, the Tamesaburo Memorial Museum, present a contiguous survey of three distinct artistic practices bound by blood and spiritual inquiry. “The World of Shinsuke and Sumie Yamamoto — Scenes of Prayer” gathers the work of sculptor Shinsuke Yamamoto, Western-style painter Sumie Yamamoto, and their daughter Maki Yamamoto—a practitioner of Nihonga—across two exhibition spaces, offering visitors a rare opportunity to observe how a single family articulates beauty through divergent media and generational perspectives.

At the Furukawa Art Museum proper, the exhibition centers on Shinsuke Yamamoto’s transparent female figures—sculptural works characterized by an ethereal, almost weightless presence that seems to dissolve the boundary between solid form and surrounding space—displayed alongside Sumie Yamamoto’s serene landscapes. Sumie’s canvases depict flowers and plants overlaid with mental imagery, creating compositions where observed nature and interior consciousness merge into contemplative visions that resist simple categorization as either purely representational or abstract.

The Tamesaburo Memorial Museum (Annex) shifts focus to the next generation, presenting Maki Yamamoto’s Japanese paintings of flowers executed with soft, deliberate brushwork. Here, the exhibition constructs a dialogue between the Yamamoto parents and their daughter, positioning Maki’s intimate studies of flora against the elder Yamamotos’ respective investigations of the human form and psychological landscape. This spatial division—sculpture and Western painting in the main hall, Nihonga in the annex—creates a curated trajectory that invites comparison between Western and Japanese aesthetic traditions as filtered through one family’s sustained artistic dialogue.

The exhibition title references “prayer” not as overt religious devotion but as an attunement to subtle transience and ephemeral beauty—a sensibility evident in Shinsuke’s translucent sculptural materials, Sumie’s layered pictorial spaces, and Maki’s delicate pigment application. Visitors traversing both venues will encounter how three individuals negotiate the act of seeing and representing the natural world, from mineral pigment on silk to molded synthetic resins and oil on canvas.

Exhibition Details

Dates: Friday, May 22, 2026 – Monday (Public Holiday), July 20
Closed: Mondays (however, open on the final day, July 20)
Hours: 10:00–17:00 (Last admission at 16:30)

Venue:
Furukawa Art Museum and Tamesaburo Memorial Hall (Annex)

Admission:

• General: ¥1,200
• High school/College students: ¥500
• Elementary/Junior high school students and younger: Free

Various discounts available.

Access:
Five minutes east from Exit 1 of “Ikeshita” Station on the Nagoya City Subway Higashiyama Line.

Contact:
Furukawa Chishokukai Public Interest Incorporated Foundation
Furukawa Art Museum, Branch Tamesaburo Memorial Hall
Telephone: (052) 763-1991
Facsimile: (052) 763-1992
Website: https://www.furukawa-museum.or.jp/

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Shinsuke (1918–2004) and Sumie Yamamoto (1922–2011) were Nihonga painters who worked as a husband-and-wife team for seven decades, documenting the religious architecture and daily rituals of postwar Japan. Working primarily in mineral pigments on silk and paper, they based themselves in Kyoto while traveling extensively to produce an archive of Japanese spiritual practice during a period of rapid social change.

Shinsuke trained in traditional ink painting under masters of the Kyoto School. His subjects were the architectural elements of religious spaces: temple gates, shrine corridors, and the specific quality of light passing through shoji screens. He rendered these with attention to structural geometry and the material facts of timber, stone, and paper, avoiding both romantic idealization and stark modernist abstraction.

Sumie’s given name referenced the ink wash technique (sumi-e) fundamental to their practice. Her work focused on human presence within these spaces: hands positioned in gassho, visitors bowing before roadside jizo statues, monks engaged in meditation. Where Shinsuke documented the spatial context of worship, Sumie recorded the physical gestures and worn garments of the people who performed it.

They avoided depictions of clergy or ceremonial spectacle, concentrating instead on anonymous lay practitioners. Their paintings register specific physical details—the grain patterns of old wood, the behavior of incense smoke in still air, the varying textures of seasonal vestments—as evidence of how religious practice integrates into ordinary life rather than existing as separate performance.

