tbh the scene in Patlabor II is one of my if not my favourite scene in any movie. It is so serene and scary. It's so calm yet feels so wrong. How the whole scene shows the audience a now normal day in Tokyo, beginning with the morning commute and ending with the night, is just so well done. And the freshly fallen snow just adds a new dimension to it. Just wow.
4:42 I've seen gits multiple times and never realized that this lady in the window was not the major, at different times of that scene. I assumed until now it was her just she took off a coat and was wearing something else drinking some tea in a cafe'. I had never considered that not only is this person wearing something entirely different and removing a coat wouldn't make her look like that, but that they were actually locking eyes.
Odd... because without that realization certain implications of that scene are somewhat lost. The issue Motoko has is that she became unsure whether she actually exists or not. After all everything about her, except her brain, is artificial. I think seeing "herself" basically emphasis that there is no definitive prove to herself that she as a person actually exists. It ties into the puppert master being able to manipulate memories therefore changing a persons behaviour. If the puppet master can create fake memories so could someone else. In one scene she basically says that she is state property because of her being a cyborg she can no longer exist without expensive maintenance that only the state can afford. Who is to say the state didn't outright create her as person as well by artificially creating her personality with fake memories. It is akin to Blade Runner and Rachel not knowing that she is a replicant because she has memories planted inside her by Tyrell.
Please continue with this format! I like that you put single ideas in front and center and talk about them instead of whole shows, where you are only able to address most shows in a broad fashion only.
yeah, do these more, please do more talk on thigns (ie architecture, cinematography etc. )that are more general to all video formats instead of just limiting the comparisons between anime
Yes, show-don't-tell. To empower your exposition of a character, mirror the character's emotions in something nearby that teaches by metaphor without having to explain. Ken Kesey once read to a class a scene in a story where the main character's descent into despair is shown by the cold eggs congealing on his plate. "Now, THAT," said Kesey, "is LITERATURE."
Oshii's style reminds me a lot of Stanley Kubrick, with his long shots that are visually stunning and like AED said these scenes usually don't have a lot of dialogue but that's what makes them great in my opinion. Great video I love the new style
One of the cool things in the Ghost in The Shell montage sequence is the background music is a medieval Japanese wedding hymn. The whole time Motoko floats through the city it's as if she's carried on the wedding procession. With this key the scene brings in a lot of implications. The moment when she turns to look at her doppelganger in the office window particularly highlights this wedding metaphor - you can pause for an instant, but the ritual must plod on. She has no choice, the ferry floats away and she must continue with the script. The marriage of man and machine, of social technologies and industrial technologies, once set in motion, cannot be stopped. The city reflects humanity melded into industry. Sometimes overwhelming it, other times being overwhelmed. But the defining takeaway is these vignettes follow each other in a relentless rhythm. Indifferent, unstoppable. "The beauty of modern Man is not in the persons but in the Disastrous rhythm, the heavy and mobile masses, the dance of the Dream-led masses down the dark mountain." - Robinson Jeffers, Rearmament (1935), via Dark Mountain Manifesto
Very good video man. Nice to see someone notice the lifeless look GiTS Innocence had. One of the reasons I support the use of the CG all the way through. That boat scene from the original GiTS film still is one of my favourites for world building. I also like this video format. Keep it up
you could also point out that, the buildings in the third example, ghost in the shell: innocence, have both an alien and skeletal appearance as the camera pans up, with a dark yellow hazy skyline. this is evocative of both death, something alien and not human, and something foreign and unfamiliar. this appearance is more pronounced as the camera pans up, evoking a sense of doom, as if these themes will increase as time go on, or is the overhanging world that shrouds this illusory world underneath.
This was great, dude! I personally love most of Oshii's movies because of their subtlety, implicit symbolism and the non-hurried way each scene is constructed. Even when it's an action scene, Oshii somehow manages to keep me updated on what is going on without losing the sense of urgency that's crucial to many actions scenes. Keep up the good work!
Great summary of Oshii's use of reflections, which are not talked about enough. I have written a book on Oshii, Humanity in Anime: Analyzing the Films of Mamoru Oshii that goes into depth regarding the interesting use of mirrors in Innocence. Innocence is astonishing as it is literally a mirror unto itself in looking at the nature of our own self-creation. Almost every image in Innocence is an inverse reflection of another image in the film.
I also find it interesting that whenever nature is shown, i.e., the birds on the screen or the rain water running down hill, that people/humans, are moving against it in the opposite direction. Thanks for making me look closer at these films, great job!
