The most incredible thing about this movie is the duality Human vs Machine. Motoko represents a human that turned to a machine while master of puppets represents a machine that turned to a human. They are mirror of themselves
It's 2021 as I Reply to a 5 year old comment and even TODAY Ghost in the Shell is distantly ahead of its time. The world is STILL not ready for this film.
@@kythrathesuntamer9715 You can tell who the charlatan critics are based on their 1995 verdict. You know the type: quick to give 5 stars to any trite state subsidized film about suffering or human inequality. GITS premieres and they call it Blade Runner with boobs for adolescents. Well Blade Runner was a shit film. GITS was fantastic, and Innocence even better.
Motoko's dilemma is beautifully ironic. The question is the answer. To wonder if you are just a machine is not something a machine would do. The fact she questions if she is individual tells me she is self aware, and what is self awareness if it's not individuality?
mmm fair enough... but in this GITS universe the puppet master is a machine or program that became self aware, which implies machines are also capable of self awareness. Also identity has to do with memories, and in this universe memories can be replaced or toyed with, which is why Motoko feels so bummed out during the interrogation scene.
Donde está Carter!! true but the puppetmaster is fully aware he is an AI. Motoko however, has always been Motoko, sure her memories could be tampered with but theres never been an indication of tampering.
That´s precisely my point. The PM knows he was born a machine, but Mokoto is aware that memories can be tampered, and she can´t be certain, ironically not as certain as an AI knows he is an AI. At least the PM has that "certainty" advantage. She has nothing, only questions, first that began as hunches and then as the movie develops, they become serious existencial affairs for Motoko. The reason why this movie is a masterpiece is because it doesn´t fall into temptation of answering the questions it rises but because it puts them over the table, and leaves it to the audience to answer it. Motoko´s dilemma is our dilemma, we as humans. Are robots a danger, kinda Terminator, or are they user friendly? Will we adapt to the changes? Will we change because of them?" and so on... "The net is vast and infinite" WTF is that? is that a proper statement to end a movie?? No, it doesn´t give a closure, on the contrary, is an open ending, a metaphor perhaps to the questions: "posibilities are infinite, make your guess" Ok, I may have gone with the branches in this one but, back to the point: "there´s never been indication of Motoko´s memories being tampered" well, who cares?? (not being rude here) Yes we never know in the end if she was human or was not, but that´s not the point of the movie, the point was to raise the doubt that she could not be human even if everyone around her treated and defined her as thus. With doubt, she can creat questions, and as long as you have no answer you can build tension in a film. Maybe answering the question is important in Scarlett Johannson movie (good luck with that...), but not here.
The puppetmaster does NOT view himself as a AI created by human. He came to Section 9 to seek asylum as a individual life form (生命体), he called himself "a life form born from the ocean of information". I think we all agree that modern science is not yet capable to define what is life. We human perceive the difference between a human and any other animal through intelligence, and the different between a human beings and a machine through the existence of ghost. However human can not prove the existence of his/her ghost through any other way than accept dialectical materialism what Descartes called: "I think, therefore I am." Here comes the question, pupetmaster, an AI designed by human, gain it/his/her self awareness, does it means it has ghost, dose it means it is a life form. After all, we haven't come across a self aware object that is not a life form. If puppetmaster is a life form as he claimed, than his very existence proved that man made machine can generate ghost, and we also know memory also can be produce, then there is really no difference between project 2501 and a life form. I think it is more accurate to consider puppetmaster as another life form very similar to human rather that a AI. Therefore Motoko's self awareness does not prove her humanity, I would very much wanted her to be a human, but no one can prove his/her own humanity
Im not any good at deeply analyzing a work of art. All I can do is bringing it down to a more simple concept, which allows me to understand the overall theme. For me, Motoko's dilemma comes from the idea of her being a cyborg for so long, that it has completely desensitized her from her humanity. She only feels human from other people treating her like one, therefore, she needs other people to recognize herself. The garbage-man case with implanted memories, the similar cyber-body models she sees on the street only serves to further put doubt on her own individuality. That is detrimental to her sense of self. On the other hand, you have this A.I. that has gain a "self" and it's able to recognized his own existence without the need of others, even when he knows he was created as a program by humans. This falls in place with the "mirror" metaphor, they both are questioning what is called "self," but are at opposite ends of the spectrum. Which is why the Puppet-Master says: "we resemble each other's essence, mirror images of one another's psyche."
The ability of the artists to recreate that dead, soulless, doll-like stare that the cyborgs have is phenomenal. At no point will anyone ever assume this is an organic, living being even if they aren’t told the context of an image they’re looking at. Either it’s the walking dead or something that has taken the form of a human and uses it as a shell. Amazing
Hey, You analysis is FANTASTIC! But I have to disagree with the last argument about the "two motokos". That morrored image of Motoko is most probably just a mirror. But there are other details that you probably missed because it's still important. First of all, Motoko being in a younger body isn't just "because that what's was available at the black market". The merge DID happen, and she is born anew. "Where does the newborn go?" is the last thing Motoko mutters. So, a younger body really fits the feeling Motoko gets. But let's go back to the mirrored image of Motoko. Remember how her reflections of her revealed something about her inner feelings? Remember that whisper on the boat that both Major Kusanagi and BATOU heard? "It seems that we are looking through a Mirror and all we see is a dim image" Well, notice that this particular reflection in that mirror is perfect. That means, that the new being that has come out of Motoko's merge with the Puppet Master, is a higher being. It isn't clear if the questions are answered while we couldn't hear the conversation or the exchange of information that occured, but the new Motoko is looking at a comparatively complete image of herself instead of whatever was seeing herself reflecting during the movie. That's why it was almost like two identical Motoku sitting in a room because much of the self-doubt has gone and her image of herself has reached near completion. She is one entity and she is sure of it. Well, that was my take on that scene anyway. I am grateful you are here on youtube and do such great job, mate! Keep it up!
RetroMario Agreed. It’s just a mirror in the adjacent room and her POV seeing her own mirror image. What’s more important is the clarity of the image when compared to other reflection, suggesting that she has changed significantly. And the child body symbolizing how she is born again and essentially a child again (in the manga it was actually a guy‘s body). I think the video reads a bit too much into some of the specifics. I think there is no specific connection between the bird-like plane in the cityscape sequence and Motoko, but the whole sequence just shows a city overflowing with information (signs, people, vehicles) and showing how dense humanity has grown, yet how far apart they all seem and how lost Motoko is in this world and how removed from it. But that’s just my interpretation. That’s what’s so beautiful about this film. It raises questions rather than answering them and encourages each viewer the opportunity to find their own answers.
I thought two identical room indicates there are two new entities after Motoko's and project 2501's "merge". Because the reason project 2501 do want a merge is because it wants to be able to produce like biological entities not self-copying itself.
In the manga, there are actually multiple Motoko/ Puppeteer Hybrids, especially in Man/ Machine Interface. However, in the films it always seemed like the new Motoko at the end is a merger of both Kusanagi and the Puppet Master. In Innocence it's also just her. I think there are no two identical rooms, it's just a mirror in the adjacent room. It does have significance, but I also wouldn't read too much into it.
@@Fallout0SC I think the first shot of the newborn Motoko is of her looking at herself through the mirror, hence the difference in style. We see through her computer-like eyes.
I showed this movie to a friend of mine because i think it's very deep and interesting. All she said afterwards was: "The one guy's name sounds like butthole." I guess Ghost in the Shell isn't for everyone xD
Daniel Yu How was I supposed to know? The only exposure I've had to Ghost in the Shell is by watching reruns of SAC 2nd GIG on Adult Swim's Toonami block.
You overthink the chairs at the end, unfortunately. at 30:45 you can see that the gap to the other chair actually has a ledge at the bottom- it is not a doorway, it is a mirror. That shot is from the major's perspective as she looks at her reflection in the mirror. The two shots are turned around because that is what mirrors do.
I agree with the mirror explanation. Yet the shot does have some extra meanings: 1.When the new "Matoko"(this is "daughter", not the original Major Matoko) wakes up, the first thing she sees is her own image, implying that this time she know who(or what) she is right from her birth. "Who am I" is the big question haunting her from the beginning of the film, she gets the answer at the end. Also, this means at the beginning of the film, she is watching herself made in an object way, and feeling herself born in a subject way at the end. 2.I am not a Christian, so correct me if I am wrong: Matoko is "the One"(that is chosen by the Puppet Master), doubts her destiny and accepts it, dies and rises from the dead, and these make her - Jesus Christ-ish? However, Makoto and Jesus Christ are different in: one, she is female; two, she is there for some mysterious reason the first time, and born without a real father the second time - both the opposite ways. Which perhaps means, Makoto is the "reverse Jesus", or the "Jesus of the machines". The image of Angel also supports this theory. (If it stands, double shame on The Matrix.) 3. The first person shot means the director is making us to look through Makoto's eyes: who is she? who am I? Just an image of myself, that is all.
I totally thought that it was also just a mirror, but what makes me somewhat question that is the part of the scene when we see the empty chair. At that point, if it were a mirror, you'd expect to see Matoko in the reflection, yet we don't. I'll have to rewatch the actual scene before I can firmly say one way or another, but it actually might not be a clear cut mirror if I'm understanding that last piece of the scene correctly.
She was looking to mirror, they use the mirror symbolism. The mirror is her point of view, then she starts to talk to Batou, it returns to Batou's point of view and then our point of view, when we see both in the scene.
@@saylo8796 That's a good point! And on the left side of her, when she is back to 'us' we can see doors open - I thought that the mirror hangs on them, but now they are open... Also a two details that I saw: Batou drinking the same beer that they had on the boat and the picture that hangs above hers armchair shows a boat on the lake close to the city - it refers to their moment on the boat and the subconscious/ghost speech-quote from the Bible... Now she sees face-to-face..
Here is some interesting fact that you missed: During their conversation on the boat both Motoko and Batou hear her voice speaking what is a verbatim citation from the bible: "What we see now is like a dim image in a mirror. Then we shall see face to face." (1 Corinthians 13:12) Given the context it becomes clear that this is meant as a forecast to her later transformation. The preceeding verse in the letter of St Paul goes: "When I was a child, I talked like a child, I thought like a child, I reasoned like a child. When I became a man, I put the ways of childhood behind me." (1 Corinthians 13:11) - And that is what Motoko says after her restoration at the end of the movie and she even sets it in context with the previous scene: "Batou, remember the words that I spoke in another voice that night? I understand it now and there are even more words that go with the passage. ..." Looks like we are looking at a pretty pious android here.
That's in the English dub. The translators took liberty to reference the Bible but the Japanese did not use that reference. If the writers had intended to reference that passage they would have done so in the Japanese. That being said it's still an excellent translation because it captures the theme of only understanding somewhat but knowing that in the future as will be revealed when the truth is met face to face in the form of a matured/completed person
@@zogwort1522 I've looked into it and it appears im wrong and you're right... The subtitles i watched had failed to translate it accurately and the movie does specifically reference the Corinthians passage. Sorry man, i was wrong
The angel is not a trippy vision by motoko, it´s the helicopter deploying for sniping position. If you check earlier in the movie, when section 6 choppers are being briefed about their targets, right after this shot we see the helicopters being deployed in the same way, feather-like gear coming from the sides to allow snipers to shoot. Before they could merge the snipers already point at them, so the puppet master hacked them to buy some time through the already dead tank driver. It is only when they merge that the lock on the chopper is released and motoko sees this angel from above, which is actually the helicopter being re-deployed to sniping mode, but seen from below. Of course, the whole sniper-bird-chopper deal was to get motoko see an angel right before the merge, to give a heavenly significance or metaphor to the "marriage" scene. A similar robot-heartless-hard logic explanation for the feathers escapes my imagination. Rain? Glass shards? Anyway, amazing analysis mate, you opened my mind. Keep it up.
Excellent job on the analysis. I can't help but think that 1 Corinthians 13:10-12 is a key to understanding some of the imagery used in the film: "But when that which is perfect is come, that which is in part shall be done away. When I was a child, I spoke as a child, I understood as a child, I thought as a child. But, when I became a man, I put away the things of a child. We see now through a glass in a dark manner; but then face to face. Now I know in part; but then I shall know even as I am known." The regular use of reflections, mirrors, optical camouflage, breaking glass; the constant search for self-knowledge and ultimate purpose; of seeing 'face to face', as in the meeting between Mokoto and the Puppetmaster; the feathers of the angel as gate-keeper to a higher plane of existence; the paradox of reaching 'maturity' in the form of a child: all of these things seem bound up in the passage quoted by Mokoto, first on the boat and then in the final scene. The fact that she explicitly refers to it as a "passage" seems to imply that the audience is suppose to recognize the biblical reference.
When Batou said that Motoko is a human because she is treated by a human, that could be a subtle reference to Alan Turing's ideas on artificial intelligence. Turing believed that a machine that responds in a perfectly humanlike manner is indistinguishable from actual humans. Turings' position pretty much falls in line with the notion of solipsism, since we can't really know whether anyone else is really thinking or just programmed to act in a humanlike manner. You could even go a step further and ask whether you're not a machine programmed to act in a humanlike manner. Just my two cents.
Solipsism is the belief that the only real being are ourselfes. What you're referring about is maybe the Cartesian "problem of other mind", or the impossibility to have real knowledge that other people have a 'ghost' like us.
I always felt that the movie was very emotional. I never put any of what you said together about symbolism or anything like that. But when I was watching it, I always felt a strong, everlasting emotion in the movie. That is what I loved about the movie, and something I will always remember about it. Great analysis.
There were a few things that needed to be pointed out. The skin scene in the beginning was explained as part of the method of growing skin that is UV resistant. Motoko wasn't "born" a creation, she was born human, but being an orphan, she kept replacing more and more of her human body with cybernetics. Her dilemma is then her constant questioning of if she is still human even though 95% of her body is no longer human*. Does replacing her human body with robotics thus remove her humanity or does her humanity lie in her "ghost"? But then seeing how fallible emotions and memories are, that deepens the question even more asking if just not knowing is what makes us human. The voice whispering to her is her first introduction to the puppet master, the rogue AI that has become aware and has taken over the cyborg. At this point, Motoko begins to accept that she is herself, regardless of whether she's still human or not, and in her embrace of her own uniqueness, she accepts that the AI could be alive as its aliveness justifies her own aliveness, which is the driving question she's asking herself the entire movie. Thus she allows the "mating" that happens between the puppet master and herself. And a few other philosophical quibs here and there that I'd love to debate with but alas.... Great video though. You caught a lot of the symbolic reference and symbolism and did a great and engaging job of presenting them. And looking at the comments, a serious number of responders were caused to think twice about the movie in a very positive way. To me, that's one of the best gifts to have regarding a breakdown like this, and for that, you're awesome! Keep it up. *I'm not sure of the exact amount is now machine. It was thoroughly explained in the manga, but the point of being almost entirely machine and only having the brain left of her human body remains.
Also, the points of duality are a bit more esoteric than you present, especially between the puppet master and Motoko, but it's not necessary to enjoying the story.
Project Burn you made me remember the conversation in which she asks Batou "how much of your body was changed?" She wants to reaffirm that it doesn't matters how much of your body is replaced with cyborg parts, it's something else what makes you human.
I believe she was orphaned and drastically injured in a plane crash. She was raised from a young age, 8 or 10 iirc, in a body that is 98% mechanical. She was not slowly becoming more cybernetic, it's just that she has almost no memories of being flesh and bone
I think the revolver could also be seen as a metaphor for humans becoming "old" or being overtaken by cyborgs and other technology ironically made by themselves. A sort of evolution.
