First Look: Mamoru Hosoda's Upcoming Movie 'Scarlet' Drops New Trailer and Preview Images
New Trailer and Previews!
"Scarlet, live on—"
Scarlet, buffeted by a harsh fate, and Hijiri, who extends a helping hand. Claudius, the nemesis who corners them both.
A 90-second trailer, offering a glimpse into crucial scenes from director Mamoru Hosoda's latest and most-awaited work, was unveiled on 'Summer Wars Day.'
August 1st is known as "Summer Wars Day," commemorating the 2009 release of "Summer Wars" and the birthday of Grandma Sakae, a key character in the story. Fittingly, the film was broadcast on Nippon TV's "Friday Roadshow" on this very day.
Following the main broadcast, a 30-second teaser for Hosoda's latest work, "Scarlet," premiered on a major network in Japan. Now, an extended 90-second version of that teaser has been unveiled.
The trailer opens with shocking scenes: Princess Scarlet (voiced by Mana Ashida) traveling alone through the Land of the Dead in tatters, and Claudius (voiced by Koji Yakusho) executing Scarlet's father, Amlet (voiced by Masachika Ichimura), declaring, "Traitors must be punished..."
Scarlet, burning with intense desire for revenge against Claudius, encounters Hijiri (voiced by Masaki Okada), a Japanese nurse who should be living in the modern world. Hijiri, unsure why he's lost in the Land of the Dead, ends up traveling with Scarlet.
Even as assassins sent by Claudius repeatedly target them, Hijiri tries to persuade Scarlet to stop fighting and offers kind words despite her rejections. His actions begin to stir something in Scarlet, who has lived solely for revenge. The trailer promises to grip viewers, making them yearn to discover the answers to questions like "What does it mean to live?" and "What is love?" that lie beyond "revenge," as they watch these two characters struggle desperately.
*"Kinyo Roadshow," or "Friday Roadshow," is a long-running, popular movie program in Japan that airs a feature film every Friday.
Get to Know the Characters of 'Scarlet' with the New Preview Images from the Film
Fresh scene cuts have been released, capturing Scarlet and Hijiri's clashes, mutual support, and determination to survive in the "Land of the Dead."
Additionally, we're treated to a variety of character shots: the antagonist Claudius with his stern expression, heartwarming flashbacks of Scarlet with her kind father Amlet, and intriguing glimpses of complex characters like Voltemand (played by Kotaro Yoshida), Gertrude (played by Yuki Saito), and Cornelius (played by Yutaka Matsushige).
Among the released images, there's even a hint of a massive "dragon"! What role will this creature play in Scarlet and Hijiri's adventure? You'll have to watch the show to find out!
In the "madness"-filled Land of the Dead, what "choice" awaits Princess Scarlet at the end of her endless journey?
Get ready for an epic tale that will challenge every viewer to ponder the meaning of life and love.
About "Scarlet"
Coming to U.S. theaters on December 12, 2025!
Introduction
Youth, family ties, parental love, friendship beyond species, the cycle of life, reality and virtual worlds...
These are the themes that have captivated audiences not only in Japan but around the globe, as masterfully explored by animation film director Mamoru Hosoda.
In his latest work, "Scarlet," Hosoda ventures into uncharted territory, both in storytelling and visual expression.
The protagonist of this film is Princess Scarlet, who has sworn revenge against those who killed her father, the king.
Awakening in the "Land of the Dead," she embarks on a journey fueled by her desire for vengeance.
Along the way, she encounters a young nurse from the modern world, forming a connection that transcends time. As trust and affection grow between them, Scarlet's heart begins to change in this moving tale.
This story confronts all viewers with the fundamental question: "What does it mean to be alive?" Moreover, the film marks a departure from Hosoda's previous style, challenging conventional animation techniques. The result is a world brimming with madness, depicted neither in traditional 2D nor 3D, but through overwhelming visuals that are both grand and vivid.
"Scarlet" is set for worldwide distribution, with Sony Pictures Entertainment joining as a production partner. From Japan to the world, this film is poised to make its mark on a global scale.
Nineteen years have passed since "The Girl Who Leapt Through Time." Throughout his career, Director Mamoru Hosoda has consistently explored grand themes and inner worlds. The underlying spirit of his work remains unchanged, gripping the hearts of all who watch and stirring them profoundly.
