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Bloody Battle is 10% more futuristic than its predecessor, as measured in the new style fancied in the gangsters of the day — gas masks. The two movies take place in a familiar post-apocalypse, one where it’s likely that down under Master Blaster upholds his power in Barter Town, though Japan has a more cyberpunk feel (if Versus can be said to have a horror movie feel, for example). The war-torn buildings and desolate interiors offer an appropriately impressionistic environment for our formidable heroine Milly, though they also offer the audience’s best guess that Hard Revenge Milly: Bloody Battle is after all, a budgeted affair.
Though a larger world is implied, much of the story unfolds in parking garages and non-descript warehouses, with the occasionally dressed-up set peppered in for world-building’s sake. Fortunately, by the endgame this actually registers as insignificant, because the action these environments house is a specific flavor of stylized ultraviolence, one with flying kung-fu, cool poses, and wacky weapons that inflict impressive spectacle when unleashed on smug, gas-mask-clad do-wrongers.
The action in the film is one end of the Hard Revenge Milly equation that’s so frustrating. The premise of this sequel doesn’t stray far from the original’s plot, certainly not for the purposes of puzzling out what’s so problematic in an otherwise highly entertaining gore-fest. Milly, after massacring the gang that brutally murdered her husband and set her baby on fire, while at the same time tearing her body apart with knives and forcing her to watch, finds herself hunted by friends of the gang — as we learn from the hardly comparable Chan Wook Park’s Vengeance Trilogy, revenge is a cyclical, spiralling affair.
At the same time, Milly is approached by a young woman whose lover was killed, and seeks training for vengeance of her own. It may not sound like much, but keep in mind that the original movie was 45 minutes long, and this one still isn’t quite average feature length, clocking in at 74 minutes.
So what’s the trouble with Hard Revenge Milly?
The opening fight scene embodies a rare and beautiful ideology in action movie filmmaking, where the action hero is depicted as a slasher villain in how he/she dispatches foes. The only contemporary example that springs to mind is the critically discarded Punisher: War Zone, a film that sees Frank Castle slaughtering villains as if they were zombies — heads explode, bodies explode; the carnage is front and center, and there’s a gleeful joy in the application of a crazed badass to the action.
When this badass is essentially the Terminator, the entertainment is in the creativity of the hero killing slimy villains rather than the drama of ‘will the hero prevail?’ since there would clearly never be a question (there never is a question, regardless of what action movie you’re watching, but let’s not parade on the dreams of the Len Wisemans and the McGs of the world*). Punisher: War Zone succeeds where the 2004 Punisher fails (for one) in the villain department, because there’s a nemesis cold war going on — Frank Castle might be crazy, but Jigsaw and Looney Bin Jim are batshit. John Travolta? Not very threatening and surely no threat to Thomas Jane, which deflates the drama of ‘will the hero prevail?’
War Zone goes above and beyond, then, where Castle has gangsters to kill like a regular Jason, but with more RPGs, and these guys are no threat, but also a villainous element that provides any measure of suspense. Hard Revenge Milly: Bloody Battle, as well as its predecessor, have the same pretty Japanese pop-singer dude who happens to be a badass.
It’s odd, because while the end fight of the original is much longer than any other fight scene in the movie, it’s less entertaining because the guy offers a sizable opposition, and this is not what we were being driven toward with Milly tearing through people earlier. What makes this guy special? His kung-fu seems to be pretty good but he looks like everyone else and isn’t characterized appropriately in this regard. The sequel does a little better by having the villain be a cyborg, but any cyber-fuelled cool factor is negated by his villainy stemming purely from his sexual deviance — aka homosexuality. That’s great, guys.
