Re: Gunnm Complete Edition extra pages: TL, QC and editing
Posted: Mon Jan 18, 2010 3:14 am
by Sergio Nova
Here is the edited text to be used by crazyankan. As to my changes, please observe that this is a narrative text, not a dialogue; thus, I believe formal language is more appropriate. Obviously, I will reconsider if it is the case.
these are the first four moves p. 14-15.
Kumai Sharin Kyaku: fight 1 (aerial anti giant technique)
caption: using her hands_ to shoot upwards _ perform a few skips_ then Alita attacks with both legs extended
Sharin Choshu : fight 2 (aerial anti giant technique)
caption: gathering speed_ using her hands to propell herself forward _to a few rolls to a vertical kick.
Senkai kyoku: fight 4 and others (a usual technique against multiple opponents)
caption: defensive position_ Alita kicks the opponent in front of her_ she then continues her movement with a rotation in order to hit the the opponent behind her with the same foot, while the other foot also deals a blow..._ she finishes with a few rotations in order to hit the opponents within reach.
Rasen Kyoku: fight 6 and others (anti giant technique)
caption: A technique consisting in spinning around an arm, a leg, or a weapon held out by the opponent until head level is reached. No counter attack is possible during the rotation. _ Once head level is reached, there are various possibilities of attack, since the opponent is helpless.
Kosazan: fight 33 (basic technique with blade option on)
caption: against an opponent armed with a knife Alita holds her blade with with its point down and the edge facing upwards.
("Kali" technique, a Filipino martial art)
She dodges her opponent while getting closer to him. Then with a violent blade stroke, aimed at the joint between arm and shoulder, one of the armor's weakest spots, she severes his arm.
Goki sojushi: fight 4 (special technique against multiple opponents)
caption: Alita stands behind her opponent...
she then tightly clings to him and uses his body to parry as well as to deal blows
She finally lashes out ( some butt blow according to the illustration the word used in French is "ruade" which is a kick dealt by a horse with its hind legs) to throw her opponent in the air. The latter is left defenseless.
* Page 18
TANKA KAIGEKI
Comme pour le "Kansatsu", Gally bloque le direct du droit, mais se place à l'extérieur.
As for the Kansatsu, Alita blocks the right jab, but place herselfs to the side.
Elle fait ensuite pivoter le bras droit de l'adversaire vers le bas avec son bras gauche et, de son bras droit, vise en direction de sa tête qu'il tente alors de protéger.
Afterwards, she turns around under the opponent's right arm with her left arm and, with her right arm, aims for his head, which he tries to protect at this point.
Gally rabat alors sa main droite sur la main gauche de l'adversaire et lui baisse le bras. Elle le ramène ainsi jusqu'au bras droit qu'elle maintient toujours.
Alita then pulls down her right arm on the opponent's left hand and brings down his arm. She then brings it to his right arm, which she's still holding.
Tenant les deux bras de l'adversaire de la main droite, Gally profite du champ libre pour lui asséner un coup de poing en pleine tête. (les phases de 1 à 4 sont effectuées en quelques secondes)
Holding both of the opponent's arms with her right hand, Alita takes advantage of the opening punch him on the head. (phases 1 to 4 are done in a few seconds)
Puis elle change de main et frappe encore à la tête, cette fois-ci avec le coude.
Then she switches her hands and hits his head again, this time with the elbow.
Elle termine en répétant son attaque du coude, mais en visant la tempe de l'adversaire.
She finishes by repeating her elbow strike, but aiming for the opponent's temple.
KAIGAN SHASHUKU
Gally bloque le couteau avec sa lame...
Alita blocks the knife with her blade...
…puis le dévie, déséquilibrant ainsi l'adversaire.
…then deflects it, thus unbalancing the opponent.
Elle achève de le faire chuter en lui assénant un coup de pied descendant sur sa tempe.
She ends his fall by striking him with a hammer kick on his temple.
TAIGANGEKI
C'est une technique qui ne peut s'effectuer quand la distance qui sépare Gally de son adversaire est supérieure à 5m. Elle se lance sur lui...
It's a technique which cannot be executed when the distance between Alita and her opponent is over 5m. She sprints toward him...
…puis arrivée à quelques mètres, elle bondit en frappant le sol du pied, augmentant ainsi son accéleration. Au moment de l'impact, elle détend son corps, accélérant de plus belle. Elle atteint alors une vitesse sonique avant de frapper l'adversaire de son bras tendu.
…then at a few meters, she jumps by stricking the ground, increasing her acceleration. On impact, she releases her body, accelerating even more. She then reaches sonic speed before hitting the opponent with her stretched arm.
ZENREN KYAKU
Pour son coup de pied "Summer Salt", Gally renverse son buste vers l'arrière.
For her "Summersault" kick, Alita rotates her torso backwards.
Elle frappe l'adversaire située devant elle...
She hits the opponents placed in front of her...
…et se rétablit après avoir fait un tour complet.
…and recovers after a full rotation.
HAKYAKUGA
En avançant sur l'adversaire, Gally bloque du coude, de l'épaule et de la paume, un coup de pied de style "Muay Thai".
When advancing toward the opponent, Alita blocks with the elbow, the shoulder and the palm, a "Muay Thai"-style kick.
Puis s'agrippant à la jambe de l'adversaire, elle fait pression de tout son poids vers l'arrière...
Then, by grabbing to the opponent's leg, she pulls all her weight backwards...
…et termine son attaque en brisant la jambe d'un coup de genou droit.
…and finishes her attack by breaking the leg with a right knee strike.
SEHATO
D'une petite extension, Gally frappe l'adversaire situé devant elle avec sa lame, tout en lançant son couteau (objet) derrière elle.
With a small leap, Alita hits the opponent in front of her with her blade, while throwing her knife (object) behind her.
KOEISHU
De son poing droit, Gally bloque le bras droit de l'adversaire.
Using her right fist, Alita blocks the opponent's right arm.
Elle prend ensuite appui des deux mains sur ce bras...
She then leans on with both hands on this arm...
…pour bondir vers l'extérieur et frapper la tempe de l'adversaire d'un coup de genou gauche.
…to dodge to the side and hit the opponent's temple with a left knee strike.
GETSUEISHU
Gally pare à l'extérieur le direct du droit de l'adversaire.
Alita parries the opponent's right jab to the side.
Puis elle déplace son corps de façon à porter avec son coude gauche un coup sur le flanc.
Then she moves her body to be able to strike with her elbow on his side.
L'adversaire ramène alors sa garde près du corps, ce dont profite Gally pour effectuer une rotation arrière...
The opponent then brings his guard closer, which Alita takes advantage by making a backward rotation...
…et venir frapper du genou gauche la tête de l'adversaire.
…and hits the opponent's head with the left knee.
TANKA KAIGEKI : fight 32 (combinaison de base) Technique de prise de mains développée par le "Jeet kun do" sur une base d'art martial chinois. Elle est également efficace en état d'apesanteur.
TANKA KAIGEKI : fight 32 (basic combo) "Hand grabbing" technique (think Zazie vs. Alita in space) developed by the "Jeet kun do" based on a Chinese martial art. It's also effective in situations of reduced gravity.
