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2/13/09

The Original Ghost in the Shell Anime Movie: Quotation From the Bible

The key scene in the harbor of the New Port City of the original Ghost in the Shell anime film continues with the quotation from St Paul. Batou asks Motoko Kusanagi: “What is it you see in the water’s darkness?” As an answer suddenly the voice is heard, which is not Motoko’s: “For now we see through a glass, darkly.” It is a quotation from the First Epistle to the Corinthians, chapter 13, verse 12, the King James version. In the English-speaking world this much-quoted phrase was for centuries interpreted as an image of peering through a dim windowpane. However, at the time of King James a glass was a standard word for a mirror (they were manufactured by applying a silvered coating to the back of a sheet of glass). In the Greek original the text reads dia spektrou, by means of a mirror. The point is that at the time of Paul, the mirrors were made of polished brass, so that the mirror image was very imperfect. That is why in the New Revised Standard Version the same verse reads: “For now we see in a mirror, dimly.” It would be great to use this version rather than King James translation to render this phrase in Ghost in the Shell, for Mamoru Oshii seems to be perfectly aware of the original meaning of the verse. Indeed, the scene began with the mirror imagery clearly pointing to Yata-no-kagami, the sacred mirror, one of Japan’s imperial regalia (for details see the previous post on the imperial regalia symbolism).
To grasp the idea conveyed by the quotation from St Paul, one has to read the phrase to the end. In the Bible, it continues: “...but then face to face: now I know in part; but then shall I know even as also I am known.” As a message to early Christians, this meant that in the present life human beings can have only imperfect knowledge of the perfect world to come. As for Ghost in the Shell, it should be noted that the words are not by Motoko Kusanagi. It is the Puppet Master who managed to make them audible for Motoko and Batou. The Puppet Master intends primarily to say that soon Motoko will meet him and receive some superior knowledge.
A quotation from St Paul also serves as a final solution of the entire film. When Motoko and the Puppet Master merged into one person and Batou secured Motoko a new mechanical body (a childish one!), she/he/it says: “Do you remember the voice we heard on the boat that night? Before those words we heard come these ones: ‘When I was a child, I spake as a child, I understood as a child, I thought as a child. But when I became a man, I put away childish things.’ Here before you is neither the program called the Puppet Master, nor the woman that was called the Major.” This is actually verse 11 of the same 13th chapter of the 1st Corinthians, the verse that precedes the one quoted earlier. For Christians in Corinth it described how Paul changed when he came to believe in Christ. His whole life was transformed, he realized that he was now mature. Here, in Mamoru Oshii’s anime movie, the new Motoko means that what happened to her/him/it was deep mystical experience, a revelation, a transition into a wholly new state promising new, blessed life on an altogether different level of reality.
Finally, it should be noted that the order of events here is reversed as compared to what states the quotation: Paul says that earlier he was a child, but now he is a man. Paradoxically, Motoko, who earlier had a mature body, has now one of a child. Also the order of verses is reverse: first goes the 12th, and then the 11th. Indeed, that is what happens in a mirror. More on that later.

2/12/09

Motoko Kusanagi in the Ghost in the Shell Anime Movie and the Symbolism of Imperial Regalia

The scene in which Motoko Kusanagi talks with Batou in the harbor of the New Port City on her boat is rightfully considered as central for the original Ghost in the Shell anime film by Mamoru Oshii. Here the audience gets keys for understanding the whole movie concept. The scene is rich in symbolical meanings that can be perceived in a wide cultural context only.
In the beginning of the scene Motoko slowly floats up to the surface after diving into the depth of the ocean. When she is right below the surface she stops for a moment and it turns that the surface, seen from the depth, works like a glass: for a moment, both Motoko and her mirrored image are in the picture.


This introduction to what follows next provides the context for the whole episode. Indeed, Motoko’s last name is Kusanagi. In a way, she is a symbol of Kusanagi-no-Tsurugi, the sword, which is one of the imperial regalia of Japan, representing valor (see the previous post on Motoko Kusanagi’s name). This sword is closely associated with the ocean’s depth: it was thrown into waters, but was reported to be recovered ashore safely. It is also tightly connected with the idea of a replica, since there was no agreement between the Minamoto and Taira clans as for whether the original Kusanagi sword sank with the emperor Atoku during the battle of Dan-no-ura or was it a replica made under the emperor Sujin. Western audience should realize that Kusanagi sword is no less famous in Japan than Excalibur in Great Britain, and the wars between Minamoto and Taira are known to everyone in Japan the same way as the Wars of the Roses are in Great Britain.
Kusanagi’s reflection in the water surface immediately brings to mind the other Japanese imperial regalia: Yata-no-kagami, the sacred mirror representing wisdom. It also (quite naturally) points to the idea of a replica. When Amaterasu gave it to her grandson Ninigi-no-mikoto, she said: “Think of this sacred mirror as none other than myself.” Both imperial regalia, the sword and the mirror, and what they connote, are as self-evident for the Japanese as the stars and stripes for the Americans.
The connection with the Kusanagi sword is further confirmed in Batou’s dialogue with Motoko. Batou says: “A cyborg who goes diving in her spare time, that can’t be a good sign. When did you start doing this? Doesn’t the ocean scare you? If the floaters stopped working...” Indeed, even though Motoko looks like she might weigh perhaps 130 pounds, her mechanized body actually weighs over 300 pounds. She is much heavier than water and yet she did not sink. Or did she? A few moments later Motoko says: “As I float up towards the surface, I almost feel as though l could change into something else.” As with the Kusanagi sword, the question about Kusanagi cyborg is: Who now talks with Batou: Motoko or her replica? This is the key theme of Motoko Kusanagi’s inner conflict: is she herself or something else? What defines her as a human? A dialogue that follows reveals more about that conflict and hints at the solution provided by Mamoru Oshii in his masterpiece anime film.

