And I just got a laptop. I finished writing the experiment report at 4:00 in the dark bedroom. I watched Ghost in the shell 1 in 1995. I started thinking about how to draw the element so ugly, compared to SAC1. Even more ugly. After watching it, I cursed in my mouth: What kind of movie is this?
Most people who like to attack shells can be classified as otaku. In fact, there are not many otaku, so many people who claim to like to attack the shell are mostly fake B. To put it bluntly, I used to be a member. But then again, otaku is mostly transformed from fake rice. So when slowly transforming into real rice, the impact of attacking the shell is really unimaginable.
Well, back to the GIS2. A play with strong director Mamoru Oshii's own color. In fact, this play is too pretentious, the director is probably holding the script written there by Guwen Cihai. The middle section, purely showing off CG, has to admit that it is really beautiful, but it is really out of place. However, this pretentious movie actually saw the end in good spirits, which is also amazing for people like me who are prone to dozing off while watching movies.
For a film, vision must come first, even more important than connotation. Oshii Mamoru has achieved a visual sense of oppression. Hong Kong Street at night, dilapidated shop signboards, and the dark alley that Bato walked into. The supermarket in the Shura field, chooses to capture the towering buildings of the special economic zone. There is a procession and assembly in the ancient Chinese style, and the LocusSolus
headquarters is as gorgeous as the ancient Roman church. The CG of these scenes has been so refined that it is unimaginable. Oshii Mamoru used all dark bases and bright colors as supplements, giving people the ultimate sense of suffocation, as if someone had covered their face with a quilt. Probably the only refreshing thing was those seabirds.
On the other hand, the plot is not as difficult to understand as imagined. Probably this is the main thing that is not too depressing to watch. If the style of painting is suppressed and there is a plot that is incomprehensible, it is estimated that no one can stand it. Although the idea is still clear, the dialogue is so difficult to understand that I watched it for two and a half hours. (Probably the reason why I don't like going to the cinema is because my language is relatively poor and I can't understand it...) It is about the complex relationship between humans and machines. The possessiveness and sense of superiority can lead to the darkness of ghosts.
If this is the case, then this GIS2 is meaningless. Since it is related to the original Ghost in the Shell, the biggest attraction is the characters. After watching this for most of the time, you will think how Barto is the protagonist, and he is a brain-dead version of Barto. Is Suko-sama just abandoned like this? The so-called God is not guarding, even if Barto's eyes are only two mineral water bottle caps (I have always understood this), I can feel it very clearly. Entering the enemy's base camp and shooting with machine guns is not a feature of Barto in SAC. However, the exciting moment finally came when the submarine was finally attacked: Mr. Motoko finally appeared, although only a ghost appeared: It was so ugly that it came to a puppet model casually from the Internet. . . And Barto finally regained his style, and the act of putting a jacket on Suzi probably brought tears to all the fans of the Shell: The calm man standing behind Suzi and carrying a steel cross is back! The bottle cap can't see the firm eyes, but the action is already very clear.
Motoko completed the task and quickly returned to the network without saying goodbye. I remember thinking before, does Barto love Motoko? This question is ridiculous, because attacking the shell has nothing to do with love at all. Bato is just a follower of Motoko, or he is too far away from Motoko. He has only been close to the prosthetic entity, but the ghost has never caught up. In Buddhist terms, it means that one has not yet attained enlightenment and has not yet attained Buddhahood.
When listening to the last music, follow me keeps repeating, presumably Barto is still following Mozi, and we are still on the road of slow technological development, chasing the real truth without direction. Life and death, the shed head puppet, when the line is broken, it falls to the ground. We don’t know when to short-term, we just want something that we can always pursue.
Finally, salute to the translator.
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