4 Ways Section 9 Boss Aramaki Dominates 'Ghost in the Shell'
The Major's commander steals the show.
If you are hearing whoops, hollers, and applause during a screening of Ghost in the Shell , it might not be for Scarlett Johansson’s the Major but instead an outpouring of love for Takeshi “Beat” Kitano as Aramaki. As the boss of Section 9 , Aramaki brings subtle, Yoda-like wisdom to an action flick that sometimes searches for its moral center. In short, Aramaki is perhaps, not-so-secretly, the absolute best character in the new live-action Ghost in the Shell . As longtime fans of Ghost in the Shell sit in darkened movie theaters next to newbies, many will select their favorite character. And as this famous cyberpunk world of manga and anime comes to life, it’s possible that Beat Kitano as Aramaki is the true hero of the story. Here are four reasons he rocks in Ghost in the Shell and steals the show.
Spoilers for the new Ghost in the Shell ahead.
4. He’s Got the Best Lines
Basically, Aramaki spends the movie doling out zen-style wisdom. “Never send a rabbit to kill a fox,” is probably the high point of these types of phrases, but if there’s one character’s dialogue who you remember after the movie is over, it’s his.
3. That Scene With the Suitcase
When assassins hired by Hanka Robotics come to take out the entire Section 9 team, Aramaki gets into his car and opens a suitcase. In the next scene, it looks like the bad guys have riddled the car with bullets, rendering him dead. But no! He used his suitcase as a shield against the bullets and comes out shooting. Unlike any of the other characters, Aramaki is fine using a revolver, and when he discards the spent shell casings, it feels like you’re watching a gunslinger samurai in action.
2. He’s Legitimately a Huge Japanese Cultural Icon
Beat Kitano brings essential Japanese legitimacy to a movie that obviously has its roots in Japan. His career is crazy diverse : He’s a successful comedian, film director, poet and painter, and Beat is also the artistic center of Ghost in the Shell . He didn’t take the role because he was a fan of anime, but instead, as he told Variety last year , he liked the “particular vibe” his character Aramaki “gives off.”
1. In a World of Cyborgs, He’s a Real Human Person
Because of the nature of the story of Ghost in the Shell , many characters (mostly the Major and Kuze) struggle with their inherent humanity. This has a kind of ripple effect on the whole movie because everyone seems to be searching for their human soul. But not Aramaki! He’s about as human and real as it gets. If the Major has a “ghost” that fights her way through the movie, Aramaki is the movie’s spirit.
Ghost in the Shell is out now.
- Science Fiction
Interview With Ghost In The Shell: SAC_2045 Directors Kenji Kamiyama and Shinji Aramaki
Ghost In The Shell is easily in the upper echelon of legendary anime & manga franchises and it’s seen multiple re-inventions since Masamune Shirow’s original manga & Mamoru Oshii’s original film introduced Section 9 to the world. One of the most iconic re-imaginings of the franchise is the Stand Alone Complex series that was introduced in 2002. It introduced a number of new concepts and built on the themes Shirow had introduced in his original works. Now a new vision for Major Kusanagi and her cohorts is being realized with roots in the Stand Alone Complex concept. EXILE NESMITH sits down with directors Kenji Kamiyama and Shinji Aramaki to talk about the upcoming Ghost in the Shell: SAC_2045 , the parallels that can be drawn between it and modern society, and the actual process that goes behind the CG animation production. Ghost in the Shell: SAC_2045 will be available to stream on Netflix worldwide from April 23rd.
NESMITH: The last time I was here at SOLA DIGITAL ARTS, it was to talk about Ultraman . This time, I’d like to hear about your upcoming work, Ghost in the Shell: SAC_2045 .
Kenji Kamiyama and Shinji Aramaki : It’s a pleasure to be here.
NESMITH: When I first saw the original Ghost in the Shell (1995) movie, I was still a kid. However, I think it’s hard to understand just how deep some of the themes are unless you’re an adult. Of course, when I was a kid I still felt that the movie was cool even if I could not understand everything, and I was moved by it. But now that I’ve seen it again as an adult I can really appreciate it for what it is. I think that’s really impressive. After the original movie, there was a TV series, a live-action movie, and now another TV anime. Seeing the series be reborn in so many ways is really exciting. Mr. Kamiyama, in Ghost in the Shell: Stand Alone Complex (2002 series) there’s a heavy depiction of rebellion against society, but is that something that you think is highly valued?
Kenji Kamiyama: I would say so. I think that reality in 2020 is now catching up with the cyber-society depicted in the original manga (1989).
NESMITH: That’s true!