Story
Dead, Alive, and Learned to Love
Princess Scarlet, having failed in her revenge against her father, awakens in the "Land of the Dead."
This is a world of madness where people indulge in looting and violence, and those without power or who are wounded become "void," their existence disappearing entirely.
Upon learning that her uncle Claudius, who killed her father and usurped the throne, is also in this world, Scarlet renews her vow of vengeance with fierce determination.
Amidst this, she encounters Hijiri, a nurse who has arrived from modern-day Japan. These two, who have met across time, initially clash but eventually decide to journey through the "Land of the Dead" together.
Scarlet, who knows no way to live other than fighting, and Hijiri, who wishes to avoid conflict at all costs.
As Hijiri treats Scarlet's wounded body and shows kindness to both friend and foe alike, her warm personality gradually begins to thaw Scarlet's frozen heart.
Meanwhile, Claudius, having discovered the "Unseen Place" that everyone in the "Land of the Dead" dreams of, incites and manipulates the masses in an attempt to claim it for himself. Upon hearing that Scarlet is searching for him to exact her revenge, he mercilessly sends assassins to turn her into "void."
Scarlet and Hijiri, while fighting off the successive waves of assassins, also set their sights on the "Unseen Place" in their quest to find Claudius.
As they approach their fateful encounter, at the end of their endless journey, what "decision" will Scarlet ultimately reach?
Staff
Original Story, Screenplay, and Director: Mamoru Hosoda
Planning and Production: Studio Chizu
Cast
Mana Ashida
Masaki Okada
Kazuhiro Yamaji, Tokio Emoto, Munetaka Aoki, Shota Sometani, Noa Shirayama / Kayoko Shiraishi
Kotaro Yoshida / Yuki Saito / Yutaka Matsushige
Masachika Ichimura
Koji Yakusho
Official Website
Official X (＠studio_chizu)
Official Instagram
Official Facebook
©2025 STUDIO CHIZU
*Some parts of this text have been translated using machine translation
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Japan Today
4 hours ago
- Japan Today
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There's an entire ecosystem within the Japanese show business industry of foreign resident actors who specialize in bit roles in commercials, movies, TV dramas, and historical reenactment programs that need non-Japanese on-screen cast members (the live-action adaptation of manga "Thermae Romae," for example. has a scene set in an ancient Roman bathhouse with dozens of non-Japanese extras). The size of these parts, though, means that the actors aren't making A-lister money, so Fraser's character needing to take on an unorthodox job to make ends meet is pretty plausible. Likewise, Japan, really does have rental family agencies. They first started attracting significant attention in the early 2010s, and we've even tried their services out for ourselves, such as when our reporters rented a middle-aged man or sister (two sisters, actually). That said, judging from the trailer, it's debatable whether "Rental Family," directed by professionally mononymous Hikari, who was born in Japan and moved to the U.S. after high school, is attempting to accurately depict the status of rental family agencies in contemporary Japanese society, or whether its main goal is to tell a dramatic and emotional story with Fraser's character's job as its framing device. For example. a major plotline seems to involve a Japanese woman hiring Fraser's character to pretend to be the father of her daughter, who appears to be of mixed Japanese/Caucasian ancestry. 'This girl needs a father,' Fraser's boss tells him, and when he introduces himself to the child as such, in a public place, she shouts 'I hate you!' and storms off. 'She hates me,' Fraser laments to his boss, who replies 'That's what being a parent is.' 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Yosano Akiko: Passionate Poet and Prescient Journalist
Home Topics Yosano Akiko: Passionate Poet and Prescient Journalist Shapers of Japanese History Society Culture Society History Aug 8, 2025 Yosano Akiko burst onto Japan's literary scene in 1901 with her sensuous poetry collection Tangled Hair , published when she was 22. She is recognized as one of Japan's major twentieth-century poetic figures, but her journalistic work, often ahead of its time, has received less notice. Yawa hada no / atsuki chishio ni / fure mo mide / sabishikarazu ya / michi o toku kimi This hot tide of bloodbeneath soft skin and you don'teven brush it with a fingertip Aren't you lonely then you who preach the Way? Many Japanese people who hear the name Yosano Akiko will recall this famous tanka of hers. It appeared in Tangled Hair , her 1901 collection of dazzling, free-spirited love poems. At a time when women's lives were restricted by the traditional household system and old-fashioned values, Akiko expressed without restraint what it felt like to be a young woman in love. As well as her 24 volumes of tanka (including coauthored works), she produced translations of The