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GITS SAC SoundTrack Question?

I never herd of it. Which cd is it on?

The only song I didn't like was Lithium Flower. I still try to sit and listen to it, but I can't make heads or tails as to the theme of the song itself. First, he talks about a "lithium flower", then it goes into repetitous "surfing" phrases.

Origa is great - she's everybody's favourite Siberian. Please note that she's recently done sterling work on the OP and ED themes for Fantastic Children. The ED in particular, Mizu no madoromi, is out of this world.

- abunai

Origa is Siberian? So the song Inner Universe is in...Siberian? I've been wondering about that. (or is it Russian? I don't know languages...)

Glory Questor wrote:

The only song I didn't like was Lithium Flower. I still try to sit and listen to it, but I can't make heads or tails as to the theme of the song itself. First, he talks about a "lithium flower", then it goes into repetitous "surfing" phrases.

I like that song and it makes sense to me. I always thought that the confusion is one of it's themes. I always thought that a "lithium flower" refers to women like major Kusanagi who are humans with artficial cyborg bodies (it's the opposite of a clockwork orange if you will;) ) and how weird and technologically perfect such a being is. It's really hard to explain what I mean. That's just my interpretation anyway.

The part "how is she when she doesn't surf?" reminds me of the very beginning of the 1995 GitS when Batou asks Kusanagi about all the noise in her brain and she says it must be a loose wire, since she was surfing so many channels all at once.

In Mamoru Oshii's vision of Masamune Shirow's Ghost in the Shell, the "ghost" is what remains beyond the machine. The government agents of the top-secret Section 9 are nearly all cyborgs, technical constructs with little organic material left. Major Kusanagi is virtually all machine, with only an organic brain stem remaining. The opening credit sequence shows her laboratory assembly in a smooth display of computer graphics and animation. Kusanagi still believes she is human, however, attributing technical errors to organic causes. When her lieutenant Batou comments on the radio, "There's a lot of static in your brain," her response is cliché: "It's that time of the month."


Oddly, the English dub of Ghost in the Shell gets this all backwards, translating Kusanagi's response as, "It must be a loose wire." Whose fault is the malfunction: the organic body, or the technical one?


The intersection between organic and technical, between subject and object, is the core of Oshii's film. This cynosure is crucial, as all change, all growth, comes with the accession of chance into a closed system. When the fully-human Togusa asks Kusanagi why she would keep a non-cybered officer on her team, she explains, "No matter how powerful we may be fighting-wise, a system where all the parts react the same way is a system with a fatal flaw. Like individual, like organization. Overspecialization leads to death." At the film's climax, Kusanagi engages in a tense battle with a robot tank. The tank's cannons destroy a mural of an "evolutionary tree." Such an image suggests the very paradox of progress: does change move us forward, or merely sideways?

Chiroptera Rex wrote:

The part "how is she when she doesn't surf?" reminds me of the very beginning of the 1995 GitS when Batou asks Kusanagi about all the noise in her brain and she says it must be a loose wire, since she was surfing so many channels all at once.

Interestingly, this line was changed for the English dub. The original Japanese line is "It's that time of the month," which is one of the most paradoxical lines in anime.

Judge Mark Pinsky at dvdverdict.com brings up a good point concerning this:

Quote:

In Mamoru Oshii's vision of Masamune Shirow's Ghost in the Shell, the "ghost" is what remains beyond the machine. The government agents of the top-secret Section 9 are nearly all cyborgs, technical constructs with little organic material left. Major Kusanagi is virtually all machine, with only an organic brain stem remaining. The opening credit sequence shows her laboratory assembly in a smooth display of computer graphics and animation. Kusanagi still believes she is human, however, attributing technical errors to organic causes. When her lieutenant Batou comments on the radio, "There's a lot of static in your brain," her response is cliché: "It's that time of the month." Oddly, the English dub of Ghost in the Shell gets this all backwards, translating Kusanagi's response as, "It must be a loose wire." Whose fault is the malfunction: the organic body, or the technical one? The intersection between organic and technical, between subject and object, is the core of Oshii's film. This cynosure is crucial, as all change, all growth, comes with the accession of chance into a closed system. When the fully-human Togusa asks Kusanagi why she would keep a non-cybered officer on her team, she explains, "No matter how powerful we may be fighting-wise, a system where all the parts react the same way is a system with a fatal flaw. Like individual, like organization. Overspecialization leads to death." At the film's climax, Kusanagi engages in a tense battle with a robot tank. The tank's cannons destroy a mural of an "evolutionary tree." Such an image suggests the very paradox of progress: does change move us forward, or merely sideways?

I still think that 2nd GIG's "rise" was better than Inner Universe. The only disappointment is that 2nd GIG needs another OST... there are so many songs that appears in the 2nd season that aren't on an OST...