Like Major Kusanagi said, "Overspecialise, you breed in weakness." She understands our history is important for without a history how on earth can you fully contextualise? You'll always be at a disadvantage
Thank you for making this. To me, the Angel descending part was always confusing, I thought it was just put in to explain she is transcending. But after watching your analysis I agree, I think it is Motoko's "higher self" and the angel is indeed female with a similar hairstyle. Masamune's comics continue to explore the concept of multiple selves so this strengthens that theory. The ending of the movie has a sad feeling for me. We can no longer empathize well with Motoko as a main character because she has transcended and is something more than just human. We are left to guess and that's what makes it a great ending. Her cameo in Innocence was short to make us understand that she's more God like than human and the doll's body can barely contain a sliver of her consciousness
I think that at the end you see Motoko sitting in the chair from her point of view. The digital effect is that it is seen through her eyes. She is looking at her own reflection in the mirror at the end of the room. That is why there is a "second chair" seen when she gets up. It's just a reflection (once again the mirror theme). It's probably to symbolize that she & the puppet master code are freeing themselves from the old confines of the mirror and going into the new world outside.
5:30 I love the attention to symbolism in this image. The 2017 movie trailer did a reverse of this image with the lighting, for some odd reason. The window and background were darkened, while ScarJo was in the light. That, IMO, ruins the very purpose of this image. My interpretation is that the purpose of this bedroom image was to show what the Major is like as a character: a dark and hollow shell with a small glimpse of the light of true existence, yearning to transcend her boundaries and become something more than just a ghost in her shell.
jon doe totally. This is one of my top favorite films of all time and I just never looked into it this deepely. Saw it at face value and didn't look for metaphors etc. After this video, I rewatched it, and I appreciated it much more than I've ever had.
Harrison McKinney I always thought the metaphor of the basset hound represents the spirit of nature residing within the artificial environment of the city. The dog is just a dog, an unaltered natural being with a soul of its own, that continues to be just a dog even though the world around it is becoming less and less natural. The dog appears to have more emotions even than the humans around it who move aimlessly, without emotion. The basset hound is alone, longing to find its place, just as Motoko is longing to find hers. Thus the basset symbolizes the conflict between nature and artificiality as they gaze at each other.
Basset is representation of humanity. In GitS Innocence and Avalon, that dog is the only thing what keeps main characters, Batou and Ash, in resemblence of normality. While personal space of Motoko is a mere container of her body, Batou's house is a real home, and every evening he brings food to his dog who's waiting for him. Basically speaking, the dog is the only thing what keeps Batou from following Motoko's steps.
Nice analysis. Some the analysis forgets that Motoko is a special ops soldier and covert operative. Spartan safe houses, no attachments, and difficulty relating to civilian or normal human interactions is the norm. I understand the desire to relate the themes to what makes us human vs a cyborg, but it can also be thought of as the differences in subcultures. The special ops covert operative life is very different from normal civilian life. The questions that all of section 9 face about their humanity are faced by soldiers and marines returning to civilian life. One of the things the analysis does not look at is that this is a world where everybody is part cyborg. What sets section 9 and Motoko in particular apart is the job. The life they lead has no room for attachments. No possessions, or relationships. In fact, their experiences cannot be talked about with civilians or even other operatives who are not read into whatever ops they do. So many of the symbolism attributed to cyborg vs human is not really applicable. On the other hand, the issue of where the consciousness resides is the more direct question. In the end, Motoko's consciousness moves to the net. This may be separate from her brain case, but that is never specified. One thing that makes this powerful is that it shows where we are going technically, and the ever more isolating effects of certain subcultures. Some combat veterans ask the same question as are being asked in GIS. What makes me human? How do I stay human?
The fact that the core philosophical conflicts of the movie play out not just explicitly, via dialogue, but even manifest in elements of the environment and in seemingly "accidental" visual metaphors that constantly arise are exactly the reason why this movie is so powerful and enduring. Excellent analysis, thanks so much!
In my opinion, Ghost in the Shell is the most perfect movie ever created. From the 1st second to the very end, there has never been another movie so perfectly intertwined. Frame by frame. Every line of dialogue. Every note of the sound track. -- all fits together like a masterfully crafted puzzle to tell its story at multiple levels, consciously and subconsciously - all at the same time.
+AnimeEveryday yea u fucking rule i wish i could be as intelligent as u lol i never would of put all this together like this....i still dont fully understand the very first scene with the diplomat or the scene with the chief when hes watching that white haired man
Agreed, clearly a mirror. I was surprised that the maker of the video didn't pick up on that especially when the motif of reflections was talked about so much earlier in the video (which I thought was very insightful). Additionally, I think that the point of Motoko being in the new "child's" body is clearly a reference to the reproductive nature of her merging with the puppet master and that the angel (a symbol of the interaction between God and humans) represents the conformation of the spirit (or ghost) in these beings which question their own humanity. The angel descends with the bullets that kill the puppet master, as if to retrieve his soul, and by doing so, allows Motoko (who was seeing through his eyes at the time) to get an answer to her initial question about whether or not she is "human".
Really interesting video - I originally watched Ghost in the Shell when I was much younger and most of it flew over my head, but I picked up the Blu-Ray recently and really enjoyed it (having read the Manga last year I found I understood the concepts more). This video did really make me think about the symbolism a lot more so thanks. I'll need to watch it again sometime. I'd just like to add though, at 12:20 you discuss the voice Batou and Motoko hear on the boat. I think it is actually mentioned, or possibly just implied, in the film but that voice is actually The Puppet Master. He has been wanting to escape Section 6 and tries to flee to Section 9 so I believe he was monitoring their members. I think this is the moment that he becomes interested in Motoko specifically, as he realises that despite her being human, she thinks of her existence much like he thinks of his own. I believe that him listening in on this conversation is what makes him select Motoko as his choice of someone to merge with - when he says "Because we are more alike than you realise" it seems that he is referring to the conversation she was having with Batou on the boat. Taking it a step further, I actually personally think this is the actual moment that The Pupper Master gains awareness of his own intelligence. Listen how the voice sounds incredibly week and robotic, as if it is taking for the first time. I feel it's intelligence had been developing for a while, but listening in on that conversation made him become aware of his own evolution from a mere program into an artificial intelligence. I find it a little hard to put into words, but have you ever struggled with explaining something you have thought or felt but then heard someone else describe exactly what you were having trouble putting into words and everything clicks into place? I think it's pretty much exactly like that. I dunno how often you check your comments on these videos but if you have the time I'd love to hear what you think :).
Great analysis man, Oshii truly is a master and this film is a masterpiece. I think it really shows how differently people interpret this film though, I always thought Motoko's dilemma was the difficulty of seperating physical experience from purely mental existence. I showed this film to my Dad who's a pretty big film and sci-fi buff and we had a discussion about the questions it raises during which we came to the conclusion that the film is creating an answer to one of the main problems of technological singularity that being that artificial entities are unable to reproduce by embracing the idea of conscioussness fusion. As for the last scene with the chair my interpretation is that it emphasizes how Motoko is both a new body and new mind and infact not Motoko at all anymore, it zooms away from the old existence into the new which is paralell but different almost as if what Motoko knew as 'herself' is dying and giving rise to new life which will spread through the net. It could also symbolise the end of an entire stage of human existence that being the one that seperates human and machine, ghost and shell and bringing in the new age. There's a quote from this scene from the bible that goes "When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things" Put in the context of the final scene this explains how individuality and the desire to remain what you are is a childish delusion because as the puppet master points our, we are always changing. Also while you didn't mention it the song used in the beginning of the film called 'making of a cyborg' is very important, its actually an ancient Japanese wedding song which gives the opening scene marriage symbolism as well as birth symbolism.
AnimeEveryday - Anime Reviews Yeah its a pretty surreal moment but very subtle in execution, even if there isnt a physical mirror in the scene it definitely creates the metaphor of a mirror between two worlds.
I think it is definitely ment to symbolize marriage(and marriage being a symbol of a union) along with birth. When people get married the symbolism is that two separate things (2 lives) come together to create one new thing (1 life together). The symbol becomes literal when two people create a new life from an egg and sperm. Her melding with the puppet master is like a marriage. I don't believe that you are seeing motoko in the last scene. Its the new entity created by the information from both motoko and the PM. Their child. I think their ghosts ceased at least in the sense of their identies or separate conciousness, but the child that was created proves they were alive. Birth, procreation and death are things humans take for granted yet mokoto and the puppet master spend the whole movie just trying to understand and accomplish these things. I havent seen this movie in forever but I don't think its at all clear how they merged or how exactly the new child was produced from that, but I think that the impotant thing was that they understood that it was procreation that was the defining aspect of life. This is what evolution is all about. We die but we don't because our information is passed on and evolved to something new. If you watch the film from the perspective of procreation you can see many shots of the city with buildings that are still being made and buildings and things that are finished (not having been born, but having been made) and shots of all of these things in a state of decay or misuse. The rubbish are things that have been created, but are not 'alive' because they didn't pass their information on in the process of creating something new. Another building will be erected in place of the buliding in the climax, but it will be a wholly seprate entity. Man, I'm gonna stop rambling and watch the movie again.
Jonathan Lewis one other thing is that I do think its a mirror at the end but I think the mirror and reflections imagery is the idea that she is searching for herself and who and what she is but discovers that if you are alive, yourself is never really just yourself. You are the product of the information from the evolutionary history of your species. Looking through the mirrior for motoko (who isn't exactly alive) is realizing that a machine when reflected in a mirror is only a reflection of itsself. While the child (who again is not motoko or a copy of her) looking into a mirrior sees herself, motoko, and the puppet master. The child is now a living thing.
That was solid academic like analisis. It's impossible to see all of those details when you watch the movie just once. Because of that i really appreciate your effort to make this video. Thank you :) The other thought after this analysis is that the movie is indeed a masterpiece created by some geniuses.
Motoko* never had a 'human' shell. In 'Arise' we find she was a late-term fetus whose mother was killed in an auto accident. The damage to her almost fully formed child was so high that the brain was placed in a cyber-shell. She grew up in a successively older cyber bodies until adulthood, hence her inner struggle with her connection to humanity and the question: "Is there a ghost in my shell?" After her massive trauma in her epic battle with 'Teh Puppeteer' (sic) we find her awakened in a safe house with Batou explaining the adolescent body she is in is all he could afford on the black market. She thanks him, says see ya again my best friend and ghosts off, presumably to eventually completely transfer to multiple and ever-changing servers inhabiting the ever expanding thing we call the Internet or actually the metaphysical universe in and of it that we can only call Cyberspace.** imho *Motoko means basically 'Unspoiled' or 'Untainted' Child. Pluperfect as if a complete book of unwritten pages. (again imho.) ** -William Gibson, Neuromancer trilogy.
One small nit. At 12:20, I believe it is the puppet master who is speaking. At the end he reveals that he has been aware of her since before he gained notoriety as the puppet master. He goes on to say that his psyche and hers are perfect mirrors of each other. It freaks them out when he speaks, because they dont know who spoke, but the statement about the "dim mirror" perfectly telegraphs the scene where they merge and it contextualizes the diving scene where Kusinage comes up from under water, merging with her reflection, and becoming something new. Its very beautiful. Amazing foreshadowing.
Motoko Kusanagi was not a blank slate. She was a cyborg. She still has memories/experiences from her human side but does not fully know if she still retains a soul.
But wait... If it's a mirror and Matoko was standing up, having just stood from the other chair, why is she not being reflected by the mirror as well? If it _is_ a mirror and she's not seeing her reflection anymore, it could be a symbol of finally achieving complete-ness by the language of the film... Or, we could be goofy and associate it and the gothic lolita dress as an implication that we've witnessed the birth of the first cyber vampire.
Check these out too! There's so much to get out of this film. www.academia.edu/12322050/Self-Awareness_in_the_Conscious_Subject_Cyborg_Anxieties_in_Mamoru_Oshii_s_Ghost_in_the_Shell www.academia.edu/6964172/Mamoru_Oshiis_Ghost_in_the_Shell_Identity_and_The_Self
In the frame stopped at 20:50, you can see the puppet master and the background. I didn't catch it in my viewing of the movie, but now that I saw it again, it looks like he has a halo. Look in the background behind him - you can see the machine-like ring around his head. The fact that it is glowing with light also helps to show that it might be a halo. I'm not entirely sure of what this detail means, or if it is even relevant at all, but it struck me as unique and noticeable. Here's my short analysis of what it might represent. Keep in mind I'm probably gonna stretch to find meaning in this, and like I said before, it might have no meaning at all. To me, the puppetmaster almost seemed like a god in his own right. He had access to the unlimited and vast information of the net. He also knows 'the meaning of life and existence' that Kusanagi had searched for throughout the movie, much like how God knows everything in the world, and the meaning of life. This next part might be a little bit of a stretch, but the fact that he talks about how life that is created naturally, like how humans reproduce naturally, is the same as life that isn't produced naturally, like how a god can create beings out of clay (like in greek mythology), or other materials. The connection between the angel near the end of the film can also be made. When Motoko combines herself with the puppetmaster, she witnesses the angel, or "sees God". Because she combines with him, she acknowledges the meaning of her life and "sees" or "becomes" a god. Also, I don't know why, but I compared the "God of the Wired" character from Serial Experiments Lain to the puppetmaster during my first watch of the movie (This is probably the biggest stretch and has no relevancy to the puppetmaster, I just wanted to include it). Well, there's my over-analysis of a small detail. Maybe it will prove interesting to some. Great video as always, AnimeEveryday never disappoints.
+soEZNation I didn't notice at first either, but yea, it really does look like a halo. To me the halo, much like the angel metaphor, represents the "new life form" mentioned in this video. When you consider the animal kingdom as a "kingdom of bodies" (so to say) and the realm of the angels/god as the kingdom of the soul/ghost, humans are nothing but an incomplete mixture of both (also represented in Matoko's identification problem). The mind captured in an organic prison. The puppet master is, in this regard, a better and improved lifeform that was able to overcome the body and is pure mind and Information. And much like a religious prophet, has to use a shell in order to communicate with humanity. I think this also goes along nicely with the interpretation the video offers, especially considering the last part in the museum.Just my two Cents.
THE VIDEO ISN'T EVEN FINISHED YET AND I GOT TO STOP AND SAY THIS: You made me rethink everythink I know about my favorito movie of all time. So much new information and ideas I hadn't thought about before. Great job. Almost 100k.
This is my favourite film of all time and I have watched it countless times. I even analysed it for one of my English assignments, and seeing this afterwards I'm surprised that my analysis was virtually identical to this video. I had to compare and contrast the related text of my choosing (GITS) to 'Divergent' of all texts! I must say, ghost in the shell and divergent together are like chalk and cheese! Divergent is a shallow, feminist, teen romance story which tries to be sophisticated but fails miserably. It is rare that a movie as innovative and thought provoking as ghost in the shell comes about.
Thank you for this analysis I just finished watching the film and I could feel a lot of references going over my head so this provides a lot more clarity of the overall discussion of the film
the museum scene (when Motoko is looking at the ceiling) looks very much like a cell division. when a cell division happens, nothing of the original cell remains but there are now two individual cells sharing characteristics. this happens right as Motoko is asking whether she can re-gain her individuality in which the answer is no.
What an amazing job! You combine lots of elements, not just knowledge about a wide variety of disciplines, but a great intuition and that is priceless. Thank you so much for sharing. New subscriber
In the last scene, where Motoko is in her child body, the digital look always conveyed to me that the opening shot was from her POV. Not looking at a second cyborg but looking at her own reflection in a mirror at the end of the hall. It explains the pixelated look of the opening shot and the reversal of the room layout from shot to shot reinforcing the whole "it's like we're looking through a mirror and what we see is a dim image". This is further reinforced when the dim lighting and slightly de-saturated colours are taken into consideration. Look at the difference in the vibrancy and colour temperature of the room in what I propose is her first person shot versus the subsequent third person shot where everything seems reversed. I had always just assumed that the position of her in relation to the camera meant that her reflection wouldn't be visible but I'm questioning that now. I had never considered that there could now be more than one Motoko in the world. I would have thought that Batou, being a rather down to earth and straightforward guy, would have mentioned to her that she now had a copy or offspring. Anyway great video dude, considering it's only 34 minutes, you've managed to be very comprehensive. It's raised some new questions for me. Time to go and watch it again.