Tale of Genji and many other classics into modern Japanese, in addition to writing over 100 children's stories and more than 600 other poems and children's songs. Apart from her literary activities, she wrote for a long period for newspapers and magazines on topics like education and gender equality. This was collected into 15 volumes of commentary, but her journalistic activities, brimming with foresight, have still not received proper recognition. Akiko was also a working mother, who raised 11 children, and this is likely to have influenced her contemporary stance on women's lives. Freedom and Equality The cover of Tangled Hair. (Courtesy the National Diet Library) Yosano Akiko was born in 1878, in Sakai, Osaka, to the owners of a traditional confectionery store. Her older brother Hō Hidetarō studied at Tokyo Imperial University (now the University of Tokyo) before becoming a professor of engineering at the institution and a famous scientist. Akiko herself excelled at science and mathematics, but as a girl she was not able to further her studies as she wished, only completing the equivalent of junior high school today. She was made to help with bookkeeping at the store from her early teens, and thus keenly felt the irrational nature of gender inequality. In 1900, she joined Shinshisha (New Poetry Society), headed by Yosano Tekkan, who was at the center of a movement to revolutionize the traditional waka form. Her poems appeared in the group's journal Myōjō (Bright Star), and her sensuous debut collection Tangled Hair was published the following year, when she was 22. It left behind the elegant depictions of nature that were customary in traditional Japanese poetry, showing that Akiko had a reformer's spirit from the start, and was a firm devotee of the new wind blowing through Japanese poetry. This was a time when freedom of speech was severely restricted. Bright Star 's use of an illustration of a naked woman was judged to be disturbing public morals, and the issue was suppressed, while other leading literary figures of the time like Nagai Kafū and Mori Ōgai had their books banned. Akiko herself must have felt how her freedom of thought and expression were under threat. Yosano Tekkan. (Courtesy the National Diet Library) For this reason, equality and freedom were vital keywords for Akiko from the beginning. And that she learned this through personal experience rather than at school or in books was her strength, more than anything. A Social Critic Ah, my brother, I weep for you Thou shalt not die .You, the last-bornwere most cherished of us all— would your parents put a sword into your handsand order you to slay a man?Would they bring you up to twenty-four then say 'Go kill, then die'? Akiko's poem expressing concern for her soldier brother 'Thou Shalt Not Die' was published in Bright Star in September 1904, in the middle of the Russo-Japanese War. It was criticized as being out of step with the mood in Japan, but Akiko countered that it should be taken only as a poem. It was not necessarily antiwar, as an expression of natural concern for her brother, while at the same time it demonstrated that she was not afraid to write what she really felt. By this point Akiko was 25, and married to her poetic mentor Tekkan, with two children already. In 1909, Akiko showed her satirical side, first with a tanka responding to successive bans on works by Kafū that made an ironic comparison with the prohibition of sales of horse racing betting slips. In a second poem, she made reference by their given names to Komatsubara Eitarō, the minister of education, and Hirata Tōsuke, the home minister, mocking them as ignorant of literature. These two men were most closely involved in censorship and to rail at them openly shows Akiko's startling courage. Readers who went into a frenzy over Tangled Hair may have been baffled by the change in register. Her magazine articles of the period also ridicule censors and describe her unique method of trying to keep her children unaware of the differences between boys and girls until adolescence. Her 1912 trip to Europe with her husband helped these aspects of her writing to blossom. She met with the sculptor Auguste Rodin and was interviewed by the press in France, which fostered her confidence and pride as a journalist. The Rise of Women's Magazines There are two major reasons why Akiko wrote so much social commentary after her return from Europe. One was that the media saw her as a vital contributor, and another was that she had topics that she wanted to write about. Akiko put the most energy into this form of writing in the Taishō era (1912–26), when Japan's print media was in its heyday and at its most influential. As the people matured as citizens and sought out information, newspaper circulation soared. The rise in female readers cannot be ignored. Government support for girls' secondary schooling had resulted in more educated women, and many women's magazines were founded to cater for them. As someone who had broadened her horizons through travel to Europe and also had experience of motherhood, Akiko must have been in great demand as able to write on a wide variety of topics. From this perspective, it was not so much that the media needed Akiko as that the times did. Akiko also had topics she wanted to write about, including how to achieve equality and freedom. She wrote for the media for more than 20 years, because she felt that she herself had room for improvement, due to a lack of schooling and culture, and even when swamped with things to do, she never stinted on reading books, newspapers, and magazines. One of her rare talents was the ability to deepen her personal thinking in this way. 