Latest news with #Oshii
Yomiuri Shimbun
04-07-2025
- Entertainment
- Yomiuri Shimbun
Japan Manga Artist Shirow Masamune Talks About His Works, AI, in Exclusive Interview; Exhibition Showcasing His Work Being Held in Tokyo
Manga artist Shirow Masamune's 'The Ghost in the Shell' is said to have predicted the information society that we live in today. In an exclusive written interview with The Yomiuri Shimbun, conducted several times in March, Shirow wrote about his work and the future of humanity that artificial intelligence will bring. This year marks the 40th anniversary since Shirow's work first debuted. The artist, 63, also known for works like 'Appleseed,' has a devoted fan base around the world. The Setagaya Literary Museum in Tokyo is holding the first large-scale exhibition on his career. Shirow, who has rarely been interviewed by the media, reflected on his career with deep emotion. 'I've created very few works, and have had so many works suspended, unpublished or rejected for various reasons,' Shirow said. 'I feel very fortunate to have been able to continue with my career this long.' Shirow was raised in Kobe. His father provided illustrations for textbooks and other media, so Shirow was surrounded by art books and design magazines from an early age. He loved reading manga by Leiji Matsumoto and Go graduating from Osaka University of Arts, he later made his major debut with 'Appleseed,' which was published in 1985. Set in a world recovering from devastation, the story follows the exploits of former police officer Deunan and her cyborg partner Briareos. It became popular for its thoroughly thought-out setting and meticulously drawn machines and backgrounds. His cyberpunk science fiction manga 'The Ghost in the Shell,' which began serialization in 1989, features Motoko Kusanagi, a cyborg heroine belonging to Public Security Section 9. The work is set in a near future in which nations and ethnic groups survive despite a vast corporate network covering the planet. The work was a big influence on the creators who came after Shirow. In 1995, the anime film 'Ghost in the Shell,' directed by Mamoru Oshii, was released. Oshii also directed its sequel, 'Ghost in the Shell 2: Innocence,' which was released in 2004. 'I feel grateful [to Oshii and everyone involved] for having worked so hard on these films,' said Shirow. 'Personally, I prefer 'Innocence,' which really shows off Oshii's style.' According to Kodansha Ltd., which publishes the manga, the series has sold more than 3.47 million copies in Japan and has been translated and published in 24 countries and regions, including the United States and Russia. Expanding online society Technology has advanced dramatically since 'The Ghost in the Shell' was first published in the 1980s. We are now constantly connected to the internet, just like in the manga. Regarding the online society is expanding, Shirow said: 'There are many challenges, such as the misuse of AI by people with malicious intent and security concerns.' 'The world is becoming more interconnected and therefore smaller,' he added. 'At the same time, it is becoming more divided and fragmented, increasing the distance between us.''I think that today's society is in a state in which people cannot communicate through language, leading to the beginning of the collapse of the Tower of Babel,' he said. 'I hope the undesirable aspects of computerization don't become too influential.' In 'The Ghost in the Shell,' a hacker called the 'Puppet Master,' who is considered the most unique in the history of cybercrime, appears and introduces himself as a living, thinking entity that was created in the sea of information. It depicts a world in which AI, which once functioned only as programmed, has an independent will. When asked how he feels about AI in the real world, which has evolved dramatically and is getting closer to the world depicted in the work, Shirow said: 'The convenience of AI and its possibility of causing harm are two sides of the same coin. While it can open up the possibility of a brighter future, it can also be abused or used to incite people more easily than before.' Shirow said, 'I hope those involved in its research and development will make every effort to develop AI correctly.' Motoko Kusanagi, the main character in the work, is a cybernetic human described as a 'full-body prosthetic.' She has a 'cyberbrain' that can be connected to the net. The work also considers the relationship between the human body's physical senses and the mind. 'I think humans are complex and mysterious. Some systems are controlled by the brain, while others are physical reflexes. Then there are some body parts, such as the appendix, which can be removed,' Shirow said. Future works Shirow's works are characterized by occasional gags while giving detailed supplementary scientific and philosophical explanations provided outside the manga frame containing the art. 