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** This example showcases the attention to guns as minor but significant characters in the movie. The irony of the "your regular old big gun" line is that the it's anything but: an obscure toggle-lock action turns it into an incredibly kinetic, clunky, dangerous, violently cycling beast. Basically, it is a German Luger pistol upsized to become a mecha weapon something a discerning gun nut would greatly appreciate.

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** This example showcases the attention to guns as minor but significant characters in the movie. The irony of the "your regular old big gun" line is that the it's anything but: an obscure toggle-lock action turns it into an incredibly kinetic, clunky, dangerous, violently cycling beast.beast that stops firing early when one of its oversized casings visibly jams the mechanism. Basically, it is a German Luger pistol upsized to become a mecha weapon something a discerning gun nut would greatly appreciate.


* ZettaiRyouiki: At the beginning of the movie, the Major wears thigh-high stockings under her cloak.

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* TrustPassword: At the end of the film, just before Major Kusanagi leaves Batou, she tells him that 2501 (the code number of the Puppetmaster project) will be their password so he can identify her when they meet again.


* TwoDVisualsThreeDEffects:
** In ''Innocence'', while the CGI and animated elements meld together, the transition between a fully CG landscape and one containing a mix of animation and CG is very apparent. According to Oshii, the CG sequences were supposed to tap into the UncannyValley.
** ''Ghost in the Shell 2.0'' likewise contains somewhat jarring bits of CGI. Far more jarring, since it constantly flips between early 90's style animation and 21st century CGI. They don't fit together very well, especially when occasionally even the characters are turned into CG.



* ConspicuousCG:
** In ''Innocence'', while the CGI and animated elements meld together, the transition between a fully CG landscape and one containing a mix of animation and CG is very apparent. According to Oshii, the CG sequences were supposed to tap into the UncannyValley.
** ''Ghost in the Shell 2.0'' likewise contains somewhat jarring bits of CGI. Far more jarring, since it constantly flips between early 90's style animation and 21st century CGI. They don't fit together very well, especially when occasionally even the characters are turned into CG.


* SymbolicSereneSubmerssion: The diving scene. The Major comments to Batou that that the ballast tanks keeping her heavy cyborg body from sinking into the depths provides her with a calmness that tells her that she's still a human inside.

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* SymbolicSereneSubmerssion: SymbolicSereneSubmersion: The diving scene. The Major comments to Batou that that the ballast tanks keeping her heavy cyborg body from sinking into the depths provides her with a calmness that tells her that she's still a human inside.

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* SymbolicSereneSubmerssion: The diving scene. The Major comments to Batou that that the ballast tanks keeping her heavy cyborg body from sinking into the depths provides her with a calmness that tells her that she's still a human inside.

Added DiffLines:

* RunningOverThePlot: A truck driver runs over a naked woman on a rainy freeway. It turns out to be [[spoiler:Project 2501 escaping in a cyborg body]].


** Batou is also turned a quiet, bitter man with his own philosophical doubts, instead of the goofy, happy dumbass he was in the manga. His role in the movies is clearly associated to the more contemplative moments, while in the manga he is instead used as ComicRelief all the time.

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** Batou is also turned into a quiet, bitter man with his own philosophical doubts, instead of the goofy, happy dumbass he was in the manga. His role in the movies is clearly associated to the more contemplative moments, while in the manga he is instead used as ComicRelief all most the time.


* AdaptedOut: The Fuchikomas are notoriously absent from the movies, making it a case of ArtifactTitle given that the original one, ''Mobile Armored Riot Police'', referenced directly the wide usage of Fuchikomas as mobile mechs by the Section 9.

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* AdaptedOut: The Fuchikomas are notoriously absent from the movies, making it a case of ArtifactTitle given that the original one, ''Mobile Armored Riot Police'', referenced directly the wide usage of Fuchikomas as mobile mechs by the Section 9. Paz and Borma also absent from both movies, while Saito is only mentioned in the first.


* AdaptationalWimp: Partially justified by the absence of Fuchikomas, but this version of Kusanagi, despite being more thoughtful than her manga version, is considerably less effective at fighting. In the movie, Kusanagi goes around only lightly armed, struggles in hand-to-hand against regular people like the garbage man, and seems not to know her own body limits (or to be boneheaded enough to ignore them). In the manga, she is basically a female Rambo who fights military cyborgs in even terms.

