Rune Balot's struggle to bring the man who killed her to justice continues amid the world of high-stakes gambling and glamour at the Eggnog Blue Casino. The odds are stacked heavily in the house's favor, and even with the aid of Dr. Easter and Oeufcoque, a universal item capable of turning into anything and everything, Rune's chances of winning are slim. But winning the golden chips containing Shell Septinos' memories is only the next step on a long and treacherous road. Run will still have to live long enough to bring those memories before the court, and even that isn't the end of the journey. Rune's search for answers to the questions that haunt comes to a shattering climax! Contains both the television version and director's cut of Mardock Scramble: The Third Exhaust. Spoken Languages: English, Japanese, English subtitles.
Andrew Osmond has the technology… to watch Mardock Scramble
In Mardock Scramble: The First Compression, the young heroine is burned to a crisp, then remade Frankenstein-style. Fifteen year-old Balot is blown up in a car by her sugar-daddy Shell, a serial-killer. Then a seedy scientist rescues Balot’s charred body, plops it into an underground vat and refashions her as a super-avenger.
In the West, we’re still inclined to think of anime as coming out of manga, as naturally as eggs from chickens – one line into a Mardock Scramble piece and we’re already talking about eggs again). In Mardock’s case, both the manga and anime are alternative versions of a novel by Tow Ubukata, published as a trilogy in Japan and collected into one volume by the publisher Haikasoru. It’s comparable to what happened with Battle Royale, a novel which spawned a live-action film and an even more lurid manga.
Andrew Osmond on anime that turn to the dark side…
If it sounds like Guilty Crown’s getting dark, it is. In particular, there’s been a lot of comment on how dark some of the main characters get, in a series that seemed relatively light, even cheesy, in its first half. Star Trek used to have episodes set in a so-called ‘Mirror Universe,’ where the familiar cast could be really bad. Guilty Crown does something similar, without the mirror.
Animation for the old... there's only one way to settle this... FIGHT!
Wrinkles is a new grown-up Spanish animated film about elderly people in a care home. Hang on a bit, that can’t be right. Animation and the elderly; they’re two things which have nothing to do with each other. Well, except for...
As Naruto ups the ante and swears to take on Sasuke alone in box set 18 of Naruto Shippuden, the team responsible for the encompassing episodes’ ending theme have also took it upon themselves to up the pace.
Andrew Osmond finds Emperor Hirohito in Japanese animation
The Sara storyline in Fam the Silver Wing seems to echo a view – many would say a myth – of Hirohito, encouraged not just by the Japanese but also by the victorious Americans when they rebuilt the country. Namely, it was the story that Hirohito was a helpless figurehead, at the mercy of his warmongering government.
Jasper Sharp reviews a book-length collection on the “God of Manga”
Tezuka’s Manga Life is a scholarly and much-needed attempt to sort out the wheat from the chaff of the Tezuka myth, with its 22 contributors spread over 300+ pages attempting to put the vast output of the prodigious manga artist into context.
Andrew Osmond on the history of animation’s corner-cutting secret
Rotoscoping and its descendants are an important part of American cinema, and recognised today. Many film fans know, for example, that Gollum, Peter Jackson’s King Kong and the rebel anthropoid Cornelius in the Planet of the Apes reboot are all based on physical performances by one actor, Andy Serkis. Again, it’s common knowledge that the Na’vi aliens in Avatar were human actors ‘made over’ by computer – the digital equivalent of those guys wearing prosthetic foreheads and noses in the older Star Trek series.
Andrew Osmond on Miyazaki’s love for a French classic
The King and the Mockingbird was one of the films which taught Miyazaki and Takahata that you could make an animated feature without following studio formulae – something they strove for themselves as early as Takahata’s 1968 Marxist epic The Little Norse Prince.