Made first for young men 1
Umizaru 3: The Last Message's audience scores lean most toward young men at 98 of 100 1. Its overall reach is rated targeted — targeted reach aimed at a specific demographic segment 2. As an adaptation it scores 81 of 100 for faithfulness, a closely faithful treatment of its source material 3. On content balance it reads entertainment-first at 5 of 100, weighting storytelling over explicit messaging 4.
- 1Audience scoreyoung men 98 of 100 is the top quadrant.WhatSphere audience model, score_version 1
- 2ReachAudience breadth rated targeted.WhatSphere audience model, score_version 1
- 3FaithfulnessFaithfulness 81 of 100 — a closely faithful adaptation.WhatSphere faithfulness checklist, score_version 1
- 4Content balanceContent balance entertainment-first at 5 of 100.WhatSphere content-balance model, score_version 1
WhatSphere presents the sourced record; it does not cast the judgement. Every statement above is drawn from a stored, sourced row — shown beside it — and nothing is asserted beyond what those receipts support.
Synopsis
While a menacing typhoon approaches, an accident at the giant natural gas plant Regalia occurs. Japan Coast Guard rescue divers Daisuke Senzaki (Hideaki Ito), Tetsuya Yoshioka (Ryuta Sato) and engineer Hiroshiichirou Sakuragi (Masaya Kato) head together to the gas plant. During their rescue efforts an explosion occurs that traps Daisuke, Natsu Nishizawa Kazue Fukiishi and worker Hisayoneo Kizima (Gaku Hamada). Daisuke then looks for a way out for his party with a man he just meets Takuya Hotori. Because of the typhoon, even a helicopter cannot approach the Regalia. Meanwhile, at the head office of the Japan Coast Guard, the Japanese coast guard tries to find a way to rescue the trapped people, but the government officials put national interests first. Tension arises between these two parties. Daisuke's wife Tamakisai Senzaki (Ai Kato) prays for the safe return of Daisuke not only for her sake, but for their new born son.
Age: 37 — leans younger
Quadrant Scores
Audience Representation
Source Material
| Title | Author | Type | Year | Purchase link |
|---|---|---|---|---|
| Umizaru | Shuho Sato | manga | 1998 |
What did the audience think? Rate Umizaru 3: The Last Message — every voice counts equally, no account needed. Clean reviews appear instantly.
What Changed from the Source
The production decisions behind this adaptation, as recorded — original versus on screen.
Source faithfulness: 81/100
Put its audience profile side by side with any other title.
Advocacy Over Time in Action
The average advocacy score of Action titles by release year, with this title marked. Higher is more advocacy-driven.
| Year | Average advocacy | Titles |
|---|---|---|
| 1964 | 0 | 2 |
| 1965 | 4 | 3 |
| 1966 | 0 | 4 |
| 1968 | 2 | 2 |
| 1970 | 0 | 2 |
| 1971 | 0 | 4 |
| 1972 | 0 | 2 |
| 1973 | 1 | 9 |
| 1975 | 0 | 3 |
| 1977 | 2 | 2 |
| 1979 | 0 | 3 |
| 1980 | 3 | 5 |
| 1981 | 0 | 3 |
| 1982 | 0 | 5 |
| 1983 | 0 | 7 |
| 1984 | 2 | 11 |
| 1985 | 0 | 7 |
| 1986 | 1 | 10 |
| 1987 | 1 | 14 |
| 1988 | 0 | 4 |
| 1989 | 0 | 10 |
| 1990 | 0 | 5 |
| 1991 | 0 | 9 |
| 1992 | 0 | 8 |
| 1993 | 0 | 11 |
| 1994 | 1 | 14 |
| 1995 | 1 | 11 |
| 1996 | 0 | 9 |
| 1997 | 2 | 13 |
| 1998 | 0 | 10 |
| 1999 | 1 | 13 |
| 2000 | 1 | 11 |
| 2001 | 1 | 20 |
| 2002 | 1 | 17 |
| 2003 | 2 | 14 |
| 2004 | 2 | 19 |
| 2005 | 3 | 18 |
| 2006 | 1 | 23 |
| 2007 | 1 | 18 |
| 2008 | 2 | 22 |
| 2009 | 2 | 9 |
| 2010 | 3 | 8 |
| 2011 | 3 | 12 |
| 2012 | 5 | 10 |
| 2013 | 4 | 16 |
| 2014 | 6 | 9 |
| 2015 | 6 | 16 |
| 2016 | 9 | 9 |
| 2017 | 4 | 16 |
| 2018 | 9 | 20 |
| 2019 | 9 | 17 |
| 2020 | 6 | 11 |
| 2021 | 7 | 25 |
| 2022 | 11 | 31 |
| 2023 | 8 | 24 |
| 2024 | 6 | 28 |
| 2025 | 2 | 27 |
| 2026 | 7 | 7 |
| This title (2010) | 5 | 1 |
● This title (2010): advocacy 5 · explore Action →
Cast & Crew
Eiichiro Hasumi (director) · Akira Sako (director)
Made for the Same Audience
Titles with the closest audience-sphere profile — not just the same genre.
Same Audience, Lower Advocacy
Made for a similar audience but scored lower on advocacy — the closest less-message-driven picks, ranked by audience-sphere proximity.
Related Titles