'In the ideal family, women are financially independent and men and women are equal.' 'Men today work for too long. They should be involved with raising children and housework.' 'If we became a society where everyone worked, working hours would be shortened, and we could use our leisure time in many different ways.' 'Learning should not only take place in school. People should learn throughout their lives.' Akiko's writings are full of prescience, considering that she was writing at a time when there was no concept of gender equality, work-life balance, or lifelong learning. As the number of women working in factories was increasing, there was a growing debate over ideal ways to 'protect motherhood,' touching on issues including the improvement of poor labor conditions that impacted mothers' health and economic measures to support them. Akiko engaged in debate with the commentator Hiratsuka Raichō and the activist Yamakawa Kikue, but her views were so far ahead of their day that the two sides were constantly at cross-purposes. Only a handful of people must have been able to understand Akiko's ideal for the social system and individuals' way of life. A Celebrity and Influencer Akiko's media involvement went beyond her work with newspapers and magazines. With the economic development of the Taishō era came urbanization, the emergence of a mass consumer society, and advertising culture. As the slogan 'Today the Imperial Theater, tomorrow Mitsukoshi' indicates, department stores like Mitsukoshi were blossoming as enticing new spaces. Akiko became an advisor to Takashimaya Department Store, and was involved in organizing the store's Hyakusenkai event for kimono designs for more than 20 years. This meant not only judging products sent from across the country each season but also performing the tasks of a contemporary copywriter, such as selecting and naming fashionable colors and providing poems for posters and guides. Jānaristo Yosano Akiko (Yosano Akiko, Journalist) by Matsumura Yuriko, 2022. The cover photograph shows Akiko at the Hyakusenkai venue. Published by Tanka Kenkyūsha. In 1920, advertisements for the Calpis beverage using Akiko's poems appeared several dozen times in newspapers, such as: Karupisu wa / kushiki chikara o / hito ni oku / atarashiki yo no / kenkō no tame (By the power / of Calpis— / The miracle of / health for / our new world). Mishima Kaiun, who created the lactic acid drink Calpis (known overseas as Calpico), was a skilled marketer, and after visiting the Yosano home with samples of the beverage, asked Akiko if she could write poems to use in advertisements. This episode indicates her power as a celebrity and influencer. 'Health' was a relatively new concept at the time, showing Akiko's discernment in using it in a poem. Frontispiece photograph for the 1923 commentary collection Ai no sōsaku (The Creation of Love). (© Kyōdō) Politics and Poetry Akiko's eighth collection of commentary was called Gekidō no naka o iku (Passing Through a Turbulent Age). Indeed, she lived through a time when Japan was involved in a major conflict around every decade, from the 1894–5 Sino-Japanese War through the Russo-Japanese War to World War I. She expressed her wish for peace in an article titled 'Sensō ni tsuite no kōsatsu' (Thoughts on War) written for a magazine in April 1918, toward the end of World War I. If individuals kill and wound each other to prove they are right, or take weapons and force their way into unarmed people's homes to attain justice, they are clearly evil, no matter how beautiful the words used to express such acts. . . . Is it possible to say that something unforgivable for individuals is glory, justice, or good conduct when performed by a state? In July of the same year, she wrote the following poem for a newspaper. It was later included in her collection The Firebird . Onna yori / chie ari to iu / otokotachi / kono tatakai o / yamenu kashikosa We are wiser thanwomen, goes the male claim How superior the wisdom that can not stop this war! There was no contradiction in Akiko between being both a poet and a journalist. Her constant interest in what was taking place in the world can still encourage us today. Tangled Hair was published in Japanese under the title Midaregami , and The Firebird as Hi no tori . (Originally published in Japanese on June 20, 2025. All poem translations © Janine Beichman. Banner photo courtesy National Diet Library.) literature Yosano Akiko poetry