Great video! I only just realised that Patlabor is the same director for Ghost in the Shell, while watching Patlabor Movie 1. In the scene, where inspector Matsui and his partner walk through a certain town for an investigation, and the camera cuts that are used to show the insight of the setting really did give a strange sense of nostalgia and de ja vu, as if I'm watching Ghost in the Shell Original all over again. Anyway great analysis.
you give very good robust examples to carry out an idea and i feel if many more people could watch your videos and appreciate your great anime analytical skills the anime industry could grow to become something even smarter with their cinematography, good job dude
I really appreciate the depth of these video reviews/breakdowns and the lengths AnimeEveryday goes to to explain what the director's intentions were. It's like these videos could be used in a college English class.
I really liked this in depth analysis of Mamoru Oshi's work. I think recognizing the directors behind these great works of animation are very important and not many you tubers try to intelligently look at animation the way you do. I know that you usually only review Anime but another animated film that I would highly suggest watching would be "The Book of Kells". It was a beautifully animated film and I thought it had a very interesting look into a different culture's folklore. As for Anime I would love to hear your opinion on "Space Dandy". I feel like that show is usually just written off a juvenile and people aren't willing to see the well written comedy put into it. (Sorry if that got a little long)
Oshii stated that the long pauses in dialogue or action in his films was to give the viewer a chance to digest the posits being made. I imagine the intermission scenes reaffirm the dialogue, but in a more subtle empathic way. "From this distance, the city looks like a mirage- not real. Dont you think so as well?" "No. I cant forget that there are real people living there. Some are evil, but many are not. Some are ambitious but many are content. A few are outstanding, most are ordinary. They're not a mirage." The cityscapes illustrated in the classic Oshii films are very much this. The city is dead, and has been dead for some time, and yet, it continues to grow when perhaps it shouldn't. But, regardless of the monster that has grown up around us, people aren't indivisible from it. A small magnifying glass can show that even a naive trash collector is quite pitiable and full of heart. The birds, Kim talked a bit about them in Innocence; they express a joy that is found only by being unfettered by the concerns of the day to day. The ark is blowing up, but, there they are, at the top, still doing what they do.
Very interesting video! Well worded and thought out. It's always nice to hear someone else' take these particular scenes. As someone who lived in Hong Kong for a while, I was just focused on the visuals and presence of the background and scenes. It has always been much more a nostalgia trip for me in an animated format.
I have to say that Oshii is a frikking genious, crap one of my favorite scenes from Innocence was the parade with that epic Kenji Kawai soundtrack, that scene alone " sold " the movie to me lol.
Good video and analysis. I have been a fan of GITS, having seen all the movies and TV series. The vidoe format was okay. I'll have to find your other videos.
AnimeEveryday I feel like there might be some uncredited handiwork there, as the style and feeling it gives off is heavily embedded in what Oshii does in all of his works. Maybe Okiura lend his ear to Oshii's suggestions, maybe he didn't. It's moments like these that I wish the anime industry was as tightly documented as the western film industry.
jesus this is amazing I feel like im learning a lot, not just about anime and scenery but also how to become a better story teller, not by focusing about the characters but the story and characters about the environment itself, tank you for the video cant wait to watch more and learn to be inspired by the world around me.
yes please continue this format, i think it is one of your most intersting ones , it some what resembles your other channel with the movie reviews. i hope you keep up your good work, (on this channel as well as the other one) because you realy are one the best contentcreators on yt regarding anime and film. :) sorry for my potentaily bad english
Great video! I love this format. I think you should keep breaking down scenes with lots of symbolism, everything you say justs fits perfectly. Symbolism is a difficult topic for most reviewers and analyzers.
this was a very nice video. i prefer this kind of content. your analysis have always being some of my favorites. i always interpreted the scene at 4:55 differently. i Always though it was a mannequin with the same body as Motoko. because it is dressed differently than her and it's behind a glass. the mannequin is also dressed differently than the lady in 4:34. so in my opinion her placement there is more of a way to solidifie motoko as a woman or as a lifeless being. it's part of her duality. he can be lady enjoying herself and taking a drink or a mannequin, a lifeless robot.
The first patlabor movie has at least two or three of those scenes while the detectives were looking for the past whereabouts of Eichi Hoba, coder of the HOS and the trojan Babel virus
Thanks for the video. Great one. If this had been the first I see from you it would earn an immediate subscription. It makes me wish for a more than like button.
Love the topic, love this Format. You always have such great analysis and topics. I think it is also good, that the video is short. p.s. love your voice!
i swear to god. oshii mamoru never make a movie like his masterpieces anymore, cause of some greatest jp anime creater hates him and also ive heard ohsii told about that himself for a couple month ago
I think you need more experience on writing more compelling scripts. You could also improve your narration since it sounds kind of dull but that might be just be. Regarding the actual content, I truly appreciate this new kind of videos and I'm really looking forward to see more, keep up the good work my good fella :)
thank you! just checked the comments to see if anyone else had pointed this out. it's worth getting right, because to me, the mannequins and people who share her face are unsettling, a reflection of her own doubts about her nature/humanity.