Kenji Kamiyama: When I was first making the 2002 series Ghost in the Shell: Stand Alone Complex (S.A.C.), it was an era where you could only send 140 character texts via your cell phone. About 20 years have passed since then, and the evolution of technology has changed the way we communicate and has changed the forms of crime and terrorism. Society itself has undergone considerable transformation, and problems like refugee crises have become highlighted in Japan, and things like the aging society have become more serious. These issues were also touched upon in Ghost in the Shell: S.A.C. 2nd GIG (2004) and Ghost in the Shell: Stand Alone Complex – Solid State Society (2006), but in reality what kind of society will the youth of today live in in the 2030s and 2040s, when the Ghost in the Shell S.A.C. series is set? I think fleshing this out is the binding theme between everything. So when we decided to make Ghost in the Shell: SAC_2045 , we thought about how reality is now much closer to the world we are depicting. Thinking about to what extent IT technology has actually expanded to, and where society is headed. I gave a lot of thought as to how I was supposed to draw that.
NESMITH: It’s definitely hard to predict the future 10, 20 years from now.
Kenji Kamiyama: to be fair, I have no intention of trying to predict the future. By creating the “now” of each work, I’ve been able to make themes that, even looking back 10 years later, still hold up. I have a lot of pride in being able to do that. The same is true for this time. By reevaluating the Japanese society of “now”, we’ve inevitably ended up with some new themes.
NESMITH: Cyberterrorism, refugee crises, an aging society…. What issues are you directors trying to focus on this time?
Kenji Kamiyama: This time, thinking about a reality where AI is more intertwined with everyday life, the story is based around the possibility of a singularity (a paragon of civilization’s progress appearing on behalf of humanity) happening sometime soon. At the same time, I’ve included my anxiety, anger, and anxiety about society as themes in my work. However, that unreasonable anger I had in the past has begun to fade away. Maybe it’s due in part to getting older.
NESMITH: I see. I feel like I get that.
Kenji Kamiyama: I’m now at an age where I can see the circumstances behind some of my past righteous indignation, so I have to approach these issues with a more realistic viewpoint, as opposed to just being brash and headstrong. Mr. Aramaki and I talk about this quite a lot.
Shinji Aramaki : Yes, we do. This time we started writing while simulating approaching these different issues, and ended up chatting about how the years have gained on us. Will humans be able to respond quickly and effectively when AI is fully integrated into our daily lives? What kind of distortions will appear in individuals and in society….
NESMITH: Even in S.A.C. it was described that an ego was born in each individual AI, and they, in turn, would act independently. I think it’s amazing that you were able to portray such a reality back then.
Kenji Kamiyama: We’re only pretending it’s as complicated as that, in reality, it’s no different than the world of Doraemon , haha
Kenji Kamiyama: I guess you could say that, to a certain extent, we’re just imitating how Fujiko Fujio made their works. Doraemon was drawn from the viewpoint of “I wish this tool existed”. In this anime, I’m projecting my thoughts of “I wish the world worked this way”, and having Public Security Section 9 fulfill them.
Shinji Aramaki : However, we’ve been working on this script now for almost three years, so a lot of things we thought were the best choice back then we’ve scrapped or changed.
Kenji Kamiyama: Yeah, exactly. Even in these past ten years, there’s been a large number of incidents. Things like natural disasters, or tragedies that feel like they should occur only once in a lifetime. These types of things have been happening every year. If such an oversized reality is placed in front of someone, the story ends up not even materializing.
Shinji Aramaki : It’s a really strange time we live in, where the days pass by and differentiating what is impractical and what’s non-fiction becomes increasingly difficult and everything starts to blur together, like a scene in a movie. I think that not just this phenomena that’s occurring, but also people’s consciousness are rapidly changing. For example, up until recently people rejected the notion of a society that controls them. And yet, now I’m used to the function of products automatically being recommended to me while i go online shopping, and whatnot, quickly telling me what I like. I”m sitting there expecting it (laughs) We’re entering an era where one can easily accept the interjections of others.
NESMITH: That’s true, it’s almost natural now.
Shinji Aramaki : While I hold the protection of privacy to be something really important, before I realized it I had begun to depend on AI.
NESMITH: If i’m not mistaken, AI also predicts the “recommended for you” category of things on social media based on your search history and browsing history. Digging into that, it ties back to this “controlled society” we were just talking about. At first security cameras were disliked, but now I feel a sense of safety when I know one is near. And on some apps you can share your location with your friends, even grab a bite to eat if you’re nearby…. I can understand how a couple might want to share their location, but there’s a lot of people who use it normally with their friends…..