Tokyo Weekender
13 hours ago
- Tokyo Weekender
Chiikawa's Dark Lore: The Shocking Stories of Japan's Cutest Characters
At first glance, Chiikawa seems like your average feel-good, hyper-cute Japanese franchise. Created by illustrator Nagano, the comic-turned-anime follows the daily lives of three irresistibly adorable, genderless critters: Chiikawa (short for 'something small and cute' in Japanese), Hachiware (Chiikawa's best friend with blue cat ears and tail), and Usagi (a chaotic bunny known for gleeful screaming and spontaneous antics). The premise appears simple: They complete odd jobs, share snacks and support one another through everyday adventures. Given the characters' immense cuteness and their ubiquity in Japan — figurine bag charms , brand collabs and 3D signage in Shinjuku , just to name a few — you might be forgiven for thinking that Chiikawa is a simple slice-of-life story about fluffy critters living in a pastel fairytale world. Upon closer inspection, though, you'll discover that the stories are riddled with dark themes, including but not limited to: systemic poverty, psychological and body horror, unbreakable curses and gruesome murder (yes, really). Below are just a few of the upsetting subjects that appear in Chiikawa . (Spoiler alert: This article contains detailed descriptions of story arcs from both the Chiikawa manga and anime, so if you're new to the series or haven't caught up yet, be warned — plot twists, character reveals and dark developments lie ahead.) List of Contents: A Dystopian Gig Economy Housing Inequality and Poverty The Constant Danger of Being Eaten Soul Theft and Body-snatching Chimera Creatures (a.k.a. Your Friend is Now a Monster) Dangerous Props and Body Horror Transformations Paranormal Activity Mermaid Murder Hachiware Isn't a Cat (and Usagi Isn't a Rabbit Either) Related Posts Chiikawa waits in line as the armored Yoroi-san hands out tags labeled with different jobs. (Image courtesy of Nagano on X) A Dystopian Gig Economy In its first chapter, Chiikawa introduces the reader to a host of small, wide-eyed creatures living seemingly carefree lives. Many make a living pulling weeds. As the official Chiikawa website puts it: 'Everyone in Chiikawa's world works for a living. Knights dressed in armor assign duties including the popular job of weeding. When you pass the weeding exam, you can earn more money and buy more things.' In other words, it's a post-apocalyptic gig economy system. The armor-clad enforcers, called Yoroi-san, assign work on a first-come-first-serve basis, administer certification tests and oversee progress, handing out wages in burlap sacks when the critters are done with their tasks. These cute characters are effectively day laborers, doing backbreaking jobs like weeding and fighting off monsters ( toubatsu ) or menial tasks like labeling fruit with stickers in a factory line to earn their keep. 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(Image courtesy of Nagano on X) The Constant Danger of Being Eaten Kidnapping and casual consumption are very real threats in the Chiikawa world. In one chapter, Chiikawa and Hachiware walk inside a so-called three-star restaurant, only to be bathed and marinated in oil. As it turns out, the faceless ogre disguised as the chef was planning to pack them in a tortilla and eat them whole. The faceless villagers are snatched away by a bird-monster. (Image courtesy of Nagano on X) In the Pajama Parties arc, faceless background characters are plucked away by a giant bird-like monster, and in the next strip we see that only the pajamas the victims had been wearing were left behind. The surviving character watches in tears as the kidnapped creatures are never seen again — presumably devoured. The real Momonga finds themself back in their original body, only to snap awake and realize it was only a dream. (Image courtesy of Nagano on X) Soul Theft and Body-snatching Don't let his big eyes fool you: The flying squirrel Momonga — a secondary character in the series known for being cute and self-centered — is actually a monstrous horned beast with sharp teeth called Something Big. Or at least that's heavily implied. Something Big is a terrifying chimera, but unlike the rest of its species, it doesn't attack any of the Chiikawa critters — except for Momonga. Dialogue throughout the anime and manga has led many fans to speculate that a Freaky Friday -esque accident caused the pair to swap bodies, leaving the poor flying squirrel trapped in a grotesque, beastly form. In one of the early chapters , 'Something Big' chases 'Momonga' through the forest, wailing 'Give it back! Give it back!' A witch steals the skins of the trio and leaves their souls trapped in tiny figurines. (Image courtesy of Nagano on X) In another chapter, a witch steals the skins of Chiikawa, Hachiware and Usagi, trapping their souls in tiny figurines resembling Sylvanian Families (or Calico Critters, if you're American). Paralyzed in plastic, they can barely move — until Hachiware saves the day by tripping the