| | A threat is uttered, a blade is drawn, a flash of cold steel and then… A dozen attackers now lie silent, dispatched by the lightening sword of one blind man: Zatoichi.
A humble masseur and gambler, Zatoichi wanders the countryside of early . . . | |
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| | | The blind masseur Zatoichi (Shintaro Katsu) wanders through Japan looking to ply his trade. But wherever he goes, trouble follows and he must use his legendary, lightning sword skills to dispatch evildoers and defend justice. | |
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| | | The Flip of a coin leads the blind masseur and master swordsman Zatoichi to his hometown, a place he has not visited in over two decades. Despite his extended hiatus, he finds that several people remember him from his hellcat youth, including a "sist . . . | |
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| | Welcome to Zentrix, the most perfect city on the planet. Thanks to the creation of the OmicronPsy super-computer, management of the city's day-to-day function is automated and efficient. But peace never lasts long..
The OmicronPsy goes aw . . . | |
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| | | Scheduled for routine military exercises, Kadomatsu and the crew of Japan's newest and most modern battlecruiser, Mirai, are ready to test out the ship's state-of-the-art AEGIS systems. Instead, they find themselves transported back to June 4th, 1942 . . . | |
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| | | Scheduled for routine military exercises, Kadomatsu and the crew of Japan's newest and most modern battlecruiser, Mirai, are ready to test out the ship's state-of-the-art AEGIS systems. Instead, they find themselves transported back to June 4th, 1942 . . . | |
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| | | Once Kusaka learns that the Mirai is a warship from the future, he attempts to prevent a fatal misunderstanding between the soldiers and crews of two times. However, nothing can prevent the first 21st century casualty of World War II. As Kusaka's kno . . . | |
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| | | As the crew of Mirai accepts their indefinite existence in the wartime past of Japan, their attention turns toward using their powers of knowledge and technology for good. The goal of Mirai: to rescue the people of the 20th century without the use of . . . | |
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