The couple shared a studio near Kyoto’s Tetsugaku-no-michi (Philosopher’s Path). They worked on separate canvases simultaneously, often depicting the same locations from different vantage points. Their palettes relied on subdued mineral pigments—malachite, azurite, cinnabar, and carbon-based blacks—rather than the brighter synthetic colors increasingly common in contemporary Nihonga. Compositions typically employ asymmetrical arrangements that leave significant areas of the picture plane empty, a technique derived from Zen ink painting traditions that focuses attention on the relationship between depicted forms and surrounding space.

Early in their careers they exhibited separately. Beginning in the 1960s, they developed a practice of paired installations, hanging Shinsuke’s architectural views adjacent to Sumie’s figure studies. This format creates visual sequences that move from spatial environment to human action, asking the viewer to consider how physical settings shape bodily behavior.

The Furukawa Art Museum’s 2026 exhibition marks the first major retrospective to examine their work as a sustained collaboration. The exhibition traces how their distinct but complementary approaches produced a cumulative record of Japanese religious life across the late twentieth century, capturing both the permanence of sacred architecture and the transient human activity that activates these spaces.

Shaft 50th Anniversary Exhibition

An event, the “Shaft 50th Anniversary Exhibition,” will be held to commemorate the 50th anniversary of the establishment of animation studio Shaft.

The animation studio Shaft marks fifty years of operation with a comprehensive retrospective at Mixalive TOKYO in Ikebukuro. Running across two distinct periods in late December 2025 and January 2026, the Shaft 50th Anniversary Exhibition examines the 50 turning points that shaped the studio’s distinctive creative identity—often referred to as “Shaft-ism”—through original artwork, setting materials, and production documents rarely seen by the public.

The exhibition encompasses the full scope of the studio’s output, from the Monogatari Series—the work that catalyzed Shaft’s commercial breakthrough—to Puella Magi Madoka Magica, which is currently anticipating its first new theatrical release in twelve years. The display also incorporates the studio’s latest production, Ninja and Assassin’s Living Together, alongside earlier works such as Sayonara, Zetsubou-Sensei, offering visitors a comprehensive view of the studio’s evolution from its origins to its current trajectory.

Exhibition Content and Visitor Benefits

The curatorial approach centers on the “encounters” and pivotal moments that generated Shaft’s characteristic visual language. Visitors will encounter behind-the-scenes documentation detailing the conception of the studio’s major works, including commentary from creators and previously unreleased production materials that illuminate the technical and artistic decisions behind the studio’s most influential series.

Entry includes a visitor bonus: a special two-layer sticker (70mm × 70mm) selected randomly from approximately twenty designs. The specific designs available will differ between the exhibition’s first and second halves, effectively creating two distinct collection periods for repeat visitors. The sticker designs are subject to change.

Ticket Information

Admission is structured across several categories, with pricing varying by purchase timing and visitor status.

Exhibition Admission Tickets (Tax Included)

Ticket Type	Adults	Students (Elementary–High School)	Disability Certificate Holders
Advance	¥2,500	¥1,800	¥1,500
Same-Day	¥2,700	¥2,000	¥1,700

Admission Ticket with Limited Goods: ¥7,500

This premium ticket includes exhibition entry plus an Event Key Visual Big Acrylic Diorama (approximately 200mm × 152.5mm). Note that the contents of the limited goods are subject to change.

Special Talk Show Event

On Saturday, January 10, 2026, the exhibition hosts a collaborative event with Mixa Animation Diary: “Shaft 50th Anniversary Exhibition × Mixa Animation Diary ‘Bakemonogatari'”. This one-day-only talk show reunites the principal voice cast to discuss their memories from the original broadcast of Bakemonogatari.

Event Schedule

• Day Session: Doors open 13:45; Event starts 14:30
• Night Session: Doors open 17:45; Event starts 18:30

Venue

Mixalive TOKYO 6F Theater Mixa
1-14-3 Higashi-Ikebukuro, Toshima-ku, Tokyo

Cast

• Hiroshi Kamiya (Role of Koyomi Araragi)
• Chiwa Saito (Role of Hitagi Senjougahara)
• Emiri Katō (Role of Mayoi Hachikuji)
• Kana Hanazawa (Role of Nadeko Sengoku)
• Yui Horie (Role of Tsubasa Hanekawa)

Cast members are subject to change without notice. Please be aware of this in advance.