There are basically 3 versions of GIS (Movie, TVO and OVA), also refer to 3 versions who the 'Major' was. In movie version, it more or less hint that she was a full cyborg system, even memories were implanted, so that she was the only one 'in the network' that can be merged with project 2501.. Because they're alike each other, both synthetic. Also the 'Major' in this version has the most robotic feeling. In the TVO series (Stand alone complex),in the scene 'affection' it hint that 'Major', and Hideo Kuze was the only 2 survivors with severe body damage, and they became the first full-cyborg-body users in young age. This seems to be the most accepted version of who the 'Major' was. It is also interesting that in the SAC opening theme there were few flashes shown she was indeed being cyborg-body in the very young age, but she also had a childhood -- memories about toys and the place she used to live. In the OVA series (Arise), 'Major' once thought she was adapted and raised by somebody. Latter on she found this was fake memory that somewhat implanted by somebody. Although most GIS movie fans don't like the 'Arise' version, it is the one closest to the original manga and the 'Major' in here was more human-like rather than robot-like. ============ Normally it would be 3 stories lines in 3 parallel universe and 3 different version of 'Major'. But what if they're all in a line(I know that SAC and movie definitely proceed into different time line). That is the original 'Major' was somewhat a true person, a real human. But when the time past her original memory has been lost, rewritten or being replaced by something synthetic; hence her human identity and her true self has gone with it.
FINALLY great to see the intent of EA working itself through. You did a spectacular job on this video~ I'd be lying if I wasn't a bit jealous to be honest! It's very well constructed and you went through your points in an interesting way. Yes, I've heard a few of these ideas before--but honestly--that's to be expected considering how consistent this movie is. You know that the film is special when it can make people speculate about similar stuff. End of Evangelion has this property as well. Oshii is truly a genius. The only problem I had with GITS is that I wanted to see more of its world! Innocence wasn't enough. Anywho~ The observation on the last scene with chair is interesting. I've never seen anyone pick up on that before. A mirror can't be right considering she's at an angle where you'd see her reflection in front of the chair. But think about it. You have this new entity--a merge between Motoko and the Puppet Master. She rises from the chair leaving it empty. At the point we see this shot, there are two empty chairs standing between their child. An empty chair usually means someone use to be seated there. It could symbolize Motoko and the Puppet Master respectively and how they have joined together in between with their child. The fact this is a mirrored scene but isn't a mirror probably represents how she has finally reached her reflection. Merged into it.
GoatJesus Glad you enjoyed the video :) Have you watched SAC? It's basically more world building and character development with less philosophy. Also, that's a good interpretation. It would make sense with a lot of the dialogue and mirror scenes.
AnimeEveryday - Anime Reviews ALSO, would love to see your thoughts on the tree of life/angels. I haven't seen those points elaborated on before with GITS. :D
GoatJesus I'm planning on making separate videos on those topics, but these analysis videos take so long to make. Hopefully i can make them in the next few months.
I love "Ghost in the shell" and your analysis of it was so good and deep. This animé was prophetic in so many ways and it always make me think about so many things that we normally take for granted. Thanks for this video.
I always thought that the set at the end, and the image-fuzzing, was because she opened her eyes and saw herself in a mirror over a door. Meaning, the first thing we see is what _SHE_ sees... which is a mirror image, because there's a mirror on the door that she's facing. Later we are no longer seeing what she sees, but instead we are the camera aiming at her, which is why things appear reversed. It's a continuation of the mirror theme throughout the film, but the mysterious flip-flopping of the image is just because of a mirror. There aren't two different chairs.
I always thought the angel symbolised the angel death(cause she's sniped at from above). Because, the puppet-master like all living creations wishes for death. But a meaningful one. By merging with Motoko, he can accept death, as a mechanical means to cease existing-hence implying that he did in fact exist.
So, I doubt you're reading comments on a vid you made months ago but you asked for other interpretations/analyses so I'd like to point out a couple. 1) The shot of Motoko on top of the machine at the bottom of the tree of life isn't just about Motoko being the roots of a new civilization, but is showing the beginnings of a new stem (pun intended) of evolution. It's built from a machine (unthinking), into the PM/Motoko (incomplete entities with thought processes but severe limitations) and that when the PM and Motoko merge it will create the next step up with the top of the tree very far up. Showing that this is just the early stages of AI's evolution. 2) If you pause on the angel descending while Batou is protecting her it looks like an eye where the angel is the pupil, the light around the angel being the centre and then diffracting to show curvature just like an eye would. Yes, angel's are the intermediary between god and man, but here it's symbolizing an intermediary coming down from the next level of evolution from Motoko/PM to the next stage of machine evolution. Also, the eye is Motoko's realization of this she's quite literally "seeing the light" that the whole movie is talking about; her place in the world, her place in evolution, her own mind/body and it's limitations and the need to evolve. Interestingly this is also meant for the viewer as we're seeing this through Motoko's perspective as well. WE are finally understanding the direction and meaning of the movie which before, at least for me, was enjoyable and followable but didn't have a moment where we "got" it before then. 3) Finally, a thought on the ending where we see the reflection/reversal. Some people have said it's a mirror but I disagree. What happened was the PM and Motoko joined into one being to evolve; and as they did they split, creating two entities, like a cell finally gathering enough resources which is in this case knowledge and understanding to split and create two equal copies, think mitosis. The PM said that Motoko would be the be the mother of future generations and she became one. This is why the mirror reflection is used so often and why Motoko constantly talks about being incomplete, she was. She needed the PM to reach as far as she could in her evolutionary cycle and then split into two entities, replicas of each other, to evolve further. This is substantiated by seeing the two chairs completely mirroring each other, symbolizing that they are the same. He had already gone through this already with the other "new Motoko". Of course they wouldn't wake up at the same time Batou, being one person, could only do one thing at once explaining why one came online faster than the other. That's enough for now, just some thoughts because you asked. Top notch job mate, I'm going to have to go watch some more of your stuff now.
Andre Isis To quote Jeremy from Cinemasins "The books don't matter." This is a standalone film and anyone sitting down to watch it shouldn't have to do their homework first. This is an adaptation and usage of characters and universe to tell a story. The manga doesn't matter. Period. If it helps think of this as an alternate universe from the manga. The beginning is important because it is a birth of a "shell" not the birth of "Motoko" or a "ghost", however you like to think of it. Motoko has a human brain (ghost) which is being put into an artificial body (shell). So, the beginning we have an already existing entity (Motoko/ghost) being put into newly constructed body (shell). This is why the beginning is important because it shows 2 things; firstly, that this body is brand new and secondly it allows the film to come full circle with birthing/creating a new entity symbolism at the end of the film. As such the movie is posing these questions: 1 - Do souls exist? 2 - If souls exist what is the brain:body ratio? 3 - Is Motoko (the ghost/soul) a complete entity because she does not have her original body (shell)? 4 - Is it possible for a soul (ghost) to exist/come into being without a corporeal form (the Puppet Master gaining sentience)? 5 - How does this affect evolution? 6 - Are we ever truly complete by ourselves or do we need to join with another soul to become complete/evolve? etc. I'm sure you take the point by now, the entire movie is about existentialism and birth, so opening the movie and having the credit sequence take place during a creation is important twofold: 1 - It tells you exactly what the entire movie is about since the remaining minutes are exactly that, a birth, only this birth is not physical, it is intellectual. 2 - It sets the tone of the entire film to follow. This is going to be a slow moving film, very heavy on visuals/music and is not going to hold your hand. You need to figure it out for yourself. To summarize, no, I don't believe that AnimeEveryday is placing too much emphasis on the introductory sequence. Any professional screenwriter will tell you the first 10 minutes and last 15 minutes of a film are the most important. The middle's job to get you from point A to point B.
Thought Criminal dude you contradicted yourself. first you state the beginning is most important but you state that animeeveryday is not placing much emphasis on the beginning. his analysis/ assumption is dependent on motoko not being human. . he even replied that motoko is not human & not machine. that is not believable. the point of GITS is that people are imprinting their SOUL[ghost] into machines. the PM is a surprise to sect9 & motoko is that AI may be occurring ie a computer programs declares free will [shirow's definition of ghost is "self-aware fife form p12 GITS#6]. In p13, PM replies that he is not AI but a life form spontaneously created. The SCI- Fi aspect of GITS is that imprinting of SOULS into machines. That is the point of INNOCENCE which is again a convoluted storyline from a GITS ep manga. Oshii may take liberties but the source material is the true indication. Anyway oshii is just repackaging all the ? in bladerunner. nothing new
This movie and GiTS SAC series reminded me much of the psychological and physiological story of the anime Monster. Especially Motoko and Johan challange the question of their own existance. Both stories will forever be remembered. So very interesting. Oh, and thank you AnimeEveryday for making this video. Really answered some questions. :)
Not sure if someone has said this since this video is 9 years old, but the set change at the end, there is no set change; the initial perspective is pov of motoko as she stares into a mirror on the wall opposite the chair, and in the reflection of the mirror, sees a child Motoko staring back. Then, when the set "changes", it's the camera facing the Motoko that was in the actual chair, not the mirror, which is why everything is reversed. At least that's what it seems like? Maybe I misread this, but it seems like you can see the contour of the mirror in the first shot given it didn't extend all the way to the floor.
I remember dismissing this movie because the chick got naked all the time, and she had a perfect body, so it felt kind of frivolous and was hard to take seriously. I recently watched it again and decided just to accept that as something that didn't really matter, which it kind of was, and all the sudden I was watching a masterpiece.
EdMcStinko Her nudity is used to reinforce her detachment from her body and feelings of inhumanity. That is why Bato always cover her up, because he still treats her as human and furthermore a woman.
EdMcStinko she only get naked during cyborg creation opening sequence and the climax battle third act against tank mecha. That's because her thermo optic bodysuit torn to shred in that battle. Yes, she is wearing skin colored tight body suit for stealth mode all the time.
She is nude in the intro assault scene, when her a bato take down the ghost hacked guys in the city, and in the diving scence. In the 'hacked guy' instance Bato covers her with his jacket after she whoops ass. In the diving scene he turns away when she starts undressing. The thermoptic camo suit is part of her body. It is like an outer layer of skin. It is a body suit for Scarlet johansan, cause america. I hear it is a body suit in the manga but in the movie it is not.
Jimmy DaShr00m Nope the thermo optic is not installed, it is extra layer covering up her body, a skin colored suit but different shade, or a thin transparent fabric. That's why during the last battle with tank mecha, it shredded off to pieces when she tried in vain to tear up the tank entrance door. In turn reveal her nude body. She is not nude for the majority of stealth mission, including the opening act (you can see the difference there, only see the outline of her nipples, meanwhile minutes later during opening sequence, you can see clearly her nipples and areolas have pinkish shade). It simply the suit is so tight and thin like a swimsuit, her erect nipples pressed out, also she was drenched wet, hence the cover up.
sorry for my bad english :D watched the movie yesterday for the first time. the way i saw it: Humanity always feels like they are not perfect and have to evolve, they define their life through the lack of possibilities (finaly death). So they try to invent all kind of methods just to become "better" or more or less immortal, and the Major is the furthest step into that direction. her Body is already 99% a machine, just left with her "Ghost". And SHE still has questions about life and who she is...or if she is still "her" however she defines herself. This starts the question which inspired the matrix alot. What is reality? Major has one question that leads her to the PM but she knows she might already be in the hands of the puppet Master also...what if all of her dreams and imaginations of her "old " life are an Illusion implemented into her cyberbrain to push her to do things the Puppet Master wants (he wants to merge with her)? like katou said "if you start to question everything, you can't trust anybody" or maybe "anything". The PM "Born" as an AI becomes self-aware, maybe because the Internet is just like a big brain itself, and when the net became bigger and bigger it came to a Point where it evolved into a "lifeform" which knows that it exists. Still the PM knows that he is different from all the other beeings on the planet. He is kinda immortal....and to HIM that feels like a lack of possibilities...while human beeings want to be immortal, the PM wants to be part of the selfreproduction-mechanism of "living" beeings which is bound to Death. So the PM defines Life through Death and Surviving through a selfreproduction where he combines his "Code" with a similar but still different "code" into a new Version of both of them. But why does he define life like that? Well, thats because he was programmed by humans and he is connected to the "net" which is only filled with Informations by humans. so he still can't think out of the box. It's impossible. Just like every other beeing he is bound to his "source". Thats why he "feels incomplete" just like humans do, because human thoughts are his source. In the End PM and Major merge into a new beeing, which will also have to find another cyberbody to merge with. i also liked how PM is ready to destroy other lifes just to be able to "die" and "evolve" and he is ignoring a difference between good and evil, which Shows that he is not 100% human. He calculates like a machine and is willing to do everything to reach his Goal and he has no conscience. Maybe thats something he also misses, and why he wants to merge with something human. Human beeings might believe in things which might me illusions (like good and evil, or beeing different then other lifeforms at all) but at the same time they become reality as people believe in it. so believing might be what defines humanity, which refers to "ghost", because a human ghost or Soul is often defined by something spiritual which can't be proven by science.Oh this movie is really great...It makes you think alot, and beeing released in 1995 (the manga is from 1989) it was waaaay ahead ist time. But hey this is still just a movie, and we might never be able to solve some questions, and this movie will not be able to solve your questions too. So don't take it too seriously. there is a reason why the makers of this film don't answer the questions that are raised.
Love the analysis! I've watched the movie multiple times and I've always felt that I'm missing an important detail, and you've answered and opened more questions for me. I would like to see you analyze the second Ghost in the Shell movie, as it moves from the focus of Motoko to Batou, who both have different philosophies.
Man i have watched this movie 10 times but i never noticed the chair scene clearly.... and the moment revealed about that chair scene in the video gave me spine chills...... awesome analysis video brother.....
The first Ghost in the Shell movies was my first exposure to Japanese animation, and the only anime material that I've ever viewed inside a movie theater. I had heard of other releases of course, but the title alone sparked my interest enough to go watch it. I'm glad I made that wise decision so many years ago. Having read and watched any and all related material to this series that I could possibly find, I thought I had a firm understanding of Motoko's personality and motivations, but after watching this video and reading so many insightful comments before this, I feel that I'm still learning; I'll throw my two cents' into the pot. Aside from the Arise origin story, we learn that Motoko, at a very young age, barely survived a plane crash that devastated her body beyond the natural means to recover from. Her brain and a small part of her spinal column were the only things transitioned over to a cyborg body--a body very much like the one she possesses at the end of this film. Even her brain itself is heavily cyberized, modified so that she can perform all those amazing feats of informational computation and warfare that she engages in. Anyhow, I believe what another commentor said is very true: that after being in a cyborg body for so many years, no doubt suffering damage on multiple occasions that would easily kill a normal human, that she is desensitized to the fear of physical death--something that most people think about commonly, and a governing emotion that influences everyday human actions and reactions. This idea serves as a catalyst for the other considerations she has about her true existence and purpose, most of which are fairly obvious to interpret if one just pays attention to not just what she says, but about how she voices these issues. One thing I will respectfully disagree with this video is some of the ideas explained in the later scene where Motoko is battling the tank; it's not that she's unconcerned for her own body that she acts so foolhardy: it's because the existence of the Puppet Master has sparked so many questions in her mind, about her own existence, that she is desperate to learn more from it--so desperate that risks everything to prevent it from being taken from her. As far as she's concerned, this thing could be the key she's been looking for her whole life; this situation was all or nothing, and a chance at revelation that she would never again be given. Batou is certainly not "another human"; he is as much a cyborg as Motoko, though evidence shows that he spent far less time in a cyborg body than she, and perhaps is why he doesn't seem to have personal hangups to the same degree that she does. Other than these, I believe the observations are solid.
