[Categories: OAVs, Movies and Full Series]
GitS SAC Solid State Society
I was going about my updates as normal but all of a sudden I had writer’s block earlier this week. With no other reasons apparent, I’ve decided that a contagious Hiatus Disease is spreading through the blogsphere with the unwanted virulence and speed of a 4chan meme. To kick my butt back into gear I’ve decided to take on the new feature film from the GitS SAC franchise in the hope that things will return to normal, if only for me.
Solid State Society is an odd beast: it’s part of Kiriyama’s SAC timeline but takes on the format of Oshii’s feature films. As a result it inherits aspects from both but is obviously a break from the norm in that the SAC’s approach has never been given the feature-length treatment before. To sum up then, SSS is pretty much a feature-length SAC episode. Interestingly, it makes a few knowing nods towards Oshii’s efforts: an opening scene of Motoko’s trademark jump-and-disappear stunt reminded me of the first film and the premise of Batou, Togusa and the others getting on without her that is reminiscent of the Innocence movie. This time it’s a case of a master hacker called the Puppeteer, old people plugged into the ‘net and an untold number of missing kids - a pleasantly convoluted and complex plotline that stretches Section Nine’s capabilities nicely.
Batou stoically provides the Huerrgh! factor once again
As much as I respect Production I.G.’s treatment of the GitS franchise, I can still find some (albeit minor) faults with this film. In dropping in numerous references to the films, SSS feels a little formulaic and does little to push the boundaries in what the franchise is and does. Artistically it’s great but the op theme tune lacks a certain ‘oomph’ that Inner Universe and Rise had, which is odd since it features the same collaboration between Kanno’s writing and Origa’s vocals. Fortunately the background music and the end theme make up for this so I can safely add the OST to my ‘to buy’ list.
Togusa makes a surprisingly strong head of division
Storyline-wise, I can’t say much that isn’t spoilerific but it’s topical, convincing and unpredictable stuff. As the title suggests, the ’solid state society’ is the old transistor that has been superseded by the shinier, new technology; the old are left behind, outdated and devoid of purpose, in this brave new world. The issue of supporting the elderly and dependent is already part of election candidates’ manifestos worldwide now, but true to form GitS extrapolates this scenario, pressing fast-forward and letting the results run their course. The film deliberately refuses to offer an answer to the question of what to do with them, instead pointing out that the demographic pyramid IS changing, and sooner or later someone has to decide how best to address it. After dealing with assorted terrorism and immigration themes, it’s reassuring to see the franchise examine yet another social-political issue and leave plenty of food for thought for us to get our teeth into.
Aramaki is still shrewd and not to be trifled with
As outlined earlier, SSS falls between the episodic SAC series and the two feature films; it has the atmosphere and storytelling style of the former within the format of the latter. The upshot is that the plot is contained in less time than a series (with the investment of time and money that goes along with buying a whole series on DVD) but is able to explore the themes more fully than one of the ’stand-alone’ episodes could. The pacing is a little uneven though, almost as if the writers were getting used to the breathing room offered by the extended running-time - no fewer than three sub-plots are running parallel before tangling together in a cryptic finale that favours head-scratchery after the gunfire and explosions.
The token futuristic techie shot
The film plods along at first but does improve: there are plenty of twists and turns to test the viewer’s attention and the final half hour or so offers plenty of pay-off for action junkies with a raid on a government building offering ample opportunity for the Tachikomas to make a welcome return. Actually, the violence seems a bit more brutal than that of the series run too, possibly benefiting from no longer being constrained by the schedules and regulations that govern TV broadcasting.
Did you seriously think I’d do a SAC review without including a Tachikoma ownage pic?
In Summary
Solid State Society delivers nothing more and nothing less than a feature-length Stand-alone Complex episode. On the downside it lacks the epic feel of Oshii’s films despite clocking in at a similar running time, but is more accessible in the same way that the SAC series were. It doesn’t take the franchise as a whole into new territory but at least maintains the enviable standards set by the previous two seasons; ‘more of the same’ is always a good thing as far as GitS is concerned, so despite being dogged by the recurrent spectre of advertising hype this show is still at the cutting edge of mature sci-fi animation.