KAIGAN SHASHUKU : fight 33 (technique de base, option lame) Egalement efficace contre les attaques de dos.
KAIGAN SHASHUKU : fight 33 (basic technique, optional blade) Also effective against attacks from behind.
TAIGANGEKI : fight 44 (technique spéciale à longue distance)
TAIGANGEKI : fight 44 (long range special technique)
GETSUESHU : fight 44 (combinaison de base)
GETSUESHU : fight 44 (basic combo)
HAKYAKUGA : fight 44 (technique de base)
HAKYAKUGA : fight 44 (basic technique)
SEHATO : fight 36 (technique de base contre de multiples adversaires, option lame)
SEHATO : fight 36 (basic technique against multiple opponents, optional blade)
KOEISHU : fight 47 (technique de base)
KOEISHU : fight 47 (basic technique)
* Page 19
Voici quelques "trouvailles" pour Gally, toujours dans le cadre du jeu vidéo sur Playstation "Gunnm - mémoires de Mars". Inutile de dire qu'en tant que cyborg, son corps mécanique peut être modulé à l'infini. Des armes aux moyens de déplacements, à chaque situation son élément. Maintenant, à vous de juger ! (La rédaction)
Here is some "findings" for Alita, still in the context of the Playstation's video game "Gunnm - Martian memories". Needless to say that, being a cyborg, her mechanical body can be infinitely modified. From weapons to means of trasportation, it can adapt to each situation. Now, it's up to you to decide! (The editors)
* Page 20
Un outil lourd va ralentir ses mouvements.
A heavy tool will slow her movements.
Etendu, le crochet peut atteindre 5m.
At full-length, the hook can reach a 5m range.
Aussi efficace que la "Main Foreuse", mais beaucoup plus légère. Les mouvements deviennent plus lestes, mais la protection en pâtit.
As effective as the "Hand Drill", but much lighter. The movements become more nimble, but protection suffers.
Portée: 2 mètres
Range: 2 meters
main foreuse
drill hand
main crochet
hook hand
bras masse d'armes
morning star/flail hand
main tronçonneuse
chainsaw hand
griffe électromagnétique
electromagnetic claw
main fouet
whip hand
main multi-usages
multi-use hand
bras lance-flammes (et lance-gel)
flame-thrower arm (and frost/freeze-thrower)
Portée: 3 mètres
Range: 3 meters
Très utile pour les voleurs.
Useful for thieves.
La recharge du lance-flammes est de couleur rouge (celle du lance-gel, de couleur bleue)
The flame-thrower's ammo is red (the freeze-thrower one, blue).
Etendue: 1,5 mètres
Spread: 1.5 meters
Portée: 5 mètres (3 mètres pour le lance-gel)
Range: 5 meters (3 meters for the freeze-thrower)
* Page 21
hey, baby!
hey, baby!
La frappe est accompagnée d'une forte décharge électromagnétique, montrant ainsi sa puissance, comme dans le jeu "Tekken".
The hit is followed by a strong electromagnetic discharge, showing its power, as in the "Tekken" game.
Tête de punk
Punk's head
Tête de docteur
Doctor's head
Têtes interchangeables
Swappable heads
Bras insectoïde
Insect arm
Main pince de crabe
Crab's pincer arm
Bras de combat
Combat arm
Bras multi-têtes
Multi-heads arm
bras electromagnetic
electromagnetic arm
bras mecanique
mecanical arm
bras lance-grenades
grenade-launcher arm
bras supersonique
supersonic arm
* Page 22
jambes de combat
combat legs
Lorsque qu'une (lolz) technique utilisant les talons porte son coup, un décharge électromagnétique se libère, montrant ainsi sa puissance
When a technique using the heels hits, an electromagnetic discharge is released, showing its power.
jambes mécaniques
mechanical legs
jambes de motorball
motorball legs
jambes extensibles
stretchable legs
Extensible
stretchable
Les ressorts entrant en ation à chaque pas, une marche normale équivaut à faire des petits bonds. En fait, je voulais que les ressorts soient découverts, mais quand j'ai pensé au modelling 3D, j'ai laissé tombé.
The spring is triggered with each step; a normal walk is equivalent to making little leaps. In fact, I wanted the springs to be visible, but when I thought about the 3D modeling, I gave up.
unité beast
beast unit
Les déplacements doivent ressembler à ceux d'un fauve.
The movements have to look like those of a wild beast..
unité snake
snake unit
unité hovercraftt (lolz)
hovercraft unit (only 1 "t")
unité tank
tank unit
Cette unité permet d'aller d'avant en arrière grâce aux chenilles du tank, de charger l'ennemi (technique de la "Wheel Attack"), ou carrément de l'écraser en lui sautant dessus.
This unit allows to move forward and backward thanks to the tank's caterpillar wheels, to ram the enemy ("Wheel Attack" technique), or to crush him by jumping on him.
Re: Gunnm Complete Edition extra pages: TL, QC and editing
Posted: Fri Apr 02, 2010 4:12 pm
by Sergio Nova
Here is the final text for volume 1. Edited on April 13th, according to Burning Angel corrections.
Buy the way, who is going to face this heinous work? Dharko or crazyankan?
I hope the edition is correct now.
Page 01
The following pages will present you Yukito Kishiro’s work on Battle Angel Alita by showing you many ideas, memos and sketches. This work does not only involve the work presented in the manga, since it also refers to the novel, to the anime, as well as to the video game that have been dedicated to Battle Angel Alita. Each of these works presents some aspects somewhat different from the original story, but all keep the themes and the main characters that made the strength of the manga. The creation of the complex universe of Battle Angel Alita asks Yukito Kishiro to work out every detail, where each sketch and every idea contributes its part to a sound development. Of all roads that he borrowed, of all hypotheses that he considered, he finally extracted the best, arriving to the definitive result as we know today. Therefore, in this complete edition of Battle Angel Alita, we are presenting to you his previous work. Besides numerous sketches, with the passing of the pages you will also find the elements that will allow you to better understand this futuristic world created by Yukito Kishiro. Among the presented documents are also included some discarded ideas, abandoned scenarios, failed attempts and obvious mistakes. Which, considering their unpublished nature, is far from lowering their great value. So, enjoy! (the editors)
Page 02-03
Battle Angel Alita history
This chronology has been created by Yukito Kishiro himself. It somewhat comments, in a condensed way, the major episodes in the story of Battle Angel Alita and previously surrounds the terms and the names that will be present until the end of the story. This tool is of a great interest, since it allows understanding the plot that is woven in the manga – as the pictures, the close shots and the setting not always unveil by itself. (the editors)
As a reference, this chronology has the year of Koyomi’s birth. One will notice the abbreviation A.K. for Anno Koyomi and B.K. for Before Koyomi (years before her birth).
B.K. unknown date
Creation of Melchizedek, an artificial intelligence computer, somewhere in North America.
B.K. unknown date
Ecological disaster without precedents: an enormous meteoroid falls on the Earth. The power is such that the poles deviate from their axis, which causes geological transformations and raises the sea level. Civilization collapses and humanity is on the brink of exinction.
B.K. 440
Implementation of the project for humankind reconstruction by Melchizedek. The operation is a success, a new civilization soon emerging somewhere in North America.