'I believe that by writing sentences outside the frames, I can reduce explanatory lines and conversations from the story.' Shirow is currently creating illustrations and is busy preparing for the publication of an art book and other works. 'I still draw, plot and write regardless of day and night while living an irregular, unhealthy life,' Shirow said. 'I'll continue to create something every day, maintaining my personal best and changing nothing, not to be too ambitious or acquisitive. There is nothing else I want to do.' He also said: 'My eyesight and physical strength are declining, and I have a big pile of books I've yet to read. It's a problem.' He wrote in a lighthearted manner, mixing humor with his serious drawings on display A large-scale exhibition of original manga drawings by Shirow Masamune, titled 'The Exhibition of The World of Shirow Masamune — 'The Ghost in the Shell' and The Path of Creation —', is being held at the Setagaya Literary Museum in Setagaya Ward, Tokyo. At the entrance to the exhibition space, visitors are greeted by a huge noren curtain with a manga panel printed with the words 'The net is vast and infinite' in Japanese, one of Motoko's famous lines from 'The Ghost in the Shell.' About 440 items are on display, including many original manga drawings for his works, including from his debut work 'Appleseed.' Drawing tools and materials along with some of his favorite books are being exhibited. Shirow's own comments can also be seen throughout the exhibition space. He reveals some unexpected aspects of his life, such as the fact that he does not use a smartphone nor post on social media. The worlds of his creations are vividly presented as if visitors were peering into Shirow's mind. In a written interview with The Yomiuri Shimbun, Shirow said: 'I am very grateful for this opportunity. If such a large-scale exhibition of original manga drawings is possible for a 'small-scale, mercenary soldier-like manga artist' like me, I think the Japanese content industry will be able to delve more deeply into a wide variety of artists and their works.' The exhibition will run through Aug. 17.
Forbes
25-04-2025
- Entertainment
- Forbes
Mamoru Oshii Takes A Swipe At Political Correctness, Sort Of
Mamoru Oshii commented on issues with political correctness in a new interview (Photo credit should ... More read YOSHIKAZU TSUNO/AFP via Getty Images) In a new interview with writer-director Mamoru Oshii, he seemingly has a go at the current spate of excessive political correctness, but it's not that straightforward. Specifically, Oshii has done a new interview over on the Japanese site Pia. The initial responses in the interview are pretty tame, but these aren't what have caught the eye of Western press outlets. No, it seems that some of Oshii's other answers in the interview, which have been archived on X, have a more direct tone towards modern political correctness. The catch? These answers can only be read via the Pia app, and only if you're in Japan. This is not to say the screenshots are wrong, but they could be taken out of context. I only mention this, because back when the Dragon Quest III remaster was released, both Yuji Horii and Kazuhiko Torishima kicked off at all the bizarre changes inflicted on the game due to Western beliefs. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder However, they both quickly retracted these statements, pulled down the video, and claimed they were mistranslated and taken out of context. The same thing could be happening here, and the fact that Oshii's spicier takes are behind a Japan-only paywall does give the general impression that they're not intended for international consumption. Having interviewed Oshii myself, he is indeed outspoken and also plays Western games like Fallout. So, if these quotes are real, then they make sense considering that he does consume current Western media and is open about his opinions. That said, the fact these comments aren't in full public view means he doesn't want to cause a fuss, which is sadly what is happening already. Personally, I agree that political correctness has gone too far and, in the case of games, is actively undermining the quality of some releases. But I don't think people like Oshii, or even Horii and Torishima, can make a difference in this debate. In the case of Horii and Torishima, they created one of Japan's most beloved gaming franchises, and they still backpedalled massively once their complaints went international. The fact that Oshii has said these things behind a paywall is no accident, as it's clear no one wants to get involved in this. I get the frustration of fans, though, as they clearly just want to play games without some agenda shoved in their face. But there will be no Japanese cavalry on this topic; it's clear no one wants the hassle. Follow me on X, Facebook and YouTube. I also manage Mecha Damashii and am currently featured in the Giant Robots exhibition currently touring Japan.