This may sound like a lot of talk for something pretty unimportant, but the in-the-moment result is that Milly gets thrown around a lot by these lame villains where she should be trouncing everyone, save for something actually impressive. Anything other than yet another gangster dude. Like the Bride, Lady Snowblood, or Lady Vengeance, Milly gets her gender-equality fair share of the action movie beating, but to me it doesn’t make a lot of sense given the premise of what these movies are. This might sound like sexism, and it probably is, but this time, I honestly just don’t give a fuck. I don’t want to see a woman nicknamed Hard Revenge Milly getting her arm chopped off and defeated, only to win with further cyborg upgrades further down the road.
Not to mention that Milly technically falls into that more recently popular category of kick-ass females, here dubbed the Dragon Tattoo category, where only rape or violence against the heroine can incite bloody rebirth. That’s not a big deal here, because not only is Milly’s origin story so absurd, the movies are extremely obviously not meant to be taken very seriously.
I mean, look — when Milly cuts some dude’s body with her elbow sword, their high blood pressure sprays in an initially hesitant fountain in the grand tradition of Chinese and I think Japanese cinema. It’s great, silly fun, but it is metered a bit by Milly’s qualified badassery. That said, Bloody Battle is an improvement over an already entertaining original, one that reaches for eleven on the novelty dial in the fight scenes: we never know what her metal body’s gonna drum up next to slice and dice her foe, or what lethal new form this familiar weapon will take, but we know it’s gonna be bloody as hell. Meanwhile the action is intense and fantastical, remaining compelling through the whole of the two films with the promise that they’ll end in brutal, comedic splatter.
This movie is also interesting for its essence as a sequel. This is an instance where the follow-up deconstructs the original, showing the aftermath of the events in the first movie and the effects they have on the heroine. She isn’t just a killing machine, she’s a killing machine with no sense of control and a lost past that she can’t even be sure of. In a peculiar moment, Milly questions her memories in a spot of dialogue lifted straight from Ghost in the Shell. The self-deprecating doctor character plays Batou here, swatting down her Shirowesque cyber-Descartes existential quandaries much in the way the audience might.
Philosophical questions about revenge are paid equal lip service, but it amounts more to an intriguing setup to a theoretical third installment than an actually compelling discussion. Milly might be cursed by her vengeful journey, which infects others and only begets violence and death, but we’d rather see her kick some ass than mope around like the Major.
Or get her ass kicked by the villains, for God’s sake. Somebody needs to give this director, Takanori Tsujimoto, a bigger budget and put the lead, Miki Mizuno, in more action movies — they make a great team.
*Because I like Len Wiseman for some reason and I really enjoyed Terminator Salvation for some reason
So interweaved are elements as science, philosophy, cyberpunk, police procedural narratives, conspiracy, comedy, and action, the work blends conventions to invisibility just like the technological binding holding each characters’ spirits in a bodies. No saying that any of these elements is up to the par set by succeeding entries in the series, but Shirow’s original was the first, and the first to do it right. This in itself is compelling; from what I understand of the man’s earlier works, The Ghost in the Shell came out of nowhere in terms of pure Shirowesque creativity. The first volume of the manga is a stand alone work, where a story arc is uncovered across a series of smaller stories. We follow Major Motoko Kusanagi and her team of elite Japanese police known as Section 9, a cyborg special-ops squad dealing in anti-terrorism. Like 24‘s CTU, but more high-tech and with less betrayals. As they tackle troubles of the day, they explore some pretty lofty ideas that often coincide with the artist’s more cartoonish tendencies in the illustration.
Going into the manga, I had a fairly good idea of what to expect. Shirow has often attracted criticism (at least, from the three anime-related podcasts I subscribe to) for being the idea-man, and nothing else. He’s given the world Ghost in the Shell, but really he gave Mamoru Oshii Ghost in the Shell, and he made something great with the material. Having finally read the thing for myself, I can say that this is not entirely true, but not unfounded either.
