chinese or japanese film with small robots with big firepower.

An anthology of various tales told in various styles with robots being the one common element among them.

A visual essay on the making, release and restoration of Robot Carnival.

As members of ESWAT, the elite forces serving Olympus, Deunan and Briaereos are deployed anywhere trouble strikes. Olympus finds itself under a stealth attack - cyborg terrorism, deadly nanotech zealots, and rioting citizens are just some of the threats that Deunan must contend with as she fights to save Olympus!

In a utopian society created at the end of the third world war, a female warrior who has been plucked from the badlands begins to see cracks in this new facade. And what does this community have planned for the rest of humankind?

Cyborg detective Batou is assigned to investigate a series of murders committed by gynoids—doll-like cyborgs, which all malfunctioned, killed, then self-destructed afterwards. The brains of the gynoids initialize in order to protect their manufacturer's software, but in one gynoid, which Batou himself neutralized, one file remains: a voice speaking the phrase "Help me."

This making of segment offers a lot of interview comments with the crew behind it, although does so in a rather rapid fashion. The most interesting element of this is probably learning a bit more behind how the movie was created from an animation standpoint, in particular the insight around animating the robots.

A Japanese police unit who use giant anthropomorphic robots (called Labors) is caught up in a political struggle between the civilian authorities and the military when a terrorist act is blamed on an Air Force jet. With the aid of a government agent, the team gets close to a terrorist leader to stop things from going out of control when after the military is impelled to impose martial law.

Two penniless orphans, Black and White, struggle to survive on the mean streets of Treasure Town. When a megacorporation threatens to tear down the town to build an amusement park, Black and White engage in the fight of their life.

Softimage's Michael Arias started the project as a short CG exercise, which then came to the attention of Morimoto, who then agreed to work on the project on the Softimage 3D software. A few months later, Visual Director Wilson Tang and Animation Supervisor Lee Fulton introduced a pilot to the Softimage staff, made entirely on computer with a staff of only 12. The pilot won the Excellence Award at the 3rd Japan Media Arts Festival in the Digital Art Division.

chinese film