Wow, excellent concise analysis. I never thought about the scene in GitS 2 showing how society has changed by being more artificial. I remember you expressing interest in making a Masaaki Yuasa video in the "5 awesome directors" video, so are you going to do a Yuasa video in this format? Because I would like that.
Gits2 is probably the hardest Oshii film to understand except maybe next to Angels Egg but Angels Egg was very discreet with its lack of dialogue and fantasy world. Innocence takes place in our future and has characters that talk in almost 50% quotes almost like Oshii is showing off that he took philosophy in college and makes everything feel artificial like the characters aren't actually characters but just stand ins for Oshii trying to lecture us. It makes the story feel dull and unimportant. Not to mention the confusing scene in the middle with the mansion and Motokos cute little message that just gives Oshii another chance to show off when she could have told Batou what was going on in plain language. The movie is nice but its easy to see why people would be put off.
Thanatos388 I didn't like Angel's Egg much, but found GitS 2 much more engaging. That part in the mansion may have been confusing, but it also made me think, in a good way. There's probably more to it, than her just wanting to tell Batou what was going on. There probably was too many quotes, but I still liked some of them, and thought the characterisation for Batou is the best it's ever been.
Why is it that lately Oshii's filmography has been lackluster and also noticeably more live-action driven? If you've seen them, do you have an opinion on them?
your works are absolutely wonderful, and... ummm...wonderful! i am fan! in a good way of course! best wishes to you bro! big up! greetings! keep it up! peace!
Perhaps you should include also references of where Oshii chose to mimic this worldbuilding. Those implications too have it's inferences in the film. Living in Hong Kong, I can completely identify with these places he chose, especially the scene where the airplane flies so low and close over the buildings - this used to be the Kowloon Walled city which is now demolished (At that point of the film's production, it was recently demolished). There are many interpretations from fragility of life and death (of the the city, and perhaps of the body - ghost and shell). One can dig deeper into the analysis of the urbanistic qualities of the world, rather than to dismiss the act as just "worldbuilding". Nonetheless, a good attempt at analysing the cinematic and pathetic fallacy.
What I find kind of sad about Oshii movies is that while he will use this subtle visual exposition, he will then often use hand-fisted exposition through dialogue. The last major work where he didn't do that was in Angel's Egg. I feel that because of his negative reception he might have lost his faith in the viewers and added scenes just to make sure they got what message and themes the film was supposed to focus on.
The thing is, Oshii isn't trying to preach to the audience anything, but rather ask questions. His dialogue doesn't hold any hands but makes the viewer think of the subject matter at hand. Oshii, like many arthouse directors, only truly focuses on the visuals and the thermatic elements, as such everything is focused on exploring themes with little room for anything else, so even the dialogue is dedicated to exploring these themes. And when his films actually have a clear message, like in The Sky Crawlers, it is hidden beneath the surface of the film. So asking philosophical questions is perfectly fine. Also, many acclaimed directors have unsubtle philosophical dialogue in them, like Bela Tarr or Tarkovsky.
>His dialogue doesn't hold any hands My point is that it does. Just look at the scene of Motoko on the boat. Until that point the visuals expressed those same ideas but then Motoko just blatantly posits them to the audience. She basically explains the movie to the audience. It's kind of like how sometimes people don't understand the message or themes of a movie so they look for some article explaining it. The movie does that for you and it comes off heavy-handed as unnatural. Bela Tarr and Tarkovsky movies aren't really like that. Solaris was to a degree but it was based on a book which expresses its ideas rather similarly. Some of his other works have characters engaged in discourse but those will rather reflect on some of the ideas and tie in to them rather than blatantly stating them like in Stalker and then you have works like Zerkalo in which you rely on pure visuals and interactions between the characters. Bela Tarr more often subverts the ideas expressed by his characters. Satantango had one moment of more heavy-handed exposition, but it serves more as a key which allows you to look at certain aspects of the film and then Harmonies use almost pure metaphor and visuals. The ideas presented by the characters are then subverted as well. I mean Angel's Egg didn't lack dialogue and in fact it has an important piece of dialogue that is required to "decipher" the film. But his later works lack the subtlety in the way it was handled. The dialogue stops being a part of the puzzle it's more like a walkthrough to a game.