The chief issue one familiar with the anime might find paging through the comic is its tone. Whereas the two movies are deadpan serious, and the series feels very western in its handling of light-heartedness (in moderation), the comic is relentless in its plain goofiness. The humor itself isn’t necessarily terrible, but its presence is felt, and it feels inappropriate. Every issue ends similar to how some of the Stand Alone episodes of Stand Alone Complex do — the Major and Batou solemnly discuss the philosophical or psychological undercurrents of what just happened. Sometimes this will include a panel of the guy who’s been hacked to believe he’s got a wife and kids, and this moment is pretty sombre, but also a satisfying conclusion. Classic Ghost in the Shell. But then we get one more panel at the bottom with superdeformed Aramaki barking some order and the Tachikomas, or Fuchikomas, squawking about a farcical robot rebellion.
It’s not fair to say that this is simply what to expect when one reads Japanese comics, because the last time I reviewed a manga it was Phoenix, and that was consistent in art style and tone throughout. At the very least, it was balanced, confident in its tone. Yet, I can’t help but imagine that indeed this is simply what to expect when one reads Japanese comics. Why else would Shirow include it? He’s got to be playing to a culture, a rich history of titles with these types of jokes and breaking the seriousness every once in a while.
That would be perfectly fine were it not for what the humor sidelines often distract from. The Ghost in the Shell by Masamune Shirow to me was like the bible for the rest of the series — from this point stories were drawn for elements in Innocence, episodes in Stand Alone Complex, and the arc for Ghost in the Shell (1995) and Ghost in the Shell SAC: Solid State Society. Because of this, the stories are a delight to behold. It also takes the approach closer to the series than the movies in terms of the characters; Saito and Pazu and Boma aren’t seen a whole lot (I’m pretty sure “Paz,” as he’s called, never makes an appearance), but they’re there, where they never show up in the films (except for Saito for a frame or two in the first movie, without his eyepatch).
The artwork, when it isn’t superdeformed, is in my opinion pretty superb. I qualify with “in my opinion,” because my experience with the medium is limited, so it’s difficult for me to judge what truly great comic art should be like. The cityscapes and robot designs are particularly striking; Shirow undoubtedly has an eye for design, which I suppose is why Shinji Aramaki gets hired to bring his stuff to the silver screen. Guns are another big thing for me, and they get their due, as do the vehicles.
Most impressive would have to be the cyborg stuff. When somebody gets shot up real bad, the metal gets all jagged and wires stick out. Sometimes — as in the making of a cyborg — we see heads split open and mechanical brains inside. The detail in these drawings is inspiring, and we couple that with footnotes provided by the author that discuss the ludicrous science behind it all.
It’s certainly a unique experience, and though it’s been recognized time and again that The Ghost in the Shell exists mostly to create a formula for other things, its own merits should not be undervalued. There is a great deal of entertainment and provoking thought to be had in the volume, and if you’re as big a Major fan as I am, it’s always nice to see her in more adventures. I suppose that if you’re a real Major fan though the series would constitute as the “more adventures,” but whatever. To each his own Ghost in the Shell.
It will be difficult for me to get across in words just how much I appreciate the Ghost in the Shell series, how much it means to me as a fan of science-fiction and… things that are good. I suppose that’ll make the next post somewhat ironic, but beyond that it’s all uphill, or downhill–good stuff anyhow, all good stuff. Ghost in the Shell appeals to me on almost every level as someone who’s watched a fair to nearly good amount of science-fiction movies and shows and never really ‘fallen in love’ with anything beyond the nostalgia movies of childhood.
They take a premise, which is that in the future we’ve blurred the line between metal and flesh, man and machine, such that our brains are computers and can be manipulated. But what of humanity?, and they don’t just make it about a detective or some dude, they make it about a paramilitary organization within the Japanese government–and they run into some crazy stuff. Of course, Ghost in the Shell 2 is more about detectives, but you still get the same dose of robot suits, cyber-terrorists, gadgets, gross bodily harm, artificial intelligence, and existential musings the series is known for.
