For more than a decade, the hapless, helpless and occasionally hopeless anti-heroes of the Halo universe known as the Reds and Blues have fumbled their way from one adventure to another. They've survived aliens, Freelancers, evil artificial intelligence programs, and secret government conspiracies. But now that they have been shipwrecked in a mysterious canyon, they will have to work together to survive their greatest foe of all... Themselves. Yes, once again the misfits from Blood Gulch find themselves stuck in the most worthless piece of real estate in the galaxy, or so they think. When dark forces begin to align against them, they begin to realize there's a lot more at stake than just being rescued. And this time just to survive, they might have to do what they do worst... Fight.
Matt Kamen looks at Halo’s troubled path from game to film
27th May sees the release of Halo: Forward Unto Dawn, courtesy of our friends at Anchor Bay. While the video games that inspired it have proven hugely popular – and, along with Mass Effect, become arguably the finest examples of long-form science fiction storytelling of the last decade – Microsoft’s Halo franchise has struggled to make it to the big screen.
Jameson Locke is a legendary manhunter and agent with the Office of Naval Intelligence (ONI), Earth’s most powerful and secretive military branch. When he and his team are caught in a horrific biological attack, they unravel a plot that draws them to an ancient, hellish artifact, where they will be forced to fight for their survival, question everything, and ultimately choose between their loyalties and their lives…
With the animated versions of Saya’s vampire-slaying adventures now into its third incarnation in both TV and feature versions, most recently featured in the release of Blood C: The Last Dark, one feels compelled to ponder in some depth the abject failure of the 2009 live-action version one of Sony’s few key 21st century animated franchises.
Paul Browne on the pop duo with multiple anime connections
K’s stirring theme song ‘KINGS’ comes courtesy of J-Pop duo angela. Consisting of vocalist Yamashita Atsuko and multi-instrumentalist Hirasato Katsunori (aka KATSU), angela are a familiar name when it comes to anime theme tunes.
Does the future of anime lie on the big screen, and if so, will developments in cinema exhibition technologies redefine its form, content and audiences in the digital age? These are questions many are asking as pundits declare conventional anime’s glory days to be a thing of the past.
It’s a Japanese translation by Minoru Kume of the classic British children’s book, The Hundred and One Dalmatians by Dodie Smith, with about seventy Tezuka illustrations in his characteristically cartoony style.
The story behind Hayao Miyazaki’s first and greatest heroine
“There has come the advent of the angel of light, the one who will lead you to the pure land. She who loves the forest and talks with the insects… She who calls down the wind, and rides upon it like a bird. And that one shall come to you, garbed in raiment of blue, descending upon a field of gold, to forge anew our ties with the lost land.”
Is the One Piece movie a subtle dig at Studio Ghibli...?
"In the period just after Hosoda left Howl, it must have been devastatingly disappointing, to a man in an industry where artistic achievement counts for more than pay cheques. And so the story has risen: that Omatsuri is Hosoda’s venting of his demons, that Luffy’s howls of despair are Hosoda’s own."
It’s notable that, despite what you might think looking at the franchise now, Yu-Gi-Oh! was not conceived as a card game tie-in, any more than Totoro was made to sell soft toys (though both benefitted hugely from the spin-offs). When it began, the Yu-Gi-Oh! manga was rather different from the anime which most people know.