Films: Meatball Machine (2005)
Alias: Various, notably Yoji and Sachiko
Location: Civilized Area
Height/Weight: That of average humans.
Summary: If you thought that "Iron Man" franchise from the 80s was the most monumentally f*cked-up display of machine-related guro in Asian cinema, then you haven't seen anything yet. It seems that the only way to describe our relationship between man and machine is pure terror...
History: Insectoid aliens came out of nowhere one day with one goal in mind. Mainly, infect people, warp their minds, painfully turn them into techno-organic monstrosities, and then sic them on each other. Worse, these "Necroborgs" require human flesh to remain immortal, so now no one is safe!
Notable Kills: The Necroborgs are already dead. How they died will make you a technophobe for sure.
Final Fate: Yoji is infected with the Necroborg plague, and is forced to fight Sachiko, his old love. At the end of their scuffle, Yoji tearfully obliterates her with a massive cannon that forms out of his chest. He blows his head up to end it all, but then it's revealed that the Necroborgs have masters, who see the suffering of mankind as little more than an amusing game, and intend on continuing it.
Powers/Abilities: Necroborgs can infect humans and turn them into whatever horrific mass of flesh and machinery they can think of. There is no limit to what bio-mechanical weapons they can summon.
Weakness: Each-other, as well as heavy artillery.
Scariness Factor: 4-While the effects can look a bit plastic-y at times, IS THAT REALLY GOING TO DISTRACT YOU FROM THE ABSOLUTE BODY HORROR ON DISPLAY HERE?! Make no mistake, the hosts of the Necroborgs are in perpetual suffering, and they look absolutely nausea-inducing. It's all one big mess in every conceivable way. And that's even before we get to how unstoppable this invasion feels...
Trivia: -A sequel, known as "Meatball Machine Kudoku", was released in 2017. It was just as bleak and violent, but at the same time placed a lot more emphasis on black comedy.
-This film is often considered to be the magnum opus of special-effects wizard Yoshihiro Nishimura, who knows more than a thing or two about how to appeal to the guro side of Asian cinema.