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.
Jeremy Graves is joined by Jerome Mazandarani and Andrew Hewson for our 23rd podcast., featuring cover woes, delayed shows, and several uses of the word Slash. Your questions answered, dodged or otherwise belittled, while Jerome confesses to his Facebook addiction, and Jeremy is reprimanded for flagging his own segues.
Director Naoyoshi Shiotani on getting the darkness right
“In every theatre you have different light, so you can never be sure what it’s going to look like. So you have to think; will this be okay, will you lose details in that kind of darkness? It was hard to calculate all that.”
Hugh, phew, barneys and boobs, cutthroats, demons and blood...
If this show dropped all the extreme fan-service it would still be an exciting action-horror adventure, not far removed from an extended arc of Supernatural or the like. As it is, you get that and a show that would have broken the jiggle counter if anime DVDs still had them. After decades of evolution, even harem comedies can produce a show with some substance.
Evangelion's director on Gerry Anderson, fandom and his latest project
This is not the Anno you may have read about, the one portrayed as an awkward, gangly, neurotic geek. Maybe Anno was like that once, but the cream-suited director we meet is sleek and authoritative, composed and confident, quite at ease talking to foreign hacks like us. He doesn’t adjust his glasses intimidatingly, but it still feels like the onetime Shinji has quietly metamorphed into his father Gendo.
Actually, Aesthetica should be called The New Boobfest where Girls Fight Monsters and Lose Panties, From The People Who Brought You Master of Martial Hearts, Queen’s Blade and the Ikki Tousen Franchise. That tells us where we are!
Tom Smith on the Britmaniacs behind the Naruto theme.
They’re so loud and proud that they insist on writing it all in caps: ASIAN KUNG-FU GENERATION – possibly one of Japan’s most important alternative rock acts. The group’s tenth single ‘After Dark’ makes for the energetic, guitar-heavy opening theme to the latest volume of Bleach, released in the UK this month, and the group’s sound might at first seem reminiscent of America’s indie scene dashed with elements of punk, it actually has a lot more in common with The Who, their generation, and the sea of British-based guitar heroes that have appeared since.
“Try ‘n boogie, guns n’ tattoo” – there’s no greater embodiment of Kenichi Asai’s work than that opening line. As the words are dragged across the bluesy, rock n’ roll riff of Mad Surfer – the Japanese rebel’s song used as the 20th closing of Bleach – it’s difficult not to imagine smoke filled bars, motorcycles or leather jacketed misfits sporting hairdos your mother wouldn’t approve of.