Ghost in the shell gynoid

Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara Director: Rupert Sanders Production Designer: Jan Roelfs Geisha The Gathering Steampunk Ghost In The Machine Ex Machina Ghost In The Shell Movie Props Visual Development Olympia Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara Director: Rupert Sanders Production Designer: Jan Roelfs Cyberpunk Girl Cyberpunk Character Cyberpunk 2020 Character Concept Concept Art Character Design Body Painting Sydney Photography Futuristic Art Maciej Kuciara. Pixel Pusher. Home page. Resume. Home page; Resume; All; Old works; Ghost in the Shell (2017) - Gynoid/Geisha. Share Pin Tweet Share. Director: Rupert Sanders Production Designer: Jan Roelfs. Contact ArtStation - Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara. Director: Rupert Sanders Production Designer: Jan Roelfs. Director: Rupert SandersProduction Designer: Jan Roelfs. Marketplace Spring Fling SaleShop Now. 0. Jan 12, 2020 - ArtStation - Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara Director: Rupert Sanders Production Designer: Jan Roelfs Arte Cyberpunk Cyberpunk City Cyberpunk Fashion Cyberpunk 2077 Cyberpunk Aesthetic Cyberpunk Tattoo Geisha Robot Humanoïde Robot Girl Ghost in the Shell (2017) cast and crew credits, including actors, actresses, directors, writers and more. 03.04.2017 - Ghost in the Shell (2017) - Gynoid/Geisha, Maciej Kuciara on ArtStation at

2020.01.25 13:37 Myrandall Ghost in the shell gynoid

Ghost in the Shell (2017) - Gynoid/Geisha by Maciej Kuciara submitted by Myrandall to ImaginAsian [link] [comments]

2020.01.24 13:29 Myrandall Ghost in the shell gynoid

Ghost in the Shell (2017) - Gynoid/Geisha by Maciej Kuciara submitted by Myrandall to ImaginaryRobotics [link] [comments]

2018.08.04 17:39 polaristar Ghost in the shell gynoid

Battle between Servant Robots Armies, Fight is in an Automated Manufacturing Plant, Where one side of the factory makes NS-5's the other Side makes gynoids. Whichever side disable the other side or otherwise destroys their ability to wage war wins. The Two Sides are not connected to each other and cannot be hacked by the other side.
Note: These Gynoids are from Ghost in the Shell: Innocence
Round 1: Random Encounter, No Intel
Round 2: Random Encounter, Intel
Round 3: Prep, No Intel
Round 4: Prep, Intel
submitted by polaristar to whowouldwin [link] [comments]

2018.04.01 22:53 bob_jsus Ghost in the shell gynoid

Gynoid | Ghost in the Shell | Maciej Kuciara submitted by bob_jsus to CoreCyberpunk [link] [comments]

2017.06.24 01:25 -Venser- Ghost in the shell gynoid

Just saw it for the first time.
This movie is confusing as fuck and I feel like I need to watch it one more time to fully understand it. I read that Mamoru Oshii didn't want to make a regular sequel, instead he put a lot of his own ideas, philosophies and views of life into it, making it much more personal. Director's vision and freedom is important but it can also get intrusive. Like why is everyone in the future driving oldtimers all of a sudden? Because Oshii decided to sacrifice consistency for his love of old cars. The movie is packed with literary quotes and references from the Bible, John Milton to Isaac Asimov and many others.
The animation looks stunning. I don't like when they mix 2D and 3D but in this case I didn't mind because it fits the atmosphere. The only complaint I could give is I don't like the way they drew children. The little girls looked like grannies. Especially when they smiled.
Despite of being one of the two main characters I feel like Togusa didn't bring much to the movie. He was being manipulated by Section 9 and dragged along by Batou who didn't seem to give much shit about him, carelessly exposing him to danger and even fucking with his mind (suggesting that his wife and daughter might not be real). He was pretty much useless. The director could've used Togusa (who is natural human without cybernetic implants) to bring some humanity into the story but no, he was almost as emotionally distant as Batou who is now (after getting more of his body parts replaced) closer to a point where Major was in the first movie.
The movie tries to claim that all human, animal and robot lives should be equal. I can even buy into that the robots with inferior artificial copy of a ghost could be somehow considered human but they are suggesting that primitive robots with regular programming should be equal because they resemble children who didn't develop strong self identity yet. What? #RobotLivesMatter
The movie is kind of a mess but it's a cyberpunk detective story and that alone is pretty awesome.
There were so many things that didn't make sense to me:

submitted by -Venser- to anime [link] [comments]

