[Article Response] “Damaging a Franchise”

This article was pretty short so I figured I could do a quick response to it. This means that my response will only be about 3-4 times as long as the article in question rather than 20 times.

Alright, so what’s going on here? Well, it’s exactly on the tin. “[James Mangold] warns fans that backlash will to films by hacks”.

At the point when work writing & directing big franchises has become the emotionally loaded equivalent of writing a new chapter of The Bible (w/ the probable danger of being stoned & called a blasphemer), then a lot of bolder minds r gonna leave these films 2 hacks & corp boards

In my opinion, his claim isn’t unreasonable. He claims that when producers fear backlash, they will take the safe route when it comes to making films and films will be produced by committee. I don’t know whether this is true or not, but it’s not an argument that I find difficult to accept at face value.

So what’s the problem? Well, there’s one big problem

Respecting the Franchise

I think it’s important that when new writers and directors take on a film, they need to show a great deal of respect to the franchise that they are picking up. They need to recognize that fans love the established universe as it is and work with that. Yes, you are writing a new chapter of the Bible. You don’t get to claim the glory of writing Chapter VIII while flagrantly abusing Chapters I-VI.

Outside Example: Doctor Who

Doctor Who is a show about a humanoid species called “Time Lords”. Time Lords are a unique species in that they possess the ability to “regenerate” when they sustain heavy injury, affording them a new body, new personality, new everything, while retaining the experience they’ve accrued in their past lives. This power is not infinite, it can only be used twelve times. When it came to be nearing the end of the Eleventh Doctor’s run, the producers of the show were faced with a problem: the twelve regenerations (as stated in already established canon) were up. What do we do? Do we create an ending to the Doctor? Or do we cheat, and try to find a way to keep the series going now that it’s relatively popular?

The directors chose to cheat, and ass-pulled some kind of time-energy regeneration. Don’t get me wrong, I loved that Christmas special in which Eleven ends his tenure as Doctor, but it is an ass-pull and it is a disrespect to the show. And after that episode, we see the ratings drop Could the ratings drop be due to something else? Certainly. But it certainly seems suspicious that the ratings drop by 30% over the years since Eleven. Could it be the writing? Moffat, a highly-renowned writer, was a writer for the series after Eleven. He seemed to have been doing an excellent job until then. Why did the ratings go downhill after Eleven? Could it be the Doctor? Peter Capaldi has an impressive discography, extending over 40 years. To say that he is not an accomplished actor would be a bold statement to make. Perhaps Doctor Who was just a passing fad that has lived its 15 minutes in the limelight.

I recognize that we all want to see our favourite characters do the thing, but all stories must come to an end, and by disregarding previously established canon, it is my belief that the writers disrespected the series and in turn disrespected their audience as well.

Star Wars

When it came to the writing of Star Wars: The Last Jedi, we arrive at a story which seemed to have the intent to “Let it die, kill it if you have to”. Let [Star Wars] die, kill [Star Wars] if you have to. This was not a Star Wars movie for people that liked Star Wars. This was a Star Wars movie to disrespect people who like Star Wars while attempting to sucker in a new generation. Which may be why Solo did not sell. People simply do not trust the studio to produce Star Wars in a respectful manner anymore. Star Wars Episode IX isn’t out yet, and we may need to see how Boba Fett plays out, but at this current moment, I will not be surprised if Episode IX does not sell.

The Point

I recognize the point in that you want movies to push boundaries but there is a way to do it without taking a dump on the source material. Of course failing that, there’s no reason that an established franchise has to have a movie that pushes the boundary. Marvel has been pushing out the same movie for at least 5 years, probably more, and all of the Marvel movies I’ve seen are legitimately enjoyable movies.

The decision to toss out tons of canon is incredibly baffling to me when the new canon to be written seems to want little to nothing to do with the existing material. It might’ve been forgivable if the writing actually made sense. But it didn’t. The world of Episodes I-VI felt so much bigger compared to this. Most of this episode takes place during the slowest car chase ever in the vast emptiness of space. The Force Awakens was so much better than this. It’s almost like you don’t even like Star Wars. You just wanted to slap your name on it. If that’s the case, don’t be surprised when in your act of greed that you failed to maintain the old guard while simultaneously being unable to entice a new order.

Conclusion

So I guess in summary, it’s not the fans that are damaging the franchise, it’s the producers.