It’s cyberpunk, or post-cyberpunk if you must, with a heavy philosophical bent. An obvious influence on the Deus Ex series in this regard (though it’s probably more successful), and something that took a few notes itself from the likes of Gibson and Blade Runner. The world it creates is much more frightening than 2019 Los Angeles, or the Sprawl, however, as the future tech has become so advanced it’s invisible. You can have a shotgun in your arm and walk around town fully loaded while none would be the wiser. That’s not really the scary part, but it’s kind of a fun idea. What’s scary is the ability to be hacked…
We don’t really feel for computers when they cluck up–we feel for ourselves and our wallets. But what if we could be compromised mentally by the will of some motherfucker with good hacking skills? What if an artificial life form created on the Net wanted no more than to exist, but first needed you to believe you have a family when you don’t? One minute you’re some poor dude and the next you’re a terrorist. Or, one minute you’re a terrorist and the next you’re a meat puppet killing all your friends and waiting for somebody to cap you–depends on who’s team you’re on.
Ghost in the Shell is much more concerned with cyborgs and virtual reality than megacorporations or cyber-drugs or androids; there’s a prevailing preoccupation with the man-machine interface and the loss of humanity. The Major can’t quite be sure of herself, as her body was patched together before our very eyes in a lab, and there exist fake memories, like Blade Runner. Might she just be a collection of false lives inside a robot shell? At least she’s got her personality… but we’ll get into that.
This choice of cyberpunk tropes is what I like most and least about the series, but we’ll get there too…
Before we begin, I suppose I should note something. I’ve never watched a single volume of Ghost in the Shell with the original language track, so… see ya.
If you’ve decided to stick around to see what I have to say–thank you, that’s very courteous. The truth is: the dub is excellent. Which dub? All. With the exception I suppose of the first movie, all the voice talent is consistently good. There are those weird pauses and awkward intonations that you’d expect from any translated work, but these are few and far between, and perhaps appropriate, given the inhuman nature of the cast.
Ghost in the Shell is one of my very favorite things in the realm of science-fiction, so I’ll try to do it justice here. It’s all worth seeing, so if you haven’t yet, I recommend you get your ass to Amazon right quick, and here to help is a Ghost in the Shell Buyer’s Guide, because it can get kind of confusing:
(These are things that I’ve bought–they’re all good. I won’t speculate on anything)
1. Ghost in the Shell DVD, released by Manga Entertainment: $10 on Amazon. Light on special features, from what I recall, but it’s probably the most essential to own for any cinema buff. If you prefer high-def, you’ll have to settle for Ghost in the Shell 2.0, which is nearly the same movie, but with awkward CG rendered scenes in the beginning.
2. Ghost in the Shell 2: Innocence Blu-Ray, released by Bandai Entertainment. There was a big curfuffle surrounding the original US release of Innocence. The DVD by DreamWorks Video has apparently a terrible subtitle job, which is basically just closed-captioned. If you want to know that a helicopter is making noise or that footsteps are happening, check this one out (Netflix ships this one), but if you want a real version or the English dub, look no further than the excellent Blu-Ray disc. Along with the Stand Alone Complex cast dub, it’s also got some Oshii-esque special features: a trip to Cannes and a look at how some scenes were animated. It’s $149.99 New on Amazon, which is shocking because it definitely was not that when I picked it up. Sorry. The DVD version, with its weird naked girl cover is equally absurd, at $49.99. The poop CC version will have to do, it’s a more modest $11. Honestly, the CC isn’t that terrible…
3. Ghost in the Shell: Stand Alone Complex – I have yet to buy this one, because I watched it all on Netflix streaming, which it is currently on right as we speak. At the time, 2nd Gig wasn’t, so…
4. Ghost in the Shell: Anime Legends 2nd Gig, released by Bandai Entertainment. If I remember correctly, this is the same deal as the Cowboy Bebop I have–something like a Franchise Collection line, I don’t really know. It’s the cheaper version of the real thing, so you get all the discs but it’s bare bone–no special features. Being the whole second season I suppose $20 on Amazon isn’t bad, especially compared to the current cost of a new ‘real’ version, which may have better cover art, but’ll run you in the ballpark of $299.99. Used is only $24.95 at this moment, so if that doesn’t bother you it’s probably worth it. Like the first Gig, this is on Netflix streaming, so there’s an instant alternative if you have the subscription.
