Ghost in the Shell's Paralysis of Choice, and Why It Matters to You



In this post I’ll be discussing the relationship between individuality and freedom in the anime Ghost in the Shell, and why the imbalance conveyed through its characters is so relevant today. Numerous articles discuss the philosophical implications of a breach in self in this series, so I’ll be focusing on choice instead. The work I’m specifically referring to in this analysis is the 1995 film directed by Mamoru Oshii.

What is the core of Ghost in the Shell?

Masamune Shirow’s Ghost in the Shell is an intricate study of one losing their sense of self in a world optimized for the convenience of instant communication and inquiry, to a much higher degree than our own. For example, humans with cybernetic augmentation can connect directly into any interface. This ranges from the visual stream of Kusanagi’s sight to the sharing of information between cyberbrains. Ultimately, Ghost in the Shell depicts a futuristic world where the line between the self and others is blurred by an efficient, interconnected society. I see it as a sort of privacy purgatory, a step away from human instrumentality in Hideaki Anno’s Neon Genesis Evangelion.

How the intrusion of self obstructs decisionmaking

If you ever find yourself feeling overwhelmed by all the opportunities you can explore, entertainment you can absorb, and hobbies you can invest time in, you are not alone. This is defined as “overchoice” or “choice overload” which was coined in Alvin Toffler’s book Future Shock. Overchoice is something that occurs when freedom of choice is too free, and the decider can’t evaluate the best option. You may experience this when shopping at the supermarket, surfing video game sales on steam, or choosing the best vocabulary for a blog (cough cough.) Overchoice is a tangible force that impairs our ability to enjoy what we have, always pitting it against what we want.

How overchoice is demonstrated through Ghost in The Shell’s characters

The first appearance of the "Pupper Master"
Cred. aminoapps.com

The Puppet Master

The character that best represents a struggle with freedom of choice (limitless intellectual capacity and omnipresence specifically) is the film’s antagonist “Puppet Master,” an AI born from a project gone wrong. Although seeking asylum for itself, it seeks death and propagation much like a living organism. To give up control of itself to a genetic process is the desire to relinquish some choice. For the Puppet Master to die, he as an individual loses the ability to exist. Now this an extreme example, but a proportional response. To know and be capable of anything dissolves the pursuit of happiness and self-actualization in humans, and this most likely causes the Puppet Master to merge with Kusanagi. Understanding what the Puppet Master meant by death is highly speculative. For the sake of the argument, I believe he will die dependent on his terms or Kusanagi’s lifespan (assuming she would choose to live a human lifespan.) In summary, Puppet Master could risk running from his programmers and experience the world for himself, yet opts for life and death to handle it instead. Extreme, yeah. Cool, yeah. Relevant to your life, amazingly somehow.

Motoko diving, contemplating her vulnerability
Cred. edua234 on deviantart.com

Motoko Kusanagi

Kusanagi is our gateway into the film. She is constructed the first frame and a changed person the last. From the beginning, Kusanagi struggles with the validity of her soul and memories, having a cybernetic body constructed from scratch. Naturally, she exhibits an indifference toward danger and harm, as conveyed by her diving hobby. When diving, she could easily sink to the ocean floor if her floatation device malfunctions. Despite this, she finds serendipity on the brink of death. When Kusanagi is most vulnerable to the will of nature, when she has sacrificed her freedom to chose, she is content. Again, this is extreme, but it emphasizes the importance of fighting overchoice.

How I do this, and maybe you can too

I am by no means a health and wellness page, but I think you can appreciate my insight. Just as the characters in Ghost in the Shell try to root themselves in an expansive world, we do too. I find that I enjoy applying my self and expressing my creativity outside of looking for things to watch. I know that may sound hypocritical considering I started a blog about things I watch and read, but hear me out. To start a conversation, to share my ideas makes me feel grounded and individual. My academic career tells me I have invested time and energy into something for me. I know I exist when I can write or talk about what interests me. That’s why a job can be one of the greatest joys in life! You are valued for what you contribute to society, and that’s awesome. When you find a passion, you are unique and relevant, no matter if you are learning or a seasoned pro. In conclusion, be happy with what you’ve accomplished and the people that cherish those accomplishments.

Let me know your thoughts! Leave a comment!

Sources


Where to watch/buy


Comments

Post a Comment

Popular posts from this blog

Environmental Storytelling in Blame!, and Why You Should Care

Image
I’m a huge fan of Tsutomu Nihei’s work, mainly because of his ability to pull you into an established world of mystery. The lack of prior knowledge going into one of his manga is key to enjoying his signature technique, environmental storytelling. So what does this mean? Nihei is able to construct worlds that dwarf their characters in a maze of sci-fi structures. Huge landscapes draw the reader out along winding paths, scraggly electronic pires, or even the dark stretches of deep space. In this post I want to discuss how Nihei does this in Blame!, a work that explores a procedurally generated superstructure of scrap metal and fine steel. Blame! is mostly void of verbal interaction and narration, leaving the surroundings up to the task of worldbuilding and plot direction. I’m going to explain the nuance without spoiling too much, if you are planning to check this out afterward. Let’s take a look. Cred. Barnes & Noble and Tustomu Nihei        This panel depicts Killy and
Read more

HunterxHunter 2011 vs. The Manga: A Series With Many Personalities

Image
Introduction When most people talk about the HunterxHunter series and its strengths, they are often referencing the 2011 anime. I believe, as the majority does, that the 2011 anime adaptation enhances the source material. This is due to its faithfulness to the original plot, amazing animation, and the overall quality improvement from the manga. In this analysis, however, I wanted to make a case for how Togashi’s usage of negative space, its juxtaposition to stunning backgrounds and character expressions, and thorough character exploration in the manga makes for an entirely different, if not equally enjoyable HxH experience. I also explain how Togashi’s lengthy exposition is crucial to the 2011 anime’s critical acclaim. I picked up the manga volumes 32-36 after the anime ended. I enjoyed them as I did 2011, but in a much different way. The series portrays the world of HxH with an overtly upbeat nature, which gradually metamorphosizes into a mature, multilayered society much like
Read more