Talk Show Ticket Information

Tickets are available for both physical attendance and streaming, with strict quantity limits (maximum two tickets per person per performance). Preschool children may not enter.

Venue Tickets (Include streaming access for all seats)

• General (Day/Night): ¥13,000 per session
• Bench Seat—Rear of 2nd floor (Day/Night): ¥10,000 per session
• Includes visitor bonus

Streaming Tickets

• Individual session (Day or Night): ¥3,000
• Day & Night Combined: ¥5,500

All prices include tax; various fees are separate.

Sales Schedule

Venue Ticket Sales:

• Playguide Advance Sale (Lottery): Friday, November 21, 2025, 18:00 – Sunday, December 14, 2025, 23:59
• General Sale (First-come, first-served): Saturday, December 27, 2025, 12:00 – Until sold out

If venue tickets sell out during advance sales, general sales will end.

Streaming Viewing Ticket Sales:
Friday, November 21, 2025, 18:00 – Sunday, January 18, 2026, 20:00

Streaming Archive Period:
Through Sunday, January 18, 2026, 23:59

Practical Information

Location

Venue: Mixalive TOKYO
Nearest Station: Ikebukuro Station

Address:
〒170-0013
1-14-3 Higashi-Ikebukuro, Toshima-ku, Tokyo
MAP

Exhibition Period

• First Half: Saturday, December 27, 2025 – Tuesday, January 6, 2026
• Second Half: Thursday, January 8, 2026 – Sunday, January 18, 2026

Closed: Wednesday, January 1, 2026 and Wednesday, January 7, 2026

Hours

11:00 – 21:00 (Final admission 20:00)

Official Website

https://shaft-50th.jp/exhibition/

The listed content may have changed. For the latest information, please check the official website of the venue or organizer.

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© Shaft 50th Anniversary Exhibition Production Committee
© Nakayama/Ditama / Wani Books / Mahoro Matteic Production Committee
© 2004 Keitaro Arima / Wani Books · Flying Dog
© Hekiru Hikawa / Square Enix · Paniponi Production Committee
© Ken Akamatsu · Kodansha / Kanto Magic Association · TV Tokyo
© minori / “ef” Production Committee
© Jin Kobayashi / Square Enix · Natsu no Arashi! Production Committee
© 2011 Kaisei Endo · KADOKAWA Media Factory / Maria†Holic Alive Production Committee
© Ume Aoki · Houbunsha / Hidamari Apartments Management Association
© Koji Kumeta · Kodansha / Sayonara Zetsubou-Sensei Production Committee
© Hikaru Nakamura / Square Enix · Arakawa UB Production Committee
© Nisio Isin / Kodansha · Aniplex · Shaft
© Magica Quartet/Aniplex, Madoka Project
© Chika Umino · Hakusensha / “March Comes in Like a Lion” Anime Production Committee
© Naoshi Komi / Shueisha · Aniplex · Shaft · MBS
© TYPE-MOON/Marvelous, Aniplex, Notes, SHAFT
© AZONE INTERNATIONAL · acus / Assault Lily Project
© Hamburger / KADOKAWA / Ninkoro Production Committee

Shaft, Inc. (株式会社シャフト) began operations in 1975 as an outsourcing studio, handling in-between animation and production assistance for larger Tokyo-based companies. For decades, the company operated on the industry’s periphery, executing contract work for established outfits before gradually assuming primary production responsibilities in the late 1990s.

The studio’s orientation shifted substantially in the mid-2000s with the arrival of director Akiyuki Shinbo, who brought a visual approach informed by experimental theater, architectural photography, and expressionist cinema. Under his direction, Shaft developed a recognizable formal vocabulary: extreme camera angles (particularly vertical tilts that disorient spatial relationships), dense typographic overlays, flat geometric color blocking, and editing patterns that privilege emotional association over physical continuity. These techniques first consolidated in series like Pani Poni Dash! (2005) and Hidamari Sketch (2007), distinguishing Shaft’s output from prevailing television conventions.

Subsequent productions applied this visual framework to disparate source material. Puella Magi Madoka Magica (2011) adapted the magical girl format through a horror narrative structure, using the studio’s characteristic visual fragmentation to literalize psychological collapse. The Monogatari Series, beginning with Bakemonogatari (2009), translated Nisio Isin’s dialogue-heavy novels through rapid montage and impossible architecture. Later works like March Comes In Like a Lion (2016) muted the house style to accommodate quieter character observation, while Sayonara, Zetsubou-Sensei (2007) deployed exaggerated visual metaphors for absurdist satire.