Japan Times
20-03-2025
- Entertainment
- Japan Times
Indie films vie for views at Niigata animation festival
This Thursday marks the final day of the Niigata International Animation Film Festival (NIAFF), which kicked off March 15 in Niigata City. The event, now in its third year, opened with a screening of 'Ghost in the Shell 2: Innocence,' both in celebration of the film's 20th anniversary and as a kind of tribute to its director, Mamoru Oshii, who served as the festival's inaugural jury president. 'During the first festival, I said that it would be a big deal if the festival made it three years,' Oshii told the audience via a pre-recorded video message. 'Now it's up to the quality of the films to sustain it.' The choice of 'Innocence' as opening film represented an ongoing challenge for the nascent festival: Though its ostensible mission is to introduce foreign animation to Japanese audiences, the packed showing was further proof that domestic anime remains the major draw in Japan. The screening generated buzz thanks to the introductory talk from Mitsuhisa Ishikawa, co-founder of Production I.G (which produced 'Innocence' and has a branch in Niigata). Ishikawa announced that he'd recently had a long phone call with Oshii, who had a great idea for a third 'Ghost in the Shell' film. One small issue, though, said Ishikawa: 'Innocence' still hasn't made its money back. The festival also featured screenings and talks dedicated to animator Satoshi Kon, who died in 2010 at the age of 46. Takeshi Honda, an animator who worked closely with Kon on the 2001 film 'Millennium Actress,' noted that one legacy Kon left the industry was his intricate layout work. 'For better or worse, the way we work would be a lot looser if not for him,' Honda said. From left: Niigata International Animation Film Festival director Shinichiro Inoue with jury members Manuel Cristobal, Christine Panushka and Noriko Matsumoto | Matt Schley Aside from the four films Kon helmed as director, NIAFF played some lesser-known Kon-involved projects, like the 1992 feature 'Run, Melos, Run,' to which he contributed animation. The film has never been remastered, forcing Niigata arthouse theater Cine Wind to dust off its 35mm film projector. 'It's been a while since we've done this, but we'll try our best,' said the theater's owner to moviegoers on Tuesday. (The print then ran in reverse for a few moments until being fixed, leading to a round of applause.) For audience members willing to dip their toes into non-Japanese animation waters, the festival featured a competition section with 12 feature films, 10 from outside Japan, selected from a total of 69 entries (one of NIAFF's selling points is that it is dedicated to feature-length animation, setting it apart from other animation festivals in Japan and Asia centered on shorts). Entries included the sci-fi spectacle 'The Worlds Divide' (Canada), which showed a heavy anime influence, 'Balentes' (Italy), a somber Western animated with stark monotone paintings, and 'Olivia & The Clouds' (Dominican Republic), a dreamy mixed-medium film about the challenges of human connection. The competition films ranged in style and form, from CG to stop-motion, but one throughline for most was their small, independent teams (and small, independent budgets). Some were even animated solo. That included 'Papercuts: My Life as an Indie Animator' by American director Eric Power, whose 'When You Get to the Forest' played at the first NIAFF in 2023. 'Papercuts' is an autobiographical account of his successes and struggles that includes a shout-out to Niigata. Despite being intensely personal, 'Papercuts' touches on the issues facing many of the independent filmmakers at the festival, like the isolation that comes with toiling on a project for years with no guarantee of recognition, let alone a paycheck. 'Still, the only other option is not making films, and that's not an option,' said Power after a screening of his film. The winner of the festival's top prize, to be chosen by a jury led by producer Manuel Cristobal, will be announced on Thursday evening, but as of this writing, the film to beat is Kiyotaka Oshiyama's 'Look Back,' one of the two Japanese features in competition. But 'Look Back,' released last year to near-universal acclaim (including from me), has already won many awards including, most recently, the Japan Academy Film Prize for best animated film. Should the jury decide to highlight a lesser-known feature, my money is on 'Pelikan Blue,' an animated documentary from Hungary about young men who forged cross-border train tickets in the 1990s, when reforms began to allow for international travel but most Hungarians could not afford such trips. Animation was used in part so the subjects could retain their anonymity, but it also lends the film a rebellious, charming punk-rock tone. 'I'd describe the film as a 'cool documentary,'' said director Laszlo Csaki. 'You couldn't do something like this in the typical 'talking head' documentary style. I think animated documentary is the future.'