+JulianTheeApostate are you talking about the boat scene? I don't really see any hand holding. It only adds more flavor to the themes. Mokoto starts by saying that her body is owned by the government, which we didn't know so isn't hand holding, then she says she can easily shake off alcohol, which further adds to how high tech her body has become, and finally talks of the struggles of her being; similar to how Antonioni's characters complain about their modern world. These dialogues do not in any way preach a blatant message but rather adds to the audiences confusion of the line between man and machine, as whether high technology truly is a good thing. How can something meant to make the audience question themselves be hand holding? It's certainly not explaining to them something, but making things more complicated. Nostalghia and Offret, Tarkovsky's last two films, both have dialogue that directly adress the themes. There's even a scene in Nostalghia where a letter is narrated which talks about the themes. Werckmeister's metaphors are obvious enough to know what Tarr is trying to say. The opening scene especially. It isn't more subtle than the boat scene or anything since it literally screams "im a metaphor" and doesn't expand on anything. Also, why does art have to be some sort of puzzle? Where exactly does it say that subtlety automatically means greatness? Crime and Punishment is incredibly blatant in what it is trying to preach but is one of the greats in literature.
I meant the moment after the dive when she talks about the nature of her cybernetic body. Those themes she reflects on were already presented through thte scene where Motoko sees the man who had his memories manipulated and the scene mentioned in Everyday's vid. I actually thought the elements of Nostalghia and Ofret you mentioned weakened the overall experience especially compared to his older films. I found some of the purely visual scenes more impactful, like the light-carrying one from Nostalghia. It's not so much a puzzle, maybe that was the long way of stating it. But I think those films do take their time in showing their messages through visuals but then always have that unnatural scene were suddenly somebody exposes those films. Patlabor 2 had the guy who would constantly use the phrase "just war, unjust peace". Literature is a bit of a different medium, I don't think crime and justice works at all in film form, maybe a bit more in a play. When you have similar exposition in anime you get something like LotGH which bomes off as just blatant and unsubtle all the time to degrees that far surpass what I'm refering to in GITS.
when you have the Ghost In The Shell location, when you see Motoko, there are 3 different motokos? cuz they have different clothes, so i think that the one in the boat its the original, the one having a dinner its another model, and the one that is just staring for a few seconds its a mannequin, em i wrong?
Just watched Ghost in the shell 1995 at my theater tonight and was wondering if you would recommend innocence? Is it a worthy follow up? the scene in this vid looked really cool so im curious about it! nice video man :)))
Bring back Patlabor! Most mech shows nowadays just don't have as realistic mechs or well-written, humorous and soulful characters. Goto is the man!
What did you think about the live action Patlabor?
tbh the scene in Patlabor II is one of my if not my favourite scene in any movie. It is so serene and scary. It's so calm yet feels so wrong. How the whole scene shows the audience a now normal day in Tokyo, beginning with the morning commute and ending with the night, is just so well done. And the freshly fallen snow just adds a new dimension to it. Just wow.
These types of videos are honestly really really well done!
Thanks! Hopefully i'll be doing more :)
4:42 I've seen gits multiple times and never realized that this lady in the window was not the major, at different times of that scene. I assumed until now it was her just she took off a coat and was wearing something else drinking some tea in a cafe'. I had never considered that not only is this person wearing something entirely different and removing a coat wouldn't make her look like that, but that they were actually locking eyes.
That time stamp is a bit late should be 4:36
Odd... because without that realization certain implications of that scene are somewhat lost.
The issue Motoko has is that she became unsure whether she actually exists or not. After all everything about her, except her brain, is artificial.
I think seeing "herself" basically emphasis that there is no definitive prove to herself that she as a person actually exists.
It ties into the puppert master being able to manipulate memories therefore changing a persons behaviour. If the puppet master can create fake memories so could someone else. In one scene she basically says that she is state property because of her being a cyborg she can no longer exist without expensive maintenance that only the state can afford.
Who is to say the state didn't outright create her as person as well by artificially creating her personality with fake memories.
It is akin to Blade Runner and Rachel not knowing that she is a replicant because she has memories planted inside her by Tyrell.
i was thinking it was just her imagination
I just think that's the major picturing herself as a normal woman.
Please continue with this format! I like that you put single ideas in front and center and talk about them instead of whole shows, where you are only able to address most shows in a broad fashion only.
This video gave me chills. I've never noticed the symbolism with the birds and arrows, not to mention how breathtaking each moment was.
This is a video format i'm considering using for more videos in the future. Let me know if you liked it!
I personally enjoyed. so yeah XD
yeah, do these more, please do more talk on thigns (ie architecture, cinematography etc. )that are more general to all video formats instead of just limiting the comparisons between anime
It was great, really drew me in.
I would like more of these also, I love delving into directors and creators minds and works and the features they're known for.
Like the other commenter said, these are the kind of videos I'm subscribed for :)
Yes, show-don't-tell. To empower your exposition of a character, mirror the character's emotions in something nearby that teaches by metaphor without having to explain. Ken Kesey once read to a class a scene in a story where the main character's descent into despair is shown by the cold eggs congealing on his plate. "Now, THAT," said Kesey, "is LITERATURE."