The short version is that I don’t particularly like this criticism. Fundamentally, I think it misses the mark. Excepting that which I’ve stated above, Mangold’s statement could pessimistically be taken as “Don’t criticise movies or you’ll get bland movies”. I think the question you need to ask yourself is whether or not the fan backlash is justified. Again, I believe in this case, it is, or at least a significant audience believes that it is, considering the market failure of Solo. The people have voted with their eyeballs and their dollar. Whether or not Star Wars will recover from this, I don’t know. I don’t plan to speculate. But I would hope that the writers for the next movie are watching the internet, acknowledging concerns, and making necessary adjustments. If not, we may see the death of Star Wars, rather than the end of Star Wars. Which, in my opinion, would be pretty sad. That’s my take. Thanks for reading.

Artemis Hunt

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[Article Response] “Damaging a Franchise”

Final Fantasy XV Windows Edition

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Steam

Not sure why ‘Windows Edition’ is important but whatever, it’s in the title on Steam.

Don’t think that this is going to be a habit or anything. I just happen to have had some extra time because I finished my certification courses and I’m waiting for the certificate to come in the mail.

I want to preface this review by saying I absolutely hate JRPGs. I hate the grind, I hate the backtracking, I (generally) hate turn-based combat, I hate the lack of good story, I hate the cliched characters. I just hate JRPGs. I’ve started several Final Fantasies, I’ve only finished one. That is to say, I’ve only finished Final Fantasy VI. Because I got sucked into the stories and the characters. Outside of that, I really couldn’t find myself getting attached to characters in any of the other ones I’ve tried.

This game is fantastic. It manages to avoid most of the major pitfalls that come with JRPGs. Taking place in a 3D world definitely plays to the game’s credit. It’s easy to get lost in the scenery while you’re traveling throughout the world. The Backstreet Boys also keep things interesting with their little dialogues and being able to listen to music from the other Final Fantasy games (and NieR… for some reason) really passes the time. Best part is, you don’t even have to suffer the drive if you’re traveling to parking spots or towns. Just fast travel. The grind is still there but relatively tolerable because the combat is actually fun even if simple and repetitive. When it works, it feels very fluid and you feel like a total hero flying from monster to monster. When it doesn’t work, the real monster is the camera trying to film you through 10 meters of foliage or through a wall. This didn’t happen often enough to me to really be annoying though. The characters are great. I found myself really appreciating the characters. I think this game gets by by having the characters fully developed before you really interact with them. They already exist and you don’t have to create them and the story doesn’t have to bend to meet your personal choices. And honestly? This Band of Brothers is just really cool. The way they interact and rely on each other really makes you feel like these characters have a history together. They’re all pretty likeable as long as you don’t look too hard at the story.

Which I guess brings me to what I believe is the game’s biggest flaw. The story. While there’s an advantage to having the characters developed before the game, there isn’t as much of an advantage of having the lore developed before the game. This game seems to assume some level of background knowledge to the lore and I have no idea where any of this comes from. I want to lose myself in this game, in the story, but it feels like there are so many pieces that were chopped out and I have no idea where to find them. Granted, I am still looking around the map for little things to read, but I dunno. Something about this presentation rubs me the wrong way. Another major flaw would be its load times and the last (and this one annoyed me for a few before I found a workaround) is that the game would often crash my computer. Not crash to desktop, literally crash my computer.

The open-world setting works well with the character because without a sense of direction it really just feels like the Fantastic Four being the Fantastic Four. Really. I just really like the camaraderie of these guys and playing the game is just bros being bros. In my view, the game is really relaxing. Just pick a direction and go there. Eventually I’d get overleveled and decide maybe it’s time to do the story but then I realized that the story is super short. This has to be one of the shorter Final Fantasy games because it feels like it just flew by. Or maybe time flies when you’re having fun? Who knows.

Either way, I really do commend Final Fantasy XV for being a great game and I do recommend it to people. Thanks for reading.

Artemis Hunt

Final Fantasy XV Windows Edition

Shantae and the Pirate’s Curse

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Steam

Shantae and the Pirate’s Curse picks up where Risky’s Revenge left off, with Shantae still effectively human. The town is getting bulldozed by its Mayor, Ammo Baron (yes, he’s still Mayor) and you decide to stop him. Unfortunately, this is effectively rebellion, so you get a court summons. While under house arrest, you uncover a lead into the revival of the Pirate King and decide to stop it. Who cares about court summons, amirite?