Posted on August 24th, 2007 @ 1:43 am
by far the most disappointing thing about the movie for me was the fact that there was no greater focus and ellaboration on the relationship btw kuze and mokoto. that was why i LOVED 2nd gig in the first place. i can understand that she left s9 because of the death of kuze, but still it would have been great to see her a tiny bit reminiscent or dare i say angsty.
Posted on August 24th, 2007 @ 10:36 pm
@Kauldron26: I was confused too - did that final scene mean Kuze was the Puppeteer? Or something else entirely? From what I understand from the second season, there’s a lot that went on between Motoko and Kuze, which was probably too much to explore in the time that was left in this film. We were treated to a look at Batou’s and Saito’s earlier lives in the series but we still know precious little about Motoko - perhaps there was no time to explain that here, which makes the Kuze reference that was thrown in here all the more puzzling.
Of course, SSS didn’t categorically specify Motoko had joined S9 either, so I wouldn’t be surprised at another sequel!
Posted on August 31st, 2007 @ 2:18 pm
You need a spoiler tag so I don’t have to talk in cryptics.
The last face was the puppeteer. You see the bureaucrat’s body walk out of a familiar closet and someone wonders where their egotistical righteousness became cynical enough to justify such actions. Incidentally, those actions are currently sanctioned by lots of governments. The difference is just the criteria for discovering who requires help, and erring on the other side of the line in grey cases.
I think you’ve slightly misinterpreted the part about ageing demographics. This is not a story about old versus new, or even dealing with an ageing demographic. It’s slightly about low birth-rates, although that’s just used as a motivation. The demographics theme is a red herring. At first it looks like the transistors are preying on others, but their only sin was condoning vigilantism. The transistors are basically giving to a very specific charity rather than the government. They’re doing good… mostly. That part of the story is just a tale about how “The ends justify the means.” is a bad philosophy.
The interesting part of the story was how righteousness, with a slightly different perspective, can go wrong. This should help you understand why someone wants some restrictions again. The same theme was in Death Note; L and Kira are two sides of the a certain righteousness also.
Posted on September 1st, 2007 @ 12:19 am
@Snog: I don’t see how I misinterpreted the change in demographic. Low birth rates==more older people, it’s pretty simple. A low birth rate takes a while to be felt and is pretty subtle so the larger number of old people and fewer able to support them will be an obvious effect before that. It’s already happening to some degree I suppose but as life expectancies increase and more younger people make a conscious decision to not have children it will become more obvious - good point on how older people seek out an active solution to their problem though. they’re already being ignored and marginalised by society: it’s a convincing picture of what could happen if they take things into their own hands and try to change things. Death Note is also a good example of how good intentions can be twisted to give bad actions - sometime soon I’ll finish the manga and give an overall impression on it.
Posted on September 1st, 2007 @ 2:53 am
Yes it’s very simple, we all understand the dynamics. I’m saying you misinterpreted the role it plays in the story.
No one in Japan needs to have it pointed out that their demographic is ageing or their birth-rate is low. These are common issues. This film isn’t trying to highlight this issue at all. The film doesn’t deliberately refuse to offer an answer. It simply doesn’t examine it at all. In this film these issues are just devices used for motivation.
This guy got it right:
Posted on September 1st, 2007 @ 2:55 am
This guy
Posted on September 7th, 2007 @ 3:07 pm
Respect must be earned, not commanded.
Posted on January 4th, 2008 @ 6:36 pm
I agree with all of you its a great movie maybe not as filosofical as the Ghost in the shell arc(movies 1 & 2) but it has the pure essence of the Gigs. I really don’t get it very clear, because by seeing the SSS i thought the puppeteer was Kuze, what you’re trying to say Kauldron26, is that it was really the Major? making use of her subconsciousness?
P.S: people who like talking about GITS please add me javii87@hotmail.com