One of the earliest scenes in Liz and the Blue Bird depicted the protagonist, Mizore, waiting for someone at the school gate. One girl comes through the school gate, but Mizore is met with disappointment as it is not who she is waiting for. And then, the music swells from a scarce pluck of the string to a delightful melody, as the tapping of one girl’s steps is heard along the pavement.
But it’s not just any girl. It’s THE girl. Like a wind coming from the distance, Mizore and the audience know that someone important is coming before they even see her face. It’s as if hearing the quickening heartbeat of a shy young girl faced with her crush, translated into song.
It was reported back in August that Production I.G. would be going forward with two new seasons of the acclaimed sci-fi series, Ghost in the Shell. Not only that, directors Kenji Kamiyama, previously responsible for the amazing Ghost in the Shell: Stand Alone Complex, and Shinji Aramaki (Appleseed) would be directing one season each.
With this comes excitement but also caution. Ghost in the Shell is one of my favorite series and in my view, the best sci-fi franchises of all time. However, it would be an understatement to say I.G. hasn’t made some missteps recently. This year alone, we got B: The Beginning, a show I enjoyed, but that was terribly marketed and is already obscure. Who could forget the FLCL sequels, the first of which was god awful and the second of which I haven’t finished but have heard was decent.
Having directors like these on the projects gives me hope, no doubt, but I can’t help but worry that this will just be a lifeless cash-in like FLCL Progressive. Especially after Arise, the latest animated entry that was met with mixed reception, and a poorly received live-action film (Oh look, I wrote about that). GITS needs to get back to its roots and this new series might just be the chance for that, but this new story needs to be built on a strong foundation.