I’ll say outright that Pirate’s Curse is better than Risky’s Revenge. It maintains the quirky design and pleasing aesthetic of the first game.  It decided to go full 2D this time though, so that’s an improvement in my books. The movement feels so much more fluid and the movement options unlocked throughout the game feel better. You get a glide, a dash, and an extra triple jump… which you lose… in the final boss fight… because design decisions.

What I find most amusing is that this game sorta solves the problems of Risky’s Revenge while also adopting some problems that the old problem solved. The backtracking is less insufferable. Might be level design making it a bit more enjoyable to go through them. Luckily the backtracking is mitigated in Pirate mode (unlocked after beating the game once). Honestly, what might have fixed it for me in backtracking might be the addition of a new item called “Pirate’s Flare” which is effectively an escape rope. Tired of a map’s BS? Get out of the labyrinth and flare back to base. Speaking of items, they’ve rebalanced the items to be less broken and now none of them are required to unlock certain areas. Health drops regularly (if you’re killing enemies) and you can use these drops whenever you like instead of immediately.

There are few things more frustrating than entering a screen only to get knocked back because instant dash enemy. Yet here we are. Insufferable stealth section and the climb to the final boss is a series of spike traps that exist purely to try my patience. No enemies. Just spikes. And lord save you if you game ogre there because the save point is not between spike hells but rather at the beginning and at the end. Bring all of the potions.

Let’s talk about the final boss fight. Now in Risky’s Revenge, I didn’t really dock points for the game taking away all of your transformations because they weren’t really used for combat. The time required to dance for them took away from the pacing anyway. However, in this game, most of your upgrades are movement upgrades. Which means you don’t pause to use them and you’ve been using them the entire game. And they were instrumental in spike pit hell because each puzzle room was set up to utilize a specific upgrade. So by the time you’ve gotten to the boss, you’re pretty used to using them like, all the time. You get to use them for phase 1 of the boss. Then the boss takes them away. Then you have to deal with phase 2 with limited movement. Then phase 3 which is phase 2 with some extra patterns. And phase 4 which can be cancer because it’s not the same kind of combat you had been doing all game.

Look, the final boss is a test. A test on all of the skills we’ve obtained up until now. You don’t teach us all of the math required to do the exam and then give us a stinkin’ psychology exam instead of a math exam. That’s completely unfair to the player

But when the game works, it works. Pirate Mode (again, unlocked after playing through the game one) is a great replay option if you’re into that sorta thing. The game is legitimately enjoyable and the characters are as delightful as ever. I’m going to give this game a pass, but not by much. Be prepared. Thanks for reading.

Artemis Hunt

Shantae and the Pirate’s Curse

Shantae: Risky’s Revenge [Director’s Cut]

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Steam

I am a regular speedrunner of Momodora: Reverie Under the Moonlight. I’ve gotten my time to a pretty good spot and while I love the game to death, I’ve been flirting with other games just as a change of pace. Sometimes I watch speedruns and the Shantae series has been on the radar for a while because the “plot” is amazing it looks really cute. So while it was on sale, I bought the bundle. Looked up the order the games are in (chronologically) and started up Risky’s Revenge.

Boy what a mistake that was.

In Risky’s Revenge (a sequel to GBC game I will likely never play) you play as Shantae. She is a half-genie girl that acts as the guardian of Scuttle Town. One day, while her uncle unveils the magic lamp, an artifact he found, pirates attack and steal the lamp. Your job? Get the lamp back. Seems simple enough. In metroidvania style, you gather your genie powers from magic fountains throughout the world, become super powered, only to lose these powers in the final fight not like you were using the powers to fight anyway (we’ll come back to that).

Aesthetically, the game is quite well-designed. It diverges a bit from the typical metroidvania style of screen transition by instead showing you a faded version of the screen behind you as you travel through your current screen. This is a pretty cool innovation because now you don’t get surprised by random flea knocking you back into the prior screen. You always know where you’re going to land. Only works one way though, so to prevent you from getting mauled on the way to a screen “in the foreground” you’ll always land on a safe spot after transition. That’s not to say the usual screen transition from one room to another isn’t still there. Just that I found this little experimentation interesting. This experimentation creates a pseudo-3D map. The map is also very compact. There aren’t too many places to go in the game. Overall, maybe 3 major zones. So the design is incredibly efficient! The art design (as stated earlier) is quite cute. All of the designs feel good. The audio design is sweet too.

