"You like this kind of thing, don't you?" — Why 'Patlabor EZY' Felt So Good

*The following contains mild spoilers for 'Mobile Police Patlabor EZY File 1', released on May 15th. Please be careful if you wish to avoid spoilers.

Last month, I watched 'Mobile Police Patlabor EZY File 1' at a screening that included a stage greeting for the completed film.

Honestly, I was bracing myself for it. I don't fully trust new works that come with old baggage after so many years. Will it just be a collection of nostalgic references for old fans? Or will it be polished so much in a modern style that it becomes something else entirely? Those kinds of anxieties are inevitable.

I think the truly difficult part of a new work with old roots isn't bringing back the past, but how you bring it back.

However, once I actually watched it, that sense of caution faded quite early on.

This is nostalgic. But it's not just nostalgic. It's properly functioning as a Patlabor for the current era.

I was happy to feel that way.

EZY File 1 was structured as three stacked episodes rather than one large feature film. It doesn't start with a major incident right away. There is the daily life of Special Vehicles Section 2, the city, some slightly strange incidents, and the officers heading out.

I felt quite relieved by this pacing.

I believe Patlabor is not a story about giant robots saving the world. It is a work that depicts the troubles that arise as a result of machines called Labors entering society. Therefore, the scale of the incidents doesn't necessarily have to be large. In fact, it feels strangely more appropriate when Labors get involved in city events, idle workplaces, or trouble on a film set.

And this time, that 'appropriate' feeling was very much present.

There are also many nods to fans of the original work. The opening narration that follows the original. An entity reminiscent of the Type-Zero appearing in a delusion scene. The Helldiver as a movie prop. Parodies of Mamoru Oshii's works. The 'Licensed by Mamoru Oshii' in the end credits.

When listed like this, it seems like there is a lot of fan service. In fact, there is. But strangely, it didn't feel unpleasant.

When I think about why, I believe it's because the way it was presented was skillful.

For example, in the first episode, the runaway of an illegally modified Labor is depicted. As an incident in the 2030s, it's a new kind of trouble involving social media and the current technological environment, but viewers who know the original work naturally recall something there.

Ah, that's right, the Patlabor theatrical films were stories about runaway Labors. The OS that was supposed to control them starts moving beyond human intentions. Technology within society suddenly bares its fangs one day. That sensation rises up within the body.

And then in the second episode, an entity reminiscent of the Type-Zero appears as an imaginary enemy. This is clever.

It isn't presented as a major real-world incident. It is kept strictly within a delusion. That's why it doesn't become too heavy. To those who don't know, it will likely just look like 'some kind of strong enemy Labor,' and those who do know will have their memories tickled with a 'Yes, that's it, that's it.'

In other words, it's not just carelessly placing old references, but rather activating the audience's memories in sequence.

In the first episode, it evokes the memory of 'runaway Labors,' and in the second episode, it gently touches the memory of the 'Type-Zero.' With this order and sense of distance, my memories were naturally warmed up.

Bad fan service is when they serve it up on a big platter, saying, "Look, isn't this nostalgic?"
EZY was not like that.

To me, it felt like a master of a shop I've been visiting for a long time, who knows my preferences and serves me a dish without saying a word.

"You like this kind of thing, don't you?"

I felt as if that was being said to me.
Moreover, they don't explain it smugly. They just place the plate down. I, in turn, recall things on my own through that taste. The taste I ate at this shop long ago. The things I used to love.

Instead of showing off symbols from past works, they place them there as a sign of trust with customers who know the past works.
That is why I felt it was "hospitality," not nostalgia.

Here, I felt it was different from mere nostalgic tropes.

On the other hand, EZY was not just a work of nostalgia.
Drones, social media trends, AI control, illegally modified Labors, and a society transitioning toward autonomous robots. Such elements were naturally incorporated as the Patlabor world of the 2030s.

I think this is also important.

When an old work is modernized, the warmth of the work can sometimes drop.
In the name of modernization, even the scent of the work can sometimes be sterilized away.

But in the case of EZY, modernization was not something that cooled the work, but fuel to make the world of Patlabor move once again.

Technology permeates society, and its convenience creates new accidents and crimes.
This is something that Patlabor has depicted from the beginning.
Therefore, even when drones and AI control appeared, I didn't take it as "they added trendy things," but rather as "if Labor society continues until 2033, these kinds of troubles might occur."

The runaway of illegally modified Labors, malfunctions in AI control, and voyeurism by civilian drones are each small incidents.
However, if you change your perspective a little, they also look like the lead-up to a major incident. If you are a viewer who knows the theatrical version, you might find yourself bracing for the appearance of a suspicious man with Naoto Takenaka's voice somewhere.

But it's fine if nothing connects.
Even if it ends as a one-off small incident, that is also very Patlabor-like.

This feeling that it could go either way was enjoyable.

And as an entry point for this "new Second Special Vehicles Section," Towa Kuga was quite good.

She did not seem like a re-enactment of Noa.
While I feel a strong attachment to the Labors themselves in Noa, Towa stood first and foremost as a person who steps forward. She is hot-blooded, a bit headstrong, and has a sense of initiative.

And by having Sumire Uesaka's voice layered over that, a sense of cuteness and approachability is born.

A balance of manliness and cuteness.
That was my first impression of Towa Kuga.

She is not just brave. Even though she has momentum, you want to support her. The sense of partnership with the calm-natured Kippei is also comfortable, and it made me want to see more of the new Second Special Vehicles Section centered on these two.

What triggered Towa to start riding a Labor? With what thoughts will she face Labors from now on?
That is not yet visible. That is precisely why I want to see what comes next.

EZY File 1 was less of a polished masterpiece and more of an introductory chapter showing the beginning of the new Second Special Vehicles Section.
But the way it began was truly excellent.

I wasn't happy because I was shown something nostalgic.
I was happy because something nostalgic was actually moving within the atmosphere of the current era.

It's not that I want to see the exact same thing as the old work.
However, I don't want them to misunderstand why the old work was interesting.
At least as of File 1, EZY has largely met those expectations.

Patlabor is back.
And it's not just the Ingram.
The daily life of Special Vehicles Section 2 has started moving once again in 2033.

The moment I felt that, I was already pretty much won over.

You did it, Bucchan.