4. Ghost in the Shell SAC: Solid State Society Limited Edition Steelbook, released by Manga. Yikes this one is also expensive, running at $37.98 Amazon price. I paid maybe $20 for it so maybe the tides will turn in time. As it stands though it’s not a terrible deal. Three discs, including the soundtrack, which is pretty good–From the Roof Top by Ilaria Graziano is awesome–but not the series’ best. Considering the Blu-Ray is ten dollars cheaper I’d probably go for that one. The Limited Edition Blu-Ray is so expensive that it isn’t even available. (laughs)
5. Ghost in the Shell, PS2 game. Yeah I bought this for some unreasonable amount of money for the PS3, a system that refuses to play it. I think it was like $3, which wouldn’t be so bad but I also bought one of the PS2 classics–Zone of the Enders 2–the same day, and it wouldn’t play either. Thanks, Sony. You’re a pal.
So that’s the list. Pretty expensive. But worth it. I guess there were also two books, but… damn it. I’ll get to those later.
Shifting focus here on the Dreck Fiction. In the beginning, the first real things I ever wrote were about the movies of John Singleton–about as far from speculative fiction as you can imagine. Basically I was just using this blog to talk about things that appealed to me, and that’s pretty much over now because I’ve run out of things. I’m still gonna make movie reviews, but they’ll be slower.
Everybody needs their niche, and there isn’t one between talking about science-fiction and non science-fiction movies. I mean, there’s the Genrebusters, a web site you should visit frequently, though the updates are sporadic, and they balance all sorts of genre cinema, but in terms of Dreck Fiction, there’s nothing linking Osamu Tezuka’s Phoenix to a movie like Poetic Justice. Itty blogs like this really oughtta specialize, because they aren’t an investment for the reader.
Blog 101 stuff–I know. I’m like a hormone-addled teenager, figuring himself out. There’s gonna be a new review, and then I’m gonna talk about Ghost in the Shell ad infinitum before concentrating on a recent preoccupation of mine.
See you later.
In this year 2011, over a decade after The Matrix hit theatres and I was but a boy, I never thought I could ever be such a thing as a Matrix apologist. Of course, the sequels were poorly recieved so I had to defend those, but the original Matrix is one of science-fiction film’s proudest moments – from what I understood of critical consensus. Why then do I find that people can be so critical of it when it’s – on the level that they criticize it for – essentially Star Wars, operating on the same principle of gracefully synthesizing old tropes. Where Star Wars had Kurosawa and Flash Gordon, The Matrix had Gibson and Ghost in the Shell. It also, and this is something that Star Wars most certainly did not have, had a year that was appropriately surrounded by a bevy of cyberpunk and existential movies. We had, from 1995 to 1999, Strange Days, Dark City, Johnny Mnemonic, eXistenZ, and The Thirteenth Floor, and as Christopher Nolan will tell us, Memento. I can agree with that, though it lacks cyber and it has no punk.
If one day The Matrix actually came into your office and ripped you off, just jacked all your belongings and was seen only on the security feed, you couldn’t say a goddamn thing – it’d be crying wolf, as a legion of creatives has already beat you to it. It’s a fundamental problem the Wachowski brothers had with their universe. It’s hugely popular as a franchise in terms of finance, akin to Star Wars but obviously not as galactic (*laughs*), but have you ever really heard of a Matrix fan? As a devout science-fiction nerd, this is indeed something I’ve turned over in my mind not once but a frequently many times before.