Unfortunately, while I praised the design in terms of ‘efficiency’, I’m afraid that the design is incredibly frustrating. James Montagna. That’s right, I wrote down your name before preparing this review. Why? Because SCREW YOU AND YOUR LEVEL DESIGN. I absolutely hate backtracking in games. I will tolerate backtracking if it’s to find new full zones in games. But in this case, you have to go to Zone A to get story progress then go to Zone B where you get a powerup which you need to use again in Zone A to get another piece of story progress to complete Zone B. Absolutely disgusting. I hate you. I want my five hours of life back. You can teleport between areas of the map but for some reason there’s no teleport in Scuttle Town, the hub for the game. Which makes no sense.

But wait! Are we incentivized to to back to these zones? What do we get? Well, magic jam, an item that lets you buy more item skills. But I went through the entire game only really using 2 items once. The fireball you use to break a wood barrier (why there’s a wood barrier, lord knows) and lightning to activate a bomb (required for story). The rest of the time, the pike ball pretty much carried me through the game.

Honestly, the backtracking added so much to the runtime of this game. I wonder if it’s intentional padding.

Oh yeah, let’s go back to the powers thing. So being half-genie you get to transform into aminals throughout the game. It’s the main map exploration gimmick. Now thank goodness the animals are never really used for combat on land, because if they were. Wooh boy I’d be ready to split skulls. Spoiler alert – the final boss of the game is you(r genie half) and you lose your ability to transform for this fight. How retarded would it be to spend the entire game collecting powers, using them, only to lose them for the final fight? That is horrendous game design.

Overall, I found the game more frustrating that enjoyable. I plan to try out the others, but this one is going to be a no from me. I wanted to like it, but I just can’t give this a pass possibly because of the map/power interaction. That’ll be it from me though. Thanks for reading.

Artemis Hunt

 

Shantae: Risky’s Revenge [Director’s Cut]

Super Motherload

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Playstation Store
Steam

Super Motherload is a… how would I describe it… well it’s a digging game. I guess I’ll just briefly describe the story, mechanics, and my experience.

In Super Motherload you play an Earthling that finds themselves working on behalf of a spooky corporation. You are an independent contractor. Your job – dig minerals out of the Martian underground. I guess Elon Musk saw this game and figured that it was time. As you dig, you receive unusual broadcasts and it’s up to you on how to ‘respond’ to them. And by ‘respond’  I mean  whether or not you’ll dig up the materials required for a quest. This game is literally just digging. When you reach the level where it’s hot and you can meet the devil, you enter a flying minigame + boss battle and then you’re faced with a “moral choice”. You get achievements based on these choices.

They have a few characters to choose from, from what I gathered some have more upgrades than others. You can play with friends, or so I’m told. I have no friends, so I could not test this feature. I can only imagine having four miners on the screen at once, trying to track yours would be a pain. The game is frightfully easy to play. I wound up just digging a straight line down. It takes a bit longer but it’s easier in terms of returning to base, lest you run out of fuel.

Honestly, what sells the game to me is the atmosphere. Unfortunately the atmosphere only seems to be effective on first playthrough, since after you know the triggers and the dialogue, there’s nothing else it has to offer you. The way tone is handled is c’est magnifique. This game could effectively do horror if it tried. The way the dialogue is delivered and the way the music changes is amazing. I was legitimately feeling my hairs stand on end for a good third of the game.

That said, I’m not terribly pleased with the story and its apparent limitations. I think there’s a good experience buried here underneath the surface, but I can’t help but feel there’s a lost potential here. It’s short – took me 2 hours to complete on my first (safe) playthrough. Is it worth its cost? That’s up to you. I personally do not believe that this game is worth too much. Overall – I do recommend the game, barely, but get it cheap if you can. Thanks for reading.

Artemis Hunt

 

Super Motherload

Rant: Sailor Moon Opening

Okay, this was not the blog post that I had planned to work on today but whatever. I gotta get this off my chest. Why the FUCK did (and I’m just gonna guess here, feel free to comment if I’m placing my blame incorrectly) Viz Media change the theme song so drastically for Sailor Moon? This is really important! Listen to the Japanese opening

I don’t know what feeling you get off of this, but I get this kind of romantic Swan Lake, rock/romantic fusion, Phantom of the Opera feeling from it. I don’t even need to understand Japanese to get the meaning. I don’t even need to have watched the anime to understand the feelings. It has this wistful touch to it, as if the romance is fleeting. Like, you only get one night to be with the one you love and after the night has passed you’re sat there just reminiscing about what was and imagining what could have been, what should have been. It’s painful. Now let’s listen to what Viz Media did to such a treasure

I don’t want to say that it’s bad. It’s not bad. Standalone, it’s fine. There’s not much wrong with it. They picked an okay singer. Tolerable. There’s a pretty cool guitar solo. But it feels like it lost something. It feels like it lost the emotion from the Japanese version. Maybe it’s because the singer is much younger, and has lost that ‘matured’ timbre that I associate with the Japanese version.