Oshii's style reminds me a lot of Stanley Kubrick, with his long shots that are visually stunning and like AED said these scenes usually don't have a lot of dialogue but that's what makes them great in my opinion. Great video I love the new style
These are some of the best scenes in these movies, they're magical.
It’s that cyberpunk aesthetics ! 😍😎
I like it, better I love those kind of videos that explain how a director get moods a scene
One of the cool things in the Ghost in The Shell montage sequence is the background music is a medieval Japanese wedding hymn. The whole time Motoko floats through the city it's as if she's carried on the wedding procession. With this key the scene brings in a lot of implications. The moment when she turns to look at her doppelganger in the office window particularly highlights this wedding metaphor - you can pause for an instant, but the ritual must plod on. She has no choice, the ferry floats away and she must continue with the script. The marriage of man and machine, of social technologies and industrial technologies, once set in motion, cannot be stopped. The city reflects humanity melded into industry. Sometimes overwhelming it, other times being overwhelmed. But the defining takeaway is these vignettes follow each other in a relentless rhythm. Indifferent, unstoppable.
"The beauty of modern
Man is not in the persons but in the
Disastrous rhythm, the heavy and mobile masses, the dance of the
Dream-led masses down the dark mountain."
- Robinson Jeffers, Rearmament (1935), via Dark Mountain Manifesto
Very good video man. Nice to see someone notice the lifeless look GiTS Innocence had. One of the reasons I support the use of the CG all the way through.
That boat scene from the original GiTS film still is one of my favourites for world building.
I also like this video format. Keep it up
Dont u love this kind of animation? Just like the partabor movie intro, feel in love
Classic 90s hand-drawn anime
you could also point out that, the buildings in the third example, ghost in the shell: innocence, have both an alien and skeletal appearance as the camera pans up, with a dark yellow hazy skyline.
this is evocative of both death, something alien and not human, and something foreign and unfamiliar. this appearance is more pronounced as the camera pans up, evoking a sense of doom, as if these themes will increase as time go on, or is the overhanging world that shrouds this illusory world underneath.
That music for GitS though. Always gives me chills.
This was great, dude! I personally love most of Oshii's movies because of their subtlety, implicit symbolism and the non-hurried way each scene is constructed. Even when it's an action scene, Oshii somehow manages to keep me updated on what is going on without losing the sense of urgency that's crucial to many actions scenes.
Keep up the good work!
Great summary of Oshii's use of reflections, which are not talked about enough. I have written a book on Oshii, Humanity in Anime: Analyzing the Films of Mamoru Oshii that goes into depth regarding the interesting use of mirrors in Innocence. Innocence is astonishing as it is literally a mirror unto itself in looking at the nature of our own self-creation. Almost every image in Innocence is an inverse reflection of another image in the film.
I also find it interesting that whenever nature is shown, i.e., the birds on the screen or the rain water running down hill, that people/humans, are moving against it in the opposite direction. Thanks for making me look closer at these films, great job!
Great video! I only just realised that Patlabor is the same director for Ghost in the Shell, while watching Patlabor Movie 1. In the scene, where inspector Matsui and his partner walk through a certain town for an investigation, and the camera cuts that are used to show the insight of the setting really did give a strange sense of nostalgia and de ja vu, as if I'm watching Ghost in the Shell Original all over again. Anyway great analysis.
you give very good robust examples to carry out an idea and i feel if many more people could watch your videos and appreciate your great anime analytical skills the anime industry could grow to become something even smarter with their cinematography, good job dude
I really appreciate the depth of these video reviews/breakdowns and the lengths AnimeEveryday goes to to explain what the director's intentions were. It's like these videos could be used in a college English class.
I really liked this in depth analysis of Mamoru Oshi's work. I think recognizing the directors behind these great works of animation are very important and not many you tubers try to intelligently look at animation the way you do. I know that you usually only review Anime but another animated film that I would highly suggest watching would be "The Book of Kells". It was a beautifully animated film and I thought it had a very interesting look into a different culture's folklore. As for Anime I would love to hear your opinion on "Space Dandy". I feel like that show is usually just written off a juvenile and people aren't willing to see the well written comedy put into it. (Sorry if that got a little long)
Oshii stated that the long pauses in dialogue or action in his films was to give the viewer a chance to digest the posits being made. I imagine the intermission scenes reaffirm the dialogue, but in a more subtle empathic way. "From this distance, the city looks like a mirage- not real. Dont you think so as well?" "No. I cant forget that there are real people living there. Some are evil, but many are not. Some are ambitious but many are content. A few are outstanding, most are ordinary. They're not a mirage." The cityscapes illustrated in the classic Oshii films are very much this. The city is dead, and has been dead for some time, and yet, it continues to grow when perhaps it shouldn't. But, regardless of the monster that has grown up around us, people aren't indivisible from it. A small magnifying glass can show that even a naive trash collector is quite pitiable and full of heart.
