In the year 2027, a year following the end of the non-nuclear World War IV, a bomb has gone off in Newport City, killing a major arms dealer who may have ties with the mysterious 501 Organization. Public Security official Daisuke Aramaki hires full-body cyber prosthesis user and hacker extraordinaire, Motoko Kusanagi, to investigate. On the case with her are Sleepless Eye Batou, who believes Kusanagi is a criminal, Niihama Prefecture Detective Togusa who is investigating a series of prostitute murders he believes are related to the incident, and Lieutenant Colonel Kurtz of the 501 Organization who also wishes to keep an eye on Kusanagi. Freed of her responsibilities with the 501 Organization, Motoko Kusanagi must now learn how to take orders from Aramaki. When unknown forces hack the Logicomas, Batou enlists the help of former army intelligence officer Ishikawa and former air artillery expert Borma. Kusanagi also seeks to enlist ace sniper Saito and undercover cop Paz into the new Public Security Section 9. The two groups rival each other in a case involving a man who receives false memories of a refugee transport operation.
Andrew Osmond asks if it really is the end for Ghost in the Shell
Solid State Society is, as of writing, the last anime instalment of Ghost in the Shell. Will there be any more? Interviewed in 2007, Mitsuhisa Ishikawa, co-founder of Production IG, suggested the franchise could be refreshed by a switch to live-action, with Kusanagi, Batou, Togusa and the rest of Section 9 interpreted by real actors. If it was a success, the franchise could return to anime later.
Mamoru Oshii’s unashamedly esoteric sequel to his earlier global crossover Ghost in the Shell lent the most credibility to claims for anime as ‘Art’ with a capital ‘A’, when it became the first animated film from Japan to be entered in competition at Cannes.
On sale now at the San Diego Comic Con in a limited edition of only 325 prints, Kilian Eng's beautiful Ghost in the Shell poster for Mondo. It's a thing of beauty made specially to commemorate the 25th anniversary.
Andrew Osmond on the controversy of Miyazaki's last feature
As Miyazaki’s film itself makes clear, Horikoshi was a cog in Japan’s military machine at the time of the country’s most aggressive expansion. This was when Japan was moving into China, proclaiming what it called the “Greater East Asian Co-Prosperity Sphere,” which really meant Japanese imperialist supremacy in East Asia.
The Japan Foundation’s annual touring film programme is back for another year, and kicking off at London’s Institute of Contemporary Arts at the end of the month. Now in its tenth iteration, the season offers audiences across the UK an insight into Japan and its cinema by way of a wide-ranging and accessible selection of titles assembled under a certain theme. This year, that theme is youth, with the eleven-film ‘East Side Stories: Japanese Cinema Depicting the Lives of Youth’ programme travelling to eight venues across England, Scotland and Northern Ireland from 31 January to 27 March.
Babymetal, anime apartheid and MazandaRanting in our 25th podcast.
Jeremy “Care in the Community” Graves is joined by Manga UK’s Jerome “Twitter Hijacker” Mazandarani and Product Manager Andrew “Mr Manga” Hewson, and special guest Stuart Ashen, star of Ashens and the Quest for the Gamechild, out now. Not sure any of those names will stick.
Culture shocks and military musings, in Gen Urobuchi's hard-hitting anime
"It’s an interesting time to have a hero with a militarist outlook. This blog has discussed the arguments over the alleged political content in the blockbusting Attack on Titan and Ghibli’s film The Wind Rises. In both cases, the controversies connects to Japan’s own militarist past in the 1930s and ‘40s, and the spectres they conjure up in countries round the world; of Japanese kamikaze pilots, of torturers ruling POW camps, of the so-called “banzai charges” of soldiers sworn to die for their Emperor."