That was thrilling. It's one thing to feel your way through the film live uncertain what's relevant esp when things move so quickly. It's completely another to see it in the way you've presented it. That was thoughtful and shrewd and well established ideas and most importantly, it was a lot of fun. Thanks.
bloody fantastic analysis. I really love the detail you go into. On the closing sequence, the first shot is Motoko's POV. The Motoko we see in the distance is her reflection in the body-length mirror on the wall. the next cut is a 3rd person pov looking at her, instead of her reflection and the apparent setting change is the non-mirrored set. it is a natural closure for the "reflection" thematic element throughout the film.
I'm slightly surprised that you made no mention to Motoko's quote after the dive scene that seems to come frome her subconscious or ghost, is a biblical quote. Motoko never really gives any impression of being invested in religion let alone Christianity, so it's odd yet interesting that she (or some part of her) would have a biblical quote come to the forefront
Glad someone made this video, I was trying to explain to some co-workers how brilliant of a Sci-Fi series Ghost in The Shell is in light of the movie they're making about it, and its incredibly hard to do so.
I just watched this a few weeks ago, and I was surprised, even delighted to find that it was far more intelligent than I had anticipated. For my interpretation, I believe the ending scene with the mirror is only "off" because throughout the film we see Motoko looking at her reflection questioning herself a good portion of the movie, and this time around it's flipped. We are not looking at a reflection through her eyes, no, not at all. We the viewers are now the mirror looking in at Motoko as it transitions back and forth ambiguously in this final scene dealing with the mirror theme. Regardless of whether or not it's a mirror, a mirrored room, supernatural, or a cool cinematic effect, the scene still gives us the same message no matter how we interpret it. The focus changes, because she isn't focused on her reflection anymore...Motoko, or I should say the "newborn" is whole; complete. She no longer questions her reflection; her identity. What's left is us, the viewer to reflect on the film, and possibly our own identities. I wouldn't say there are multiple Motoko's, so much as an invitation for others to elevate to the higher plane, or the next step in evolution.
30:50 The shot is Kusanagi's subjective view, just like the previous shot (that is clearly hinted with the glitches in the opening and the digital noise). It's a long pan into the mirror on the corridor wall outside the cabinet. Motoko's looking at herself through the mirror, only now we see it through her own eyes. That also explains the change in the surroundings after the cut. No multiple chairs, rooms or personalities - just a mirror.
I find it weird that she never rationalizes her existence based on the memories she has up to before she was made into a cyborg. It feels like she has no memory of her human self. This would give credence to her previous statements that she is never really aware of who she is and where she came from. Something is causing the dilemma in her cyber-brain which is making her lose the feeling of being 'human'. If she did have memories then they would allow her to justify her existence irregardless as them being real or fake. There is almost no backstory on any of these characters, but Batou surely does not doubt his human existence inside his metal shell. It could be that Motoko Kusanagi has started to realize that even with cyborg bodies, or shells of unimaginable construction, there is no way to escape the need for a thing to be in control - consciousness. This makes her feel sadness and despair being unaware of her origin, purpose, future, and reality the more that she becomes acquainted with her cyborg body - realizing that her brain is the only human element in her flesh form. She feels that she was always a Ghost in a Shell and regardless of her form, she still is searching for answers to what life really is. Is it physical? Is it thought? Is one ever going to know being restricted by both of these at the same time?
In terms of that 'set change', I think you're reading WAY too into it. She was staring into a mirror on the wall across the hall. It wasn't another room with the same set up lol. The image was just flipped when it was panning, because it's a reflection.
The film covers a very basic and controversial question. In a technocratic society, where does does humanity end, and what defines it? I don't know if you could call the universe of GitS a true technocracy, however. Seeing as you pointed out, the city and environment is drab, colorless. Their world has long clung to the old human pre-transhumanist ways, and has been allowed to stagnate. This tells us rather bluntly that the world, presumably in the distant future, is still itself wrestling with that very question I posed earlier. As is also evidenced by the fact that the cybernetic denizens prefer to remain primarily human in appearance, as you also pointed out. Interestingly enough, when it comes time for our own push into the cyber-revolution, I expect the outcome to be vastly different. While I do fully expect we will retain a certain degree of value in our basic human aesthetics, even if just for the purpose of nostalgia, I think we will push the boundaries much further than anything displayed in GitS. I think after the initial culture shock and possibly even lack of acceptance, after a generation or two I think the changes will be embraced and even celebrated. Human modification I think at that point will flourish and even become an art form in its own right.
Wow this video gives a lot of clarity over the ideas and themes expressed in ghost in the shell. Like idk about anyone but when I watched the movie, I could sort of understand what they’re trying to say in the movie, but it was generally confusing for me. Awesome video for clearing up those clouds over my brain.
Superbly done, mate. Thank you for the considerable care and thought you put into making your analysis, and also, in backing it up with such excellent examples from the film.
AnimeEveryday I took a "Comics, Power, and Society" class, here in the Bay Area of northern California. Although we mostly covered manga, to me, this movie is a pitch-perfect tour de force of what this genre can do. I've long been a Japanophile, so this is my go-to film for anyone who argues that Japan has no great iconoclastic art, only imitative or traditional forms. Btw, as an aside, America's "manga" (comics industry) once rivaled Japan's (with Captain Marvel outselling Superman, and comic books even being used as a tool in Norway to reach freedom fighters during WWII). But these days, of course, all that's quite different, in the West, while both manga and its outgrowth, anime, continue to grow, unabated. A quick peek at Japan Times, and I found that the top manga, "Shukan Shonen Jump" (weekly) had a circulation of 2.79 million last year, "followed by Shukan Shonen Magazine with 1.77 million copies". While in contrast, our best-selling comics these days being a "success" if they sell 150k. We of course had huge numbers, too. But once paranoia set in, whipped up in fearful reaction from pseudo-scientist Frederic Wertham's book "Seduction of the Innocent", and the Comics Code of Authority was created, sales plummeted. (Werthem was famous was for saying that a huge percent of incarcerated juveniles read comics, as if other segments' numbers were any different). So in some ways, manga (and anime's) parallel exponential growth is an interesting lens on what could have happened, if we hadn't had those censorship years. But Japan's dichotomy, ranging between fascination with the West, and fear and mistrust -- combined with its linguistic, cultural and historic isolation gave the world incredible gifts ("Grave of the Fireflies", and really, even "Akira", could only have come from Japan). In the process, they created a model of myth telling that has fused with modern cinematic storytelling, becoming globally, almost the rubric for telling epic animated stories.
Uhmm...today's Internet is very graphic, this platform isn't, but not because "we are more sensitive nowadays". Since UA-cam relies on advertising, a "family-friendly" environment is the smartest bet (under that perspective). Of course, companies want their products to be displayed as much as possible to the widest demographic, in order to do that they need videos with a certain level of censorship. That being said, I do believe nudity is a stupid tabu to have in 2020, but looking at nipples on its own doesn't automatically make you more open-minded. They're just nipples.
The last scene, it's a mirror or window in the hallway not another room. It's not something i've thought about till now, but i have a hunch that none of the other reflections we've seen thus far in the film have shown the Major fully in frame, with the exception of perhaps the diving scene but even that is slightly clipped off at the flippers. I think the significance of the first shot is that you are looking through her eyes and for the first time she's looking at a fully framed reflection of herself. Perhaps to mean she's finally adopted an identity, that she can see herself fully as opposed to before when she continually analysed specific parts of herself in search of where her identity lies. The reason behind the lack of reflection during the second shot is a juxtaposition of the previous use of mirrors. There is no longer a reflection to see, no more separation between Motoko's "selves" now that she has seen who she is.
I really appreciate your analysis of the closing scene. I hadn't looked that deeply into it. I thought we were looking at a mirror, but showing the visuals side by side, *the equipment is different* (different number of hoses coming out of the containers, different desk, etc). In other parts of the franchise, we see Motoko operating multiple cybernetic bodies simultaneously, something an ordinary human being would find all but impossible (not just motor functions, but _being_ two or three people at once). Perhaps it is not so much a gift as a curse: there may be one physical cyberbrain which contains organic pieces of the original Motoko Kusanagi's brain, but since merging with 2501, she can no longer exist as a singular entity--she is a _network_ . Perhaps Batou has been tirelessly retrofitting dolls to upload a massive output of consciousness from the original cyberbrain, and we are shown some amalgamation of the first awakening of that brain and a subsequent "offspring", demonstrating that 2501's theory was correct in that there would be children from their merging and also that Motoko's sense of self is only tenuously tied to her organic remnants.
+Astronopolis 1995 had a 1,139,850,000 Yen for 85 mins of animation budget while 2008 had a 360,000,000 yed budget for a whole 25 episode season. Hmmm i wonder why it looks worse. I cant quite put my finger on it.
Waisso no, i understand the limitations of budget for TV, but when they added more shots to the 1995 film they were noticeably worse than the original scenes.
+NaniSore even still the quality of the anime was still leaps ahead of its peers. I think it really comes dow. to how much detail they put into each frame. in the movie literally every frame had excruciatingly been perfected. the anime they have strict time frames, and artists only make so much money.
I thought I knew pretty much everything about ghost in the shell 1995 , until that observation in the penultimate scene with the chairs facing each other, holy flipping frijoles dude, what a catch. absolutely stellar video brother!
Rudolf Menon You're half right. I realized this when I put two mirrors facing each other with a light source between them. What I noticed is that the room your standing in is seemingly real but what's interesting is that the infinite reflections in either mirror created by two mirrors facing each other create their own depth and reality within a 2D planar surface of either mirror. The light source itself acknowledges the illusion of depth by fading into the distance within the infinite reflections starting from the primary mirrors. If everything in reality is information, then what is reflected in the mirror is real. If you say the reflection isn't real, then neither are you. If there was a ball of light placed inside a cube with mirrors facing one another, this is the closest that a human mind can come to understanding reality and their true identity. Reality begins to take shape when the reflections start communicating with one another. God's insanity has become our sanity and vice versa.
Of course the light in the mirror is real. Nobody ever said there would be no light in the mirror or that the wavelength of the colors in the mirror wouldnt exist. Its so pretentious to write that bullcrap, trying to sound real clever but in reality saying something really dumb.
Yatsura2 You didn't understand what I was trying to say if you're speaking in terms of what you think is definitely real or true. If the light is real and the light fades away in the depth of infinite reflections which is suppose to be an illusion, then it means either the depth that is created by the mirrors facing each other is real or the reality that contains the light source is illusory in and of itself. It's like asking if red is really green or is green really red. In other words, is the light that is absorbed and concealed the real light or is the light that is reflected and perceived by the eyes the real color. The gits innocence movie challenges us by stating that dolls are actually Gods and humans are the marionettes when we're raised and conditioned to think it's the other way around at all times. Or you can take a mobius strip image that you can Google and label one side doll and one side human and follow the path along the strip until you reach your starting point. Watch what happens and you'll understand the philosophy of this movie. If you think you've figured the riddle out, then it means you didn't really understand the riddle which is the nature of Zen Buddhism, the philosophical basis of gits.
Yatsura2 The "real" light isn't suppose to fade away in an illusory 2D plane of infinite reflections. It's suppose to retain its intensity throughout the entire illusion. Really think about what I'm saying. It's like me drawing a hallway on a piece of paper and then walking down the hallway I drew on the piece of paper, lol. That's what the light in the infinite reflections is doing. Do you get what that means?
_"If you think you've figured the riddle out, then it means you didn't really understand the riddle which is the nature of Zen Buddhism."_ Its also the way of saying _"If you agree or not, Im always right."_ . _"The "real" light isn't suppose to fade away in an illusory 2D plane of infinite reflections. It's suppose to retain its intensity throughout the entire illusion. "_ No its not. Light fades the further it travels. Its natural and happens everywhere. Just because it travels back and forth a short distance again and again, doesnt mean it wouldnt travel at all. Now stop smoking weed and overthinking even the simplest things and come back down to earth.
This analysis is absolutely beautiful, you explain everything very neatly and it's quite well put together. Being able to explain such a meaningful and confusing movie so well shows you understand the movie quite well, and that's a hard thing to do ;) Thank you, btw xD
Good analysis but you might be overthinking some parts. At times it felt like you were forcing symbolisms out of the movie. The core of your inspection though is on the money.
noda. renn If you knew Oshii, you would know that every little detail counts. He doesn't put things in his movies without meaning, that's what makes him one of the top anime directors.
The most incredible thing about this movie is the duality Human vs Machine. Motoko represents a human that turned to a machine while master of puppets represents a machine that turned to a human. They are mirror of themselves
That's the point.
That is acually pretty similar to the themes of blade runner...
This movie really was ahead of its time. Fucking incredible.
it's the same as Great Gatsby, The Stranger and so on, so forth.
It's 2021 as I Reply to a 5 year old comment and even TODAY Ghost in the Shell is distantly ahead of its time. The world is STILL not ready for this film.
@@kythrathesuntamer9715 You can tell who the charlatan critics are based on their 1995 verdict. You know the type: quick to give 5 stars to any trite state subsidized film about suffering or human inequality. GITS premieres and they call it Blade Runner with boobs for adolescents. Well Blade Runner was a shit film. GITS was fantastic, and Innocence even better.
@@pijakthumrongkiatikul673how?
especially in 2024
Motoko's dilemma is beautifully ironic. The question is the answer. To wonder if you are just a machine is not something a machine would do. The fact she questions if she is individual tells me she is self aware, and what is self awareness if it's not individuality?
mmm fair enough... but in this GITS universe the puppet master is a machine or program that became self aware, which implies machines are also capable of self awareness. Also identity has to do with memories, and in this universe memories can be replaced or toyed with, which is why Motoko feels so bummed out during the interrogation scene.
Donde está Carter!! true but the puppetmaster is fully aware he is an AI. Motoko however, has always been Motoko, sure her memories could be tampered with but theres never been an indication of tampering.
That´s precisely my point. The PM knows he was born a machine, but Mokoto is aware that memories can be tampered, and she can´t be certain, ironically not as certain as an AI knows he is an AI. At least the PM has that "certainty" advantage. She has nothing, only questions, first that began as hunches and then as the movie develops, they become serious existencial affairs for Motoko.
The reason why this movie is a masterpiece is because it doesn´t fall into temptation of answering the questions it rises but because it puts them over the table, and leaves it to the audience to answer it. Motoko´s dilemma is our dilemma, we as humans. Are robots a danger, kinda Terminator, or are they user friendly? Will we adapt to the changes? Will we change because of them?" and so on...
"The net is vast and infinite" WTF is that? is that a proper statement to end a movie?? No, it doesn´t give a closure, on the contrary, is an open ending, a metaphor perhaps to the questions: "posibilities are infinite, make your guess"
Ok, I may have gone with the branches in this one but, back to the point: "there´s never been indication of Motoko´s memories being tampered" well, who cares?? (not being rude here) Yes we never know in the end if she was human or was not, but that´s not the point of the movie, the point was to raise the doubt that she could not be human even if everyone around her treated and defined her as thus. With doubt, she can creat questions, and as long as you have no answer you can build tension in a film. Maybe answering the question is important in Scarlett Johannson movie (good luck with that...), but not here.
The puppetmaster does NOT view himself as a AI created by human. He came to Section 9 to seek asylum as a individual life form (生命体), he called himself "a life form born from the ocean of information". I think we all agree that modern science is not yet capable to define what is life. We human perceive the difference between a human and any other animal through intelligence, and the different between a human beings and a machine through the existence of ghost.
However human can not prove the existence of his/her ghost through any other way than accept dialectical materialism what Descartes called: "I think, therefore I am." Here comes the question, pupetmaster, an AI designed by human, gain it/his/her self awareness, does it means it has ghost, dose it means it is a life form. After all, we haven't come across a self aware object that is not a life form.