The birds, Kim talked a bit about them in Innocence; they express a joy that is found only by being unfettered by the concerns of the day to day. The ark is blowing up, but, there they are, at the top, still doing what they do.
YASSSS! usually with no-one talking and very dreamy. Even his earliest film, Urusei Yatsura, a comedy, has one or more sequences like those u listed
This is great, more like this please! The Patlabor scene plus Kenji Kawai's amazing soundtrack are one of my favourites in anime as a whole
Good format. Clear and concise. And we get to see the analyzed clips without any interruptions. Awesome. Keep it up : )
is this one of the experimental video that you talked about, if so make a lot it's realy good and helpful in understand some of the art in movies.
Very interesting video! Well worded and thought out. It's always nice to hear someone else' take these particular scenes.
As someone who lived in Hong Kong for a while, I was just focused on the visuals and presence of the background and scenes. It has always been much more a nostalgia trip for me in an animated format.
@AnimeEveryday Here I am a year later but I really do enjoy this essay format. Good breakdowns of the films. Cheers,
Late to the party, but this was a great analysis and a great format.
Awesome new format.
I love what you discovered here, and of course i love Oshii.
Keep using this, as a format, it really stands out imo.
When I saw the thumbnail I instantly knew the art was from ghost in a shell. The art was just so amazing and unique
I have to say that Oshii is a frikking genious, crap one of my favorite scenes from Innocence was the parade with that epic Kenji Kawai soundtrack, that scene alone " sold " the movie to me lol.
Good video and analysis. I have been a fan of GITS, having seen all the movies and TV series. The vidoe format was okay. I'll have to find your other videos.
I liked this format
Absolutely adoring this new format my man very analytical and entertaining. Keep it up!
Love the new format!
I like the new format, change it from time to time.....but with intent and purpose!
I'm surprise you didn't bring up Jin-Roh. For me, that's one of Oshii's best lived-in setting, in terms of the topic being discussed.
Yeah Jin Roh is a good example, but im not sure about Oshii's involvement in it since he's not credited as director.
AnimeEveryday I feel like there might be some uncredited handiwork there, as the style and feeling it gives off is heavily embedded in what Oshii does in all of his works. Maybe Okiura lend his ear to Oshii's suggestions, maybe he didn't. It's moments like these that I wish the anime industry was as tightly documented as the western film industry.
Yeah definitely. Stylistically you can see Oshii in a lot of the shots, i'll have to look through some interviews to see.
AnimeEveryday Hopefully you could dig something up.
Great video. I like the format. Hope to see more like this one.
Thank you! More to come for sure :)
jesus this is amazing I feel like im learning a lot, not just about anime and scenery but also how to become a better story teller, not by focusing about the characters but the story and characters about the environment itself, tank you for the video cant wait to watch more and learn to be inspired by the world around me.
yes please continue this format, i think it is one of your most intersting ones , it some what resembles your other channel with the movie reviews. i hope you keep up your good work, (on this channel as well as the other one) because you realy are one the best contentcreators on yt regarding anime and film. :) sorry for my potentaily bad english
This is really good! You should definitely do more of these.
Thanks! I will do :)
Really enjoyed this video format. All your content is well done, looking forward to the Yuassa video.
Great video! I love this format. I think you should keep breaking down scenes with lots of symbolism, everything you say justs fits perfectly. Symbolism is a difficult topic for most reviewers and analyzers.
I like this style of video more. I think your videos are better when analyzing a show in depth. Great job!!
This is my first time watching your content and I instantly love it. Thanks for the great analysis, mate :) .
The anime I have never seen .Your right he does you good background
this was a very nice video. i prefer this kind of content. your analysis have always being some of my favorites.
i always interpreted the scene at 4:55 differently. i Always though it was a mannequin with the same body as Motoko. because it is dressed differently than her and it's behind a glass.
the mannequin is also dressed differently than the lady in 4:34.
so in my opinion her placement there is more of a way to solidifie motoko as a woman or as a lifeless being. it's part of her duality. he can be lady enjoying herself and taking a drink or a mannequin, a lifeless robot.
The first patlabor movie has at least two or three of those scenes while the detectives were looking for the past whereabouts of Eichi Hoba, coder of the HOS and the trojan Babel virus
Thanks for the video. Great one. If this had been the first I see from you it would earn an immediate subscription. It makes me wish for a more than like button.
wow u r going balls deep in these videos,keep it up man.
I like your analysis about GITS
great video, really enjoyed it, keep up the great work!
Great video, very insightful.
