Hit Japanese Video Game Is Now a Streaming Series Aiming for Global Appeal 

Japanese actors Ryoma Takeuchi (R) and Kento Kaku (L) speak during an interview for Amazon Prime Video’s “Like a Dragon: Yakuza” on the sideline of Comic Con International in San Diego, California, July 27, 2024. (AFP)
Japanese actors Ryoma Takeuchi (R) and Kento Kaku (L) speak during an interview for Amazon Prime Video’s “Like a Dragon: Yakuza” on the sideline of Comic Con International in San Diego, California, July 27, 2024. (AFP)
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Hit Japanese Video Game Is Now a Streaming Series Aiming for Global Appeal 

Japanese actors Ryoma Takeuchi (R) and Kento Kaku (L) speak during an interview for Amazon Prime Video’s “Like a Dragon: Yakuza” on the sideline of Comic Con International in San Diego, California, July 27, 2024. (AFP)
Japanese actors Ryoma Takeuchi (R) and Kento Kaku (L) speak during an interview for Amazon Prime Video’s “Like a Dragon: Yakuza” on the sideline of Comic Con International in San Diego, California, July 27, 2024. (AFP)

Amazon Prime Video’s “Like a Dragon: Yakuza,” which premieres in October, has all the glorious fare of a classic mobster story — bloody fistfights, beautiful women, expensive cars, muscle and flashy suits.

Based on a popular Sega video game that debuted in 2005, the story centers around Kazuma Kiryu, a gangster with a heart of gold. But the latest version has evolved to appeal to global audiences today, according to its stars and production team.

“We weren’t going for another copy of the original but wanted to create it anew, while paying respect to it, but exploring it at a deeper human level,” said Ryoma Takeuchi, who plays Kiryu.

“We’re taking the concept that’s the foundation of the hit game and making a modern human drama people can more easily identify with,” he said.

The role turned out to be the most challenging and time-consuming of his career, including losing weight, preparing for the fight scenes and developing the character, as well as the arduous filming itself.

Masayoshi Yokoyama, executive producer at Sega studios and the game’s screenwriter, hopes longtime fans will be pleasantly surprised at the new twists and turns of the series, while newcomers may gain an interest in his game.

“To look back, the original is like an old samurai movie, while this dramatizes a new kind of sensibility,” he said.

“Like a Dragon,” is the universal coming-of-age saga, except set in a fairytale world of a fictitious Japan. The narration spans two decades, skipping back and forth between 1995 and 2005.

The characters, including Kiryu’s buddy from their orphanage days, Akira Nishikiyama, are filled with a steadfast belief in honor, justice and loyalty, as well as courage in the face of danger.

It’s not designed for the faint-hearted. Each of the six episodes goes from one superbly choreographed violent scene to another, with hardly a moment to take a gasp.

But the innocent love that the heroes, and the heroines, show to each other is the driving force of “Like a Dragon,” despite the yelling, kicks and gunshots.

“The story of ‘Like A Dragon’ contains eternal themes, like love, human relationships and betrayal that everyone can relate to. So rather than its being old or new, it’s really mainstream,” said Kento Kaku who plays Nishikiyama, known as Nishiki.

Retelling the story in an age where streaming entertainment connects audiences worldwide simply translates to perfect timing, said Kaku.

Erik Barmack, the executive producer, stressed the franchise offers something that’s made it enormously successful not only in Japan but elsewhere.

“Our belief is that it’s because the characters themselves have a lot of heart. It’s not some cold existential crime story,” he said.

“It’s about why relationships can go astray, even among people who love each other.”



How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
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How the World’s Press Rated Paris’s Olympics Opening Ceremony

Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)
Former French football player Zinedine Zidane holds the Olympic torch during the opening ceremony of the Paris 2024 Olympic Games in Paris on July 26, 2024. (AFP)

Paris broke with tradition on Friday by turning the Olympic Opening Ceremony into a parade down the River Seine rather than a stadium-based show.

TV viewers around the world were treated to a spectacle performed on bridges, the riverbank and rooftops, culminating with French athletes Marie-Jose Perec and Teddy Riner lighting the Olympic cauldron and a performance from Canada's Celine Dion.

However, the 6,000-odd athletes, 3,000 performers, 300,000 spectators and dozens of world leaders had to endure heavy rain for much of the event.

Here's how the world's media judged Paris's ambitious ceremony:

FRANCE

Newspaper Le Monde wrote in a rave review that director Thomas Jolly "succeeded in his challenge of presenting an immersive show in a capital transformed into a gigantic stage".

Right-leaning Le Figaro said the show was "great but some of it was just too much". It said viewers "could have been spared" images including an apparent recreation of the painting of The Last Supper of Jesus and his apostles in front of a fashion show.

UNITED STATES

"Opening Ceremony Misses the Boat" headlined the New York Times's television review.

It wrote that the river parade "turned the ceremony into something bigger, more various and more intermittently entertaining. But it also turned it into something more ordinary — just another bloated made-for-TV spectacle".

The Washington Post was more glowing, noting that the organizer's "bold thinking" brought a shine back to an event that has seen its popularity wane in recent years.

CHINA

China's Xinhua state news agency said the ceremony succeeded in showcasing France.

"There were Can-Can girls, a homage to the reconstruction of Notre Dame and of course the French Revolution, with fireworks, heavy metal and singers who appeared to have lost a battle with the guillotine.

"If there was a downside to the ceremony, it is that any event performed over such a long distance has to struggle with continuity, and the big difference between this ceremony and others is that the parade of athletes was mixed in with the performances."

SOUTH KOREA

South Korean media noted the "impressive" imagination of using the whole city as the backdrop but the event was overshadowed by the country's team being misintroduced as North Korea.

South Korea's CBS radio said while the incident was no doubt an honest mistake, it was disappointing the Paris organizers failed at what should have been a very basic part of the event.

GERMANY

"As beautiful as it was mad," wrote Germany's Frankfurter Allgemeine. "France revolutionized the opening ceremony ... by the end even the rain had been defeated."

Tabloid Bild was bowled over by Celine Dion's return to the stage after four years, defying illness to "sing just as in the best of times. She deserves a gold medal for this performance."

BRITAIN

British tabloid The Sun joked "Wet The Games Begin!" on its front page alongside an image of the Eiffel Tower surrounded by laser beams, and described the ceremony as spectacular.

The Daily Mail's headline read "La Farce!", mainly in reference to the train disruption earlier in the day, but the paper also judged Paris's gamble on the weather had "backfired spectacularly".

A writer for the Guardian newspaper described the parade of boats on the Seine as "like watching an endless series of weirdly nationalistic office parties" but concluded Celine Dion had rescued the event with a "jaw dropping" performance.

ITALY

La Gazzetta dello Sport said the ceremony was "something unprecedented, even extraordinary. A great show or a long, tedious work, depending on your point of view and sensibility."

The mainstream Italian newspaper Il Corriere della Sera likened the show to a contemporary art performance, noting that "some (spectators) were bored, others were amused, many found the spectacle disappointing".

The left-leaning Italian daily La Repubblica said the ceremony overshadowed the athletes.

"A lot of France, a lot of Paris, very little Olympics.... a mirror that the immortal Paris turned on herself and discovered that she was so much, too much and soaking wet".