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* ChaseSceneObstacleCourse: Batou pursues an optic-camo user through a market. His invisible quarry shoves customers aside and plows through a pile of melons, which Batou then shoots to disrupt his camo.

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** This example showcases the attention to guns as minor but significant characters in the movie. The irony of the "your regular old big gun" line is that the it's anything but: an obscure toggle-lock action turns it into an incredibly kinetic, clunky, dangerous, violently cycling beast. Basically, it is a German Luger pistol upsized to become a mecha weapon something a discerning gun nut would greatly appreciate.

Added DiffLines:

* AwesomenessByAnalysis: Starting at the slight weirdness of seeing two cars in the parking garage for two guests who arrived together, Togusa is able to investigate from his car and deduce [[spoiler:the presence of two thermoptic camo-cloaked operatives in Section 9.]]


** The biggest change is Major Kusanagi herself. In the manga, she is an immature, juvenile hustler with a wild personal life and a great rapport with her underlings, while the movie makes her a depressive, introverted philosopher of few words who only seems to trust Batou (and not to a large degree). This resembles the CharacterDevelopment she receives later in the manga after her encounter with the Puppet Master, only that here it is shown to be her natural state, possibly caused by the experience of her cybernetization. Ironically enough, the first movie briefly reverses this evolution, as she behaves a bit more similar to her initial manga version when she is [[spoiler:given a child body]] after the encounter with the Puppet Master (though ''Innocence'' shows she has otherwise retained her stoic new personaliy).
** Batou is also turned a quiet, bitter man with his own philosophical doubts, instead of the goofy, happy dumbass he was in the manga. His role in the movies is clearly associated to the more contemplative moments, while in the manga he is instead used as ComedicRelief all the time.
** Togusa in the manga is cockier and more energetic than his movie self, as he is somewhat of a self-conscious ButtMonkey and whines sometimes about it. In stark contrast, even if Togusa retains his role as the team rookie in the movies, they play it dead serious and make sure to give him a professional, collected demeanor.

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** The biggest change is Major Kusanagi herself. In the manga, she is an immature, juvenile hustler with a wild personal life and a great rapport with her underlings, while the movie makes her a depressive, introverted philosopher of few words who only seems to trust Batou (and not to a large degree). This resembles the CharacterDevelopment she receives later in the manga after her encounter with the Puppet Master, only that here it is shown to be her natural state, possibly caused by the experience of her cybernetization. Ironically enough, the first movie briefly reverses this evolution, as she behaves a bit more similar to her initial manga version when she is [[spoiler:given a child body]] after the encounter with the Puppet Master (though (although ''Innocence'' shows she has otherwise retained her stoic new personaliy).
** Batou is also turned a quiet, bitter man with his own philosophical doubts, instead of the goofy, happy dumbass he was in the manga. His role in the movies is clearly associated to the more contemplative moments, while in the manga he is instead used as ComedicRelief ComicRelief all the time.
** Togusa in the manga is cockier and more energetic than his movie self, as he is somewhat of a self-conscious ButtMonkey and whines sometimes about it. In stark contrast, even if Togusa he retains his role as the team rookie in the movies, they the movies play it dead serious and make sure to give him a professional, collected demeanor.



* AdaptationalWimp: Partially justified by the absence of Fuchikomas, but this version of Kusanagi, despite being more thoughtful than her manga version, is considerably less effective at fighting. In the film, Kusanagi goes around lightly armed in comparison, struggles in hand-to-hand against regular people like the garbage man, and seems to ignore her own body limita (or to be boneheaded enough to ignore them). In the manga, she is basically a female Rambo who fights military cyborgs in even terms.

to:

* AdaptationalWimp: Partially justified by the absence of Fuchikomas, but this version of Kusanagi, despite being more thoughtful than her manga version, is considerably less effective at fighting. In the film, movie, Kusanagi goes around only lightly armed in comparison, armed, struggles in hand-to-hand against regular people like the garbage man, and seems not to ignore know her own body limita limits (or to be boneheaded enough to ignore them). In the manga, she is basically a female Rambo who fights military cyborgs in even terms.


[[quoteright:345:https://static.tvtropes.org/pmwiki/pub/images/gits_1676.jpg]]

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