Japan's World Cosplay Summit to escape summer heat in 2027
The annual extravaganza, usually held in Nagoya, sees thousands of people from all over the world embody their chosen anime, manga and gaming stars in elaborate costumes, outlandish hairdos and zany face paints.
Organizers said after this year's 23rd shindig ended Sunday — 247,200 people attended over three days — that next year's will also be in August, but for 2027, it will be in November.
"This change was made in response to the extreme heat and other weather conditions," the event's executive committee said in a statement on Tuesday.
The move was also to "strengthen our efforts to accommodate more international participants and to take into account trends in domestic and international tourists," it said.
Japan this week set a new high of 41.8 degrees Celsius, with tourist hot spot Kyoto in late July seeing 40 C for the first time since records began.
Summer last year was the joint hottest on record, equaling 2023, and was followed by the warmest autumn since records began 126 years earlier.
Last month, 38,608 people were treated in hospital for heatstroke, data showed Tuesday, down from 43,195 in July 2024.
Preliminary findings from the Tokyo Metropolitan Medical Examiner's Office found 56 people in central Tokyo likely died from heatstroke this June and July.
Of those, 54 died indoors, and most were aged 60 or older. Thirty-eight of them had air-conditioners but did not use them.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
NHK
4 hours ago
- NHK
Sony Group posts record net profit, sales for Apr.-Jun. quarter
Sony Group has posted record net profit and sales for the April-to-June quarter due to brisk sales of video game titles and solid demand in the semiconductor business. The Japanese technology and entertainment giant says net income stood at 259 billion yen or 1.76 billion dollars, a jump of 23.3 percent from a year earlier. Sales were 2.62 trillion yen, up 2.2 percent. Sony has adjusted its full fiscal year figures to reflect the 15-percent tariff agreed between Japan and the US. It now expects the levy will result in a cut of operating income by 475 million dollars. The company revised upward its annual net profit forecast to 6.58 billion dollars, while maintaining its sales projection.
Japan Times
10 hours ago
- Japan Times
Heavy rain emergency warning issued for Kirishima, Kagoshima Prefecture
The Meteorological Agency issued a heavy rain emergency warning for the city of Kirishima in Kagoshima Prefecture on Friday morning, calling for the highest level of caution against landslides and river flooding. Local authorities issued the highest-level warning on the country's five-tier disaster alert system for the city and some other parts of Kagoshima. A linear precipitation zone, or a band of cumulonimbus clouds that causes massive rainfall, occurred intermittently in the prefecture. "We hope people will be on alert because the risk of disaster is expected to remain high," Shuichi Tachihara, director of the meteorological agency's Forecast Division, said at a press conference. Prime Minister Shigeru Ishiba, speaking to reporters, said, "We'll take all possible measures to protect the safety of lives." In Mizobe, Kirishima, 107.5 millimeters of heavy rain was recorded in an hour until 3 a.m., and rainfall over 12 hours until 4:50 a.m. reached 483 mm, a record for the area. Makinohara, also in Kirishima, had record rainfall of 495 mm over 12 hours until 6:10 a.m. The risk of flooding in the city's Amori River increased temporarily.
Japan Times
14 hours ago
- Japan Times
Futuristic mermaid tale ‘ChaO' makes a splash
Unlikely romances between humans and mermaids have been the basis for several anime films, like Hayao Miyazaki's 'Ponyo' and Masaaki Yuasa's 'Lu Over the Wall.' Now, Hans Christian Andersen's 'Little Mermaid' tale gets its latest animated spin in 'ChaO,' a new film from Studio 4°C that opens in Japan Aug. 15 after premiering in June at the Annecy International Film Festival in France, where it won the Jury Award. The romantic comedy takes place in a near-future Shanghai where humans live in relative peace alongside the merpeople who populate the city's canals and surrounding seas. Its protagonist is Stephan (voiced by Ouji Suzuka), a mild-mannered engineer who works at the city's top manufacturer of maritime vessels. One day, Stephan meets a mermaid princess named Chao (Anna Yamada), who is instantly smitten with Stephan, claiming they've met before, though he has no idea what she's talking about. Sensing a public relations coup for his company (a shipbuilder married to the daughter of a mer-king!), Stephan's boss (Ryota Yamasato) pushes his young employee to marry Chao. Even though he grumbles about the need to wed 'a talking fish,' the meek Stephan nonetheless goes through with the nuptials. The unlikely pair then begin a crosscultural coupling that brings challenges as Chao navigates life above the sea and Stephan slowly unlocks the repressed memories of when he first met his bride. 