Mamoru Oshii makes… unusual anime, and I think this has always been the case. The first thing he directed was Angel’s Egg, and that is the farthest thing from normal there is. His other signature works, Urusei Yatsura 2, Patlabor 2, the Ghost in the Shell films, The Sky Crawlers, Jinroh, all share what has been called a distinct ‘personality’, which stems from his unusual directing method and the way he plays with silence and darkness. What I’m going to be focusing on here is the way he approaches three of these films: Ghost in the Shell, Patlabor 2 and Jinroh: The Wolf Brigade. I haven’t seen The Sky Crawlers yet, but I’ll be sure to dedicate a separate post for that which, odds are, will be laced with redundant hyperlinks to this one. For the most part this post will be a series of points of the things Oshii tends to put in his cyberpunk-tinged works.
Basically, Oshii’s style intrigues me. I want to ramble about it.
Now, I’m really not going to keep up any pretenses about this: this is going to be the driest post I will ever churn out. I’m writing it out because I am generally dissatisfied with the exploration and evaluation of political stories on and around the blogosphere, where people are more or less content to refer to an anime as ‘political’, and expect it to be understood what they mean by this. From here on in, everything I deem to be my personal opinion will be in grey, because f*** my opinions.