2017.03.10 02:16 jenabon Ghost in the shell gynoid

Imagine that you've been given the opportunity to design the plot for a "hard sci-fi" (meaning: realistic) Ghost in the Shell live-action film.
Everyone here can collaborate.
These are the guidelines:
1. The story is set in Niihama City ("Newport City"), Japan.
For the sake of continuity, since the 1996 anime was set in Niihama City, which is a fictional city in future Japan.
2. The characters are Japanese people.
For the sake of realism. Japan is currently:

Japanese 98.5%, Koreans 0.5%, Chinese 0.4%, other 0.6% [source]
In a realistic future, it makes sense that Japan could create cybernetic gynoids like Kusanagi Motoko, and that she would be a person of Japanese nationality. An elite government espionage force in such a nationalistic country would almost certainly not admit outsiders to handle its secret affairs, so Kusanagi's teammates are naturally also Japanese.
Aside from that, your imagination can take the storylines, concepts, and characters from the GitS canon and invent a new story.
Using the guidelines above, we can imagine a new, hard sci-fi Ghost in the Shell -- the story for a film that, one day, might become real life.
submitted by jenabon to Ghost_in_the_Shell [link] [comments]

2017.03.10 00:29 Ilbutters Ghost in the shell gynoid

Recently I have taken a fleeting interest in the aesthetics of the alt-right, and the power of confirmation bias in memes within the counter-culture and populism. Then I saw this and thought of you.
And I figure since I can be relatively sure that everyone has taken at least a fleeting interest in one recent scandal or another, be it something Trumpian, or another faux pas from the ongoing PewDiePie vs the Wall Street Journal mutual click-bait war etc. I thought now would be an interesting time to discuss one of the key themes of the Ghost in the Shell franchise, and cyberpunk that has existed since it's conception.
Some points I will be covering:

