Set in a futuristic Japan after the end of a brutal world war, science has advanced by leaps and bounds giving humanity the choice to prolong life and reduce suffering with the use of sophisticated cybernetics. With all of humanity linked into one system of minds and personalities known as ghosts, the biggest threat to civilization is the cyber terrorists capable of hijacking people’s bodies and memories. When a ghost-infecting virus known as Fire-Starter begins spreading through the system resulting in the assassination of the Japanese Prime Minister, Major Motoko Kusanagi and her elite team of special operatives are called in to track down its source. As they delve deeper and deeper into their investigation, they uncover traces of government corruption and a shadowy broker that bears an all-too-familiar face. When your target can be anywhere and look like anyone, the only choice you have is to trust your ghost, and hope you aren’t infected too.
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.
Animation for the old... there's only one way to settle this... FIGHT!
Wrinkles is a new grown-up Spanish animated film about elderly people in a care home. Hang on a bit, that can’t be right. Animation and the elderly; they’re two things which have nothing to do with each other. Well, except for...
Citing “unsavoury gangster links” and “unlicensed IP [intellectual property] exploitation,” a group comprising every major anime studio (except Gainax) has warned fans that body-art is no longer permissible.
They’re world-famous practitioners of pictorial media. They started out labouring in despised sub-cultures, then rose to become full-blown artists with establishment respect. Oh, and they both have really impressive facial hair. Miyazaki prefers to keep his beard neatly trimmed, but Moore’s magnificent bristle evokes a shaggy primeval forest, housing a Paleolithic shaman from Northampton or a bouncing bellowing Totoro. Or possibly both.
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.
Mamoru Oshii's latest film, fresh from its Tokyo premiere
In his live introduction to the premiere of Garm Wars The Last Druid at the Tokyo International Film Festival, Mamoru Oshii called his film a "a precise recreation of the delusions in my mind." While the truth of that statement is only known to Oshii, Garm Wars is certainly embedded in Oshii-land, ticking off the staple themes and existential worries in his work, while finding a new kind of gorgeousness.