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The Last Blossom, directed by Baku Kinoshita and written by Kazuya Konomoto, is a quiet, contemplative anime feature that rarely gets a theatrical release. The film opens in a lonely prison cell, where the elderly former yakuza Akutsu finds an unexpected confidant in a talking balsam flower.Over the course of one sleepless night, Akutsu's life story unfolds in bursts. Thirty years prior, another balsam flower grows in the back yard of Akutsu's humble house, which he shares with Nana and her baby son, Kensuke. The relationship between the taciturn man and the bubbly young woman is seemingly platonic; Kensuke is not his son. Yet there are hints of romantic attraction; they share bowls of piping hot ramen noodles, play endless rounds of Reversi, and join in harmonising the Ben E King classic Stand By Me.In contrast to this alternative nuclear family, the yakuza world is still strictly traditional, revolving around machismo and codes of brotherhood. When Kensuke is diagnosed with a heart condition, Akutsu is lured into a criminal plot, which leads to his incarceration. Though encompassing much bloodshed and even a hidden treasure subplot, The Last Blossom is most moving as an exploration of human conscience, where a capacity for violence and kindness coexist.The paradox is reminiscent of Shōhei Imamura’s Palme d’Or winner The Eel, starring Koji Yakusho as a wife-murderer who shelters a pregnant woman after his prison release. With his unassuming buzzcut, in stark contrast to his flamboyant yakuza peers, Akutsu bears a striking resemblance to Yakusho’s protagonist. Though a minor work compared to Imamura’s, The Last Blossom similarly questions conventional notions of justice, and the impossibility of weighing one’s good and bad deeds.The Last Blossom is in UK and Irish cinemas from 27 March, and in Australian cinemas from 23 April.

The online gaming industry has become a cutthroat world where success is fleeting. Developers are under pressure to create games that generate immediate and significant returns, making it difficult for them to sustain player engagement. Consider the case of Highguard, a free-to-play game that launched with a peak of 100,000 concurrent players on Steam. However, 90% of players abandoned the game within a week, and the developer, Wildlight Entertainment, announced that it would end service on March 12, after fewer than 50 days online. The game's failure can be attributed to several strategic errors, including a refusal to conduct public play tests before release and a complex structure that was difficult for players to understand. However, the main reason for its failure is the increasingly demanding expectations for immediate returns in the live-service game market. Live-service games are investments that are meant to deliver endless revenue, and developers are under pressure to emulate the success of genre juggernauts like Fortnite. However, executives and developers have different priorities, and the online commentariat is often negative about these types of games. Sony, for example, has greenlit several live-service games, but most of them have been canceled before release. One of its few successes is Helldivers 2, which sold 20 million copies and still has a healthy player base. Bungie's new game, Marathon, has also received critical acclaim, but its fate is uncertain due to the high expectations for returns. The game's developers have spent years maintaining Destiny, a trailblazing online shooter, which gives Marathon a significant advantage. However, the pressure to generate profits is still a major challenge, and the game's success is not guaranteed. In conclusion, the online gaming industry is becoming increasingly challenging, and developers are under pressure to create games that generate immediate returns. While some games, like Marathon, show promise, the existential threat facing them is the same: profit margins.