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lb:patlabor [2025-09-04 09:37:07] – [Kidō Kēsatsu Patlabor] ninjasrlb:patlabor [2025-11-17 19:36:53] (current) – [Kidou Keisatsu Patlabor 2 (1993)] ninjasr
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 Ever since I read the manga, Patlabor proudly stands as one of my personal favorites. Ever since I read the manga, Patlabor proudly stands as one of my personal favorites.
 <WRAP centeralign> <WRAP centeralign>
-[[lb:patlabor:vocal]]\\ +[[lb:patlabor:gotou]] • [[lb:patlabor:kanuka]] • [[lb:patlabor:kumagami]]\\ 
 +[[lb:patlabor:vocal]]
 </WRAP> </WRAP>
 {{tag>anime manga otaku speculah}} {{tag>anime manga otaku speculah}}
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   * The building the SV2 is located in is claimed to be a former factory. The company that initially used it went bankrupt, and the building was sold to the police for the SV2. This is only mentioned in the manga and no other continuity. However, no other continuity mentions anything about the building. Because no other continuities contradict this information, it can be assumed to be canon in all continuities.   * The building the SV2 is located in is claimed to be a former factory. The company that initially used it went bankrupt, and the building was sold to the police for the SV2. This is only mentioned in the manga and no other continuity. However, no other continuity mentions anything about the building. Because no other continuities contradict this information, it can be assumed to be canon in all continuities.
 The result of this approach is that what I write about characters/worldbuilding will be different from what fan wikis online write, since they have a (dare I say, inferior?) approach to canon.\\ The result of this approach is that what I write about characters/worldbuilding will be different from what fan wikis online write, since they have a (dare I say, inferior?) approach to canon.\\
-For more about this, I recommend reading [[playground:canon|this article]]. If it exists.+For more about this, I recommend reading [[playground:story:canon|this article]]. If it exists.
 ==== Terminology ==== ==== Terminology ====
 This explains a number of terms that are unique to the Patlabor series. This explains a number of terms that are unique to the Patlabor series.
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 This film takes place a few years after the first one and portrays the Division 2 cast having moved on from the SV2, now working in different jobs. The first major mistake! and one that would negatively affect the rest of the film continuity. Here though, as a standalone, it's alright.\\ This film takes place a few years after the first one and portrays the Division 2 cast having moved on from the SV2, now working in different jobs. The first major mistake! and one that would negatively affect the rest of the film continuity. Here though, as a standalone, it's alright.\\
 Shinohara and Izumi are portrayed as working for Shinohara Heavy Industries: Izumi as a test pilot. Ota still works in the police, but now helps train new recruits for Patlabor piloting. Shinshi works in a bureaucratic position in the police. Yamazaki, Goto, Nagumo all still work for the SV2. Kanuka left permanently. Shigeo is now the head mechanic.\\ Shinohara and Izumi are portrayed as working for Shinohara Heavy Industries: Izumi as a test pilot. Ota still works in the police, but now helps train new recruits for Patlabor piloting. Shinshi works in a bureaucratic position in the police. Yamazaki, Goto, Nagumo all still work for the SV2. Kanuka left permanently. Shigeo is now the head mechanic.\\
-The motivations of the antagonist are poorly presented to the audience, making it difficult to figure out what the hell he's trying to do. It took me a re-watch and a lot of thinking to figure it out. My initial thinking was that he was aiming to <wrap spoiler>place Japan in the same position he ended up in: essentially, behind enemy lines, no permission to retreat and no help coming</wrap>. I'd guess the audience would naturally gravitate towards this conclusion, considering the opening scene. However, the reality is <wrap spoiler>that his goal was to create a ‘state of illusion’</wrap>. More specifically <wrap spoiler>the antagonist probably got PTSD or something similar from the situation depicted in the opening scene. The evidence in favor of this is what he says later in the movie: when he came back to Japan, it felt ‘unreal’ to him, which is a symptom of PTSD. He decided then that he wanted Japan to experience the same thing, which is why he does what he does in the movie.</wrap>\\+The motivations of the antagonist are poorly presented to the audience, making it difficult to figure out what the hell he's trying to do. It took me a re-watch and a lot of thinking to figure it out. My initial thinking was that he was aiming to <wrap spoiler>place Japan in the same position he ended up in: essentially, behind enemy lines, no permission to retreat and no help coming</wrap>. I'd guess the audience would naturally gravitate towards this conclusion, considering the opening scene. However, the reality is <span wrap_spoiler>that his goal was to create a “state of illusion”</span>. More specifically <wrap spoiler>the antagonist probably got PTSD or something similar from the situation depicted in the opening scene. The evidence in favor of this is what he says later in the movie: when he came back to Japan, it felt ‘unreal’ to him, which is a symptom of PTSD. He decided then that he wanted Japan to experience the same thing, which is why he does what he does in the movie.</wrap>\\
 Now, the film isn't intentionally constructed to make it difficult to figure this out...it's just constructed poorly. All the needed information is in the film (I mean, I was able to figure it out), but what makes it difficult to figure out is that the audience gets zero hints as to this motivation until it's revealed. If the film had included a scene of him in Japan, shortly after he returned, that would have been enough. He doesn't even need to speak, because the film is capable of depicting <wrap spoiler>the state of illusion, considering that they did it perfectly when they showed the JSDF in Tokyo</wrap>. The audience would then be able to connect this scene of him in Japan with the scene of the <wrap spoiler>soldiers in Tokyo</wrap>.\\ Now, the film isn't intentionally constructed to make it difficult to figure this out...it's just constructed poorly. All the needed information is in the film (I mean, I was able to figure it out), but what makes it difficult to figure out is that the audience gets zero hints as to this motivation until it's revealed. If the film had included a scene of him in Japan, shortly after he returned, that would have been enough. He doesn't even need to speak, because the film is capable of depicting <wrap spoiler>the state of illusion, considering that they did it perfectly when they showed the JSDF in Tokyo</wrap>. The audience would then be able to connect this scene of him in Japan with the scene of the <wrap spoiler>soldiers in Tokyo</wrap>.\\
 I don't think there are any serious storytelling issues outside of this failure to communicate properly and the film is well-constructed. If it weren't for that, the film would have a solid story.\\ I don't think there are any serious storytelling issues outside of this failure to communicate properly and the film is well-constructed. If it weren't for that, the film would have a solid story.\\
lb/patlabor.1756978627.txt.gz · Last modified: 2025-09-04 09:37:07 by ninjasr
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