Patlabor / Characters - TV Tropes
Patlabor, a franchise created by the group Headgear has been adapted into three anime . They tell her that the US military will be coming to end the coup before it .. The relationship begins to get a bit stronger, and the boss becomes so. Patlabor: The New Files (機動警察パトレイバー2) is a Japanese original video animation Goto asks Kumagami about her relationship with Utsumi. have headed in the other direction: a dead-end street with the bath house at the end of it. And in the end, when he was asked "so, you would die, too? M: But, the structure of the cozy relationships with the business world will be a shaken up a bit.
It could be changed, because everyone thought there wouldn't be much difference between the LDP and the coalition government. But, the structure of the cozy relationships with the business world will be a shaken up a bit. Even that can make the air fresh. We don't have a lot of options. I mean, what vision can this country have? After all, they are just partial improvements.
Not even an improvement, but it's just saying don't be so greedy, or something like that. Even though we want to judge the issues we have now by making them simpler, it's not that simple. The era with no vision O: The world has no vision, either. Not only Japan, but also America, and Europe. If there was someone who has a visionit's the Islamic world, though it's fanatic. It's more a blind belief than a vision, I guess. I think that's because the era itself has started being moved by what comes out from the structurally weak point, rather than by a vision.
My impression is, the recapping of the era has started. Rather than that we have no vision, it's that people feel they don't need a worthless vision.
The only thing that remains is the desire to eat a stomach-full of good food, and build a new house. And it's the same all over the world.
Even in the Islamic world, even though there is fundamentalism on the surface, they come to Japan to make money, after all.
Of course some come because things are desperate, but most of them come because they want to make money to build a house. In the end, only a sort of "desire naturalism" remains. I wouldn't like it, if I were forced to deal with such a thing. But Japan has been doing the same thing, at least after the war, so I can't deny that. So, I don't like it, because it resembles myself. Because they are doing it without any hesitation. Dads of the post-war period had been doing the same thing, toward the dream of a nuclear family.
They had the dream to be free from the constraints of various blood relations, and to have a vision shared only by the immediate family.
And that dream was realized, wasn't it? However, the bubble has burst, and such things have all collapsed. So, now, we are entering into the time of recapping. Which direction we are going to recap it in is more important than to build a vision now. Like Arakawa said, the only issue is how we are going to put an end to it.
It's the same with the issue of "war. Until we put an end to it, there can't be a new vision. I don't think there will be an end. I mean, regardless of whether there will be an end or not, the only thing left is to wait and see the future for a while more.
There is no other thing to do. This movie isn't a drama in that sense, because it isn't dialectic at all. The conclusion was given from the beginning. And if you arm yourself in such a way when making a film, there is nothing left for me to say.
But the conclusion where that creepy SDF investigator, Arakawa, was one of the criminals wasn't interesting. That was just to end the movie That's what I thought.
But I wished that he'd just kept on going. For myself, the pedantic way of reacting, like Arakawa did, is a possibility. It is possible that a person who is not involved in the situation can say the best thing at the point. In short, knowing can stand just as knowing, so you don't have to be asked what you are going to do in that situation. If you see in order to take some action, or to search for something, it's not seeing.
You can't see things as they are, since you have some predisposition to do something. In war, the winner loses M: About the conversation between Arakawa and Goto about the false peace and war of justice, that enumeration of words, I thought that "here we go again, the Oshii tune as usual.
So, you have removed the organic agriculture, you have removed the debate at the Diet, in short, the most tiresome things in our daily life, the worldly nitty-gritty, you removed all those things, and created a computer game in the Oshii world.
I saw the movie as such. Before I saw it, I had thought that Oshii-san's book of thoughts might have come out, but after I saw itI thought that Oshii-san was in the mental state of moving to Izu to settle down to watch Tokyo.