Great analysis, gave me a lot to think about
I personally hope that the live action ghost in the shell contains similar shots
love this analysis~ really clear and interesting~ the video style is spot on! x
Love the topic, love this Format. You always have such great analysis and topics. I think it is also good, that the video is short.
p.s. love your voice!
Yeah, this is definitely of your best videos.
killer stuff man ! keep it coming
Thanks! Will do :)
Dude I like any video of yours, idgaf what you do lol Keep up the great work!
Another awesome video man!
also homeslice when collab
it only took 6 months!
i swear to god. oshii mamoru never make a movie like his masterpieces anymore, cause of some greatest jp anime creater hates him and also ive heard ohsii told about that himself for a couple month ago
Pretty good and interesting video, keep it up, I really like them.
Just found your channel dude, very well made stuff!
Wide angle lens imitation is so sick
I think you need more experience on writing more compelling scripts. You could also improve your narration since it sounds kind of dull but that might be just be. Regarding the actual content, I truly appreciate this new kind of videos and I'm really looking forward to see more, keep up the good work my good fella :)
Great video! I really like the new format!
Thanks! Glad you like it :)
I really enjoyed this video although I hope you continue your anime roulette series as well. I'd probably watch anything you make though. :]
Oshii GOD
The cyborg at 4:57 is not Motoko, it's the similar cyborg that she saw from the boat.
Cool insights! Thanks
Great work, as ever!
More Essay!!, Thanks!!
This type of Video Realy Educate Viewer about how to Consider.
That woman looking out the window is not Motoko, it's the office woman.
thank you! just checked the comments to see if anyone else had pointed this out. it's worth getting right, because to me, the mannequins and people who share her face are unsettling, a reflection of her own doubts about her nature/humanity.
Those sequences in Patlabor 2 and GITS have a sort of wistfulness to me. Like we want society to go one way but it keeps slipping into something else.
Great video mate.! Couldn`t agree more.!
Wow, excellent concise analysis. I never thought about the scene in GitS 2 showing how society has changed by being more artificial.
I remember you expressing interest in making a Masaaki Yuasa video in the "5 awesome directors" video, so are you going to do a Yuasa video in this format? Because I would like that.
+ruh roh I've got a number of Yuasa videos planned :)
AnimeEveryday
Oh more than one? Nice :)
Some great insight here. I do like this kind of video. It's nice to hear some praise for GitS 2 as well. I'm tired of that film being shat on.
Thanks! I've never really understood why GitS 2 gets so much stick. I think it's as solid as most of Oshii's other films.
AnimeEveryday So do I. There's much to enjoy. Btw, is that Silent Hill music you played when talking about Patlabor?
The first track is from the Patlabor 2 OST, but it's very horror-esque.
Gits2 is probably the hardest Oshii film to understand except maybe next to Angels Egg but Angels Egg was very discreet with its lack of dialogue and fantasy world. Innocence takes place in our future and has characters that talk in almost 50% quotes almost like Oshii is showing off that he took philosophy in college and makes everything feel artificial like the characters aren't actually characters but just stand ins for Oshii trying to lecture us. It makes the story feel dull and unimportant. Not to mention the confusing scene in the middle with the mansion and Motokos cute little message that just gives Oshii another chance to show off when she could have told Batou what was going on in plain language. The movie is nice but its easy to see why people would be put off.
Thanatos388 I didn't like Angel's Egg much, but found GitS 2 much more engaging. That part in the mansion may have been confusing, but it also made me think, in a good way. There's probably more to it, than her just wanting to tell Batou what was going on. There probably was too many quotes, but I still liked some of them, and thought the characterisation for Batou is the best it's ever been.
Well done, I really like this new kind of videos :^)
i though the video was "how Orochi uses Location" Too much for honor
You outdid yourself there buddy.
I want more.
Great Video! I want more of that. :D
Fantastic!
Good shit
He's the master
dope
absolutely awesome. I subscribed, liked and commented. excellent content man. keep it coming when u can
Why is it that lately Oshii's filmography has been lackluster and also noticeably more live-action driven? If you've seen them, do you have an opinion on them?
your works are absolutely wonderful, and... ummm...wonderful!
i am fan! in a good way of course!
best wishes to you bro!
big up! greetings!
keep it up!
peace!
Perhaps you should include also references of where Oshii chose to mimic this worldbuilding. Those implications too have it's inferences in the film. Living in Hong Kong, I can completely identify with these places he chose, especially the scene where the airplane flies so low and close over the buildings - this used to be the Kowloon Walled city which is now demolished (At that point of the film's production, it was recently demolished). There are many interpretations from fragility of life and death (of the the city, and perhaps of the body - ghost and shell). One can dig deeper into the analysis of the urbanistic qualities of the world, rather than to dismiss the act as just "worldbuilding". Nonetheless, a good attempt at analysing the cinematic and pathetic fallacy.