B.K. 370
Melchizedek establishes two colonies of builders; one in terrestrial orbit, the other one on the Moon.
B.K. 345
Completion of “Jacob’s Ladder”, orbital ring joined to the Earth by a tower lift named “elevator.”
B.K. 340
First rocket propelled with nuclear fusion, using helium-3 as fuel.
B.K. 330
First colony on Mars.
B.K. 315
A colony settles in the orbit of Venus. Beginning of the terraforming on Venus.
B.K. 300
Establishment of colonies on three Jovian satellites. To this time, the techniques of cybernetization improve.
B.K. 290
On Mars, arousal of the “cyborgs martial arts.”
B.K. 260
Alliance of the colonies on the Galileo Satellites agrees to construct a toposphere on the planet.
B.K. 230
Melchizedek finishes the construction of the orbital elevator, placing the space station “Ketheres” and the terrestrial station “Tiphares” at the extremities.
B.K. 220
Melchizedek develops the first interstellar vessels. In the same period, construction of a satellite to production of antimatter on the low orbit of the Sun. Yoko is born on Mars.
B.K. 205
The settlers on Venus send a a research team to Enceladus, a satellite of Saturn. This team is attacked by Jovian military forces. “The incident of Enceladus” was the trigger of the “Terraforming Wars” or the “Wars of the Colonies.”
B.K. 200
The interstellar vessels in construction are destroyed. Melchizedek closes itself. Tiphares isolates itself to the outside world. Thanks to the formation of “Ladder” in Ketheres, the Terraforming Wars end. Yoko disappears right before the armistice.
B.K. 195
The first Factories appear. Due to a strong repression, the teachings of the cyborgs martial arts die out little by little.
B.K. 180
A city begins to develop around The Factories.
B.K. 170
The population increases. The city is soon called “The Scrapyard”, the discharge.
B.K. 160
The terminals and the systems of defense are introduced in The Scrapyard to look after the protection of The Factories.
B.K. 150
In The Scrapyard, underground cyborg fights start to be organized.
B.K. 130
The first circuit motorball circuit is finished in the West Zone.
B.K. 50
The hydro-wall is installed everywhere around the borders of The Scrapyard.
B.K. 16
Nova escapes from Tiphares.
B.K. 15
Hugo is born.
B.K. 14
Kaos is born.
B.K. 7
Ido is banished from Tiphares.
B.K. 6
In motorball, the Adam’s scandal explodes. (See “Ashen Victor”). Ido meets Carol. (See “Holy Night”).
B.K. 5
In one match of motorball, Jashugan and Esdoc suffer a terrifying accident. Jashugan suffers a cerebral reconstruction operated by Nova and becomes thereafter the champion. Hugo’s elder brother is slaughtered by Clive Lee, a hunter-warrior.
B.K. 3
Nova invents a wormlike body for Makaku. Hugo meets Vector and orders to transplant his brother’s hand in return for his.
B.K. 1
In order to concretize the “Tuned” project, Bigott sends a thousand of TR-55's to spy on The Scrapyard.
A.K. Year 0
Yoko is discovered by Ido. He will bring her back to life and name her Alita. Koyomi is born. Alita becomes a hunter-warrior and defeats Makaku.
A.K. 2
Alita falls in love with Hugo. Unfortunately, the lad dies in tragic circumstances. Alita then becomes a motorballer and has a duel to death against Jashugan. In the discharge, a price is put on Zapan’s head.
A.K. 3
The opening of the “New Kansas Bar.” Shumira is saved by Ido of a rape attempt. Alita begins her new life. She delivers a duel to death against “The Sonic Finger.” (See “The Sonic Finger”). Nova frees Den, Kaos’ black personality, and gives him a body of steel. Becoming a warrior, Den starts wandering on the outskirts of the badlands in search of his destiny.
A.K. 4
Kaos heads towards the badlands in company of Jasmine. Alita ends up destroying Zapan and the berserker body. Ido dies. Shumira enters into a brigade of volunteers. Alita accepts to become “Tuned” for Tiphares.
A.K. 5
Nova finishes the construction of his secret research laboratory, that he baptizes “Granite Inn.”
A.K. 6
Nova “resurrects” Ido.
A.K. 9
Den forms The Barjack. In the same period “Radio Kaos” emits for the first time. Construction of The Barjack headquarters in the Southern Territories. Ido, when learning the “secret of Tiphares”, sinks in pain and decides to voluntarily erase his memory.
A.K. 10
Deckman 50 deserts. A-1 is entrusted to the mission. (See “Homecoming”).
A.K. 11
Buick becomes The Barjack’s reporter.
A.K. 12
Colonel Bozzle capitulates before The Barjack. Figure Four, expert in anti-cyber martial arts, arrives to The Scrapyard. Ido begins a new life as a physician in Farm 21, occupied by The Barjack.
A.K. 14
Alita meets Figure Four. The nuclear reactor of the train in which they are explodes. Lou Collins turns her back on the GIB as an operator. Koyomi joins the cause of The Barjack. Alita recovers Ido. The production of the “Tuned” series begins. The Barjack rebellion is repressed. The GIB is destroyed. Nova “revives” Alita and takes that on Tiphares. Melchizedek, in a fit of madness, commits suicide, trying to bring down Tiphares. To prevent the destruction of Tiphares, Alita sacrifices herself by merging with the orbital elevator and transforms the whole structure into a “nanotree.”
A.K. 15
Kaos and Vector take the control of The Scrapyard, which had sunk into anarchy. The construction of the “tower of Tiphares” begins.
A.K. 16
Koyomi publishes “Barjack, War Chronicles”, that very quickly becomes a bestseller. Opening of a new “Kansas Bar”, the “Kansas 4.”
A.K. 19
The “tower of Tiphares” is finished. Lou marries Kaos. Alita, whom everybody believed dead, comes back to life. She falls in the arms of Figure Four, who comes to rescue her. Release of “The Celestial Tower”, a compilation of photos.
Page 04
Deckman
New definition of the deckmen for the “Battle Angel Alita video game”
Former human beings striped of their useless body parts, deckmen are semi-autonomous robotized units used for the treatment of information. One may think that they were created to work within The Factories in The Scrapyard, but their origin dates back much further. Actually, their first function was to explore the vastness of the solar system. The exploitation of the first deckmen goes back up to about 300 years. At the time the cybernetic technologies had just been mastered, but rather than substituting a thinking machine for a man (or, more precisely, for his brain) the deckman technology consisted in modifying a machine by inserting a brain and different body parts in it. Eventually, it became the opposite of making cyborgs.
In the societies of the solar system, it was necessary to have an organic translation device between relational interfaces, operating systems and data bases. The great advantage of deckmen was their ability of adaptation, and especially the compatibility between them, whether it was the most up to date model, version 96.2, or the most ancient one that is more than 200 years old.
The central computer Melchizedek established the standards for deckmen. For 300 years, it has invariably controlled their manufacture and maintenance. Because of their success, the exportation of deckmen has become the biggest source of income of Ketheres. Nowadays, the only official deckmen manufacturers are Melchizedek and its extension, the M.I.B.; however, some people claim that compatible deckmen would be secretly produced on Venus and Jupiter.