A Star Wars fan has a Boba Fett T-shirt, a Phantom Menace poster – because I don’t know he’s a hipster – a Chewbacca bobble-head, and a preorder for Star Wars: The Old Republic, or KOTOR III-VI, if marketing jargon has been effective. The fan has a lot of universe to pick from, it’s so expansive and conducive to fandom. Same with Star Trek and Doctor Who and Buffy, I guess, though they might just say “Whedonverse,” which might as well just be Buffy for various reasons*. The Matrix on the other hand has something of a flawed universe if we’re speaking to fan-friendly terms.
The heroes in The Matrix universe are actively working to undo the universe. As a result it sort of feels temporary, and personally that’s something that doesn’t jibe with me. It’s definitely one of those weirdnerd things, but out of all the sci-fi universes I’d want to live in – where the Sprawl universe or Mass Effect ties for the top – The Matrix would be down near Ghost in the Shell, which is at the bottom because you can get real fucked up in that world. Being in The Matrix would just be no fun, and it does reflect on the movies, which are all very, very serious.
Despite some flashes of humor, all three movies and the one anime anthology, take themselves very seriously, and tonally that doesn’t always click with people. Not to harp on Nolan again but that’s one of the reasons why I can’t say without qualification that I like his movies, where even the jokes in something like The Dark Knight feel like they’re taking themselves seriously. At the same time though The Matrix always works for me, even if all the parts in Zion that don’t involve sexy robot-on-robot action come off something like… The Chronicles of Riddick.
I’ve said this before but The Matrix is not only exemplary in modern filmmaking (indeed such a general term), I’d also consider it to be the second best science-fiction film ever made, above Star Wars and 2001 and all the others. It fills out exactly what movies of this type aspire to – being hugely entertaining and taking the time out to allow the audience to think about what’s going on. Not even Blade Runner does that because not everyone can find it as entertaining. That being said, The Matrix doesn’t quite operate on the same intellectual plane as Blade Runner, where it’s existentialist questions and themes were upstaged a year earlier with Dark City.
It’s just a damn good movie that talked about all the things people have been talking about for centuries – Allegory of the Cave but the difference here is that the Cave is the Net, which I suppose makes it stretch only as far back as certain episodes of The Twilight Zone or The Outer Limits, but it never gets old and had two not-as-good sequels and a universe that nerds can’t get behind. Hmm.
*Well I didn’t want to get into it above because I thought it was just a funny throwaway joke but didn’t want to bog down the already needlessly joke-heavy post; a gamble, of course. But it occured to me as I typed the word “Buffy,” up there that Joss Whedon has Buffy, a huge series spanning like seven or twelve seasons or something, and then Angel, which is a spin-off and occupies the same universe, a little later on he had Firefly, which was so short it doesn’t count, and then Dollhouse which was about four times as long but nobody liked it.
Like Ridley Scott, Mamoru Oshii is an unsung hero of science-fiction in film. He became a name among nerds in America in 1995 with the global release of Ghost in the Shell, a film that touted itself as the next Akira, as I suppose every anime movie does or should. It was based on a manga by Masamune Shirow, but having read quite a bit of the source material myself (ten pages?), I can tell you that the movie is definitively a product of Oshii.
We can also see this as true because another Shirow flick, Appleseed, is child’s fare intellectually compared to Oshii’s Ghost in the Shell. The man has a style, he has obnoxious signatures, but above all, he’s willing to use the medium of film to do what so few other science-fiction filmmakers dare to do – explore. Whether it’s ideas of personal or metaphysical philosophy or new and profound imagery, Oshii always has something fascinating to say, and an equally fascinating way to say it.
I think I’ll paraphrase a quote used to compliment The Fountain – something like it’s a film that’s as deeply felt as it is imagined. That’s a beautiful criticism, and for a cerebral, thoughtful science-fiction film, I can think of no higher accolade. Such an accolade can easily be applied to movies like Ghost in the Shell, Innocence, Avalon, Patlabor 2 (though I really didn’t like that one), and even Jin-Roh, though he didn’t direct that one (it’ll still be covered here). Sure, his movies lack the emotional depth of The Fountain, but they make up for it in science-fiction themes generally unique to the director.