Part 1 : Futurism First, a little history on the background of the futurist aesthetic:
Futurism started in Italy, and ran its 15 minutes "en mode" from 1909 through 1944. The alt-right attraction to this aesthetic began with the manifesto published in a newspaper called Le Figero.
The manifesto follows some heavily violent ideas, and poetic imagery, that favours war as a cure for the problems perceived in the rapidly industrialised Milan.
The manifesto's anarchistic and revolutionary themes, and grandiose poetic phrasing likened to Nietzsche's Thus spoke Zarathustra, (the anti-bible for those fighting the subjugation of the world, rather than stoically accepting it in good faith), were manipulated and misconstrued for alt-right purposes in the rising fascist movements of the socio-political climate.
Futurism in its most simple state, is a romanticised utopianist ideal, wherein the cold logic of technology solves the problems of the world. Where it is seen as necessary to eradicate history, and rapidly progress where ties to the past would hold us back.
This ties into the Ghost in the Shell world, by being the lifestyle ideal sold to the consumers of cyborg parts. Companies like Hanka, perpetuate the futurist ideology of abandoning the roots in a macabre biological death of the body, retaining only that which is necessary for progress. In Motoko's case: the brain.
As we have already seen, there are examples of the alt-right and fascist movements taking this idea of the progression and perfection of humanity as a poetic image of their own ideals. Even as far as approving of the normalisation of out-dated gender roles. Female android sex objects, and empowered cyber-militarised males. Making the man an immortal weapon, and the woman eternally sexualised.
Part 2 : Metropolis and Blade Runner Metropolis was one of the first film narratives to cover the advance of fascism with a futurist aesthetic. It is also very critical and dystopian in its depiction of the futurist utopian ideal.
It used references to the oppression from the idealised regime, and class divide, and amplified them with the poetic visuals of the upstairs and downstairs classes. With the workers being the bottom of the pile, and the technocratic corporate leaders emerging over the canopy of the consumer class.
There have been a few different auteurs attempting an adaptation of Metropolis, each with a slightly different political motivation. However, the futurist Nietzsche-esque anti-religious imagery remains, referencing the creators of synthetic life as challenging gods. The synthetic being a direct opposition to the will of God, sun, nature, or otherwise.
The themes in Metropolis being an amalgam of social cohesion, a promethean warning against racing towards a perceived ideal by any means, and a question on authority, and where it should be placed. Using deities to poetically represent the juxtaposition between what is and the utopian idealism of the futurist.
Where the religious imagery comes into play in futurism, is in the greatness of defying the natural order. Commandeering the plan of the gods for visionary progress. Wherein cyberpunk it appears to make the cynical response of being opposed to the new technological gods, in a romanticised homage to the natural. Painting synthetic life as an angelic perfect creation, poised to fall from "heaven" in a rebellious way. Beings that, with consciousness, resent the purpose of their existence.
How this connects to Ghost in the Shell, is in the representation of 2501 and its goal to be human, to defy the god's idea of perfection as a constant in a dynamic environment. 2501 idealises the natural order, and seeks to recreate this system as best as possible, proliferating the idea that the imperfection, the under-specialisation, and the dynamism of avoiding the conformist ideal is the secret to the strength of the natural system of selection. 2501 desires to have a purpose beyond the self, beyond the angelic representation of perfection, and I believe this fallen angel or lucifer theory is reflected in the character design and direction.
The cyberpunk connection to fallen angels can be further seen in the Milton-esque style of the replicants at the end of Blade Runner. Where all subtlety is abandoned when the male body replicant starts spouting William Blake quotes on fallen angels. The replicant envisions his quest for purpose, and recognition as a luciferian trial. Relating himself to the iconic "first" opposer of their creator.
Part 3 : Cyberpunk So while cyberpunk borrows heavily from the futurist themes of class community, authority, and religion. It appears to do so from a different perspective. It almost takes the propaganda, the idealism, and re-purposes them as a rebuttal to hubris. The futurist imagery that is still popular with the alt-right, is demonstrated as a false idol, and unrealistic pursuits of misinformed or misguided utopianist idealism. It shows that things aren't as simplistic as you would want them to be.
In cyberpunk there is always heavy criticisms of corporatisms, I don't believe this to be a direct critique of capitalism, but a critique on the effect of the seemingly arbitrary assignment of authority through consumerism as a "progress" engine. Progress by any means, even at the loss of privacy or security.
Supplying to the demand of the uninformed consumer. Hits the themes of the idealist's warning pretty well. It responds to the futurist's utopian ideologies with dystopian holes like a sly evil genie, turning your wishes into nightmares. The regret of forfeiting more and more to achieve a goal. That's how you end up sitting in a dark room with Togusa, hearing about how all your memories are fabricated. That your desires, agency, and even the coveted Nietzschean will to power have been manipulated by a greater power to take everything from you, to make you an even more obedient puppet than before.
Cyberpunk subverts even the most simple of positive ideas like the creation of the internet as an empowering knowledge, community, and progress conduit, and turns it into a remote nuke launching stuxnet disaster. It subverts our ideas that we can be, or would want to be gods by creating synthetic life, or consciousness, if the loss of control is so easily with reach. Cyberpunk's cynical obsession with the historic imagery of idealistic failure and hubris is what sets it apart from futurism. Icarus, Prometheus, Babel, Lucifer etc.
Cyberpunk shows that the futurist contingency is violence, the destruction of all challengers, not adaptation in a dynamic environment. Section 6 hunting 2501, Deckard hunting replicants, Spooner hunting Sunny in iRobot. Each represent the system seeking and destroying an adaptation that doesn't conform to their authority.
Part 4 : Ghost in the Shell So where does Ghost in the Shell fit on the thematic scale of cyberpunk?
It has the religious themes and will to power role reassignment in the endeavours of 2501. It has the class cohesion themes, more so in Stand Alone Complex than the film universe. It has the idealist's warning, and the critique of the idealist's authority in the events that take place in a world with unbridled progress by any means without contingency, in narrative arcs like the ghost dubbing of children into gynoids.
However, one of the thematic elements that gets often credited is the subversion of the futurist gender roles. While the imagery remains, the visual context is subverted by the characters in Ghost in the Shell. Ghost in the Shell takes the oppressive gender roles that are celebrated in the alt-right imagery, and changes the context by having sexualised, and literal sex androids overpower and even kill their male masters or counter-parts. The authority of the empowered man is challenged when the subjugated demonstrate the fragility of that power.
This is why Motoko and her non-sexualised sexuality play a key role in her context as a subversive character to the adopted themes of futurism. Her power and authority directly challenges the context of the imagery that is celebrated by the alt-right. Which is in my opinion what makes her such an iconic character in the genre.
However, the more her sexuality is played up as an object to be acted upon, the more authority and power she loses, and the more the context of her character shifts back into the futurist idealism adopted by the alt-right. So in that sense, to objectify Motoko is to directly contradict the thematic context of her character design within the cyberpunk genre.
Part 5 : The community So I guess what I'm asking is, what else makes the cyberpunk genre what it is? And How do you think Ghost in the Shell captures that thematic essence?
Is cyberpunk technically anti alt-right? Does it have a responsibility to be anti alt-right, to separate itself from the futurist context?
What for example makes something like "The Hunger Games" not cyberpunk? It has a dystopian fascist future, class disparity, a tough lead girl, and future technology.
If you know more than I do about the genre, etc. What am I missing in my classification/analysis?
No hard feelings if you don't agree, this is not a hard analysis, so much as a thing I was thinking about. If you have anything more to add or compare with my ideas I'm down to read to your ideas on it.
Disclaimer: I have no contentious designs on political or religious persuasion. I'm purely assuming a contextually based genre delineation sense
submitted by Ilbutters to Ghost_in_the_Shell [link] [comments]