In the developed colonies on Mars, there are regions that still use first generation deckmen that date back more than 200 years. Yet most of the older deckmen, whose faculties have diminished, are no longer connected to the networks, their role being now reduced to simple operations, such as, for instance, signaling control. In the most forsaken regions, one may even happen to find completely rusty deckmen standing still like mechanical gods, benevolent protectors of the passing colonists.
Yukito Kishiro
[cursive text, right side]
Towards Tiphares
internal structure of a Factory
(longitudinal cut)
Tube
Den
Main door
Big pulleys
Most humans cannot access the inside of a Factory, which is completely operated by machines, so their internal structure remains a mystery.
Towards another kombinat
Only the entry hall is accessible to humans.
Factory hall
The drawing is a little bizarre. In fact, the shape of the hall must be symmetrical.
[10-11-12] Hunter-warrior registration area, payment of bounties for captures.
[7-8-9] Bank deposits, credits, and electricity tax office area.
Main door
A cleaning system using static electricity always leaves the hall clean like the inside of a hospital.
[4-5-6] Workers recruiting zone for kombinats.
[1-2-3] Sale of recycled products (spare parts from destroyed bodies)
Receiving cylinders. The numbers of the cylinders do not always correspond to the numbers of the receiving deckmen. The closest deckman presses them to make a receipt to the customers.
Internal structure of a Factory.
Structure of a receiving cylinder.
There were not any on the original ones, but it would have been better you put a number like that.
1. Ceiling (it is usually higher) cylinder in closed position (normal position)
2. As soon as a visitor approaches, the cylinder unscrews open and various electrical instruments are set in action.
Devices near the cylinder
Evacuation room
Credit propelling tube
Tray used for the deposit of captures
Device used for the registration of hunter-warriors
Page 05
The Scrapyard map
Here is the map of the region where Alita’s adventures take place. The Facotories numbers can track her progress through the chapters.
Tiphares overlooking the discharge
Hydro-wall {{in place of Hydro-mur)}
Discharge {{in place of décharge}}
North, South, East, West {{in place of Nord, Sud, Est, Ouest}}
F-66 {{in place of U-66}} and so on
The Factory Railroad {{in place of Chemin de fer des usines}}
page 06-07
Other characters
The sketches of this double page were drawn between the beginning of the series and the end of the episode concerning Makaku. By comparing these with the drawings on the three following pages (Battle Angel Alita prototype), one notices a few differences most notably on the approach to the character of Alita. (the editors)
1. Inspired by the original model, Alita in action
2. Studies of action poses
3. Studies for the action of the first fight. “Ganjutsu”, a temporary name for the fighting style, will later be replaced by Panzer Kunst.
4. A prototype for a “cyber-arm”. By the look of it, it seems efficient.
5. Formation of an Alita-Ido duet team?
6. A rather lyrical drawing
7. Ideas for ordinary outfits, from classical to sportswear
8. Combat suits variations, as it was already the case in #7, there are a few images and expressions that were later abandoned.
9. A few sketches of Ido. His character has been defined from the very beginning, and as Yukito Kishiro notes, he may not be as good as he seems.
10. Doctor Nova as he was drawn at approximately the same period as sketches n°11. Was he only supposed to be a secondary character, a mere doctor? The mark of Tiphares on his forehead leads us to think that Yukito Kishiro already had his story in mind at the time.
11. Sketches of Makaku as a child
12. Sketches of Kinuba
13. Sketches of Zapan
14 & 15. Sketches of Makaku, His worm body was already present.
{{COMMENTARIES INSIDE CASES}}
5 little “side” Black Alita
9 (From left to right)
Iron Fist
Rocket Hammer
Ido: He is not a good man only. His personality is more complex, as a part of himself can lead him to act in extreme violence.
13 Zapan, a hunter warrior.
Page 08-09
Prototype of Alita
It was originally a short story with a plot that was utterly different from the published BAA series. Since the present plot was preferred, this story has never been released. Yukito Kishiro drew these plates and added several sketches and explanatory notes before he presented the project to his editor. Some of the names such as “Tuned”, “Yoko” as well as some devices (Unocycle) were re-used almost as such in the final version of the series.
{{cursive text}}
Post atomic calendar year 106. Kyanton, a great economic power is ruled by the AIC, one of the largest multinational companies. Katoly, the capital, has become a dangerous city, some even named it “the capital of crime” because of the ever dwindling control it exerts over the applications of cybernetic technologies.
Security is no longer guaranteed and the police forces are too weak to hope to re-establish order. A new institution is then set in place determined with the purpose of putting an end to criminal activities. Its agents, placed above police authority, are cyborg bounty hunters, armed to the teeth. They are called “Tuned”.
page 10 (page 11 with no text)
“Holy Night”, the new Battle Angel Alita story
Holy Knight has its origins in a Christmas tale written during autumn of the year 1989.
In the final version of the story, I kept the main idea: that is, the relationship between the giant cyborg and the clone girl as well as the cyborg’s design, among other things. Beware this has nothing to do with Dolly the cloned sheep. In the beginning I thought I would draw a story about 30 pages long, but as I wanted to develop the concept of Ido’s consciousness as a doctor, Holy Night has become longer than expected.
*tl-note: The scanlation used “Sweet Night”, but it refers to Christmas, thus “Holy Night” would be correct.
pages 12-13
Leg design for Calico
Proposals for Alita’s outfits
Illustration (sketch)
BAA novel
Here are a few drawings executed for the BAA novel written by Yasuhisa Kawamura, published by Shueisha in the J-Books collection. I drew a new character, “Calico”, which fitted well with what Yasuhisa Kawamura was searching for his story. A few of the ideas for the novel are also mine.
Calico (sketch)
Potential fighting dress
pages 14-15
Panzer Kunst Collection vol.1
Here are some of the notes including both drawing and part of the scenario I made for the “Martian Memory” game for the Sony Playstation. Originally, the project dates back to the autumn of 1995. Not having been able to develop the space saga part of my manga, I started to think about it for a role playing game. I thus devised a project and presented it to a video game firm. In the beginning, the game was supposed to be a 2D game with multiple endings and a multi layered universe, but it was eventually decided to make a 3D game for the Playstation. As I had written the scenario and developed certain of the ideas before the project was decided to be adapted as a video game, some of the elements were not kept for the final version.
Kumai Sharin Kyaku: fight 1 (aerial anti giant technique)
caption: leaning on her hands_ to arrow upwards _ Alita performs a few skips_ and attacks with both legs extended // using her hands_to shoot upwards_perform a few skips_then Alita attacks with both leg extended
Sharin Choshu : fight 2 (aerial anti giant technique)
caption: gathering speed_ leaning on her hands to propel herself forward _a few rolls then vertical kick.
Senkai kyoku: fight 4 and others (a usual technique against multiple opponents)
caption: defensive position_ Alita kicks the opponent in front of her_ she then continues her movement with a rotation in order to hit the opponent behind her with the same foot, while the other foot also deals a blow…_ she finishes with a few rotations in order to hit the opponents within reach.