In that sense, it was interesting until I saw your hands. But the minute you set up the movie with more worldly settings so that it will have a more interesting conspiracy, such as, "it was the Clinton government's trap to inflict economic damage on Japan, or to gain a political compromise from Japan ," it further loses reality. America is also in a fix. If they do fightI feel that it will be a more stupid, violent, simple, kids' brawl. Such as not buying Japanese cars anymore.
But this is complicated, too. What about American cars with Japanese engines? There is a gap. Even though there is a certain structure of conflict as a political idea, in terms of actual technology, there are some parts in which Japan has already surpassed the United States. From games to automobiles, it's so in Japan, and it's so outside of Japan. Even if the politicians' thinking becomes more radical, the structures are such that it won't materialize as a reality of our life.
If we can think of politics as an extension of the reality of our life, no one would start a war. Because someone jumps the gun, war happens.
And once it's happened, it's not good, and there is no end to it, so we have no choice but to stop; though how we stop it is another matter. Something like opening up a prospect by expanding the territory by war, as in the old days such as the era of Imperial Japan-- there is no such thing anymore.
At any rate, if you have war, you won't gain anything even if you win. There is no win or lose, in essence. Rather, the winner loses. The military becomes overconfident and enlarges, and people acquire a strange confidence. I heard that some Vietnamese said that the confidence that they beat America corrupted Vietnam.
It's a groundless confidence. The United States has no vision to bind the country other than ruling the world well with its hegemony. If they stop doing so, the country will disintegrate. Because they don't want that, they keep doing it, that's all. It is certain that the world has hit the wall, in both economic and political sense. The reason for this is, because we've gotten the answer that everything we've been doing is no good.
I think that once we get that answer, we'll create various other visions. I can not say that doing so is a mistake.
Special Vehicles Unit, Division 2
For these creatures called humans, there is no other choice than to keep going on by making it vision? Seen historically, the things we did in the twentieth century were huge. But they were failures after all. They are the experiments of the nineteenth century. And all of them went bankrupt before the end of the twentieth century.
Speaking of war, the nature of it has changed, and every war has become a civil war. Otherwise, I wouldn't have made a movie like Porco Rosso.
Kidou Keisatsu Patlabor (Patlabor: The Mobile Police) - pdl-inc.info
If we think that way, "There is no point in making a movie for now. In truth, there is no value in making a movie now. That's because you speak as a thinker.
I am an entertainer, so entertaining people with a movie, or entertaining them by giving them a ride in my tricycle, it's the same thing to me. And it makes me really happy to see that. So, I still have something I want to make. A pig flies in a red plane, or you seclude yourself on a mountain with a dog, it doesn't matter.
But, both Oshii-san and I would sum that what we've done up as "not good," that's for sure. For Oshii-san, was it a movie to recap the era?
I felt that thoughts from the time when Oshii-san joined the student movement in the s are still swirling inside of him, and he is still making a story with the desire to somehow turn things upside down, explode them, and reveal the essence of the world.
With missiles, Molotov cocktails, or anti-subversive law, it doesn't matter. So, he wants to put the SDF in the middle of the city, and wants to show that it's a military. And where is Oshii-san? He is among those tankers in tanks.
So, the movie paid so much consideration towards the ordinary soldiers, -laughs- but no consideration towards the tax payers around there. It had more consideration towards a dog walking around the streets.
To start with, there is a question of whether we'd have an unchained dog in Tokyo. Though it seems to have reality on the surface, everything is a movie fiction. In short, the hatred such as Hoba's in the previous movie has been changing into something else-- that's what I felt. I think that the only way we can discuss movies is by talking about what we are to make.
A person who hasn't retired from movie making has no choice but to make a movie, if he has an issue to talk about. I feel that it's not appropriate for a movie maker to criticize a movie even though you yourself have no plan to make a movie. In that sense, I think I still have movies to make. What will your next movie be? I have something I want to make, but whether I can make it next or not depends on the situation. Also, I want to make a love story in a straightforward way.
Regardless of whether the world loses dogma or does whatever, love remains. Though Oshii-san seems to think that love doesn't exist anymore. No, I wouldn't say that. However, originally, I didn't intend to make a movie like Patlabor 2. You've said in other interviews that you made it because you couldn't wait. What couldn't you wait for?
