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I’ve read a few reviews comparing ‘Ghost in the Shell’ to ‘The Matrix’. Personally I don’t believe it’s an true comparison at all. Contemplate ‘Blade Runner’ here. It has the same kind of atmosphere that made BR such a cult movie and it deals with the same subject. Compared to most other animes out there, GITS may seem a exiguous expressionless, but if you’re the kind who likes to have some brain activity when watching an anime, then you’ll probably like this. One other thing that caught my attention is that, like ‘Blade Runner’, it flows along like water. You could easily begin watching it and derive yourself loosing track of time. It is short tough, only 82 min. It’s a shame really, because with the sizable amount of sub-plots point to in Masamune Shirow’s modern work they could easily build an anime with well over 2hrs. That aside, the animation is some of the best you will ever peer. Kusanagi’s battle with the tank at the slay comes to mind. Very sleek. The music is also very strange. It’s kinda of a contaminated between ambient, electronica and recent age. It’s not for everyone be warned. Unlike normal music scores, Kenji Kawai’s acquire does not bring the action to life, quite on the contrary. It’s always exhibit very softly in the background to the point of you forgetting about it. It creates a sense of detachment, or contemplation that, in my concept, works immense for this kind of movie, however I can peer why some people would disagree. All in all, this one is a legal classic to be ranked along the side of Akira. Gain it!
Image Quality: Very profitable for the most share. The anime’s sad atmosphere and tiring, colours transfer well to DVD. The blacks aren’t as splendid as I would hope and at some points the image quality is, for some reason, a tad worse (the intro shots for example), however times like these are few and far between. The whole image is very soft and I hoped the edges would be a petite more enchanting. I’m not clear if this is because of the transfer or the movie itself because I haven’t seen ‘Ghost in the Shell’ in any other digital format and I certainly aren’t going to seize for reference the VHS edition *grin*. But don’t let what I said place you off, as for the most fragment you’ll be more than overjoyed at the image quality. For an example, when the optic hide kicks in and you have the ‘rainbow’ finish (if you study it you’ll know what I’m talking about) all the colours are very well defined and very crisp and you’ll gain yourself thinking how frigid it looks. On another shot of Bateau inside his car more to the demolish, you can view water drops on the side window… try doing that on VHS. Very nice.
Sound Quality: When I bought this DVD I wasn’t expecting anything special on the sound department. Boy, was I bad. The sound comes in two flavours: English 5.1 and Japanese 2.0 The stereo version is nothing to write home about. It’s adequate… unbiased. The only trustworthy thing about it is that you secure to hear the Japanese pronounce acting which is always nice, other than that (if you’ve got a 5.1 setup) objective forget about it. The 5.1 version is where the sound really comes to life. It hasn’t got an intricate and complex soundstage like ‘Twister’ for example, but it certain delivers the sound with a punch. Your subwoofer will like you every time you pop in this DVD. From the roaring explosions, machine gun fire or the deep drums on some parts of the musical bag, the bass is always deep and certain. Music is all around you, coming from all channels most of the time, so this at least creates an moving atmosphere, especially when the music is of the ambient type I’ve described. The surround channels are also nicely venerable. When shots are fired you win a sort of ‘echo’ execute going in the two surrounds. It might not be good, but when those HV bullets begin flying around, you’ll be satisfied to have the correct setup. On the market spin scene, for example you earn voices and sounds coming from the surrounds bringing the market to life. The surround channels are never aggressive nor overused, but I contemplate this is the best you can query out an anime.
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Extras: Well, they’re better than most DVD I’ve seen. You procure a 25-30 min ‘Making of Ghost in the Shell’ which is narrated by the guy who does the declare of Bateau in the English version (I hope I’m proper about this, it does sound a lot like him) . This won’t convey you anything terribly unique, but it does provide a shrimp insight at some of the techniques ragged.
The DVD also has a sort of index that provide information on clear aspects of the universe of ‘Ghost in the Shell’. Characters, machine gain, the various sections fervent, etc… again, nothing terribly fresh, but I can explore how it can shed some light in positive areas to those who aren’t very familiarised with Shirow’s universe or the anime itself. The rest of the extras are fair ads for manga video, polygram, fan clubs, etc…
An existential action anime? That’s what Ghost In The Shell, a.k.a. Kokakukidotai (Shell Mobile Force) is, with animation sporting top-of-the-line computer imagery in the Bladerunner-like metropolis of Newport, but that’s secondary compared to the underlying colorful theme.
Major Kusanagi Motoko is a skillfully trained cyborg assassin in Newport’s Portion 9, who’s taking out a diplomat illegally trying to give immunity to a listed programmer, demonstrates her training, including an astounding moment when she dives off a building, picks off her target, and via a thermoptic cover (i.e. portable cloaking method), vanishes from look.
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She and the members of her team, consisting of the mostly human Togusa, Ichikawa, and Batou, a fleshy no-nonsense blond cyborg with electronic watch implants, are trying to track down the Puppet Master. The Puppet Master is a master hacker who hacks into people’s brains and uses them for his dirty work, presumably to carry out espionage or terrorism, leaving his puppets no memory of their infiltration. One of his puppets keeps using a public computer to try to infiltrate the brain of his wife, who is divorcing him and wants custody of their child. When he’s picked up, he is told by Portion 9 that his wife, child, and divorce are all spurious memories imprinted by the Puppet Master, causing further wound to the man when he is told the untrue memories can’t be erased.
However, there are two conflicts going on. One is Kusanagi’s mission to hunt down the Puppet Master. The other and the one with a deeper meaning is the search for her identity within the plot of a whole, or rather, something beyond her individual self, highlighted by her words taken from the Book of Corinthians: “For now we through a glass, darkly.” This reflects an earlier statement when she says in observation of a victim of the Puppet Master, “all data that exists is both fantasy and reality. Whichever it is, the data a person collects in a lifetime is a minute bit compared to the whole.” A postmodernist flair is introduced when the Puppet Master says “While memories may as well be the same as fantasy, it is by these memories that mankind exists.”
The interrogate thus is, is it possible for the soul to exist in a highly technological world, where special operatives have cyborg shells, metabolic control systems, ESP, and cyber-brains?
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The search is also symbolized when she surfaces, and the bright image of her rising up to meet her reflection, representing her just self. She wonders if she has a ghost, an animating soul or spirit. In looking at the construction of her body in the opening credits, one sees that she’s heavily mechanized, with an outer layer of flesh surrounding her.
Her attempt at defining the self begins with a fresh face, train, childhood memories, feelings for the future, and the site of mental processes producing a consciousness that is “me.” However, upon a discovery inviting the Puppet Master, she further worries that what if there wasn’t a right “me,” that “I maintain I exist based only on what my environment tells me. … What if a computer brain can generate a ghost and harbor a soul? On what basis then do I fill in myself? ” In other words, what if there is no higher power to connect to, bringing into mind the word “religion,” which means “to reconnect to.”
The action sequences aren’t shameful, ultraviolent, or gratuitous in the lag sequences, but are moderate, that is until the heavy artillery is brought out, at which point glass, metal, and rock starts to flee. A very bright, thought-provoking, one-of-a-kind existential, soul-searching anime, with Kusanagi despite its cyborg dominance showing some human traits.
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