If puppetmaster is a life form as he claimed, than his very existence proved that man made machine can generate ghost, and we also know memory also can be produce, then there is really no difference between project 2501 and a life form. I think it is more accurate to consider puppetmaster as another life form very similar to human rather that a AI. Therefore Motoko's self awareness does not prove her humanity, I would very much wanted her to be a human, but no one can prove his/her own humanity
Feiyang Sun I´m confused, to whom you are replying??
Im not any good at deeply analyzing a work of art. All I can do is bringing it down to a more simple concept, which allows me to understand the overall theme.
For me, Motoko's dilemma comes from the idea of her being a cyborg for so long, that it has completely desensitized her from her humanity. She only feels human from other people treating her like one, therefore, she needs other people to recognize herself. The garbage-man case with implanted memories, the similar cyber-body models she sees on the street only serves to further put doubt on her own individuality. That is detrimental to her sense of self. On the other hand, you have this A.I. that has gain a "self" and it's able to recognized his own existence without the need of others, even when he knows he was created as a program by humans. This falls in place with the "mirror" metaphor, they both are questioning what is called "self," but are at opposite ends of the spectrum. Which is why the Puppet-Master says: "we resemble each other's essence, mirror images of one another's psyche."
this is a pretty good analysis
Oh my god... why did I not see this ?
You nailed it
Dang well done! Nice thougt!
The ability of the artists to recreate that dead, soulless, doll-like stare that the cyborgs have is phenomenal. At no point will anyone ever assume this is an organic, living being even if they aren’t told the context of an image they’re looking at. Either it’s the walking dead or something that has taken the form of a human and uses it as a shell. Amazing
Hey, You analysis is FANTASTIC! But I have to disagree with the last argument about the "two motokos". That morrored image of Motoko is most probably just a mirror. But there are other details that you probably missed because it's still important.
First of all, Motoko being in a younger body isn't just "because that what's was available at the black market". The merge DID happen, and she is born anew. "Where does the newborn go?" is the last thing Motoko mutters. So, a younger body really fits the feeling Motoko gets.
But let's go back to the mirrored image of Motoko. Remember how her reflections of her revealed something about her inner feelings? Remember that whisper on the boat that both Major Kusanagi and BATOU heard? "It seems that we are looking through a Mirror and all we see is a dim image" Well, notice that this particular reflection in that mirror is perfect. That means, that the new being that has come out of Motoko's merge with the Puppet Master, is a higher being. It isn't clear if the questions are answered while we couldn't hear the conversation or the exchange of information that occured, but the new Motoko is looking at a comparatively complete image of herself instead of whatever was seeing herself reflecting during the movie. That's why it was almost like two identical Motoku sitting in a room because much of the self-doubt has gone and her image of herself has reached near completion. She is one entity and she is sure of it.
Well, that was my take on that scene anyway. I am grateful you are here on youtube and do such great job, mate! Keep it up!
RetroMario
Agreed. It’s just a mirror in the adjacent room and her POV seeing her own mirror image. What’s more important is the clarity of the image when compared to other reflection, suggesting that she has changed significantly. And the child body symbolizing how she is born again and essentially a child again (in the manga it was actually a guy‘s body). I think the video reads a bit too much into some of the specifics. I think there is no specific connection between the bird-like plane in the cityscape sequence and Motoko, but the whole sequence just shows a city overflowing with information (signs, people, vehicles) and showing how dense humanity has grown, yet how far apart they all seem and how lost Motoko is in this world and how removed from it. But that’s just my interpretation. That’s what’s so beautiful about this film. It raises questions rather than answering them and encourages each viewer the opportunity to find their own answers.
I thought two identical room indicates there are two new entities after Motoko's and project 2501's "merge". Because the reason project 2501 do want a merge is because it wants to be able to produce like biological entities not self-copying itself.
In the manga, there are actually multiple Motoko/ Puppeteer Hybrids, especially in Man/ Machine Interface. However, in the films it always seemed like the new Motoko at the end is a merger of both Kusanagi and the Puppet Master. In Innocence it's also just her. I think there are no two identical rooms, it's just a mirror in the adjacent room. It does have significance, but I also wouldn't read too much into it.
I agree that it's just a mirror, it's not two rooms with two makoto's. Maybe the same image drawn by two different artists working on the movie?
@@Fallout0SC I think the first shot of the newborn Motoko is of her looking at herself through the mirror, hence the difference in style. We see through her computer-like eyes.
I showed this movie to a friend of mine because i think it's very deep and interesting. All she said afterwards was: "The one guy's name sounds like butthole." I guess Ghost in the Shell isn't for everyone xD
+EarlGrey Because AnimeEveryday sounds like Butthole.
+EarlGrey Sounds like the response of a 5 year old who just notices butt and fart references.
+Nostalgia Works She was talking that Batou's name.
Daniel Yu How was I supposed to know? The only exposure I've had to Ghost in the Shell is by watching reruns of SAC 2nd GIG on Adult Swim's Toonami block.
well you should know, it says who batou is in 2nd gig anywyas
You overthink the chairs at the end, unfortunately. at 30:45 you can see that the gap to the other chair actually has a ledge at the bottom- it is not a doorway, it is a mirror. That shot is from the major's perspective as she looks at her reflection in the mirror. The two shots are turned around because that is what mirrors do.
I agree with the mirror explanation. Yet the shot does have some extra meanings: 1.When the new "Matoko"(this is "daughter", not the original Major Matoko) wakes up, the first thing she sees is her own image, implying that this time she know who(or what) she is right from her birth. "Who am I" is the big question haunting her from the beginning of the film, she gets the answer at the end. Also, this means at the beginning of the film, she is watching herself made in an object way, and feeling herself born in a subject way at the end. 2.I am not a Christian, so correct me if I am wrong: Matoko is "the One"(that is chosen by the Puppet Master), doubts her destiny and accepts it, dies and rises from the dead, and these make her - Jesus Christ-ish? However, Makoto and Jesus Christ are different in: one, she is female; two, she is there for some mysterious reason the first time, and born without a real father the second time - both the opposite ways. Which perhaps means, Makoto is the "reverse Jesus", or the "Jesus of the machines". The image of Angel also supports this theory. (If it stands, double shame on The Matrix.) 3. The first person shot means the director is making us to look through Makoto's eyes: who is she? who am I? Just an image of myself, that is all.
I totally thought that it was also just a mirror, but what makes me somewhat question that is the part of the scene when we see the empty chair. At that point, if it were a mirror, you'd expect to see Matoko in the reflection, yet we don't. I'll have to rewatch the actual scene before I can firmly say one way or another, but it actually might not be a clear cut mirror if I'm understanding that last piece of the scene correctly.
kalamaron i Q
The camera's POV has changed. No longer looking thru her eyes directly at the mirror. You wouldn't expect to see her in it.
Jesus... you really are overthinking now with Jesus being brought up.
i always thought she was looking into a mirror at the end.
She is looking in a mirror, buddy just made a mistake.
Mirrors are amazing ain’t they?
@@493950 but when she stood up and was about to leave, there's no reflection of her.
She was looking to mirror, they use the mirror symbolism. The mirror is her point of view, then she starts to talk to Batou, it returns to Batou's point of view and then our point of view, when we see both in the scene.
@@saylo8796 That's a good point! And on the left side of her, when she is back to 'us' we can see doors open - I thought that the mirror hangs on them, but now they are open... Also a two details that I saw: Batou drinking the same beer that they had on the boat and the picture that hangs above hers armchair shows a boat on the lake close to the city - it refers to their moment on the boat and the subconscious/ghost speech-quote from the Bible... Now she sees face-to-face..
Here is some interesting fact that you missed:
During their conversation on the boat both Motoko and Batou hear her voice speaking what is a verbatim citation from the bible: "What we see now is like a dim image in a mirror. Then we shall see face to face." (1 Corinthians 13:12) Given the context it becomes clear that this is meant as a forecast to her later transformation.
The preceeding verse in the letter of St Paul goes: "When I was a child, I talked like a child, I thought like a child, I
reasoned like a child. When I became a man, I put the ways of childhood
behind me." (1 Corinthians 13:11) - And that is what Motoko says after her restoration at the end of the movie and she even sets it in context with the previous scene: "Batou, remember the words that I spoke in another voice that night? I understand it now and there are even more words that go with the passage. ..."
Looks like we are looking at a pretty pious android here.
That's in the English dub. The translators took liberty to reference the Bible but the Japanese did not use that reference. If the writers had intended to reference that passage they would have done so in the Japanese. That being said it's still an excellent translation because it captures the theme of only understanding somewhat but knowing that in the future as will be revealed when the truth is met face to face in the form of a matured/completed person
@@zogwort1522 I've looked into it and it appears im wrong and you're right... The subtitles i watched had failed to translate it accurately and the movie does specifically reference the Corinthians passage. Sorry man, i was wrong
The angel is not a trippy vision by motoko, it´s the helicopter deploying for sniping position. If you check earlier in the movie, when section 6 choppers are being briefed about their targets, right after this shot we see the helicopters being deployed in the same way, feather-like gear coming from the sides to allow snipers to shoot. Before they could merge the snipers already point at them, so the puppet master hacked them to buy some time through the already dead tank driver. It is only when they merge that the lock on the chopper is released and motoko sees this angel from above, which is actually the helicopter being re-deployed to sniping mode, but seen from below.
Of course, the whole sniper-bird-chopper deal was to get motoko see an angel right before the merge, to give a heavenly significance or metaphor to the "marriage" scene. A similar robot-heartless-hard logic explanation for the feathers escapes my imagination. Rain? Glass shards? Anyway, amazing analysis mate, you opened my mind. Keep it up.
Excellent job on the analysis.
I can't help but think that 1 Corinthians 13:10-12 is a key to understanding some of the imagery used in the film:
"But when that which is perfect is come, that which is in part shall be done away. When I was a child, I spoke as a child, I understood as a child, I thought as a child. But, when I became a man, I put away the things of a child. We see now through a glass in a dark manner; but then face to face. Now I know in part; but then I shall know even as I am known."
The regular use of reflections, mirrors, optical camouflage, breaking glass; the constant search for self-knowledge and ultimate purpose; of seeing 'face to face', as in the meeting between Mokoto and the Puppetmaster; the feathers of the angel as gate-keeper to a higher plane of existence; the paradox of reaching 'maturity' in the form of a child: all of these things seem bound up in the passage quoted by Mokoto, first on the boat and then in the final scene. The fact that she explicitly refers to it as a "passage" seems to imply that the audience is suppose to recognize the biblical reference.
+Radical Catholic Funny thing was that this quote was paraphrased by Motoko in the movie, just not the last sentence.
Good point.
Never realised I needed a Scottish bloke musing on philosophy, anime, identity, death, and life in general. Ay.
When Batou said that Motoko is a human because she is treated by a human, that could be a subtle reference to Alan Turing's ideas on artificial intelligence. Turing believed that a machine that responds in a perfectly humanlike manner is indistinguishable from actual humans. Turings' position pretty much falls in line with the notion of solipsism, since we can't really know whether anyone else is really thinking or just programmed to act in a humanlike manner. You could even go a step further and ask whether you're not a machine programmed to act in a humanlike manner.
Just my two cents.
Solipsism is the belief that the only real being are ourselfes. What you're referring about is maybe the Cartesian "problem of other mind", or the impossibility to have real knowledge that other people have a 'ghost' like us.
@@marcomill4824 You are correct, this was written quite a while ago. Nevertheless, it's good to have the correction visible as well.
It is an allusion to Turing. If you read the original Manga - Turing and Turing Machines are discussed at length.
I always felt that the movie was very emotional. I never put any of what you said together about symbolism or anything like that. But when I was watching it, I always felt a strong, everlasting emotion in the movie. That is what I loved about the movie, and something I will always remember about it. Great analysis.
There were a few things that needed to be pointed out. The skin scene in the beginning was explained as part of the method of growing skin that is UV resistant. Motoko wasn't "born" a creation, she was born human, but being an orphan, she kept replacing more and more of her human body with cybernetics. Her dilemma is then her constant questioning of if she is still human even though 95% of her body is no longer human*. Does replacing her human body with robotics thus remove her humanity or does her humanity lie in her "ghost"? But then seeing how fallible emotions and memories are, that deepens the question even more asking if just not knowing is what makes us human. The voice whispering to her is her first introduction to the puppet master, the rogue AI that has become aware and has taken over the cyborg. At this point, Motoko begins to accept that she is herself, regardless of whether she's still human or not, and in her embrace of her own uniqueness, she accepts that the AI could be alive as its aliveness justifies her own aliveness, which is the driving question she's asking herself the entire movie. Thus she allows the "mating" that happens between the puppet master and herself. And a few other philosophical quibs here and there that I'd love to debate with but alas....
Great video though. You caught a lot of the symbolic reference and symbolism and did a great and engaging job of presenting them. And looking at the comments, a serious number of responders were caused to think twice about the movie in a very positive way. To me, that's one of the best gifts to have regarding a breakdown like this, and for that, you're awesome! Keep it up.
*I'm not sure of the exact amount is now machine. It was thoroughly explained in the manga, but the point of being almost entirely machine and only having the brain left of her human body remains.
Also, the points of duality are a bit more esoteric than you present, especially between the puppet master and Motoko, but it's not necessary to enjoying the story.
Nailed it.
Project Burn you made me remember the conversation in which she asks Batou "how much of your body was changed?" She wants to reaffirm that it doesn't matters how much of your body is replaced with cyborg parts, it's something else what makes you human.
Thank you for this comment. This explains a lot of the questions I had that weren't addressed in this video.
I believe she was orphaned and drastically injured in a plane crash. She was raised from a young age, 8 or 10 iirc, in a body that is 98% mechanical. She was not slowly becoming more cybernetic, it's just that she has almost no memories of being flesh and bone
I think the revolver could also be seen as a metaphor for humans becoming "old" or being overtaken by cyborgs and other technology ironically made by themselves. A sort of evolution.
+Troop At the same time the overdependence of technology is also argued in the film to be more susceptible to viruses and degrading/malfunctioning.
Like Major Kusanagi said, "Overspecialise, you breed in weakness." She understands our history is important for without a history how on earth can you fully contextualise? You'll always be at a disadvantage
Thank you for making this. To me, the Angel descending part was always confusing, I thought it was just put in to explain she is transcending. But after watching your analysis I agree, I think it is Motoko's "higher self" and the angel is indeed female with a similar hairstyle. Masamune's comics continue to explore the concept of multiple selves so this strengthens that theory.
The ending of the movie has a sad feeling for me. We can no longer empathize well with Motoko as a main character because she has transcended and is something more than just human. We are left to guess and that's what makes it a great ending. Her cameo in Innocence was short to make us understand that she's more God like than human and the doll's body can barely contain a sliver of her consciousness
I think that at the end you see Motoko sitting in the chair from her point of view. The digital effect is that it is seen through her eyes.
She is looking at her own reflection in the mirror at the end of the room. That is why there is a "second chair" seen when she gets up. It's just a reflection (once again the mirror theme).
It's probably to symbolize that she & the puppet master code are freeing themselves from the old confines of the mirror and going into the new world outside.
5:30 I love the attention to symbolism in this image. The 2017 movie trailer did a reverse of this image with the lighting, for some odd reason. The window and background were darkened, while ScarJo was in the light. That, IMO, ruins the very purpose of this image. My interpretation is that the purpose of this bedroom image was to show what the Major is like as a character: a dark and hollow shell with a small glimpse of the light of true existence, yearning to transcend her boundaries and become something more than just a ghost in her shell.
Smart analysis, sir. Many things you mentioned never crossed my mind but make perfect sense.
+StudioSambodia Thanks! :)
you're welcome!
+StudioSambodia right? i was like how the fuck did i miss all of that. this movie is so much deeper than what i thought
jon doe totally. This is one of my top favorite films of all time and I just never looked into it this deepely. Saw it at face value and didn't look for metaphors etc. After this video, I rewatched it, and I appreciated it much more than I've ever had.