Rasen Kyoku: fight 6 and others (anti giant technique)
caption: A technique consisting in spinning around an arm, a leg, or a weapon held out by the opponent until head level is reached. No counter attack is possible during the rotation. _ Once head level is reached, there are various possibilities of attack, since the opponent is helpless.
Kosazan: fight 33 (basic technique with blade option on)
caption: against an opponent armed with a knife Alita holds her blade with its tip down and the edge facing upwards.
(“Kali” technique, a Filipino martial art)
She dodges her opponent while getting closer to him. Then with a violent blade stroke, aimed at the joint linking the arm to the shoulder, one of the armor’s weakest spots, she severes his arm.
Goki sojushi: fight 4 (special technique against multiple opponents)
caption: Alita stands behind her opponent…
she then tightly clings to him and uses his body to parry and deal blows
She finally lashes out ( some butt blow according to the illustration the word used in French is “ruade” which is a kick dealt by a horse with its hind legs) to throw her opponent in the air. The latter is left defenseless.
Sotaishu: fight 4 and others (aerial technique)
Caption: Jump… then deals the opponent a violent blow with both feet…sending him flying ten meters away.
Plasma sting: fight 7 (a technique that can be used with the berserker or imaginos body on)
caption: Alita rushes at her opponent with a jet of plasma… and slashes him through with her jet.
Kensatsu: basic technique (unusable against giants)
Caption: Alita dodges and blocks the opponent’s right jab with her right hand and strikes the joint between the arm and the forearm with her left hand.
(seen from above)
she moves away from the hit is axis by slightly swivelling round towards the right.
Kumai senkai kyaku: fight 10 and others (technique used against multiple opponents)
caption: from a controlled fall… Alita kicks the opponents within her reach … before recovering smoothly.
CHAMP MAGNETIQUE
Magnetic Field
Actif pendant quelques secondes, il peut servir de bouclier. Seulement il peut subir des dommages si le niveau de l'adversaire est élevé.
Active for a few seconds, it can serve as a shield. However, it can undergo damages if the level of the opponent is high.
(Autres applications du champ magnétique) - Lorsque l'on se retrouve immobilisé par l'adversaire...
Other uses for the Magnetic field - when one finds himself immobilized by an opponent…
... il suffit de l'activer pour lui porter un coup fatal.
... it only requires to activate it to deal a fatal blow.
ISSOKUSHU
Gally attaquée de dos par l'adversaire.
Alita attacked from behind by the opponent,
Elle efface son buste vers l'avant tout en donnant un coup de pied retourné sur le bras de l'adversaire.
she leans forward while roundhouse kicking away the opponent's arm...
Celui-ci perd alors l'équilibre...
the latter loses balance...
... et Gally lui assène alors un coup de pied sur la tempe.
and she kicks him on the temple.
RENKA GEKISHO
Tout en avançant, Gally est capable de frappes multiples (10 coups par seconde).
While going forward, Alita is able to deal multiple hits (ten per second).
Coup puissant des deux poings.
Heavy blow with both fists.
KENSATSU SHATENSHU
C'est une variante du "Kensatsu". Gally frappe l'articulation du bras de l'adversaire d'un coup de coude. De sa main gauche, elle contrôle ce bras.
It is a variation of the "Kensatsu". Alita hits the opponent's arm joint with an elbow strike, while she controls that arm with her left hand.
Prenant appui sur le bras de l'adversaire, elle effectue une rotation...
leaning on the opponent’s arm, she spins round
... pour effectuer un coup de pied retourné. Si Gally dispose d'un espace minimum de 30 cm, elle est capable d'un tel coup de pied.
…to a reverse roundhouse kick. If Alita has a minimum space of 30 cm, she is capable of such a kick.
THUNDERBOLT
Après une prise de contact avec l'adversaire, Gally lance une décharge électrique par le bras.
After coming in contact with her enemy, Alita sends an electrical discharge through her arm,
Puis elle s'écarte vivement d'un bond en arrière, laissant son adversaire chargé d'électricité.
…then she quickly leaps away, leaving her opponent charged with electricity,
L'adversaire est foudroyé ! Gally se rétablit sur le sol.
the opponent is struck by lightning as Alita recovers on the ground.
Notes sur les techniques du Panzer Kunst : la plupart des techniques de combat dont Gally se sert ont été rassemblées pour une utilisation plus facile du jeu vidéo. Des noms ont même été attribués à ces techniques. Malheureusement, la majeure partie de celles-ci n'ont pas pu être développées dans le jeu. Voici donc les techniques Panzer Kunst que l'on retrouve dans la série originale, voir même pour quelques-unes, sur Mars. (la rédaction)
Notes about the Panzer Kunst techniques: most fighting techniques Alita uses have been gathered here in order to be more conveniently used for the video game. A name has even been given to them. Unfortunately, most of them could not be developed in the game. Here are the Panzer Kunst techniques you can find in the original series, and even some to be used ("and even for some of them, ") on Mars. (the editors)
KUMAI SHARIN KYAKU : fight.1 (technique aérienne anti-géants).
Kumai Sharin Kyaku: fight 1 (aerial anti-giant technique)
SHARIN CHOSHU : fight.2 (technique aérienne anti-géants).
Sharin Choshu : fight 2 (aerial anti-giant technique)
SENKAI KYAKU : fight.4 et autres (technique habituelle contre de multiples adversaires).
Senkai kyoku: fight 4 and others (a usual technique against multiple opponents)
RASEN KYOKU : fight.6 et autres (techniques anti-géant).
Rasen Kyoku: fight 6 and others (anti-giant technique)
KOSAZAN : fight.33 (technique de base, option lame).
Kosazan: fight 33 (basic technique with blade option on)
GOKI SOJUSHI : fight.4 (technique spéciale contre de multiples adversaires). Cette technique ne peut être utilisée contre des non-humains ou des géants.
Goki sojushi: fight 4 (special technique against multiple opponents) ("This technique cannot be used against non-humans or giants.")
SOTAISHU : fight.4 et autres (technique aérienne).
Sotaishu: fight 4 and others (aerial technique)
PLASMA STING : fight.7 (technique réalisable avec la fonction berserker et imaginos).
Plasma sting: fight 7 (a technique that can be used with the berserker or imaginos body on)
KENSATSU : (technique de base). technique irréalisable avec un grand personnage.
Kensatsu: basic technique (unusable against giants)
KUMAI SENKAI KYAKU : fight.10 et autres (technique de base contre de multiples adversaires).
Kumai senkai kyaku: fight 10 and others (technique used against multiple opponents)
CHAMP MAGNETIQUE : (technique réalisable avec la fonction berserker et imaginos).
Magnetic Field: (a technique that can be used with the berserker or imaginos body on)
ISSOKUSHU : fight.8 (technique de base)
Issokushu: fight 8 (basic technique)
RENKA GEKISHO : fight.22 (technique de base, combinaison).
Renka gekisho: fight 22 (basic technique, combination)
KENSATSU SHATENSHU : fight.8 (combinaison de base).
Kensatsu shatenshu: fight 8 (basic technique combination)
THUNDERBOLT : fight.10 (technique réalisable avec la fonction berserker et imaginos). En théorie, cette technique ne peut s'appliquer en intérieur, mais dans le jeu vidéo, elle fonctionne aussi bien en sous-sol qu'à l'extérieur.