The lyrics also seem to have taken a very distinct change. The Japanese lyrics, again, maintain this wistful feeling.

I’m just about to cry — moonlight
I can’t call you, either — midnight
But I have a simple heart, so what can I do?
My heart is a kaleidoscope.

I want to, but I can’t. I can’t stop myself from feeling this way. My heart is a kaleidoscope what does it even mean? That’s the point! A youth not understanding her feelings, so she has to find other ways to describe her feelings. Contrast that with the sort of battle-focused lyrics of the English version. Why. Why did you change the song from a beautiful soliloquy into some generic ‘power of friendship’ song?

My hypothesis and I don’t have anything to back this up is that to my knowledge they both aired on Toonami (which is where I watched it) around the same time. It might have been changed to sort of be ‘DBZ for girls’. Which is a damn shame if you ask me, Sailor Moon is far superior to DBZ. I said it. Come at me. While we’re at it, Sailor Mercury best sailor scout. Fite me irl.

But I’ve never read the manga, I didn’t watch the entire series. It was a villain of the week series to my recollection, similar to InuYasha? Maybe I should go back and watch the 200 episodes? Maybe not. I just appreciate good music.

So that’s my piece. Thanks for reading.

Artemis Hunt

Rant: Sailor Moon Opening

Ghost in the Shell (2017)

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I wanted to love this movie. I did, truly. I guess you already know how the rest of this review goes but do try to stay with me here, I’m not just a crying fanboy. While I drafted this with minimal spoilers, there still are spoilers ahead so consider this your spoiler warning.

So Ghost in the Shell is a manga from the late eighties, a movie from the mid-nineties, and an anime from the early 2000’s. This franchise has been through a lot, and I’ve been a fan of it for a very long time. The 1995 movie, while slow-paced, is an excellent work of art that conveys the messages that it wants to convey quite clearly. The Major, Batou, and Aramaki are some of my favourite characters from manga. The Major has this playful nature, Batou… is the butt(ou) of several jokes, and Aramaki is a sly fox that you can’t help but admire. Togusa representing the stubborn, older generation. Most of the other members had augmentations that made their job easier (Saitou’s vision, for example). Others augment themselves for fun (Borma’s liver augmentation). I guess the point that I’m trying to get across is that Ghost in the Shell represented a crossroads in our future where all of these types of people coexisted. We weren’t all cyborgs and we aren’t all humans. And the characters are all so relatable, it’s hard for me to pick ones that I don’t like. Even in the older movie, it was incredibly difficult for me to dislike the Puppetmaster, rather I disliked some of his actions (the poor man with false memories).

Maybe this one was a little close to home, and I shouldn’t have gone in because of that. Let’s talk about what I liked about the movie first.

The movie is visually appealing. I can almost see the future with holographic advertisements the size of skyscrapers already. While I see the payphones on the side of the street disappearing (sorry 1995) I can see the idea of more robots in the service industry. Hell, Japan, in preparation for the 2020 Summer Olympics is already constructing hotels run by robots dinosaurs. ROBOT DINOSAURS! Come on man! ROBOT FRICKIN DINOSAURS! There are some great special effects, however I believe the movie failed to capitalize on the 3D. Especially the scenes where The Major is getting painted back to normal, mesmerized me every time.

The acting is fantastic. ScarJo knows how to play her character (most of the time) and there were some great scenes where you could really see how her movements felt robotic, like it wasn’t a natural human body. In the source material The Major is a little more playful, which is what I liked about it, but eh, new adaptation, different direction. I’m not terribly bothered because what ScarJo did do, she did well.