+StudioSambodia Same here
I can't believe that Basset Hound doesn't mean anything lol. I racked my brain about that forever!
Harrison McKinney I always thought the metaphor of the basset hound represents the spirit of nature residing within the artificial environment of the city. The dog is just a dog, an unaltered natural being with a soul of its own, that continues to be just a dog even though the world around it is becoming less and less natural. The dog appears to have more emotions even than the humans around it who move aimlessly, without emotion. The basset hound is alone, longing to find its place, just as Motoko is longing to find hers. Thus the basset symbolizes the conflict between nature and artificiality as they gaze at each other.
Basset is representation of humanity. In GitS Innocence and Avalon, that dog is the only thing what keeps main characters, Batou and Ash, in resemblence of normality. While personal space of Motoko is a mere container of her body, Batou's house is a real home, and every evening he brings food to his dog who's waiting for him. Basically speaking, the dog is the only thing what keeps Batou from following Motoko's steps.
The "Tree of Life" also appeared in Full Metal Alchemist. It was on Edward's door of Truth. It represents the knowledge Edward gained on his own.
Nice analysis.
Some the analysis forgets that Motoko is a special ops soldier and covert operative.
Spartan safe houses, no attachments, and difficulty relating to civilian or normal human interactions is the norm.
I understand the desire to relate the themes to what makes us human vs a cyborg, but it can also be thought of as the differences in subcultures. The special ops covert operative life is very different from normal civilian life. The questions that all of section 9 face about their humanity are faced by soldiers and marines returning to civilian life.
One of the things the analysis does not look at is that this is a world where everybody is part cyborg. What sets section 9 and Motoko in particular apart is the job. The life they lead has no room for attachments. No possessions, or relationships. In fact, their experiences cannot be talked about with civilians or even other operatives who are not read into whatever ops they do. So many of the symbolism attributed to cyborg vs human is not really applicable.
On the other hand, the issue of where the consciousness resides is the more direct question. In the end, Motoko's consciousness moves to the net. This may be separate from her brain case, but that is never specified.
One thing that makes this powerful is that it shows where we are going technically, and the ever more isolating effects of certain subcultures. Some combat veterans ask the same question as are being asked in GIS. What makes me human? How do I stay human?
The fact that the core philosophical conflicts of the movie play out not just explicitly, via dialogue, but even manifest in elements of the environment and in seemingly "accidental" visual metaphors that constantly arise are exactly the reason why this movie is so powerful and enduring. Excellent analysis, thanks so much!
One of my favorite films of all time.
In my opinion, Ghost in the Shell is the most perfect movie ever created. From the 1st second to the very end, there has never been another movie so perfectly intertwined. Frame by frame. Every line of dialogue. Every note of the sound track. -- all fits together like a masterfully crafted puzzle to tell its story at multiple levels, consciously and subconsciously - all at the same time.
Sir I think you nail it, with your film analysis; Damn good job.
Thanks! :D
+AnimeEveryday yea u fucking rule i wish i could be as intelligent as u lol i never would of put all this together like this....i still dont fully understand the very first scene with the diplomat or the scene with the chief when hes watching that white haired man
Agreed, clearly a mirror. I was surprised that the maker of the video didn't pick up on that especially when the motif of reflections was talked about so much earlier in the video (which I thought was very insightful). Additionally, I think that the point of Motoko being in the new "child's" body is clearly a reference to the reproductive nature of her merging with the puppet master and that the angel (a symbol of the interaction between God and humans) represents the conformation of the spirit (or ghost) in these beings which question their own humanity. The angel descends with the bullets that kill the puppet master, as if to retrieve his soul, and by doing so, allows Motoko (who was seeing through his eyes at the time) to get an answer to her initial question about whether or not she is "human".
Really interesting video - I originally watched Ghost in the Shell when I was much younger and most of it flew over my head, but I picked up the Blu-Ray recently and really enjoyed it (having read the Manga last year I found I understood the concepts more). This video did really make me think about the symbolism a lot more so thanks. I'll need to watch it again sometime.
I'd just like to add though, at 12:20 you discuss the voice Batou and Motoko hear on the boat. I think it is actually mentioned, or possibly just implied, in the film but that voice is actually The Puppet Master. He has been wanting to escape Section 6 and tries to flee to Section 9 so I believe he was monitoring their members. I think this is the moment that he becomes interested in Motoko specifically, as he realises that despite her being human, she thinks of her existence much like he thinks of his own. I believe that him listening in on this conversation is what makes him select Motoko as his choice of someone to merge with - when he says "Because we are more alike than you realise" it seems that he is referring to the conversation she was having with Batou on the boat.
Taking it a step further, I actually personally think this is the actual moment that The Pupper Master gains awareness of his own intelligence. Listen how the voice sounds incredibly week and robotic, as if it is taking for the first time. I feel it's intelligence had been developing for a while, but listening in on that conversation made him become aware of his own evolution from a mere program into an artificial intelligence. I find it a little hard to put into words, but have you ever struggled with explaining something you have thought or felt but then heard someone else describe exactly what you were having trouble putting into words and everything clicks into place? I think it's pretty much exactly like that.
I dunno how often you check your comments on these videos but if you have the time I'd love to hear what you think :).
Great analysis man, Oshii truly is a master and this film is a masterpiece. I think it really shows how differently people interpret this film though, I always thought Motoko's dilemma was the difficulty of seperating physical experience from purely mental existence. I showed this film to my Dad who's a pretty big film and sci-fi buff and we had a discussion about the questions it raises during which we came to the conclusion that the film is creating an answer to one of the main problems of technological singularity that being that artificial entities are unable to reproduce by embracing the idea of conscioussness fusion.
As for the last scene with the chair my interpretation is that it emphasizes how Motoko is both a new body and new mind and infact not Motoko at all anymore, it zooms away from the old existence into the new which is paralell but different almost as if what Motoko knew as 'herself' is dying and giving rise to new life which will spread through the net. It could also symbolise the end of an entire stage of human existence that being the one that seperates human and machine, ghost and shell and bringing in the new age. There's a quote from this scene from the bible that goes
"When I was a child, I spoke as a child, I understood as a child, I thought as a child; but when I became a man, I put away childish things"
Put in the context of the final scene this explains how individuality and the desire to remain what you are is a childish delusion because as the puppet master points our, we are always changing.
Also while you didn't mention it the song used in the beginning of the film called 'making of a cyborg' is very important, its actually an ancient Japanese wedding song which gives the opening scene marriage symbolism as well as birth symbolism.
Good interpretation :) That would explain why the original Motoko wasn't on the chair when we see it a second time.
AnimeEveryday - Anime Reviews
Yeah its a pretty surreal moment but very subtle in execution, even if there isnt a physical mirror in the scene it definitely creates the metaphor of a mirror between two worlds.
I think it is definitely ment to symbolize marriage(and marriage being a symbol of a union) along with birth. When people get married the symbolism is that two separate things (2 lives) come together to create one new thing (1 life together). The symbol becomes literal when two people create a new life from an egg and sperm. Her melding with the puppet master is like a marriage. I don't believe that you are seeing motoko in the last scene. Its the new entity created by the information from both motoko and the PM. Their child. I think their ghosts ceased at least in the sense of their identies or separate conciousness, but the child that was created proves they were alive. Birth, procreation and death are things humans take for granted yet mokoto and the puppet master spend the whole movie just trying to understand and accomplish these things. I havent seen this movie in forever but I don't think its at all clear how they merged or how exactly the new child was produced from that, but I think that the impotant thing was that they understood that it was procreation that was the defining aspect of life. This is what evolution is all about. We die but we don't because our information is passed on and evolved to something new. If you watch the film from the perspective of procreation you can see many shots of the city with buildings that are still being made and buildings and things that are finished (not having been born, but having been made) and shots of all of these things in a state of decay or misuse. The rubbish are things that have been created, but are not 'alive' because they didn't pass their information on in the process of creating something new. Another building will be erected in place of the buliding in the climax, but it will be a wholly seprate entity. Man, I'm gonna stop rambling and watch the movie again.
Jonathan Lewis one other thing is that I do think its a mirror at the end but I think the mirror and reflections imagery is the idea that she is searching for herself and who and what she is but discovers that if you are alive, yourself is never really just yourself. You are the product of the information from the evolutionary history of your species. Looking through the mirrior for motoko (who isn't exactly alive) is realizing that a machine when reflected in a mirror is only a reflection of itsself. While the child (who again is not motoko or a copy of her) looking into a mirrior sees herself, motoko, and the puppet master. The child is now a living thing.
That was solid academic like analisis. It's impossible to see all of those details when you watch the movie just once. Because of that i really appreciate your effort to make this video. Thank you :)
The other thought after this analysis is that the movie is indeed a masterpiece created by some geniuses.
very exhausting in depth analysis, picks up on some symbolism that even I did not notice the first couple times I watched this film
This is a truly excellent analysis. I've really gained a much deeper appreciation for a film that I already loved thanks to you!
2 or 3 times I have watched this. It gets better every time. Thank you.
Motoko* never had a 'human' shell. In 'Arise' we find she was a late-term fetus whose mother
was killed in an auto accident. The damage to her almost fully formed
child was so high that the brain was placed in a cyber-shell. She grew
up in a successively older cyber bodies until adulthood, hence her inner
struggle with her connection to humanity and the question: "Is there a
ghost in my shell?" After her massive trauma in her epic battle with 'Teh Puppeteer' (sic) we find her awakened in a safe house with Batou explaining the adolescent body she is in is all he could afford on the black market. She thanks him, says see ya again my best friend and ghosts off, presumably to eventually completely transfer to multiple and ever-changing servers inhabiting the ever expanding thing we call the Internet or actually the metaphysical universe in and of it that we can only call Cyberspace.** imho
*Motoko means basically 'Unspoiled' or 'Untainted' Child. Pluperfect as if a complete book of unwritten pages. (again imho.)
** -William Gibson, Neuromancer trilogy.
Arise is a different story than the movie or stand alone complex. It is not the same Motoko.
Correct, shes more like an "alternate version" of her, like from another whole timeline.
One small nit. At 12:20, I believe it is the puppet master who is speaking. At the end he reveals that he has been aware of her since before he gained notoriety as the puppet master. He goes on to say that his psyche and hers are perfect mirrors of each other. It freaks them out when he speaks, because they dont know who spoke, but the statement about the "dim mirror" perfectly telegraphs the scene where they merge and it contextualizes the diving scene where Kusinage comes up from under water, merging with her reflection, and becoming something new. Its very beautiful. Amazing foreshadowing.
Motoko Kusanagi was not a blank slate. She was a cyborg. She still has memories/experiences from her human side but does not fully know if she still retains a soul.
Never caught that part at the end with the second chair, thank you for pointing it out. Great video.
Thanks! :)
No 2nd chair. It's a mirror.
exactly what I thought, it's just a mirror - it doesnt' even touch the floor...
But wait... If it's a mirror and Matoko was standing up, having just stood from the other chair, why is she not being reflected by the mirror as well? If it _is_ a mirror and she's not seeing her reflection anymore, it could be a symbol of finally achieving complete-ness by the language of the film...
Or, we could be goofy and associate it and the gothic lolita dress as an implication that we've witnessed the birth of the first cyber vampire.
What are you talking about?? Re-watch the scene...
Best film analysis I've ever seen of GitS!
Thanks!
Check these out too! There's so much to get out of this film.
www.academia.edu/12322050/Self-Awareness_in_the_Conscious_Subject_Cyborg_Anxieties_in_Mamoru_Oshii_s_Ghost_in_the_Shell
www.academia.edu/6964172/Mamoru_Oshiis_Ghost_in_the_Shell_Identity_and_The_Self
bravo man, bravo. you've inspired me to re-re-rewatch this film for possibly the 1000th time. I am entranced by it.
In the frame stopped at 20:50, you can see the puppet master and the background. I didn't catch it in my viewing of the movie, but now that I saw it again, it looks like he has a halo. Look in the background behind him - you can see the machine-like ring around his head. The fact that it is glowing with light also helps to show that it might be a halo.
I'm not entirely sure of what this detail means, or if it is even relevant at all, but it struck me as unique and noticeable. Here's my short analysis of what it might represent. Keep in mind I'm probably gonna stretch to find meaning in this, and like I said before, it might have no meaning at all.
To me, the puppetmaster almost seemed like a god in his own right. He had access to the unlimited and vast information of the net. He also knows 'the meaning of life and existence' that Kusanagi had searched for throughout the movie, much like how God knows everything in the world, and the meaning of life. This next part might be a little bit of a stretch, but the fact that he talks about how life that is created naturally, like how humans reproduce naturally, is the same as life that isn't produced naturally, like how a god can create beings out of clay (like in greek mythology), or other materials. The connection between the angel near the end of the film can also be made. When Motoko combines herself with the puppetmaster, she witnesses the angel, or "sees God". Because she combines with him, she acknowledges the meaning of her life and "sees" or "becomes" a god. Also, I don't know why, but I compared the "God of the Wired" character from Serial Experiments Lain to the puppetmaster during my first watch of the movie (This is probably the biggest stretch and has no relevancy to the puppetmaster, I just wanted to include it).
Well, there's my over-analysis of a small detail. Maybe it will prove interesting to some.
Great video as always, AnimeEveryday never disappoints.
+soEZNation I didn't notice at first either, but yea, it really does look like a halo. To me the halo, much like the angel metaphor, represents the "new life form" mentioned in this video. When you consider the animal kingdom as a "kingdom of bodies" (so to say) and the realm of the angels/god as the kingdom of the soul/ghost, humans are nothing but an incomplete mixture of both (also represented in Matoko's identification problem). The mind captured in an organic prison. The puppet master is, in this regard, a better and improved lifeform that was able to overcome the body and is pure mind and Information. And much like a religious prophet, has to use a shell in order to communicate with humanity. I think this also goes along nicely with the interpretation the video offers, especially considering the last part in the museum.Just my two Cents.
THE VIDEO ISN'T EVEN FINISHED YET AND I GOT TO STOP AND SAY THIS:
You made me rethink everythink I know about my favorito movie of all time. So much new information and ideas I hadn't thought about before.
Great job. Almost 100k.
This is my favourite film of all time and I have watched it countless times. I even analysed it for one of my English assignments, and seeing this afterwards I'm surprised that my analysis was virtually identical to this video. I had to compare and contrast the related text of my choosing (GITS) to 'Divergent' of all texts! I must say, ghost in the shell and divergent together are like chalk and cheese! Divergent is a shallow, feminist, teen romance story which tries to be sophisticated but fails miserably. It is rare that a movie as innovative and thought provoking as ghost in the shell comes about.
Thank you for this analysis I just finished watching the film and I could feel a lot of references going over my head so this provides a lot more clarity of the overall discussion of the film
the museum scene (when Motoko is looking at the ceiling) looks very much like a cell division. when a cell division happens, nothing of the original cell remains but there are now two individual cells sharing characteristics. this happens right as Motoko is asking whether she can re-gain her individuality in which the answer is no.
YO
probably one of the greatest analysis videos on the web man
What an amazing job! You combine lots of elements, not just knowledge about a wide variety of disciplines, but a great intuition and that is priceless. Thank you so much for sharing. New subscriber
+Daniel Pardo Thanks! Glad you enjoyed!
In the last scene, where Motoko is in her child body, the digital look always conveyed to me that the opening shot was from her POV. Not looking at a second cyborg but looking at her own reflection in a mirror at the end of the hall. It explains the pixelated look of the opening shot and the reversal of the room layout from shot to shot reinforcing the whole "it's like we're looking through a mirror and what we see is a dim image". This is further reinforced when the dim lighting and slightly de-saturated colours are taken into consideration. Look at the difference in the vibrancy and colour temperature of the room in what I propose is her first person shot versus the subsequent third person shot where everything seems reversed. I had always just assumed that the position of her in relation to the camera meant that her reflection wouldn't be visible but I'm questioning that now. I had never considered that there could now be more than one Motoko in the world. I would have thought that Batou, being a rather down to earth and straightforward guy, would have mentioned to her that she now had a copy or offspring. Anyway great video dude, considering it's only 34 minutes, you've managed to be very comprehensive. It's raised some new questions for me. Time to go and watch it again.