His visuals are matched by their ideas, and in this was he’s a director who fills out what I believe to be the height of science-fiction film. If the greatest, most important sci-fi flick is Blade Runner, this is because it makes us think, maybe it scares us into thinking but I like to think it moves us to do it as well, and dazzles us with visuals that spark our imaginations.
That is what I ask of sci-fi filmmakers to do, because I personally find that to be the best, most engaging experience I can have watching a movie. The images and thoughts of Oshii linger in my head long after the Major’s joined the Sea of Information, long after Ash has joined the Sea of Information, long after Batou has… walked off with a dog.
I also got some of his older stuff in the mail, two of which I haven’t even seen. Hopefully they’re good, because that’s what we’re starting with…
The prospect of a big bad Mass Effect movie is enough to get fanboys in a tiff, as there is some actual mythology there to be potentially ‘ruined,’ just like how after the abysmal sequel to Resident Evil (2002), they couldn’t make any more video-games. What a ruined brand, damn shame. Super Mario, also. As a fan of space opera when mixed with military SF elements, the Mass Effect universe was a natural fit for me, and I’d gladly watch a non-playable version. We haven’t really had video-game movies lately, and I must be the only one complaining about that, but some of the best games have yet to be attempted – Halo, Metal Gear Solid, Bioshock, (what ever happened to Joust, man?) etc.
If Mass Effect was adapted into a movie, I would be into it, so long as they don’t get another music video first timer dude to do most of the creative aspects. But as far as I’m concerned, the more stuff like Mass Effect the better – let’s expand this franchise to what Halo used to be. My one concern over the potential Mass Effect movie (I don’t want to keep using it in terms like it’s being made, not matter what IMDb.com might have you think) is the hero of the tale. Commander Shepard is a wonderful character in the way that the Transformers (2007) script is: he is able to satisfy many different demands without necessarily being deep, or… good, in a traditional sense. The renegade option makes him more a badass than a creepo (you can tell the writers had a good time with some of the dialogue), and his depth, of which there can be none as an RPG avatar, is offset by the supporting cast. Garrus is totally awesome.
But the problem here is that he, the male Shepard, is the default. My only complete playthroughs of either games. Have been with female Shepards, but she is not the default sex. The default Shepard, the one you see on the box, is modeled after a real person. FemShep, as it were, is not. There are many fans out there who choose the female Shepard over the male, and some of these reasons are silly (lesbian alien sex). Sometimes people just want to follow around a cute little buttocks. Some people find Jennifer Hale to be a better voice actress. I agree, she is pretty solid.
I prefer the female Shepard partly on principle. No lesbians – my Shepard got with Kaiden, which was a strange experience for me to hit on a guy. But at the end of it all I reasoned that there simply aren’t enough badass female characters in audio/visual science fiction, and markedly less in this neato space opera environment. To support this claim, I’d like to deconstruct some of the names people bring up when we say, strong female character.
Let’s start this off with an easy one. I love the Major just as much as I love her respective series, though to varying degrees based on which medium. Stand Alone Complex Major was highly entertaining to watch kick cyborg ass, and the movie character (in both films) was thought-provoking in premise, and intruiging in Innocence. But there are several reasons why she doesn’t hold up under scrutiny. 1) Masamune Shirow. 2) That episode in 2nd GIG where she was touring China with that little kid… creepy hotel scene with ambiguity in the English dub. 3) it’s debatable whether or not the nudity in the original film came about prominently because of the existentialist themes, or for fan service bullshit. The fact that it is debatable is deflating, and is rooted in number 1.