'ChaO' was directed by Yasuhiro Aoki, 56, a veteran animator and director of episodes of properties like 'Batman: Gotham Knight' and 'Tweeny Witches' in his feature film debut. For 'ChaO,' which took nine years from conception to release, Aoki was tasked by Studio 4°C producer Eiko Tanaka ('Tekkon Kinkreet,' 'Children of the Sea') to create a 'totally new' original anime film. Aoki tells The Japan Times that part of achieving that remit came in imbuing the film with a high level of visual density. Each frame is packed from corner to corner with intricate backgrounds, characters and objects with multiple blink-and-you'll-miss-it sight gags made to reward repeat viewings. Zooming out to allow for that kind of extra visual information was one of Aoki's primary goals. 'In a live-action film, you can have actors here and there across the frame doing all kinds of things, whereas anime tends to focus the camera only on what's essential to move the plot forward, on the character who's speaking, for example,' Aoki says. 'I wanted to avoid that tendency.' Proof of the film's visual spectacle is the number of frames drawn by its animators. The average anime film is said to be made up of about 30,000 to 40,000 hand-drawn frames, but 'ChaO' has over 100,000. 'That was many more frames than we anticipated,' says Aoki with a laugh. 'The truth is, with all the detail I was trying to pack in, the animators and I got excited about what we were trying to do, and we somehow ended up with over 100,000.' As the credits roll, the film gives the audience a peek behind the scenes and pays tribute to the hard work of those animators by showing how some key shots looked before they were colored and composited. 'We're entering an era where things like CG and AI are on their way in and hand-drawn animation is on its way out,' says Aoki. 'Since we're on the precipice of that change in eras, the ending sequence functions as proof that our film is drawn by hand. Ultimately, I think what humans like best is art made by other humans. AI may be gaining attention, but I think we want to watch things made by people.' Veteran animator and director Yasuhiro Aoki (center) premiered his film 'ChaO' in June at the Annecy International Film Festival in France, where it won the Jury Award. | Studio 4°C Speaking of people, another element that brings the vibrant look of 'ChaO' to life are its various characters. Created by the director and refined by character designer Hirokazu Kojima, each of the film's characters look totally different from each other but all share a sketchy, cartoony fluidity as they careen across the screen. 'I started my career in anime about 30 years ago, when the industry was starting to concentrate on anime with a lot of realism to appeal to adults,' says Aoki. 'I've done a lot of realist animation and enjoy drawing it, but for 'ChaO,' I wanted to try something you couldn't do in live-action filmmaking, something that might give live-action filmmakers a pang of jealousy. That's why the film has characters of all shapes and sizes: round, thin, tiny, large. Animation offers total freedom, after all.' Not only do the film's distinctive characters give it visual appeal, they also help fill out its expansive, zoomed-out worldview. Aoki and his team spent a lot of time making sure that even minor characters, from Stephan's inventor roommate Roberta (Yuichiro Umehara) to Chao's guide to the human world Maibei (Kavka Shishido), would be memorable even with limited screen time. 'Stephan and Chao are the main characters, so naturally we spend the most time with them,' explains Aoki. 'At the same time, Stephan is the most straightlaced, normal one among them. In contrast, we gave the minor characters enough zest to make the audience think they could be main characters in their own right. In that way, they end up leaving a lasting impression. We created all the characters to be loved even if they only appear briefly. I wanted audiences to wonder about what those characters were doing even when they weren't on screen.' Studio 4°C tasked Aoki with creating a 'totally new' original anime film, which meant imbuing 'ChaO' with a high level of visual density. | © 2025 'ChaO' Committee Another of the film's unique elements is its setting, Shanghai, a place not often seen in Japanese animation. The choice was partially inspired by China's explosive economic growth at the time the project was first conceived. 'When we visited, it felt very futuristic, but there was a lot of 'old China' left too,' says the director. 'That contrast was interesting, as was the speed of modernization. It had an atmosphere I had never felt in Japan, even though they're both Asian countries, so that made it a very interesting place for the setting of our film.' In recent years, anime has dominated the Japanese box office, and 2025 is no exception. But while franchise-based properties like 'Demon Slayer' and 'Detective Conan' are surefire hits, anime films based on original screenplays like 'ChaO' aren't guaranteed to make the same splash. Still, Aoki tried not to worry too much about box-office considerations while making his film. 'Filmmaking is a business, and everyone wants a hit, but I think every creator wants to try their hand at an original at least once,' Aoki says. 'I also think that viewers want to find something they can call their own. I have a feeling that more than big franchise hits, originals are the films that really live on in people's hearts.' 'ChaO' opens in cinemas nationwide from Aug. 15. For more information, visit (Japanese only).
