Although the terrible war between the Empire and the Republic of Frost has ended, the war’s horrors remain – destruction, disease, hunger, crime, and corruption. In an attempt to try and remedy some of the situation, the Imperial Army has created State Section III (aka “Pumpkin Scissors” for its ability to “snip” through the thick “pumpkin shell” of corruption and desperation) to combat banditry and aid in the relief and reconstruction of the Empire. But with little respect and even less funding, Pumpkin Scissors - and it’s proud but strident field commander 2nd Lt Alice L. Malvin – have their hands full combating the crime and deprivation that plagues the Imperial countryside. When the platoon receives assistance from a kindly but mysterious ex-solider named Randel Orland, they’re shocked to find out that the “gentle giant” they befriended is actually a former member of a secret tank-killing brigade - and a deadly and unstoppable killing machine in his own right. With Randel at their side, Pumpkin Scissors must confront angry civilians, bent politicians, and thuggish ex-soldiers, and a secret and bloodthirsty military organization known only as the “Invisible 9” - who may hold the key to Randel’s mysterious past….
Similar to the classic Patlabor series in it’s “bad division” formula (i.e. a misunderstood and unpopular brigade of talented eccentrics use their skill and bravery to slowly win the respect and admiration of friend and foe alike), PS wins points for it’s setting and characterizations; Iwanaga creatively choose to set the series in a fictional version of 1930’s Europe (albeit with slight Japanese social overtones), with the resulting technology of the day – without wireless radios, jets, or submachine guns, the action is a gritty mix of tanks, rifles, and sheer guts. Iwanaga also uses humor to good degree; with the exception of Randel, the personal of Pumpkin Scissors are obviously pencil-pushers unsuited to the stress of actual combat. The art is a little rough at first but soon improves to a style that’s both cartoonish and sharp, and the action scenes are exciting and well-rendered.
All in all, Pumpkin Scissors is a well-done and straightforward action series with elements of humor and political intrigue; I look forward to subsequent volumes.
Similar to the classic Patlabor series in it’s “bad division” formula (i.e. a misunderstood and unpopular brigade of talented eccentrics use their skill and bravery to slowly win the respect and admiration of friend and foe alike), PS wins points for it’s setting and characterizations; Iwanaga creatively choose to set the series in a fictional version of 1930’s Europe (albeit with slight Japanese social overtones), with the resulting technology of the day – without wireless radios, jets, or submachine guns, the action is a gritty mix of tanks, rifles, and sheer guts. Iwanaga also uses humor to good degree; with the exception of Randel, the personal of Pumpkin Scissors are obviously pencil-pushers unsuited to the stress of actual combat. The art is a little rough at first but soon improves to a style that’s both cartoonish and sharp, and the action scenes are exciting and well-rendered.
All in all, Pumpkin Scissors is a well-done and straightforward action series with elements of humor and political intrigue; I look forward to subsequent volumes.
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