Before I move on, I do want to take a moment to address the whitewashing controversy. Anyone that complains about it doesn’t understand the source material. The Major’s origins are notoriously mysterious (within source material, which this movie dodged for the most part). And I think that anyone that complains about the whitewashing doesn’t quite get the point. See, the major is effectively a human inside a machine and (I believe) the point that Shirow was trying to make with the character of The Major was that none of the external features really matter (and this is very effectively demonstrated in the 1995 movie). Quite simply, there’s nothing in the source material (that I recall) that makes The Major “Motoko”. In fact, there’s nothing that really makes The Major female. Sure, the exoskeleton appears female, but it could have easily been male. The Major itself could easily be ‘male’ (if we’re going by original personality) but again, that doesn’t matter. That’s the point of The Major.

I don’t know where they found Batou (Pilou Asbaek) but he was perfect. I don’t think they could have picked a better Batou. Christ I loved his Batou. He just seemed so buff! Kuze (Michael Pitt) exaggerated the little robotic flairs of The Major. I’m not sure how much of that was CG, but the line delivery was spot on. He really played himself off as the villain we could all sympathize with even if corporates didn’t turn into assholes.

There are some notable exceptions to the excellent acting. Togusa’s character (Chin Han) had like two lines the entire movie and they were delivered in such a way that I felt like it detracted from how naive the Togusa of old seemed to be. But this isn’t just nostalgia bait, he gave the line so quickly and so flatly “I am a human, and I will always be 100% human” that I felt like the line was wasted. I also don’t like exposition that way, especially when that line served no purpose for the entire movie.

I do wonder why Aramaki spoke Japanese for the entire movie. He clearly understood English, as everyone else spoke in English and the others clearly understood Japanese (maybe they had a translator in their ear or something). But with what little screen-time he had, he did exude badass. And while we’re on the topic of Japanese, why was Hanka always pronounced as hay-n-ka? Should’ve been pronounced Ha-n-ka and every time they pronounced it incorrectly I would cringe. Sounds weird when you read and hear Japanese most of the time.

Okay, let’s talk about what I didn’t like. Everything else.

I don’t think this is really “Ghost in the Shell”. The original Ghost in the Shell discussed several existential themes regarding humanity and what it means as we merge man and machine. It also addressed how these things would impact our day-to-day lives, and how these things could be abused by corporations and governments. It’s not like the source material lacked things to really discuss. And I don’t feel like I got much of that out of this movie. I feel like it was sorta just mentioned, and then we moved on so we could get to the action scenes. The action scenes weren’t terrible, don’t get me wrong. But it’s not really what I paid for. Other scenes didn’t seem to connect too well if you ask me. I feel like we may have been shown a series of loosely connected stories, which is kind of what the manga did… but I don’t think that a movie should be doing that sort of thing.

The language (Ghost, Shell) seemed very forced every time they were used, to the point where I feel like it would’ve been more natural to use ‘soul’ instead of ‘ghost’ every time they mentioned it. But this is due to line delivery, in the source material ghost is used so matter-of-factly that it doesn’t really leave an impact. But the doctor says “But the important part of you, your humanity, your ghost, is still there” is practically romantic so the language doesn’t seem to fit the line.

They ripped a scene straight out of I, Robot (a beloved favourite of mine), and I, Robot did it better.

My biggest complaint might be the Motoko subplot. It gets introduced about twenty minutes before the end of the movie and is resolved like five minutes after it’s introduced. And quite honestly, I don’t mind its inclusion at all. I have several problems about how it was included. First – why is the effective introduction of the subplot at the END of the movie, rather than towards the beginning? I feel like it would’ve been more effective had it been placed much earlier, perhaps right before the bar scene. And the extra irony about that scene is despite everyone complaining that ScarJo isn’t Japanese, the way they characterized Motoko’s mother looked distinctly Chinese. Just saiyan. The second thing is how very little we have to go on. There’s a glitch that The Major continues to see and it’s really the only thing she has to go on and The Major sort of just accepts that she’s Motoko but I personally don’t feel that the audience has enough information to come to that conclusion. The pieces of evidence she has are the memories of the burning building, watching her allies get kidnapped, and the name she was told by the Chinese lady. Sure, it’s “confirmed” by Kuze but I don’t think he should’ve had the information to make that conclusion either.

Long story short, I believe the movie failed to deliver on its source material, and just became another Hollywood action movie. Which I find depressing because of my attachment to the source material, but that’s fine. I would not recommend this movie. The pacing seems poor and the scenes incoherent. While there is some beautiful imagery, I don’t think that there’s enough of a movie here, let alone Ghost in the Shell. Thanks for reading

Artemis Hunt

Ghost in the Shell (2017)