She dives into the ocean for a little hope, and her dive into the Puppet Master is for a similar reason. Her journey through the movie is full of imagery of reflections, as she contemplates her own identity and thinks about being someone else. Kusanagi's words to Batou in the final scene emphasize this theme of progress. I think nowadays, technology has been proven to be the thing that's actually changing people." Oshii certainly was all in on the philosophy, as he added, "The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I don't do that." In an interview with The AV Club, Director Mamoru Oshii said, "efore, people tended to think that ideology or religion were the things that actually changed people, but it's been proven that that's not the case. He feels incomplete because he can't reproduce, but he and Kusanagi merging is akin to them reproducing because it results in a new being. However, the Puppet Master argues that all things change and trying to stay the same limits her. Curiously, Kusanagi says she wants a guarantee she will still be herself, suggesting she's found some meaning in who she is. When Kusanagi "dives" into the Puppet Master, he proposes that the two of them merge into one being. It's an intense moment that shows she still has her limits, despite her cyborg body, but also hints that she's come to value her ghost more than her shell. They finally meet in an abandoned natural history museum, where Kusanagi rips herself apart in an attempt at disabling the tank protecting him. Her colleagues all want to capture or kill the Puppet Master, but she wants to learn about herself from him. She's wracked with uncertainty over who she is, and whether or not she counts as a person, often thinking about being someone else.
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