Thunderbolt: fight 10 (a technique that can be used with the berserker or imaginos body) theoretically, this technique cannot be applied indoors, but in the game it works equally well in the basement and outside.
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KUMAI SHARINRAKU
Extension…
Stretching…
… puis multiples saltos…
… then multiple skips…
… pour finir en frappant la cible des deux talons.
… to finish by hitting the target with both heels.
RASEN SOGEKI
Gally s’apprête à parer un coup de pied retourné de l’adversaire.
Alita readies herself to parry the opponent’s turning kick.
Elle se déplace du point d’impact en avançant, puis bloque le genou de la main droite.
She moves from the “impact point” by going forward, then block the knee with the right hand.
La jambe de l’adversaire toujours maintenue, Gally effectue une rotation de ses deux jambes et déstabilise l’adversaire en le faisant tourner.
The opponent’s leg still held, Alita rotates both her legs and unbalance the opponent by making him turn.
Elle frappe ensuite du coude le dos de l’adversaire (la colonne vertébrale plus précisément)…
Then she hits the opponent’s back (more precisely, the spine) with her elbow…
… puis elle l’envoie balader en le faisant tourner.
… then sends him away by making him turn.
KOSAGEKI
Coup de poing renversé lors d’une attaque de dos.
Reverse jab during a back attack.
Coup de paume au visage pour contrer une attaque de face.
Palm strike to the face to counter a front attack.
Coup de pied arrière lors d’une attaque de dos.
Back kick during a back attack.
ZOKUSHA SHIHONAGE
Anticipant l’attaque de l’adversaire, Gally vient lui bloquer son coude et son épaule.
Anticipating the opponent’s attack, Alita blocks his elbow and shoulder.
En tournant sur elle-même et en poussant fortement sur le bras de l’adversaire, elle le fait pivoter…
By spinning and strongly pushing the opponent’s arm, she makes him turn…
… et termine par une projection.
… and finishes with a projection.
ANSATSU HIJI
Gally détourne un direct de l’adversaire avec son bras gauche…
Alita diverts the opponent’s jab with her left arm…
… puis en avançant, lui assène un coup de coude sur le flanc.
… then, while moving forward, hits his flank with an elbow strike.
SHUKYAKUSO
Gally tenaille le coup de pied de son adversaire des deux mains.
Alita pressures the opponent’s kick with both hands.
Elle effectue une rotation des mains, bloquant ainsi de sa main gauche l’articulation du genou de l’adversaire tout en poussant de la main droite sa jambe vers le bas.
She rotates her hands, thus blocking the opponent’s knee joint with her left hand while pushing down his legs with her right hand.
En poursuivant la rotation des mains et selon le principe du levier, elle fait chuter l’adversaire.
By continuing the rotation of the hands and the leverage principle, she brings the opponent down.
SHUHA SHOKEN
Frappe violente de la paume de la main.
A violent strike with the palm of the hand.
HIKAKU CHOSHU
Utilisation de parois.
Using walls.
Gally se sert des angles des parois et attaque l’adversaire en effectuant une chute vrillée dans son angle mort.
Alita uses wall angles to attack the opponent by making a twisted fall in his blind spot.
GOSEI SENHA
En suspension, Gally bloque l’attaque de l’adversaire.
Suspended, Alita blocks the opponent’s attack.
Se servant de ses pieds comme d’un crochet elle s’agrippe à son flanc et tourne de manière à se placer dans son dos.
Using her feet like a hook she clutches his flank and turns in order to place herself in his back.
D’un coup de coude, elle frappe le dos de l’adversaire.
With an elbow strike, she hits the opponent’s back.
Page 17
SHUGEKICHO
Gally se tient à distance…
Alita keeps her distances…
… et dès que l’adversaire est à sa portée, elle se détend instantanément et le frappe de l’arrière du talon.
… and as soon as the opponent is in range, she instantaneously releases herself and hit him with the back of the heel.
Abandonnant son adversaire sonné, elle s’élance à la rencontre d’autres combattants.
Leaving her opponent dazed, she makes haste to meet other opponents.
KYOKUCHO ONSOKU KIRI
C’est une technique qui ne peut s’effectuer quand la distance qui sépare Gally de son adversaire est supérieure à 5m. Armée de sa lame qu’elle tient derrière elle, Gally se rue sur son adversaire.
It is a technique which cannot be done when then distance between Alita and her opponent is greater than 5m. Equipped with her blade that she brings from behind, Alita pounces on her opponent.
L’accélération de la lame devient supersonique. Cette dernière, par frottement avec l’air, s’échauffe et prend feu, marquant sa trajectoire d’une flamme. Emporté par ce mouvement rapide, le corps de Gally s’élève dans les airs.
The blade speed becomes supersonic. The later, by friction with air, heat up and catches fire, marking its path with flames (lit. singulary). Taken by this rapid move, Alita’s body rise in the air.
ORENKYAKU
Ici, Gally frappe des adversaires situés derrière et devant elle, en leur assénant un coup de chaque pied à chacun.
Here, Alita hits opponents placed behind and in front of her, by kicking each one of them. (lit. dealing each one of them a kick)
JOSHO SENKAIKYAKU
Sur place, Gally se met en boule comme si elle se préparait à une roulade.
On the spot, Alita curls herself as if preparing to roll.
Elle effectue une rotation des jambes à la manière des breakdancers.
She rotates her legs like a breakdancer.
En donnant de la hauteur à ses rotations, elle peut aussi toucher les parties hautes et moyennes de ses adversaires.
By raising her rotations, she can also hit the upper and medium parts of her opponents.
HAWAN KOKYAKU
Gally dévie le direct d’un géant de la main gauche et porte un coup avec sa main droite.
Alita deflects a giant’s jab with her left hand and strikes with her right hand.
A l’aide d’un puissant coup de genou, elle détruit le bras de l’adversaire à la base de l’articulation…
With a powerful knee strike, she destroys the opponent’s arm at the base of the joint…
… et elle termine en détendant sa jambe pour venir lui frapper la tête de son talon.
… and finishes by releasing her leg to hit his head with her heel.
NOTEN ICHIGEKI
Gally, après avoir sauté, atterit sur les épaules de son adversaire.
Alita, after jumping, lands on her opponent’s shoulders.
Elle porte ensuite une attaque directement sur la tête, assez puissante pour détruire le cerveau (possibilité de coup ultime)
She then directly deals a blow to his head, powerful enough to destroy his brain (possibility of a final blow)
L’attaque terminée, elle s’écarte.
The attack finished, she moves away.
MEIGEKI HIJI
Gally pare le direct d’un géant et prend l’extérieur.
Alita parries a giant’s jab and moves to the side.
Tout en prenant appui sur le bras, elle saute à hauteur de sa tête…
While leaning on her arm, she jumps up to his head…
… puis lui assène un coup de coude en plein visage. (vu depuis le dos du géant).
… then deals him a elbow strike in the face. (view from the giant’s back)
KUMAI SHARINRAKU : fight 11 (technique aérienne anti-géants).