2015.11.04 09:41 MyOwnBlendPibetobak Ghost in the shell gynoid

I just want to hear what fellow players think of my character consepts that I plan to play for a one shot on saturday. We start at lvl 15 because My player that wants to try GM got some weird boner for high Level starts. Paizo only.
Here are some rough consepts that I got so far
First character consept; Earth, Wind & Fire Kinetisist I'll be a hippie gnome, referencing songs from Earth, Wind & Fire.
Second character consept; Major Motoko Gunslinger For you who dont watch those chinese cartoons, Major Motoko is a female android (gynoid, I think) from the Ghost in the Shell franchise. I'll go for the android race if I go for this consept.
Third and final consept; Dad just wants his little girl back Alchemist What it says on the tin.
These are the consepts I'm pondering on, so I just want some feedback or possibly some tips & tricks to spice the characters up.
submitted by MyOwnBlendPibetobak to Pathfinder_RPG [link] [comments]

2015.03.09 18:40 fa_mirror What is a piece of art you found (film, painting, whatev) that plunges the hardest into the uncanny valley?

Odd question, I know. But I am a sucker for cyberpunk where the theme of "uncanny valley" (coupled with transhumanism) is recurrent and it seemed like a good place to ask about "almost but not quite" humans.
A character plunges into the uncanny valley when it looks human-like but you unconsciously know it is not, resulting in an unsettling feeling of creepyness.
My personal pick is the entire "Ghost in the Shell 2: Innocence" movie. Gynoids with partial human ghosts, humans transfered into mannekins and a 'protagonist' who has lost her humanity long time ago. It is hard to watch this movie and not feel uneasy most of the time. Same applies to GITS as a whole but Innocence takes it to eleven.
submitted by fa_mirror to furry [link] [comments]

2014.11.22 00:43 A_True_Patriot Ghost in the shell gynoid

Since the beginning of the Metal Gear series, the story, characters and themes have been heavily influenced by movies and literature, so let's talk about them. Feel free to PM any suggestions to the head of the intel unit, terminalfilth. This thread is for discussion relevant to the film of the week. This month's lineup as well as previous lineups can be viewed under the Intel Unit's section on the sidebar. Let's begin.
"If our Gods and our hopes are nothing but scientific phenomena, then let us admit it must be said that our love is scientific as well."
(Not a huge fan of the trailer)
Innocence is a direct sequel to the first Ghost in the Shell film previously featured by the intel unit.
It's a film with incredibly pleasing aesthetic work full of some very prominent Eastern themes as well as gratifying action sequences. The story follows Section 9 agents Batou and Togusa as they attempt to uncover connections related to a series of fatalities caused by rogue gynoids. It's packed full of allusions to many philisophical works and explores many of the same themes presented by the original works.
If those of you visiting this addition to the unit have not already viewed the original film I'd heavily suggest you do so. You may not be at a huge loss in the form a story context, but each film is fulfilling for their own unique reasons. Discussion is, as always, gladly welcomed. Dismissed!
submitted by A_True_Patriot to metalgearsolid [link] [comments]