Great job man! You brought up a lot of interesting things that I hadn't noticed.
VejyMonsta Thank!
There are basically 3 versions of GIS (Movie, TVO and OVA), also refer to 3 versions who the 'Major' was.
In movie version, it more or less hint that she was a full cyborg system, even memories were implanted, so that she was the only one 'in the network' that can be merged with project 2501.. Because they're alike each other, both synthetic. Also the 'Major' in this version has the most robotic feeling.
In the TVO series (Stand alone complex),in the scene 'affection' it hint that 'Major', and Hideo Kuze was the only 2 survivors with severe body damage, and they became the first full-cyborg-body users in young age. This seems to be the most accepted version of who the 'Major' was. It is also interesting that in the SAC opening theme there were few flashes shown she was indeed being cyborg-body in the very young age, but she also had a childhood -- memories about toys and the place she used to live.
In the OVA series (Arise), 'Major' once thought she was adapted and raised by somebody. Latter on she found this was fake memory that somewhat implanted by somebody. Although most GIS movie fans don't like the 'Arise' version, it is the one closest to the original manga and the 'Major' in here was more human-like rather than robot-like.
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Normally it would be 3 stories lines in 3 parallel universe and 3 different version of 'Major'. But what if they're all in a line(I know that SAC and movie definitely proceed into different time line). That is the original 'Major' was somewhat a true person, a real human. But when the time past her original memory has been lost, rewritten or being replaced by something synthetic; hence her human identity and her true self has gone with it.
FINALLY great to see the intent of EA working itself through. You did a spectacular job on this video~ I'd be lying if I wasn't a bit jealous to be honest! It's very well constructed and you went through your points in an interesting way. Yes, I've heard a few of these ideas before--but honestly--that's to be expected considering how consistent this movie is. You know that the film is special when it can make people speculate about similar stuff. End of Evangelion has this property as well. Oshii is truly a genius. The only problem I had with GITS is that I wanted to see more of its world! Innocence wasn't enough.
Anywho~ The observation on the last scene with chair is interesting. I've never seen anyone pick up on that before. A mirror can't be right considering she's at an angle where you'd see her reflection in front of the chair. But think about it. You have this new entity--a merge between Motoko and the Puppet Master. She rises from the chair leaving it empty. At the point we see this shot, there are two empty chairs standing between their child. An empty chair usually means someone use to be seated there. It could symbolize Motoko and the Puppet Master respectively and how they have joined together in between with their child. The fact this is a mirrored scene but isn't a mirror probably represents how she has finally reached her reflection. Merged into it.
GoatJesus Glad you enjoyed the video :) Have you watched SAC? It's basically more world building and character development with less philosophy.
Also, that's a good interpretation. It would make sense with a lot of the dialogue and mirror scenes.
AnimeEveryday - Anime Reviews Yeah~ I have yet to check out GITS SAC, but I also hear it's an alternate world? So? Not sure how to think of that.
GoatJesus Yeah it's a separate universe but very similar. I prefer the movie but they're both great. SAC has some great arcs & episodes.
AnimeEveryday - Anime Reviews ALSO, would love to see your thoughts on the tree of life/angels. I haven't seen those points elaborated on before with GITS. :D
GoatJesus I'm planning on making separate videos on those topics, but these analysis videos take so long to make. Hopefully i can make them in the next few months.
I love "Ghost in the shell" and your analysis of it was so good and deep. This animé was prophetic in so many ways and it always make me think about so many things that we normally take for granted. Thanks for this video.
nice analysis. This is the first upload I have seen of yours, I look forward to going through your other videos. keep up the good work.
I always thought that the set at the end, and the image-fuzzing, was because she opened her eyes and saw herself in a mirror over a door. Meaning, the first thing we see is what _SHE_ sees... which is a mirror image, because there's a mirror on the door that she's facing. Later we are no longer seeing what she sees, but instead we are the camera aiming at her, which is why things appear reversed. It's a continuation of the mirror theme throughout the film, but the mysterious flip-flopping of the image is just because of a mirror. There aren't two different chairs.
I always thought the angel symbolised the angel death(cause she's sniped at from above). Because, the puppet-master like all living creations wishes for death. But a meaningful one. By merging with Motoko, he can accept death, as a mechanical means to cease existing-hence implying that he did in fact exist.
This is the best analysis I’ve ever seen. I’m just shocked in the most positive vibe I can think of
So, I doubt you're reading comments on a vid you made months ago but you asked for other interpretations/analyses so I'd like to point out a couple.
1) The shot of Motoko on top of the machine at the bottom of the tree of life isn't just about Motoko being the roots of a new civilization, but is showing the beginnings of a new stem (pun intended) of evolution. It's built from a machine (unthinking), into the PM/Motoko (incomplete entities with thought processes but severe limitations) and that when the PM and Motoko merge it will create the next step up with the top of the tree very far up. Showing that this is just the early stages of AI's evolution.
2) If you pause on the angel descending while Batou is protecting her it looks like an eye where the angel is the pupil, the light around the angel being the centre and then diffracting to show curvature just like an eye would. Yes, angel's are the intermediary between god and man, but here it's symbolizing an intermediary coming down from the next level of evolution from Motoko/PM to the next stage of machine evolution. Also, the eye is Motoko's realization of this she's quite literally "seeing the light" that the whole movie is talking about; her place in the world, her place in evolution, her own mind/body and it's limitations and the need to evolve. Interestingly this is also meant for the viewer as we're seeing this through Motoko's perspective as well. WE are finally understanding the direction and meaning of the movie which before, at least for me, was enjoyable and followable but didn't have a moment where we "got" it before then.
3) Finally, a thought on the ending where we see the reflection/reversal. Some people have said it's a mirror but I disagree. What happened was the PM and Motoko joined into one being to evolve; and as they did they split, creating two entities, like a cell finally gathering enough resources which is in this case knowledge and understanding to split and create two equal copies, think mitosis.
The PM said that Motoko would be the be the mother of future generations and she became one. This is why the mirror reflection is used so often and why Motoko constantly talks about being incomplete, she was. She needed the PM to reach as far as she could in her evolutionary cycle and then split into two entities, replicas of each other, to evolve further.
This is substantiated by seeing the two chairs completely mirroring each other, symbolizing that they are the same. He had already gone through this already with the other "new Motoko". Of course they wouldn't wake up at the same time Batou, being one person, could only do one thing at once explaining why one came online faster than the other.
That's enough for now, just some thoughts because you asked. Top notch job mate, I'm going to have to go watch some more of your stuff now.
Thought Criminal hi i think the uploader is wrong w/ his analysis. can you read my critique & confirm it?
Andre Isis link?
Thought Criminal
no link. i posted rebuttals on the recent comments.
Andre Isis To quote Jeremy from Cinemasins "The books don't matter." This is a standalone film and anyone sitting down to watch it shouldn't have to do their homework first. This is an adaptation and usage of characters and universe to tell a story. The manga doesn't matter. Period. If it helps think of this as an alternate universe from the manga.
The beginning is important because it is a birth of a "shell" not the birth of "Motoko" or a "ghost", however you like to think of it. Motoko has a human brain (ghost) which is being put into an artificial body (shell). So, the beginning we have an already existing entity (Motoko/ghost) being put into newly constructed body (shell). This is why the beginning is important because it shows 2 things; firstly, that this body is brand new and secondly it allows the film to come full circle with birthing/creating a new entity symbolism at the end of the film.
As such the movie is posing these questions:
1 - Do souls exist?
2 - If souls exist what is the brain:body ratio?
3 - Is Motoko (the ghost/soul) a complete entity because she does not have her original body (shell)?
4 - Is it possible for a soul (ghost) to exist/come into being without a corporeal form (the Puppet Master gaining sentience)?
5 - How does this affect evolution?
6 - Are we ever truly complete by ourselves or do we need to join with another soul to become complete/evolve?
etc. I'm sure you take the point by now, the entire movie is about existentialism and birth, so opening the movie and having the credit sequence take place during a creation is important twofold:
1 - It tells you exactly what the entire movie is about since the remaining minutes are exactly that, a birth, only this birth is not physical, it is intellectual.
2 - It sets the tone of the entire film to follow. This is going to be a slow moving film, very heavy on visuals/music and is not going to hold your hand. You need to figure it out for yourself.
To summarize, no, I don't believe that AnimeEveryday is placing too much emphasis on the introductory sequence. Any professional screenwriter will tell you the first 10 minutes and last 15 minutes of a film are the most important. The middle's job to get you from point A to point B.
Thought Criminal
dude you contradicted yourself. first you state the beginning is most important but you state that animeeveryday is not placing much emphasis on the beginning. his analysis/ assumption is dependent on motoko not being human. .
he even replied that motoko is not human & not machine. that is not believable. the point of GITS is that people are imprinting their SOUL[ghost] into machines.
the PM is a surprise to sect9 & motoko is that AI may be occurring ie a computer programs declares free will
[shirow's definition of ghost is "self-aware fife form p12 GITS#6]. In p13, PM replies that he is not AI but a life form spontaneously created.
The SCI- Fi aspect of GITS is that imprinting of SOULS into machines. That is the point of INNOCENCE which is again a convoluted storyline from a GITS ep manga.
Oshii may take liberties but the source material is the true indication.
Anyway oshii is just repackaging all the ? in bladerunner. nothing new
This movie and GiTS SAC series reminded me much of the psychological and physiological story of the anime Monster. Especially Motoko and Johan challange the question of their own existance. Both stories will forever be remembered. So very interesting.
Oh, and thank you AnimeEveryday for making this video. Really answered some questions. :)
I just finish watching the movie and i didnt get a lot of it honestly xD, your video expleined it perfectly i love it, this movie is fucking insane
+enzobg2011 you have to watch itover and over to fully understand it, pay attention to details, in every movie you watch, everything has a meaning..
Not sure if someone has said this since this video is 9 years old, but the set change at the end, there is no set change; the initial perspective is pov of motoko as she stares into a mirror on the wall opposite the chair, and in the reflection of the mirror, sees a child Motoko staring back. Then, when the set "changes", it's the camera facing the Motoko that was in the actual chair, not the mirror, which is why everything is reversed.
At least that's what it seems like? Maybe I misread this, but it seems like you can see the contour of the mirror in the first shot given it didn't extend all the way to the floor.
I remember dismissing this movie because the chick got naked all the time, and she had a perfect body, so it felt kind of frivolous and was hard to take seriously.
I recently watched it again and decided just to accept that as something that didn't really matter, which it kind of was, and all the sudden I was watching a masterpiece.
If you were going to have a cyborg body, wouldn't you want a perfect one?
EdMcStinko Her nudity is used to reinforce her detachment from her body and feelings of inhumanity. That is why Bato always cover her up, because he still treats her as human and furthermore a woman.
EdMcStinko she only get naked during cyborg creation opening sequence and the climax battle third act against tank mecha. That's because her thermo optic bodysuit torn to shred in that battle. Yes, she is wearing skin colored tight body suit for stealth mode all the time.
She is nude in the intro assault scene, when her a bato take down the ghost hacked guys in the city, and in the diving scence. In the 'hacked guy' instance Bato covers her with his jacket after she whoops ass. In the diving scene he turns away when she starts undressing. The thermoptic camo suit is part of her body. It is like an outer layer of skin. It is a body suit for Scarlet johansan, cause america. I hear it is a body suit in the manga but in the movie it is not.
Jimmy DaShr00m Nope the thermo optic is not installed, it is extra layer covering up her body, a skin colored suit but different shade, or a thin transparent fabric. That's why during the last battle with tank mecha, it shredded off to pieces when she tried in vain to tear up the tank entrance door. In turn reveal her nude body. She is not nude for the majority of stealth mission, including the opening act (you can see the difference there, only see the outline of her nipples, meanwhile minutes later during opening sequence, you can see clearly her nipples and areolas have pinkish shade). It simply the suit is so tight and thin like a swimsuit, her erect nipples pressed out, also she was drenched wet, hence the cover up.
sorry for my bad english :D watched the movie yesterday for the first time. the way i saw it: Humanity always feels like they are not perfect and have to evolve, they define their life through the lack of possibilities (finaly death). So they try to invent all kind of methods just to become "better" or more or less immortal, and the Major is the furthest step into that direction. her Body is already 99% a machine, just left with her "Ghost". And SHE still has questions about life and who she is...or if she is still "her" however she defines herself. This starts the question which inspired the matrix alot. What is reality? Major has one question that leads her to the PM but she knows she might already be in the hands of the puppet Master also...what if all of her dreams and imaginations of her "old " life are an Illusion implemented into her cyberbrain to push her to do things the Puppet Master wants (he wants to merge with her)? like katou said "if you start to question everything, you can't trust anybody" or maybe "anything". The PM "Born" as an AI becomes self-aware, maybe because the Internet is just like a big brain itself, and when the net became bigger and bigger it came to a Point where it evolved into a "lifeform" which knows that it exists. Still the PM knows that he is different from all the other beeings on the planet. He is kinda immortal....and to HIM that feels like a lack of possibilities...while human beeings want to be immortal, the PM wants to be part of the selfreproduction-mechanism of "living" beeings which is bound to Death. So the PM defines Life through Death and Surviving through a selfreproduction where he combines his "Code" with a similar but still different "code" into a new Version of both of them. But why does he define life like that? Well, thats because he was programmed by humans and he is connected to the "net" which is only filled with Informations by humans. so he still can't think out of the box. It's impossible. Just like every other beeing he is bound to his "source". Thats why he "feels incomplete" just like humans do, because human thoughts are his source. In the End PM and Major merge into a new beeing, which will also have to find another cyberbody to merge with. i also liked how PM is ready to destroy other lifes just to be able to "die" and "evolve" and he is ignoring a difference between good and evil, which Shows that he is not 100% human. He calculates like a machine and is willing to do everything to reach his Goal and he has no conscience. Maybe thats something he also misses, and why he wants to merge with something human. Human beeings might believe in things which might me illusions (like good and evil, or beeing different then other lifeforms at all) but at the same time they become reality as people believe in it. so believing might be what defines humanity, which refers to "ghost", because a human ghost or Soul is often defined by something spiritual which can't be proven by science.Oh this movie is really great...It makes you think alot, and beeing released in 1995 (the manga is from 1989) it was waaaay ahead ist time. But hey this is still just a movie, and we might never be able to solve some questions, and this movie will not be able to solve your questions too. So don't take it too seriously. there is a reason why the makers of this film don't answer the questions that are raised.
The shot at the end was Makoto looking through a mirror at herself, there wasn't actually another identical chair set up across the room.
Love the analysis! I've watched the movie multiple times and I've always felt that I'm missing an important detail, and you've answered and opened more questions for me. I would like to see you analyze the second Ghost in the Shell movie, as it moves from the focus of Motoko to Batou, who both have different philosophies.
Cuz of this video I need to watch the movie all over again to get it but I aint even mad
Man i have watched this movie 10 times but i never noticed the chair scene clearly.... and the moment revealed about that chair scene in the video gave me spine chills...... awesome analysis video brother.....
The first Ghost in the Shell movies was my first exposure to Japanese animation, and the only anime material that I've ever viewed inside a movie theater. I had heard of other releases of course, but the title alone sparked my interest enough to go watch it. I'm glad I made that wise decision so many years ago. Having read and watched any and all related material to this series that I could possibly find, I thought I had a firm understanding of Motoko's personality and motivations, but after watching this video and reading so many insightful comments before this, I feel that I'm still learning; I'll throw my two cents' into the pot.