KUMAI SHARINRAKU : fight 11 (anti-giant aerial technique).
RASEN SOGEKI : fight 15 (technique de base) Cette technique permet aussi de projeter les adversaires à tentacules. Dans le fight 15, on peut aussi l’utiliser contre le “high-kick” d’Ajakati.
RASEN SOGEKI : fight 15 (basic technique) This technique also allows to project tentacles-opponents. In fight 15, it can also be used against Ajakutty’s “high-kick”.
KOSAGEKI (technique de base)
KOSAGEKI (basic technique)
ZOKUSHA SHIHONAGE : fight 16 (technique de base contre de multiples adversaires) Technique proche du “Xhihonage” de l’aïkido.
ZOKUSHA SHIHONAGE : fight 16 (multiple opponents basic technique) Close to aïkido’s “Xhihonage” technique.
ANSATSU HIJI : fight 17 (technique de base) Toutes les techniques de coudes voient leur puissance décuplée avec la “lame de damas”.
ANSATSU HIJI : fight 17 (basic technique) All the elbow techniques see their power increased with the Damascus Blade.
SHUKYAKUSO : fight 15 (technique de base) Efficace contre le coup de pied de Sovat, mais inutile contre un “Mawashigeri” à la Muay Thaï. Inefficace également contre les non-humains et les monstres tentaculaires.
SHUKYAKUSO : fight 15 (basic technique) Effective against Sovat’s kick, but useless against a Muay Thai style “Mawashigeri”. Also uneffective against non-humans and tentacle-monsters.
SHUHA SHOKEN : fight 15 (technique de base)
SHUHA SHOKEN : fight 15 (basic technique)
HIKAKU CHOSHU : fight 18 (technique de base) Les coups portés diffèrent selon l’inclinaison des parois et la fréquence des contacts avec celles-ci.
HIKAKU CHOSHU : fight 18 (basic technique) The blows differ depending on the inclination of the walls and the frequency of contacts with them.
GOSEI SENHA : fight 18 (technique aérienne)
GOSEI SENHA : fight 18 (aerial technique)
SHUGEKICHO : fight 18 (technique de base contre de multiples adversaires)
SHUGEKICHO : fight 18 (multiple opponents basic technique)
JOSHO SENKAIKYAKU : fight 22 (technique de base contre de multiples adversaires)
JOSHO SENKAIKYAKU : fight 22 (basic technique against multiple opponents)
KYOKUCHO ONSOKU KIRI : fight 48 (technique spéciale à longue distance, option lame)
KYOKUCHO ONSOKU KIRI : fight 48 (long range special technique, optional blade)
ORENKYAKU : fight 19 (technique de base contre de multiples adversaires)
ORENKYAKU : fight 19 (multiple opponents basic technique)
HAWAN KOKYAKU : fight 27 (technique de base)
HAWAN KOKYAKU : fight 27 (basic technique)
NOTEN ICHIGEKI : fight 33 et autres (technique de base anti-géants)
NOTEN ICHIGEKI : fight 33 and others (anti-giants basic technique)
MEIGEKI HIJI : fight 22 (technique de base)
MEIGEKI HIJI : fight 22 (basic technique)
TECHNIQUE SECRETE : fight 22 et autres. Il ne s’agit pas d’une technique aux gestes déterminés. En fait, c’est un coup qui permet de figer instantanément les mouvements de l’adversaire, afin de l’empêcher d’agir et de lui faire perdre l’équilibre. Ce coup utilisé seul ne possède aucune puissance de frappe. Dans le jeu vidéo, quand cette technique est actionnée au moyen d’une combinaison de touches, l’adversaire s’arrête pendant quelques secondes sans que l’on puisse en visualiser la cause à l’écran. Alors pourquoi ne pas agir sur la vue de l’adversaire pour le paralyser momentanément ? (Le corps de Gally s’irradiant de lumière pour l’éblouir par exemple).
SECRET TECHNIQUE : fight 22 and others. It is not about a defined technique of movement. In fact, it is a blow that allows to instantaneously stun the opponents’ movements, in order to prevent him to act and to unbalance. This blow used alone does not have any key(s)/button(s) combination, the opponent stops during a few seconds without being able to see the cause on screen. So why not act on the opponent’s sight to temporarily paralyze him? (Alita’s body radiating h light to dazzle him, for exemple)
Page 18
TANKA KAIGEKI
Comme pour le “Kansatsu”, Gally bloque le direct du droit, mais se place à l’extérieur.
Like the Kansatsu, Alita blocks the right jab, but places herself to the side.
Elle fait ensuite pivoter le bras droit de l’adversaire vers le bas avec son bras gauche et, de son bras droit, vise en direction de sa tête qu’il tente alors de protéger.
Afterwards, she turns around under the opponent’s right arm with her left arm and, with her right arm, aims for his head, which he tries to protect at this point.
Gally rabat alors sa main droite sur la main gauche de l’adversaire et lui baisse le bras. Elle le ramène ainsi jusqu’au bras droit qu’elle maintient toujours.
Alita then pulls down her right arm on the opponent’s left hand and brings down his arm. She then brings it to his right arm, which she’s still holding.
Tenant les deux bras de l’adversaire de la main droite, Gally profite du champ libre pour lui asséner un coup de poing en pleine tête. (les phases de 1 à 4 sont effectuées en quelques secondes)
Holding both of the opponent’s arms with her right hand, Alita takes advantage of the opening to punch him on the head. (phases 1 to 4 are done in a few seconds)
Puis elle change de main et frappe encore à la tête, cette fois-ci avec le coude.
Then she switches her hands and hits his head again, this time with the elbow.
Elle termine en répétant son attaque du coude, mais en visant la tempe de l’adversaire.
She finishes by repeating her elbow strike, but aiming for the opponent’s temple.
KAIGAN SHASHUKU
Gally bloque le couteau avec sa lame…
Alita blocks the knife with her blade…
…puis le dévie, déséquilibrant ainsi l’adversaire.
…then deflects it, thus unbalancing the opponent.
Elle achève de le faire chuter en lui assénant un coup de pied descendant sur sa tempe.
She ends his fall by striking him with a hammer kick on his temple.
TAIGANGEKI
C’est une technique qui ne peut s’effectuer quand la distance qui sépare Gally de son adversaire est supérieure à 5m. Elle se lance sur lui…
It is a technique which cannot be executed when the distance between Alita and her opponent is over 5m. She sprints toward him…
…puis arrivée à quelques mètres, elle bondit en frappant le sol du pied, augmentant ainsi son accéleration. Au moment de l’impact, elle détend son corps, accélérant de plus belle. Elle atteint alors une vitesse sonique avant de frapper l’adversaire de son bras tendu.
…then at a few meters, she jumps by striking the ground, increasing her acceleration. On impact, she releases her body, accelerating even more. She then reaches sonic speed before hitting the opponent with her stretched arm.
ZENREN KYAKU
Pour son coup de pied “Summer Salt”, Gally renverse son buste vers l’arrière.
For her “Summersault” kick, Alita rotates her torso backwards.
Elle frappe l’adversaire située devant elle…
She hits the opponents placed in front of her…
…et se rétablit après avoir fait un tour complet.