2/10/09

Motoko Kusanagi’s Name

Motoko Kusanagi takes her last name from Kusanagi sword, which, along with a mirror and a jewel, form the three Go-Shin Tai (three sacred treasures), the imperial regalia of Japan. Masamune Shirow makes reference to them at the end of the second manga. Kusanagi sword is as important for the Japanese culture as Excalibur is to that of Britain. It represents the virtue of valor.
According to the oldest surviving book in Japan, Kojiki (known in English as The Records of the Ancient Matters) Susa-no-o, the god of storms, discovered Kusanagi inside the body of a dragon that he defeated. He called it Ame-no-Murakamo-no-Tsurugi (Sword of the Gathering Clouds of Heaven). Recognizing the sword as a sacred weapon, he gave it to his sister Amaterasu, the sun goddess, to settle an old grievance. Amaterasu gave it to her great grandson Jimmu-Tenno, the first emperor of Japan. Generations later, Sujin, the tenth emperor, ordered to build the Kusanui shrine to house the imperial regalia. According to some reports, the emperor Sujin also ordered to fashion replicas of the sword, the mirror and the jewel.
Yamato Takeru, a son to the twelfth emperor Keiko, once was attacked by a treacherous warlord on an open grassland. The grass was ignited in order to burn the prince to death. Yamato Takeru used the sacred sword to cut back the grass. It is then that the sword received the name Kusanagi-no-Tsurugi, that is the Grass-Cutting Sword (however, in the ancient Japanese language, kusa means sword and nagi means snake, so Kusanagi may also mean Snake Sword). The prince also discovered that Kusanagi had magical properties, which caused the wind to blow in the direction of its swing.
In the sixth century the sword was reportedly stolen by a Chinese or Korean monk who planned to escape Japan by sea. Terrified by the storm, the monk threw Kusanagi into the sea (according to another version, the sword sank along with the ship), but the sacred weapon was recovered ashore by Shinto priests. According to The Tale of the Heike, Kusanagi was nearly lost at sea again in 1185, during the naval battle of Dan-no-ura. The young emperor Atoku and his grandmother were on a ship belonging to the Taira clan that represented the imperial rule. They were surrounded by the ships of the Minamoto clan representing the Shogunate. Atoku’s grandmother leapt into the sea with the emperor and the three regalia, including Kusanagi. Since then Minamoto claim that the emperor was carrying the replica made under Sujin, but Taira say that because of the lost sword no subsequent emperor has been properly enthroned. According to the official version, Kusanagi sword is still kept in a Shinto shrine at Atsuta near Nagoya. Recently journalists from NHK, a Japanese broadcasting station, went to Atsuta in order to videotape the sword, but the priests declined to present it. Historically, Kusanagi is taboo for anyone except the emperor and the head Shinto priest at the Atsuta shrine.

2/6/09

What is Ghost in the Shell?

Ghost in the Shell (Koukaku Kidoutai, which translates into English as Mobile Armoured Riot Police) is a Japanese futuristic cyberpunk thriller. Its main character is Motoko Kusanagi, often referred to as Major (Motoko's past rank in the Japanese Self-Defense Forces), a member of Section 9, a covert operations division of the Japanese National Public Safety Commission. The body of Motoko Kusanagi is almost completely mechanized: only her brain and a segment of her spinal cord are organic.
Ghost in the Shell was originally created by Masamune Shirow as a manga, which was published in 1989 (in 1991 a collected edition was released). Mamoru Oshii adapted the original manga in 1995 anime film with the same title, which is a masterpiece and a gem among all later adaptations. In 2002 a sequel to the original manga, Ghost in the Shell 2: Man/Machine Interface, was released (the material left out of the sequel was published in 2003 as Ghost in the Shell 1.5: Human-Error Processor). From October 2002 to March 2003 Ghost in the Shell: Stand Alone Complex, an animated television series directed by Kenji Kamiyama was aired on Animax, with a total of 26 episodes (a compilation movie based on the Laughing Man episodes was released in 2005). The second season (Ghost in the Shell: S. A. C. 2nd GIG) was aired from January 2004 to January 2005, 26 more episodes (as with the first season, later a compliation movie was released with the title: Ghost in the Shell: Individual Eleven). In 2004 also a sequel to the anime film, with a budget of about $20 million, was released by Mamoru Oshii with the title Ghost in the Shell 2: Innocence. Alongside the film a book After the Long Goodbye by Masaki Yamada was published. The book is a prequel to Innocence. In 2006 an anime film Ghost in the Shell: S. A. C. Solid State Society directed by Kenji Kamiyama and based on his earlier work, the Ghost in the Shell: Stand Alone Complex series, was released. The sub-universe of this series also became the basis for a trilogy of novels by Junichi Fujisaku: The Lost Memory, Revenge of the Cold Machines and White Maze (all three published in 2006). In 2008 the original film by Mamoru Oshii was redone updating the graphics and re-recording the sound in 6.1 surround sound (by Randy Thom). This version is known as Ghost in the Shell 2.0. The same year DreamWorks acquired the rights to produce a live-action adaptation of Ghost in the Shell with Stephen Spielberg. It is set to be released in 2011.
As for chronology, the anime films and anime series are set in alternate contexts: the original Ghost in the Shell film is set in 2029, Ghost in the Shell 2: Innocence is set in 2032. Both seasons of the anime series are set in 2030. The third film, Ghost in the Shell: S. A. C. Solid State Society, follows up on the events that ended the second season of the series.