Aside from the Arise origin story, we learn that Motoko, at a very young age, barely survived a plane crash that devastated her body beyond the natural means to recover from. Her brain and a small part of her spinal column were the only things transitioned over to a cyborg body--a body very much like the one she possesses at the end of this film. Even her brain itself is heavily cyberized, modified so that she can perform all those amazing feats of informational computation and warfare that she engages in. Anyhow, I believe what another commentor said is very true: that after being in a cyborg body for so many years, no doubt suffering damage on multiple occasions that would easily kill a normal human, that she is desensitized to the fear of physical death--something that most people think about commonly, and a governing emotion that influences everyday human actions and reactions. This idea serves as a catalyst for the other considerations she has about her true existence and purpose, most of which are fairly obvious to interpret if one just pays attention to not just what she says, but about how she voices these issues.
One thing I will respectfully disagree with this video is some of the ideas explained in the later scene where Motoko is battling the tank; it's not that she's unconcerned for her own body that she acts so foolhardy: it's because the existence of the Puppet Master has sparked so many questions in her mind, about her own existence, that she is desperate to learn more from it--so desperate that risks everything to prevent it from being taken from her. As far as she's concerned, this thing could be the key she's been looking for her whole life; this situation was all or nothing, and a chance at revelation that she would never again be given. Batou is certainly not "another human"; he is as much a cyborg as Motoko, though evidence shows that he spent far less time in a cyborg body than she, and perhaps is why he doesn't seem to have personal hangups to the same degree that she does. Other than these, I believe the observations are solid.
That was thrilling. It's one thing to feel your way through the film live uncertain what's relevant esp when things move so quickly. It's completely another to see it in the way you've presented it. That was thoughtful and shrewd and well established ideas and most importantly, it was a lot of fun. Thanks.
very grateful for your analysis!! :) thumbs up from germany!!
+Dimitri Samaras Thanks!
bloody fantastic analysis. I really love the detail you go into. On the closing sequence, the first shot is Motoko's POV. The Motoko we see in the distance is her reflection in the body-length mirror on the wall. the next cut is a 3rd person pov looking at her, instead of her reflection and the apparent setting change is the non-mirrored set. it is a natural closure for the "reflection" thematic element throughout the film.
I'm slightly surprised that you made no mention to Motoko's quote after the dive scene that seems to come frome her subconscious or ghost, is a biblical quote. Motoko never really gives any impression of being invested in religion let alone Christianity, so it's odd yet interesting that she (or some part of her) would have a biblical quote come to the forefront
Glad someone made this video, I was trying to explain to some co-workers how brilliant of a Sci-Fi series Ghost in The Shell is in light of the movie they're making about it, and its incredibly hard to do so.
15:54 it's not Motoko, it's the other cyborg similar to her at 14:26.
I just watched this a few weeks ago, and I was surprised, even delighted to find that it was far more intelligent than I had anticipated.
For my interpretation, I believe the ending scene with the mirror is only "off" because throughout the film we see Motoko looking at her reflection questioning herself a good portion of the movie, and this time around it's flipped. We are not looking at a reflection through her eyes, no, not at all. We the viewers are now the mirror looking in at Motoko as it transitions back and forth ambiguously in this final scene dealing with the mirror theme.
Regardless of whether or not it's a mirror, a mirrored room, supernatural, or a cool cinematic effect, the scene still gives us the same message no matter how we interpret it. The focus changes, because she isn't focused on her reflection anymore...Motoko, or I should say the "newborn" is whole; complete. She no longer questions her reflection; her identity.
What's left is us, the viewer to reflect on the film, and possibly our own identities. I wouldn't say there are multiple Motoko's, so much as an invitation for others to elevate to the higher plane, or the next step in evolution.
My thoughts exactly.
If you intend to do another analysis for GitS 2 - Innocence, I think it would be very great!
Plz do!
I think innocence is better than the original
Good analysis. I've seen this film countless times over the years, but it's so deep I still find myself discovering new things watching it.
30:50 The shot is Kusanagi's subjective view, just like the previous shot (that is clearly hinted with the glitches in the opening and the digital noise). It's a long pan into the mirror on the corridor wall outside the cabinet. Motoko's looking at herself through the mirror, only now we see it through her own eyes. That also explains the change in the surroundings after the cut. No multiple chairs, rooms or personalities - just a mirror.
holy shit that was a great analysis, you just made one of the most amazing movies so much better.
I find it weird that she never rationalizes her existence based on the memories she has up to before she was made into a cyborg.
It feels like she has no memory of her human self. This would give credence to her previous statements that she is never really aware of who she is and where she came from. Something is causing the dilemma in her cyber-brain which is making her lose the feeling of being 'human'. If she did have memories then they would allow her to justify her existence irregardless as them being real or fake. There is almost no backstory on any of these characters, but Batou surely does not doubt his human existence inside his metal shell.
It could be that Motoko Kusanagi has started to realize that even with cyborg bodies, or shells of unimaginable construction, there is no way to escape the need for a thing to be in control - consciousness. This makes her feel sadness and despair being unaware of her origin, purpose, future, and reality the more that she becomes acquainted with her cyborg body - realizing that her brain is the only human element in her flesh form. She feels that she was always a Ghost in a Shell and regardless of her form, she still is searching for answers to what life really is. Is it physical? Is it thought? Is one ever going to know being restricted by both of these at the same time?
One of the best video essays on this film. Keep up the excellent work 👍
Thank you!
In terms of that 'set change', I think you're reading WAY too into it. She was staring into a mirror on the wall across the hall. It wasn't another room with the same set up lol. The image was just flipped when it was panning, because it's a reflection.
+Cynima Rapscallion That's what I thought as well.
Definitively the best analysis of this masterpiece. You really go deep into the themes and still there is room for more discussion.
The film covers a very basic and controversial question. In a technocratic society, where does does humanity end, and what defines it? I don't know if you could call the universe of GitS a true technocracy, however. Seeing as you pointed out, the city and environment is drab, colorless. Their world has long clung to the old human pre-transhumanist ways, and has been allowed to stagnate. This tells us rather bluntly that the world, presumably in the distant future, is still itself wrestling with that very question I posed earlier. As is also evidenced by the fact that the cybernetic denizens prefer to remain primarily human in appearance, as you also pointed out.
Interestingly enough, when it comes time for our own push into the cyber-revolution, I expect the outcome to be vastly different. While I do fully expect we will retain a certain degree of value in our basic human aesthetics, even if just for the purpose of nostalgia, I think we will push the boundaries much further than anything displayed in GitS. I think after the initial culture shock and possibly even lack of acceptance, after a generation or two I think the changes will be embraced and even celebrated. Human modification I think at that point will flourish and even become an art form in its own right.
briliant
Wow this video gives a lot of clarity over the ideas and themes expressed in ghost in the shell. Like idk about anyone but when I watched the movie, I could sort of understand what they’re trying to say in the movie, but it was generally confusing for me. Awesome video for clearing up those clouds over my brain.
you say a lot that she doesn't understand the feelings, implications etc... no its that she either has no feelings or doesn't particularly care.
Superbly done, mate. Thank you for the considerable care and thought you put into making your analysis, and also, in backing it up with such excellent examples from the film.
Robert Ford Thanks, glad you enjoyed it!
AnimeEveryday I took a "Comics, Power, and Society" class, here in the Bay Area of northern California. Although we mostly covered manga, to me, this movie is a pitch-perfect tour de force of what this genre can do. I've long been a Japanophile, so this is my go-to film for anyone who argues that Japan has no great iconoclastic art, only imitative or traditional forms.
Btw, as an aside, America's "manga" (comics industry) once rivaled Japan's (with Captain Marvel outselling Superman, and comic books even being used as a tool in Norway to reach freedom fighters during WWII). But these days, of course, all that's quite different, in the West, while both manga and its outgrowth, anime, continue to grow, unabated. A quick peek at Japan Times, and I found that the top manga, "Shukan Shonen Jump" (weekly) had a circulation of 2.79 million last year, "followed by Shukan Shonen Magazine with 1.77 million copies". While in contrast, our best-selling comics these days being a "success" if they sell 150k. We of course had huge numbers, too. But once paranoia set in, whipped up in fearful reaction from pseudo-scientist Frederic Wertham's book "Seduction of the Innocent", and the Comics Code of Authority was created, sales plummeted. (Werthem was famous was for saying that a huge percent of incarcerated juveniles read comics, as if other segments' numbers were any different).
So in some ways, manga (and anime's) parallel exponential growth is an interesting lens on what could have happened, if we hadn't had those censorship years. But Japan's dichotomy, ranging between fascination with the West, and fear and mistrust -- combined with its linguistic, cultural and historic isolation gave the world incredible gifts ("Grave of the Fireflies", and really, even "Akira", could only have come from Japan). In the process, they created a model of myth telling that has fused with modern cinematic storytelling, becoming globally, almost the rubric for telling epic animated stories.
It made me sad that he had to sensor Motoko's breast in some of the scenes. Even 1995 Japan is more open minded than today's internet...
Uhmm...today's Internet is very graphic, this platform isn't, but not because "we are more sensitive nowadays". Since UA-cam relies on advertising, a "family-friendly" environment is the smartest bet (under that perspective). Of course, companies want their products to be displayed as much as possible to the widest demographic, in order to do that they need videos with a certain level of censorship. That being said, I do believe nudity is a stupid tabu to have in 2020, but looking at nipples on its own doesn't automatically make you more open-minded. They're just nipples.
The last scene, it's a mirror or window in the hallway not another room. It's not something i've thought about till now, but i have a hunch that none of the other reflections we've seen thus far in the film have shown the Major fully in frame, with the exception of perhaps the diving scene but even that is slightly clipped off at the flippers. I think the significance of the first shot is that you are looking through her eyes and for the first time she's looking at a fully framed reflection of herself. Perhaps to mean she's finally adopted an identity, that she can see herself fully as opposed to before when she continually analysed specific parts of herself in search of where her identity lies.
The reason behind the lack of reflection during the second shot is a juxtaposition of the previous use of mirrors. There is no longer a reflection to see, no more separation between Motoko's "selves" now that she has seen who she is.
The end you are confused on, is a mirror lmao, it's a mirror on a door bro
I really appreciate your analysis of the closing scene. I hadn't looked that deeply into it. I thought we were looking at a mirror, but showing the visuals side by side, *the equipment is different* (different number of hoses coming out of the containers, different desk, etc).
In other parts of the franchise, we see Motoko operating multiple cybernetic bodies simultaneously, something an ordinary human being would find all but impossible (not just motor functions, but _being_ two or three people at once). Perhaps it is not so much a gift as a curse: there may be one physical cyberbrain which contains organic pieces of the original Motoko Kusanagi's brain, but since merging with 2501, she can no longer exist as a singular entity--she is a _network_ .
Perhaps Batou has been tirelessly retrofitting dolls to upload a massive output of consciousness from the original cyberbrain, and we are shown some amalgamation of the first awakening of that brain and a subsequent "offspring", demonstrating that 2501's theory was correct in that there would be children from their merging and also that Motoko's sense of self is only tenuously tied to her organic remnants.
i like how when they remade it in 2008, it looks worse than the 1995 version
+Astronopolis 1995 had a 1,139,850,000 Yen for 85 mins of animation budget while 2008 had a 360,000,000 yed budget for a whole 25 episode season. Hmmm i wonder why it looks worse. I cant quite put my finger on it.
Waisso
no, i understand the limitations of budget for TV, but when they added more shots to the 1995 film they were noticeably worse than the original scenes.
+NaniSore even still the quality of the anime was still leaps ahead of its peers. I think it really comes dow. to how much detail they put into each frame. in the movie literally every frame had excruciatingly been perfected. the anime they have strict time frames, and artists only make so much money.
Great video mate! Very good analysis. As a filmmaker and a film student, I really enjoyed your shot-by-shot and theme analysis. Awesome job!
Cool video. However you didn't mention the Corinthians 13 quote at the end. I found that one to be really important.
I thought I knew pretty much everything about ghost in the shell 1995 , until that observation in the penultimate scene with the chairs facing each other, holy flipping frijoles dude, what a catch. absolutely stellar video brother!
Guys the live action movie is gonna fuck it all up
I don't think so...
RenegadeSamurai well I hope I'm wrong
dai We shall see. It would be very easy to fuck up. I hope they do it justice.
Cannibal713 same here
Welp, you're wrong. it's fucking amazing and very faithful.
Great analysis! This has inspired me to watch the film again with a more critical eye. Thank you!
No worries! :)
the last scene was a reflection from a mirror. not a second identical room.
Rudolf Menon You're half right. I realized this when I put two mirrors facing each other with a light source between them. What I noticed is that the room your standing in is seemingly real but what's interesting is that the infinite reflections in either mirror created by two mirrors facing each other create their own depth and reality within a 2D planar surface of either mirror. The light source itself acknowledges the illusion of depth by fading into the distance within the infinite reflections starting from the primary mirrors. If everything in reality is information, then what is reflected in the mirror is real. If you say the reflection isn't real, then neither are you. If there was a ball of light placed inside a cube with mirrors facing one another, this is the closest that a human mind can come to understanding reality and their true identity. Reality begins to take shape when the reflections start communicating with one another. God's insanity has become our sanity and vice versa.
Of course the light in the mirror is real. Nobody ever said there would be no light in the mirror or that the wavelength of the colors in the mirror wouldnt exist. Its so pretentious to write that bullcrap, trying to sound real clever but in reality saying something really dumb.
Yatsura2 You didn't understand what I was trying to say if you're speaking in terms of what you think is definitely real or true. If the light is real and the light fades away in the depth of infinite reflections which is suppose to be an illusion, then it means either the depth that is created by the mirrors facing each other is real or the reality that contains the light source is illusory in and of itself. It's like asking if red is really green or is green really red. In other words, is the light that is absorbed and concealed the real light or is the light that is reflected and perceived by the eyes the real color. The gits innocence movie challenges us by stating that dolls are actually Gods and humans are the marionettes when we're raised and conditioned to think it's the other way around at all times. Or you can take a mobius strip image that you can Google and label one side doll and one side human and follow the path along the strip until you reach your starting point. Watch what happens and you'll understand the philosophy of this movie. If you think you've figured the riddle out, then it means you didn't really understand the riddle which is the nature of Zen Buddhism, the philosophical basis of gits.
Yatsura2 The "real" light isn't suppose to fade away in an illusory 2D plane of infinite reflections. It's suppose to retain its intensity throughout the entire illusion. Really think about what I'm saying. It's like me drawing a hallway on a piece of paper and then walking down the hallway I drew on the piece of paper, lol. That's what the light in the infinite reflections is doing. Do you get what that means?
_"If you think you've figured the riddle out, then it means you didn't really understand the riddle which is the nature of Zen Buddhism."_
Its also the way of saying _"If you agree or not, Im always right."_ .
_"The "real" light isn't suppose to fade away in an illusory 2D plane of infinite reflections. It's suppose to retain its intensity throughout the entire illusion. "_ No its not. Light fades the further it travels. Its natural and happens everywhere. Just because it travels back and forth a short distance again and again, doesnt mean it wouldnt travel at all. Now stop smoking weed and overthinking even the simplest things and come back down to earth.
This analysis is absolutely beautiful, you explain everything very neatly and it's quite well put together.
Being able to explain such a meaningful and confusing movie so well shows you understand the movie quite well, and that's a hard thing to do ;)
Thank you, btw xD
Good analysis but you might be overthinking some parts. At times it felt like you were forcing symbolisms out of the movie. The core of your inspection though is on the money.
noda. renn If you knew Oshii, you would know that every little detail counts. He doesn't put things in his movies without meaning, that's what makes him one of the top anime directors.
wow that blew me away i had never thought that deep about this movie you have opened my eyes and i will be watching it again with different eyes