Well, that too, yes. I like the analysis, but the interlude scene actually plays through the themes of the film in many more ways, which kind of got me on the track for my own stuff. In the interlude there is also an existential angle, sort of the opposite of the identity construction angle. All the mannequin dolls (one with the majors face), the person looking exactly like the major in the restaurant, the dirty opaque water, the rain (water is used symbolically many times in the movie) the movement from day to night, and - yes - the bodylike functions of the city... Actually I always read the scene completely different from Nerdwriter, but always good to hear other ways of understanding such things... Great thing about things like this beautiful image poem is that opposite things can be true at the same time.
In my comic I just think that it was this existential angle (in a rather more silly and humble version) that should do the rude awakening of my hero... That came out a bit messy. But, yes, Aspect to aspect :)
Difficult for me to comment because I'm still pretty new to writing fiction, especially if character driven. But it sounds like you've found something to work on :) In many ways I think the existential angle would fit well, although I think it'll be way harder to write without any antagonists being involve in that angle (assuming it's more reflection-triggered than character)
My head was (i guess) just bubbling with thought yesterday. Like you say, the existential angle is basically to see the world from only one angle: your own, so it is kind of organically connected to fiction with one antagonist like both Phill from my comic or the major in Ghost in the Shell. Her fear of losing herself, of melting into the other(s) - which she finally does - is to me what the scene is about.
Anyways, thank for the link. I love when the internet once in a while come up with some quality analysis.
Aspect-to-aspect style? :)
Well, that too, yes. I like the analysis, but the interlude scene actually plays through the themes of the film in many more ways, which kind of got me on the track for my own stuff. In the interlude there is also an existential angle, sort of the opposite of the identity construction angle. All the mannequin dolls (one with the majors face), the person looking exactly like the major in the restaurant, the dirty opaque water, the rain (water is used symbolically many times in the movie) the movement from day to night, and - yes - the bodylike functions of the city... Actually I always read the scene completely different from Nerdwriter, but always good to hear other ways of understanding such things... Great thing about things like this beautiful image poem is that opposite things can be true at the same time.
In my comic I just think that it was this existential angle (in a rather more silly and humble version) that should do the rude awakening of my hero... That came out a bit messy. But, yes, Aspect to aspect :)
Difficult for me to comment because I'm still pretty new to writing fiction, especially if character driven. But it sounds like you've found something to work on :) In many ways I think the existential angle would fit well, although I think it'll be way harder to write without any antagonists being involve in that angle (assuming it's more reflection-triggered than character)
My head was (i guess) just bubbling with thought yesterday. Like you say, the existential angle is basically to see the world from only one angle: your own, so it is kind of organically connected to fiction with one antagonist like both Phill from my comic or the major in Ghost in the Shell. Her fear of losing herself, of melting into the other(s) - which she finally does - is to me what the scene is about.
Anyways, thank for the link. I love when the internet once in a while come up with some quality analysis.