Now marking fifty years since its founding, Shaft maintains active production with a 2025 exhibition at Mixalive TOKYO tracing its technical evolution. The display encompasses layout drawings and animation cels from their outsourcing period through to contemporary digital productions, documenting the studio’s transition from hand-painted cels to digital compositing while retaining the mid-2000s storyboarding methodologies that define its current output.

Target: Wild Birds! Wing-Kyun♥

Frolicking with Flowers, Singing to the Wind

Long before the “Wing-Kyun” of a charm trend entered modern lexicon, the Japanese archipelago sustained a profound, complicated kinship with its avian populations. Whether regarded with longing or utility, admiration or appetite, birds have occupied a singular position in the cultural imagination—simultaneously quotidian and divine. Ancient belief systems elevated them as messengers of the gods, their graceful trajectories across the sky interpreted as communication between earthly and celestial realms; poetry layered human joys and sorrows onto the contours of their songs, creating a literary tradition where the nightingale’s call or the pheasant’s cry became vessels for existential reflection.

This relationship crystallized into distinct cultural forms during the Edo period (1603–1868), when urbanization and economic growth generated new arenas for artistic expression and leisure. Bird-keeping transcended class boundaries, with shoguns and commoners alike participating in competitive song contests, while ukiyo-e artists documented both rare imported species and native birds with scientific precision and aesthetic sensitivity. Culinary traditions incorporated game birds into haute cuisine, and falconry remained a samurai prerogative that demanded lifelong mastery.

The exhibition Target: Wild Birds! Wing-Kyun♥ examines this multifaceted heritage through the specific lens of wild birds—that is, those creatures soaring beyond the cage, defying domestication—tracing their presence across tangible and visual cultures. Rather than presenting ornithological specimens in isolation, the curators have organized the experience as a journey through four interconnected realms: the practical economies of traditional cormorant fishing and falconry, where human and bird operate as hunting partners; the decorative arts, wherein avian patterns migrated from nature studies onto textiles and fashion objects; the material history of pigments and dyes extracted from plumage; and optical perspectives that attempt to visualize terrain as seen through avian eyes—scales of vision inaccessible to terrestrial observers.

Central to the exhibition are the works of Utagawa Hiroshige, the ukiyo-e master whose landscapes frequently positioned birds as compositional anchors or atmospheric elements. His prints serve not merely as artistic centerpieces but as documentary evidence of how Edo-period observers situated birds within specific topographies and seasonal moments.

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Practical Information

Dates: Thursday, May 28, 2026 – Sunday, September 27, 2026
Closed: Public holidays
Hours: 9:00–16:00 (Entry until 15:30)
Location: MUFG Bank Currency-Ukiyoe Museum
Admission: Free

Contact:
MUFG Bank Currency-Ukiyoe Museum
TEL: 052-300-8686 (English inquiries not available)
Website: https://www.bk.mufg.jp/currency_museum/index.html

Access:

• Approximately 5 minutes walk from Exit 3 of “Fushimi Station” on the Subway Higashiyama Line
• Approximately 5 minutes walk from Exit 8 of “Sakae Station” on the Subway Higashiyama Line

Important Note: There is no parking available. Please use public transportation.

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The MUFG Bank Currency-Ukiyoe Museum occupies a limestone building in the basement level of Mitsubishi UFJ Financial Group’s headquarters, just south of the Bank of Japan. The space displays corporate collections accumulated since the bank’s earliest predecessors opened in the 1880s: currency artifacts on one side, ukiyo-e woodblock prints on the other, with no admission fee.

The numismatic holdings trace Japanese money from the oval koban gold coins of the Tokugawa period through the rectangular silver pieces that predated decimalization. Cases display minting plates, early checks, and the steel dies used to print Meiji-era banknotes. These industrial objects sit near the ukiyo-e collection, which includes recognized works by Hokusai and Hiroshige alongside anonymous prints depicting the Nihonbashi commercial district and the entertainment quarters where banking families spent their leisure.

