Ghost in the shell 1996 has shit animation

You're THAT close to getting it.

Mentioned this at the end of my spiel. That it was partially to show that humanity cannot meet the future foolishly and with poor judgment. We must think and be intelligent if we do not want to be destroyed by our own creations. Of course I am not trying to overstate the director's intentions and ideas, I am not putting the guy on a pedestal.

The Major was rash and emotional like humans are wont to be, and she was beaten by a cold logical machine. The Major had to adopt that thought process while not losing her humanity to become greater than technology.

since when does "getting it" involve blatantly ignoring all those times when Motoko's body has been presented as a sign of her INhumanity, in order to shoehorn a dumb "man vs machine" interpretation over what's - first and foremost - three different scenes from the manga mashed together because they were cool?

In any case, as I pointed out, whatever the symbolic significance of it may be, in itself, it's just the unfortunate result of a hot-headed decision.

By comparison in the manga it's either an opportunity for Motoko to forgive her boyfriend as they try to struggle together, or a plot by Motoko to fake her death, or just an attempt to defend her former team and retrieve the pilot without putting herself on the line because she's using a decoy robot. In each case it's the only reasonable way to approach the situation.

Okay so we agree that her body having a human appearance has fuckall to do with this.

And if I remember correctly, the tank in question had a pilot. A dude from section 6, so she wasn't beaten by a cold logical machine anymore than she is a cold logical machine herself.

The conflict isn't between a champion of humanity and a champion of machines, it's between one secret agent against another secret agent.

It doesn't have "shit animation" though. "Animation" is a process, there is none of it in the actual movie so stop throwing it around like a shitty buzzword. Also i'll take "slow panning backgrounds and 20% stiff dialogues" over the new soulless 3DCG dogshit any day.

you do realize that OP doesn't believe anything he wrote, right?

Of course there is a ton of symbolism. The Film is just as much about its message as the plot. It was made to communicate beliefs as well as to tell a story.
Motoko is at a cross roads between man and machine. She is a human consciousness in a totally robot body. Batou is cybernetically augmented, Tokusa is almost entirely human, all the others are shades in between. Throughout the story we see how much stronger she is than normal people because of this. There is no one else in her position as far as we know. She does have shades of inhumanity to her, thats why she is so monotone and cold in most scenarios. But she is also human in that she cares about others and she can get angry or panic.

She was targeted by the AI because of this, that she lies on the border between two worlds. In the story if there is going to be an 'evolution' of humanity its going to be the true merger of man and machine. Motoko came face to face with humanity vs Machine in her battle with the tank (the guy inside was controlled by the Puppetmaster)

Her body was created so that she could be part of humanity. She could interact and be accepted by even most luddites so long as she looked like a person.
However the human form is imperfect and inefficient even when built out of metal and wire, it was not able to match-up against the pure utilitarianism of a war machine. And the emotions and illogical thoughts of humans put them in terrible positions, like fighting a tank 1v1.
This is where the idea of 'evolution' comes in. In order to overcome her weaknesses in a world where beings like the Puppetmaster will become more and more common she had to go as far as to abandon even the human form and become a human consciousness that is now one with technology.

She ends the story as a kind of perfect mix of man and machine as a message to the viewer.

Did you watch it though

I fucking hope so. If not then he's mentally ill.

>Of course there is a ton of symbolism. The Film is just as much about its message as the plot. It was made to communicate beliefs as well as to tell a story.
that's possible (not sure if it's an "as much" thing though), I think I misinterpreted "meaningless" as "unnecessary" and argued based on that. It's probably not meaningless from a metatextual perspective, but that's not what I was arguing about. I'm talking about the story itself, and more specifically about how it's kind of an inconsequential bit of fun.

>(the guy inside was controlled by the Puppetmaster)
Was he?
I absolutely don't remember anything about that.

Why the hell would the Puppetmaster try to shoot Motoko when she's trying to rescue it from Section 6?
This is pretty fucking important, because, once again, if he's not being controlled by the puppetmaster it fucks up your man vs machine allegory.

But the fact that she used her machine body to fight it and that she was rescued by someone who's less machine than her, also does fuck it up.

SAC is the only good GITS ecranisation.