…and recovers after a full rotation.
HAKYAKUGA
En avançant sur l’adversaire, Gally bloque du coude, de l’épaule et de la paume, un coup de pied de style “Muay Thai”.
When advancing toward the opponent, Alita blocks with the elbow, the shoulder and the palm, a “Muay Thai”-style kick.
Puis s’agrippant à la jambe de l’adversaire, elle fait pression de tout son poids vers l’arrière…
Then, by grabbing to the opponent’s leg, she pulls all her weight backwards…
…et termine son attaque en brisant la jambe d’un coup de genou droit.
…and finishes her attack by breaking the leg with a right knee strike.
SEHATO
D’une petite extension, Gally frappe l’adversaire situé devant elle avec sa lame, tout en lançant son couteau (objet) derrière elle.
With a small leap, Alita hits the opponent in front of her with her blade, while throwing her knife behind her.
KOEISHU
De son poing droit, Gally bloque le bras droit de l’adversaire.
Using her right fist, Alita blocks the opponent’s right arm.
Elle prend ensuite appui des deux mains sur ce bras…
She then leans on with both hands on this arm…
…pour bondir vers l’extérieur et frapper la tempe de l’adversaire d’un coup de genou gauche.
…to dodge to the side and hit the opponent’s temple with a left knee strike.
GETSUEISHU
Gally pare à l’extérieur le direct du droit de l’adversaire.
Alita parries the opponent’s right jab to the side.
Puis elle déplace son corps de façon à porter avec son coude gauche un coup sur le flanc.
Then she moves her body to be able to strike with her elbow on his side.
L’adversaire ramène alors sa garde près du corps, ce dont profite Gally pour effectuer une rotation arrière…
The opponent then brings his guard closer, which Alita takes advantage by making a backward rotation…
…et venir frapper du genou gauche la tête de l’adversaire.
…and hits the opponent’s head with the left knee.
TANKA KAIGEKI : fight 32 (combinaison de base) Technique de prise de mains développée par le “Jeet kun do” sur une base d’art martial chinois. Elle est également efficace en état d’apesanteur.
TANKA KAIGEKI : fight 32 (basic combo) “Hand grabbing” technique (think Zazie vs. Alita in space) developed by the “Jeet kun do” based on a Chinese martial art. It is also effective in situations of reduced gravity.
KAIGAN SHASHUKU : fight 33 (technique de base, option lame) Egalement efficace contre les attaques de dos.
KAIGAN SHASHUKU : fight 33 (basic technique, optional blade) Also effective against attacks from behind.
TAIGANGEKI : fight 44 (technique spéciale à longue distance)
TAIGANGEKI : fight 44 (long range special technique)
GETSUESHU : fight 44 (combinaison de base)
GETSUESHU : fight 44 (basic combo)
HAKYAKUGA : fight 44 (technique de base)
HAKYAKUGA : fight 44 (basic technique)
SEHATO : fight 36 (technique de base contre de multiples adversaires, option lame)
SEHATO : fight 36 (basic technique against multiple opponents, optional blade)
KOEISHU : fight 47 (technique de base)
KOEISHU : fight 47 (basic technique)
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Voici quelques “trouvailles” pour Gally, toujours dans le cadre du jeu vidéo sur Playstation “Gunnm - mémoires de Mars”. Inutile de dire qu’en tant que cyborg, son corps mécanique peut être modulé à l’infini. Des armes aux moyens de déplacements, à chaque situation son élément. Maintenant, à vous de juger ! (La rédaction)
Here are some “ideas” for Alita, still in the context of the Playstation’s video game “Gunnm - Martian memories”. Needless to say that, being a cyborg, her mechanical body can be infinitely modified. From weapons to means of transportation, it can adapt to each situation. Now, it is up to you to decide! (The editors)
Page 20
Un outil lourd va ralentir ses mouvements.
A heavy tool will slow her movements.
Etendu, le crochet peut atteindre 5m.
At full-length, the hook can reach a 5m range.
Aussi efficace que la “Main Foreuse”, mais beaucoup plus légère. Les mouvements deviennent plus lestes, mais la protection en pâtit.
As effective as the “Hand Drill”, but much lighter. The movements become more nimble, but protection suffers.
Portée: 2 mètres
Range: 2 meters
main foreuse
drill hand
main crochet
hook hand
bras masse d’armes
morning star/flail hand
main tronçonneuse
chainsaw hand
griffe électromagnétique
electromagnetic claw
main fouet
whip hand
main multi-usages
multi-use hand
bras lance-flammes (et lance-gel)
flame-thrower arm (and frost/freeze-thrower)
Portée: 3 mètres
Range: 3 meters
Très utile pour les voleurs.
Useful for the thieves.
La recharge du lance-flammes est de couleur rouge (celle du lance-gel, de couleur bleue)
The flame-thrower’s ammo is red (the freeze-thrower one, blue).
Etendue: 1,5 mètres
Spread: 1.5 meters
Portée: 5 mètres (3 mètres pour le lance-gel)
Range: 5 meters (3 meters for the freeze-thrower)
Page 21
hey, baby!
hey, baby!
La frappe est accompagnée d’une forte décharge électromagnétique, montrant ainsi sa puissance, comme dans le jeu “Tekken”.
The hit is followed by a strong electromagnetic discharge, showing its power, as in the “Tekken” game.
Tête de punk
Punk’s head
Tête de docteur
Doctor’s head
Têtes interchangeables
Swappable heads
Bras insectoïde
Insect arm
Main pince de crabe
Crab’s pincer arm
Bras de combat
Combat arm
Bras multi-têtes
Multi-heads arm
bras electromagnetic
electromagnetic arm
bras mecanique
mecanical arm
bras lance-grenades
grenade-launcher arm
bras supersonique
supersonic arm
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jambes de combat
combat legs
Lorsque qu’une (lolz) technique utilisant les talons porte son coup, un décharge électromagnétique se libère, montrant ainsi sa puissance
When a technique using the heels hits, an electromagnetic discharge is released, showing its power.
jambes mécaniques
mechanical legs
jambes de motorball
motorball legs
jambes extensibles
stretchable legs
Extensible
stretchable
Les ressorts entrant en ation à chaque pas, une marche normale équivaut à faire des petits bonds. En fait, je voulais que les ressorts soient découverts, mais quand j’ai pensé au modelling 3D, j’ai laissé tombé.
The spring is triggered with each step; a normal walk is equivalent to making little leaps. In fact, I wanted the springs to be visible, but when I thought about the 3D modeling, I gave up.
unité beast
beast unit
Les déplacements doivent ressembler à ceux d’un fauve.
The movements have to look like those of a wild beast.
unité snake
snake unit
unité hovercraftt (lolz)
hovercraft unit (only 1 “t”)
unité tank
tank unit
Cette unité permet d’aller d’avant en arrière grâce aux chenilles du tank, de charger l’ennemi (technique de la “Wheel Attack”), ou carrément de l’écraser en lui sautant dessus.
This unit allows to move forward and backward thanks to the tank’s caterpillar wheels, to ram the enemy (“Wheel Attack” technique), or to crush him by jumping on him.
Well, maybe I do have a chip inside my head...