The museum makes no artificial distinction between these materials. Currency design required the same engraving skills used in woodblock printing; both involved anti-forgery measures, serial numbering, and the calculation of production costs per impression. Ukiyo-e artists documented the same financial districts where the bank’s predecessors operated, and merchant collectors stored prints in the same fireproof chests used for cash reserves.

The 2026 exhibition on avian imagery maintains this practical curatorial stance. It examines how bird illustrations moved from natural history manuals onto banknote designs and into luxury prints commissioned by banking families, treating these connections as historical facts rather than philosophical revelations. The museum simply presents the artifacts side by side, allowing visitors to observe how Japan’s financial and visual cultures developed through shared techniques, patronage, and daily necessity.

The “Ace of Diamond” franchise—comprising the original series and its sequel, “Ace of Diamond act II”—has maintained a consistent presence in Weekly Shonen Magazine (Kodansha) for two decades, a duration that has seen cumulative comic sales exceed 45 million copies. To mark this 20th anniversary of serialization, the “Grand ‘Ace of Diamond act II’ Original Art Exhibition” will open at Telepia Hall in Nagoya, offering viewers direct access to the hand-drawn pages that defined the latter half of the saga.

Unlike broader retrospectives that might survey an entire franchise, this exhibition maintains a specific focus on Act II, the narrative continuation that followed Eijun Sawamura and Seidou High School’s baseball team through their summer championship and autumn tournament arcs. For readers who followed these specific storylines—the evolution of Sawamura’s pitching arsenal, the team dynamics under new captaincy, and the detailed tactical adjustments that characterize Yuji Terajima’s sports storytelling—the display offers proximity to the original artwork, allowing observation of ink density, correction marks, and tonal gradations often obscured in printed reproductions.

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Event Details

Dates: Saturday, July 4, 2026 – Sunday, August 16, 2026
Hours: 10:00–17:00 (Last entry: 16:30)
Location: Telepia Hall, Nagoya

Admission Fees:

• Advance tickets: General admission 2,000 yen; Admission with bundle 5,000 yen
• Same-day tickets: General admission 2,200 yen; Admission with bundle 5,200 yen

The 200-yen differential between advance and same-day pricing (applicable to both ticket types) provides a modest incentive for pre-planning, while the bundled option—presumably including exhibition-exclusive merchandise or catalogues—offers additional value for collectors.

Access:

• Sakae Station (Subway Higashiyama and Meijo Lines) or Sakaemachi Station (Meitetsu Seto Line): 5-minute walk east from Exit 4A
• Takaoka Station (Subway Sakura-dori Line): 5-minute walk south
• Higashi-Shinmachi city bus stop

The venue’s location in Sakae—Nagoya’s primary commercial and entertainment district—positions the exhibition within walking distance of multiple subway lines and bus routes, facilitating integration with broader city exploration or dining.

Contact: https://telepiahall.com/contact/
Homepage: https://mixalive.tokyo/dai_diaaceact2_gengaten/

Ace of Diamond (Daiya no Ace) is a baseball manga by Yuji Terajima, serialized in Kodansha’s Weekly Shonen Magazine from 2006 to 2015, with a sequel, Ace of Diamond Act II, running from 2015 to 2022. The story follows Eijun Sawamura, a left-handed pitcher from rural Nagano, who enrolls at Seidou High School in Tokyo—a program with numerous Tokyo Tournament appearances and a documented history of developing professional prospects.

The narrative tracks Sawamura’s evolution from a pitcher relying on enthusiasm and natural athleticism to one mastering control, pitch selection, and game strategy. The supporting cast undergoes similar technical refinement, with the series devoting extensive pages to daily practice drills, intrasquad scrimmages, and the regional qualifying tournaments required to reach Koshien Stadium’s national championship.

Terajima renders the sport with attention to pitching mechanics, the non-verbal communication between battery partners, and the institutional customs of high school baseball in Japan. The artwork employs dense, kinetic linework and unconventional panel angles to translate physical strain and spatial geometry into static images. Rather than focusing solely on game outcomes, the series examines the tedium of repetition, the frustration of plateaued skills, and the internal logic of team hierarchy. As the franchise marks twenty years since the original 2006 serialization, an exhibition of Terajima’s original manuscript pages provides direct access to the draftsmanship underlying the series’ visual documentation of athletic technique.