I meant two things by saying I couldn't wait. One is that, simply put, I wanted to live in Izu with my dog. So, please let me make money. The other is the political issues I was talking about.
I wanted to complete what I was thinking at that time, if I have to make it anyway. So, in terms of energy like hatred, certainly Hoba had more. Even the birds which you are always so particular about did nothing more than fly in front of the airship.
They are tableau-like images. It's not a drama. Because there is no dialectic. Love and sensuality M: After all, a drama is "falling in love.
I don't know if it's love itself, but I guess it's something close to that. When I had an opportunity to join a conversation between Ryorato Shiba-san and Yoshie Hotta-san, Shiba-san said, "I think that a novels are for writing about such affairs between a man and a woman.
What I've been doing isn't a novel. It's a letter to myself in my youth. A letter to the twenty-year-old, who was on a tank made of thin steel plates, and was wondering why in the world I had to be on such a thing. Until this age, I've been writing an answer to myself who saw the stretch of burned ruins during the war. So, it is very important to be excited, or to be full of life. I still think that even today, it is possible to make a movie to show that and to entertain.
To entertain doesn't mean to make a service scene. It's to carry the audience well. In that sense, this movie did very well up to the halfway point. Whether it entertained till the end is another matter, though. I think for a human to live, we need some kind of sensuality. During a certain period, that can be called love.
Goto decides that his team need retraining and sends them back to the academy. They arrive but strangely there are no cadets there. The team decides to take a bath, but the water soon fills what looks like blood.
They later discover that it is in fact paint from a paint bullet, which bizarrely scares the instructor. Later that night, Ota is haunted by a ghostly girl who only says "Don't Shoot", and the others see a Labor with a skeleton pilot that seems to be roaming the grounds.
The next day, Noa and Asuma ditch their training to go to the local shop. There Asuma meets the shop owner, an old man he knew when he was a cadet training at the academy.
The old man tells him that an accident occurred several months ago. A young woman who was one of the spectators at a mock battle was hit and killed with a paint bullet from a Labor gun. Is the academy really haunted by her spirit? Most of the team have a place to go except Goto, who just seems to want to hang around the office with Shinobu, and Asuma who decides to go to his father's factory.
He meets Jitsuyama, the manager of the factory, and family friend. He discovers that Shinohara Heavy Industries are building a prototype military Labor. Asuma is quite disgusted by this. Jitsuyama suggests that he should see his father more often, but Asuma says that he had already seen him today, and they already fought.
He decides to visit Shinshi and later Kanuaka, but gets the feeling he's not wanted. The only option left is Noa, he calls only to discover that she lives in Hokkaido, and he'll have to catch the train to get there. Meanwhile in Tokyo, a police road block stops a truck.
One of the policemen become suspicious when they see a Labor under the truck's tarp. He asks to see the Labors's permit, but the truck runs the road block. The police give chase, but the Labor in the back of the truck fires upon them destroying all the police cars following. It is a Japanese military Labor. Asuma is waiting in a restaurant for Noa to meet him. A very distinguished man in his 40's enters the restaurant and orders a bowl of cold noodles and, covers them with Cayenne pepper.
He finishes the bowl quickly and looks straight as Asuma with a cold glare. Noa finally arrives to pick him up and take him back to her parent's house. Back in Tokyo, Gotoh lets on to Shinobu that the real reason that he has stayed behind is because some very suspicious men are watching the SV2.
The men discover that Shinobu and Goto are watching them back, and speed off in their van. Preempting their moves, Goto asks Sakaki to take one of the Labors back to the factory.
Later that night, Goto calls Shinobu outside her house. He tells her that a truck with a military Labor ran a road block and shot up several police cars. With the Japanese military in the middle of war games, it will take several days for them to account for all their Labors.
Are the military trying to stage a coup? Goto asks Shinobu to help him in his plan to thwart it.