In fact, if only in terms of the depth expressed by the plot, "Attack in the Shell 2" is far from surpassing the front. In "beating in the shell 1", Suzi merged with the puppet king in the final battle and integrated into the network. No matter how delicate and fascinating the storyline is, this concept is actually just the "cyberpunk movement" that emerged in the science fiction world in the mid-1980s [ 1]; and 2 only further uses Bart, the main member of Lesson 9, as the protagonist, and tells the strange and bizarre criminal detective case against this background.
But the beauty of the movie is that, no matter how old-fashioned the philosophy-cultural background that supports it, the movie (animation) can always play the trump card of conquering the audience with its tension of the picture, the maze of the plot and the gripping suspense. What's more, in the cyberpunk movement, the novelist's original conception has set a black hole full of infinite temptation, making people linger between the truth and the false. Therefore, the several sub-questions that "Attack in the Shell 2" detached from the true and false distinction of electronic life are quite tempting.
The first is the question of the plot. Was Bart being attacked while he was buying dog food at the supermarket in a real scene, or was it just a virtual space? What is certain is that Bart did go into that supermarket to buy a "Bagidu" brand of dog food for his pet dog (couldn't it be an advertisement), but is the scene Bart saw real? The camera has shown that someone secretly connected to Bart's electronic brain, so it is very likely that Bart's attack (or self-mutilation) is just for the sake of illusion, although the movie does not directly use the "first-person perspective" to narrate this plot. , but through subtle changes in lighting, sound effects, and character movements, the tension and horror are brought out successfully. If we further expand and extend the questions about this plot, we will naturally think of the questioning and questioning of truth and falsehood in The Matrix. The authenticity of "Hacker 1" is in the same dimension as "Battling in the Shell". Morpheus said to Neo, welcome to the real world, and Neo discovered that human beings are actually the biological batteries of machines. They live in computers. A virtual space designed - the 21st century. Neo, the savior who woke up from deceit, started a tireless struggle to return the truth to mankind. The valuable thing about the Wachowski brothers is that although they borrowed from but did not copy, they pushed forward their own imaginations or ideas bravely. In "Hackers" 2 and 3, we suddenly realized that Zion It is also a virtual world, just an "opponent" set by the computer for the needs of self-upgrade! Compared to Attack in the Shell, which rigidly adheres to the clear distinction between real and virtual in both episodes (despite prosthetics, electronic brains, and cybersouls, these are all real concepts, not as good as the three Hackers). In that case, like Zhuang Zhou Mengdie and Yang Xian’s goose coop, there is no difference between true and false), are the Wachowskis more avant-garde, more pessimistic, or more radical? Maybe both. The judgment and concern of the human condition in Attack in the Shell is still in the dimension of ethics (Should robots have souls? Should robots accept human-imposed souls?), while the Wachowski brothers are removing human beings from this world. At the same time of obliteration, the ultimate situation of human beings is questioned (in the face of machines, survival, or destruction?). The philosophical depth of the story of "The Shell" is undoubtedly less than that of "The Hacker", but the inspirational meaning of "The Shell" shows considerable tension in the strange and inexplicable plot. Going back to the question just now, "Hacker" will turn the entire supermarket selling dog food into a cyberspace, but "Battling in the Shell" carefully maintains the authenticity of this scene, and only designs fantasy in Bart's electronic brain. This deliberate caution adds even more possibilities to the quirkiness of the plot.
The second is a matter of life and death - how old-fashioned, mundane, classic and profound. "Battling in the Shell 2" brought out the words of Confucius, "you don't know life, how can you know death". On the way to find hacker Kim, Bart and Togusa also saw on a wall "Life and death, shed head puppets, a line is broken. When the time comes, the verses such as Luo Luo Lei Lei" (actually from Shiami's Noh drama "Flower Mirror"). Is "Beat in the Shell" really ready to return to tradition and return to this literary-art motif that has transcended the ages? It is clear that both of the above quotations are intended. Confucius' original intention was to avoid the issue of death and turn his attention to reality; however, "Battling the Shell" uses this sentence to tell us that when technology develops to a certain level, life and death are no longer an issue that can be clearly judged. The sentences in "Flowering Mirror" are originally about the importance of the soul, and in the story of "Battling in the Shell", it is just right to expound the possibility of people surfing the Internet without the physical body.
From the nine class members with prosthetic limbs, to the element roaming the Internet, to the hacker Kim, who is full of wires and looks like a walking dead, what is life and what is death? The presentation of this question is just a background and a flash of inspiration for the two episodes of "Battling in the Shell". From the meditation of the first episode of Suzi's diving, to the phantoms of the mirror and the moon in the second episode of Kim's mansion, this question flashed by. ; In the context of cyber culture, there is no ultimate answer to such an inquiry, but it presents the fact that in the issue of life and death analysis, it is no longer philosophical speculation (such as Zhuangzi) and character defects (such as Zhuangzi) that dominate. Hamlet), although delays and doubts still exist, technology itself occupies the crux of the problem, and the development of technology has even prevented us from developing an appropriate new language to describe the state of life and death. Death in the traditional sense will be accompanied by the presentation and ascension of the soul, but in the context of the cyber culture, the wandering of the soul is regarded as a part of life - has the prosthetic limb destroyed the "dead"? No, in the vast network, she is everywhere, and the indifferent man Bart of Nine Lessons will not feel lonely.
Therefore, although "Beat in the Shell" is not the ultimate thinking, it undoubtedly provides a suitable platform in the form of a movie to express the various possibilities of people in the context of cyber culture. There are exciting things in it. There are waves, and there is a gray future that is frustrating. However, let's finally take a look at the lyrics of a ballad at the end of "Battling in the Shell 1". The content of the whole song is to bless the marriage between Motoko Kusanagi (a replicator) and a puppet master (a program with self-thinking), which will produce a new union. The ethereal female voice is so beautiful, it makes people feel that the ultimate purpose of these two films is not exploration, not worry, but endless beauty.
"If I dance, the beautiful woman will also be intoxicated; if I dance, the bright moon will also ring. The gods descend on the wedding night, and the dawn of the tiger thrushes. The blessings of the gods, the blessings of the gods..."
[1] Since 1984 , a little-known American writer William Gibson (WILLIAN GIBSON) published three consecutive novels with rather bizarre content, scenes and plots connected to each other. The three works are "Neuroromancer" (NEUROMANCER, 1984), "Count Zero" (COUNT ZERO, 1986) and "Mona Lisa Overdrive" (MONA LISA OVERDRIVE, 1988). These three works suddenly made huge waves in the long-silent sci-fi world. Gibson's three novels are sometimes referred to as the "MATRIX TRILOGY" and sometimes the "SPRAWL TRILOGY". This is a set of works that are very peculiar from conception to style. The story tells how a group of "computer cowboys" interconnected themselves with the computer network and gave up their bodies to enter Cyberspace to go on a fantastic adventure. ——Wu Yan "The latest genre of foreign science fiction - "Cyberpunk""
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