Now for a fan favorite, one I’ll never understand. Princess Leia from the ‘holy trilogy,’ is considered to be a classic strong female character in SF. I guess it’s kind of easy to figure out; the reason why good or positive or equal-to-or-greater-than-men female characters are rare as good weather in New England (zing) is because it’s written notoriously by nerds. Male nerds. Remember what Philip K. Dick said about his kind, the SF writers – they know little about science and their fiction is generally dreadful. Indeed, these people are people after all, not gods. I don’t know if you knew that. So I guess you can’t blame them entirely for the Princess Leia being totally lame, first a kidnapped princess to be rescued, then an object of cliche romance, and finally, and my favorite, a ‘sexy’ slave girl in the iconic metal bikini. At least she had compelling characterization to back it all up, of course.
The Matrix gets a lot of hate. But one element people never criticize is the only element I ever will: Trinity. A good, if shallow and hopelessly sidekicky character, she does the Kung Fu and motorcycle jumping, and this is a good thing. But just like a lot of The Matrix, she’s not original. She’s essentially a carbon copy of Molly from Neuromancer, in terms of appearance and role, despite lacking Freddy Kreuger cyber enhancements and Batou eyeglasseyes.
Mace from Strange Days. No complaints. Now we just need people to watch Strange Days.
I’d catch a grenade or jump in front of a train for a woman like Summer Glau, like that terrible song goes, though in reality she’s had to endure plenty of networks lobbing grenades at her time and time again – and I just stood by, helpless. Firefly is one of the great tragedies of TV and science-fiction, and while Terminator: SCC was alright, it still got cancelled. If you put Summer Glau in your show, two things will happen: I’ll perk up, it’ll get cancelled. So let’s look at one of her better known characters: River Tam from Firefly/Serenity. I saw Serenity first, and thought she was just a crazy kick-ass crazy girl, but Firefly showed me that no, she didn’t do the kung-fu all the time. Basically what we have here is this blank slate personality akin to the Major, but instead of being quietly philosophical or barking orders, her perogative is to alternate mumbling and screaming. And going back, the kung-fu kind of pisses me off. I don’t know why. Firefly didn’t exactly have the best female characters though, probably the worst being Inara, who was so blatantly eyecandy it was embarrasing. What the hell does high-class prostitution have to do with anything in this universe?
James Cameron knows how to combine women and robots without compromising either. Sarah Connor was badass enough to warrant her own TV show, and the adapted Ellen Ripley earned Sigourney Weaver a nomination at the Oscars. Even the Lindsay Briggs in The Abyss was more complicated than required by the premise of an exploratory underwater adventure. But Netyri is hell weak, man. Out of context, “you will never be one of the people,” is one of the worst lines ever. “You are like a baby!” on the other hand makes me chortle; the former is cringe-inducing.
Think of the great man characters filmed sci-fi has given us. First one that pops to my mind is Snake Plissken. Bit of a cliche, but totally owned by Kurt Russel. How about Han Solo? Everyone loves Han Solo. I got nothing bad to say there. He was essentially the cookiecutter Western genre badass, maybe a Man with No Name (or a Man with a Ridiculous Name) in space. But he gave back to SF, showing us that not every space opera needs black and white heroes, but even anti-heroes can be redeemed and sympathetic. He also gave us Malcolm Reynolds, the successor to the form.
Some people do however know how to write cool female characters. A more recent example is Eden Sinclair from Doomsday. Awesome movie, awesome actress, awesome name. Maj. Eden Sinclair is essentially just a better version of Snake (that says a lot, both Escape movies are stellar), but with a robot eyeball. I doubt I would have liked the movie as much if it had starred, I don’t know the guy from Dog Soldiers. Conversely, Dog Soldiers would have been more entertaining to me had it starred Rhona Mitra. Well isn’t that interesting? Probably not, I think I just appreciate Rhona Mitra as a screen presence.
Basically I’m just tired of science-fiction film and TV and video-games being a man’s only club. For the most part, women play supporting roles, and when they don’t, they are men without penises. I guess it’s a difficult thing to write a compelling or at least positive woman character for the average SF writer. I know I sure as fuck couldn’t do it – I don’t hang around women, I just choose to see them shoot up alien worlds on the televsion.