What I find kind of sad about Oshii movies is that while he will use this subtle visual exposition, he will then often use hand-fisted exposition through dialogue. The last major work where he didn't do that was in Angel's Egg. I feel that because of his negative reception he might have lost his faith in the viewers and added scenes just to make sure they got what message and themes the film was supposed to focus on.
The thing is, Oshii isn't trying to preach to the audience anything, but rather ask questions. His dialogue doesn't hold any hands but makes the viewer think of the subject matter at hand. Oshii, like many arthouse directors, only truly focuses on the visuals and the thermatic elements, as such everything is focused on exploring themes with little room for anything else, so even the dialogue is dedicated to exploring these themes. And when his films actually have a clear message, like in The Sky Crawlers, it is hidden beneath the surface of the film. So asking philosophical questions is perfectly fine.
Also, many acclaimed directors have unsubtle philosophical dialogue in them, like Bela Tarr or Tarkovsky.
>His dialogue doesn't hold any hands
My point is that it does. Just look at the scene of Motoko on the boat. Until that point the visuals expressed those same ideas but then Motoko just blatantly posits them to the audience. She basically explains the movie to the audience. It's kind of like how sometimes people don't understand the message or themes of a movie so they look for some article explaining it. The movie does that for you and it comes off heavy-handed as unnatural. Bela Tarr and Tarkovsky movies aren't really like that. Solaris was to a degree but it was based on a book which expresses its ideas rather similarly. Some of his other works have characters engaged in discourse but those will rather reflect on some of the ideas and tie in to them rather than blatantly stating them like in Stalker and then you have works like Zerkalo in which you rely on pure visuals and interactions between the characters. Bela Tarr more often subverts the ideas expressed by his characters. Satantango had one moment of more heavy-handed exposition, but it serves more as a key which allows you to look at certain aspects of the film and then Harmonies use almost pure metaphor and visuals. The ideas presented by the characters are then subverted as well. I mean Angel's Egg didn't lack dialogue and in fact it has an important piece of dialogue that is required to "decipher" the film. But his later works lack the subtlety in the way it was handled. The dialogue stops being a part of the puzzle it's more like a walkthrough to a game.
+JulianTheeApostate are you talking about the boat scene? I don't really see any hand holding. It only adds more flavor to the themes. Mokoto starts by saying that her body is owned by the government, which we didn't know so isn't hand holding, then she says she can easily shake off alcohol, which further adds to how high tech her body has become, and finally talks of the struggles of her being; similar to how Antonioni's characters complain about their modern world. These dialogues do not in any way preach a blatant message but rather adds to the audiences confusion of the line between man and machine, as whether high technology truly is a good thing. How can something meant to make the audience question themselves be hand holding? It's certainly not explaining to them something, but making things more complicated.
Nostalghia and Offret, Tarkovsky's last two films, both have dialogue that directly adress the themes. There's even a scene in Nostalghia where a letter is narrated which talks about the themes. Werckmeister's metaphors are obvious enough to know what Tarr is trying to say. The opening scene especially. It isn't more subtle than the boat scene or anything since it literally screams "im a metaphor" and doesn't expand on anything.
Also, why does art have to be some sort of puzzle? Where exactly does it say that subtlety automatically means greatness? Crime and Punishment is incredibly blatant in what it is trying to preach but is one of the greats in literature.
I meant the moment after the dive when she talks about the nature of her cybernetic body. Those themes she reflects on were already presented through thte scene where Motoko sees the man who had his memories manipulated and the scene mentioned in Everyday's vid.
I actually thought the elements of Nostalghia and Ofret you mentioned weakened the overall experience especially compared to his older films. I found some of the purely visual scenes more impactful, like the light-carrying one from Nostalghia.
It's not so much a puzzle, maybe that was the long way of stating it. But I think those films do take their time in showing their messages through visuals but then always have that unnatural scene were suddenly somebody exposes those films. Patlabor 2 had the guy who would constantly use the phrase "just war, unjust peace".
Literature is a bit of a different medium, I don't think crime and justice works at all in film form, maybe a bit more in a play. When you have similar exposition in anime you get something like LotGH which bomes off as just blatant and unsubtle all the time to degrees that far surpass what I'm refering to in GITS.
when you have the Ghost In The Shell location, when you see Motoko, there are 3 different motokos? cuz they have different clothes, so i think that the one in the boat its the original, the one having a dinner its another model, and the one that is just staring for a few seconds its a mannequin, em i wrong?
Just watched Ghost in the shell 1995 at my theater tonight and was wondering if you would recommend innocence? Is it a worthy follow up? the scene in this vid looked really cool so im curious about it! nice video man :)))
Keep using this video format.
awesome video