The Black Gema Gema Gang, headed by Piyoko, will stop at nothing in their efforts to kidnap Princess Di Gi Charat in order to raise money for their home planet, Planet Analogue.

Digiko-chan and two companions are shuttled off to Earth to escape evil invaders from a neighboring planet, but once they arrive at their new home, they find it difficult to fit in.

Collects stories featuring the cat-eared, alien hybrid princess Dejiko, who despite having to work at the Gamers anime store, still finds time to go to the beach and switch bodies with Rabi-en-Rose.

Creatures from Planet Analogue, under the leader-ship of Piyoko, try to kidnap the princess of a neighbouring planet, who is currently on Earth.

Pyocola Analogue III, also known as Piyoko, is the leader of the (not-so) evil organization known as the Black Gema Gema Gang. Piyoko and her gang are back and this time they have more wicked deeds up their sleeves. In order to generate funds, they open Black Gamers with (evil) ultra-limited edition items. Of course, kidnapping Dejiko is still number one on their to-do list. Will they be able to hack it in the retail world? Or will they be trampled by fans trying to get their hands on ultra-rare merchandise? Success is in the air and evil will triumph Or maybe not. Oh, please pay at the cashier on the way out...

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Despite the longevity of animation and its significance within the history of cinema, film theorists have focused on live-action motion pictures and largely ignored hand-drawn and computer-generated movies. Thomas Lamarre contends that the history, techniques, and complex visual language of animation, particularly Japanese animation, demands serious and sustained engagement, and in The Anime Machine he lays the foundation for a new critical theory for reading Japanese animation, showing how anime fundamentally differs from other visual media. The Anime Machine defines the visual characteristics of anime and the meanings generated by those specifically “animetic” effects—the multiplanar image, the distributive field of vision, exploded projection, modulation, and other techniques of character animation—through close analysis of major films and television series, studios, animators, and directors, as well as Japanese theories of animation. Lamarre first addresses the technology of anime: the cells on which the images are drawn, the animation stand at which the animator works, the layers of drawings in a frame, the techniques of drawing and blurring lines, how characters are made to move. He then examines foundational works of anime, including the films and television series of Miyazaki Hayao and Anno Hideaki, the multimedia art of Murakami Takashi, and CLAMP’s manga and anime adaptations, to illuminate the profound connections between animators, characters, spectators, and technology. Working at the intersection of the philosophy of technology and the history of thought, Lamarre explores how anime and its related media entail material orientations and demonstrates concretely how the “animetic machine” encourages a specific approach to thinking about technology and opens new ways for understanding our place in the technologized world around us.