witch and breaking the curse. Anoko reflects on their past life — and realises that being a monster may be easier than the struggle of being a villager. (Image courtesy of Nagano on X) Chimera Creatures (a.k.a. Your Friend is Now a Monster) In the Big Expedition arc, a towering horned creature known only as Anoko (literally 'That One') is revealed to be a former colleague of Chiikawa — a fellow day laborer transformed into a monstrous being with swirling eyes, razor-sharp claws and a reptilian tail. During a routine monster hunt, the villagers attempt to destroy Anoko, unaware of their true identity. Anoko doesn't fight back. Instead, they tried to reach Chiikawa, gently reminding them of their past friendship. But Chiikawa, terrified and confused, fails to recognize them. In another chapter, Anoko reminisces the life they had with their friends, showing us their memories remain intact — a cruel reminder that, even in their monstrous state, Anoko still remembers who they used to be. But no one else does… A villager mid-transition into a chimera slashes at Chiikawa.. (Image courtesy of Nagano on X) In another standalone chapter, a villager begins mutating into a chimera, sprouting wings and a reptilian tail. With tears in their eyes, they approach Chiikawa and weep, 'Look at what I've become,' before unsheathing long red claws and swiping. They miss, then fly off into the distance — never to return. Usagi and Hachiware begin transforming into grotesque monsters after using the cursed staff. (Image courtesy of Nagano on X) Dangerous Props and Body Horror Transformations Any Chiikawa fan would know that the characters often use weapons like a two-pronged stick when fighting monsters, but this universe is also home to other dangerous weapons disguised as tools. In the Magic Wand arc, Usagi purchases a mysterious skull-shaped staff from a second-hand shop. It grants wishes, but each use comes at a cost. Hachiware sprouts horns and a third eye; Usagi's eyes and body turn blood-red. They quickly begin to morph into gruesome creatures, and transformation is stopped only when Chiikawa breaks the wand in half. Hachiware removes a parasitic mushroom growing on Chiikawa's head. (Image courtesy of Nagano on X) Then there's the parasitic mushroom that sprouts from Chiikawa's head. Hachiware tries to remove it with a sharp rock — only to have it grow back larger. Hachiware eventually has to cut off at the base with a blade to stop it for good. (Oh, and they ate the mushroom in a stir-fry afterwards.) Paranormal activity in Chiikawa's house. (Image courtesy of Nagano on X) Paranormal Activity In one spooky chapter, the gang are sharing breadsticks in Chiikawa's house when the sky turns blood red. Black handprints begin covering up the window — culminating in a massive black palm that slams onto the window. The gang hides in fear, and never investigates what it was. We were never given an explanation of what happened. A strip detailing how an islander lured and murdered one of the mermaids in cold blood. (Image courtesy of Nagano on X) Mermaid Murder In Chiikawa 's most chilling storyline — the infamous Island Arc — our heroes visit a remote island with some friendly locals, but things quickly take a grim turn. On a trip out to sea, a giant creature called the Siren reveals that the islanders lured one of its mermaid companions with snacks, killed it and cooked it into a stew, believing a folktale that eating mermaid flesh grants eternal life. The Siren launches a violent revenge campaign, and Chiikawa and friends — innocent bystanders — are caught in the crossfire. The group ultimately stops the Siren with an absurdly spicy spoonful of curry, but the trauma lingers: On the boat ride home, Chiikawa finds a single mermaid scale, a haunting reminder that the horror wasn't just a bad dream. Despite the adorable feline antics (the hairballs) of Hachiware, they are not a cat. (Image courtesy of Nagano on X) Hachiware Isn't a Cat (and Usagi Isn't a Rabbit Either) Despite the toe beans, fluffy tail and the occasional hairball, Hachiware is not a cat. This surprising fact was confirmed by creator Nagano during the 2022–2023 Nagano Exhibition , and echoed again on the official English Chiikawa website — which clarifies that Hachiware simply ' is not necessarily a cat. ' (Apparently, that's why it's totally fine for him to eat onions and chocolate.) Meanwhile, Usagi, whose name literally means 'rabbit' in Japanese, might not be a rabbit either. Sure, the long ears and erratic energy do scream bunny, but the official description keeps it vague: ' Maybe a rabbit, maybe not. ' So what are they, exactly? We'll probably never know. Which is typical of the Chiikawa world, if you think about it — a fantasy realm where adorable facades hide brutal realities and nothing is what it seems at first. Discover Tokyo, Every Week Get the city's best stories, under-the-radar spots and exclusive invites delivered straight to your inbox. By signing up, you agree to our Privacy Policy . 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