Shinji Aramaki : It does feel like the boundaries between people are falling apart. What I thought was normal seems to constantly be changing. The change in how we interact with AI has already begun. Determining how to accept that, and how to portray that in my work is something I reflect on often with Mr. Kamiyama.
Kenji Kamiyama: Although this way of thinking has been around since long ago. When I was in my youth, the adults at the time would often ask why I liked the things that I liked. It might just be that as the years have caught up with me, I’ve Become unable to keep up with the youth.
NESMITH: Nowadays, tools like smartphones have become commonplace, and young people in their teens and twenties really do absorb information like a soft sponge.
Shinji Aramaki : Arent you still a little too young to be talking?! (laughs)
NESMITH: no no, I mean the speed at which these kids pick things up at is on another level. There’s kids that are 10-something year-olds that have completely absorbed the soul and sound of 80s and 90s dance and are out performing. It’s very important to have a fast input [of information]. As how we consume information gets faster, I think so too will the speed at which younger kids will absorb information.
Shinji Aramaki : I agree. I think it’s especially easy to pick things up nowadays.
NESMITH: Now, onto something completely different: the fact that this anime will be in full 3D. I believe this will drastically alter how things will look but…..
Kenji Kamiyama: Yes, it will. It was always my belief that if i was going to be working on something like Ghost in the Shell , that the right answer was to make the flashy parts like the acting and action look even more realistic by drawing them. Because all anime isn’t real, if you make something that’s even a little bit realistic, it’s easy to get lauded for it. I mean, to begin with the whole world of Ghost in the Shell is a sci-fi creation. By putting just a dash of realism, the whole thing becomes real. But now, people and backgrounds can be made extremely realistic with CG, and “life-like” places occupy a large portion of the screen. But that conversation comes up, people butt in with voices of “why not do it live action then?”. Nowadays it is natural to mix CG in with other things, even live-action works. However, opposite to anime, if you make something that’s even a little bit unrealistic, it’s easy to get laughed at for it.
Shinji Aramaki : Especially in Hollywood where Japanese science fiction movies, which have a limited budget, are looked at that way.
Kenji Kamiyama: If you decide to make an anime with CG it tends to get interpreted the same way live-action does, so if someone notices something off about it, they immediately write it off as not real.
Shinji Aramaki : For me, it was a huge challenge doing Ghost in the Shell : SAC_2045 fully in CG, especially considering how the world will view it. The background can almost be reproduced as if it was real life, so making sure to check even the littlest things like if the size of a car was slightly larger, or a traffic light is reversed, or if the position of the steering wheel was backwards was very important. That’s why we have two directors in the first place. Even with the two of us we look at enough stuff daily that it almost feels like just two people isn’t enough.
Kenji Kamiyama: That doesn’t mean that we’re just using real pictures. This is still an anime, and as such it’s not real, so we’ve had to find ways to remind the audience of that. Not doing a good job of tricking the audience into suspending their disbelief will just have people telling us it would’ve been better to do it in live-action. Such is the way of 3DCG.
NESMITH: It must be hard finding that balance.
Kenji Kamiyama: Yes, it is. 3DCG as a genre is still developing, so I think the future I’ll have to find more places to strike that balance. For example, in the 1980s, Japanese music created the singular genre of “J-POP”. Up until that point, they imitated western music or just expanded upon traditional folk songs and enka. But within all of that, they decided that “this is the Japanese style”, and J-Pop was born. I feel like CG right now is like being on the forefront of J-Pop in the 70’s.
NESMITH: That early?!
Shinji Aramaki : (laughs) If you hear this analogy now it’s reminiscent of a time when people would say that Japanese wouldnt work with rock and roll. I credit Haruomi Hosono from Happy End, and Motoharu Sano as the people who were able to break that conviction down by showing people that even Japanese rock and roll is still cool. Working hard at something like that in earnest is, I think, a very Japanese trait. Precisely because anime has such a high volume of fans at so many levels is why we should make CG another new stream of content. Even though fully CG children’s movies are being made around the world, it’s only in Japan that they’re making [CG] TV anime series for adults.
Kenji Kamiyama: There isn’t even the concept of an adult-oriented anime overseas.
Shinji Aramaki : Yes, exactly. Of course there’s some places trying to do that overseas, but i’ve heard that shows aimed at teens are finally starting to take off. Looking forward, the extent to which the target audience that anime is able to capture will affect the style of 3DCG animation.
NESMITH: Right now I think you’re in the process of exploring new ways of representation and expression while also working at it. I bet that’s really exciting.
Shinji Aramaki : I think the most fascinating things are what you can bring into the digital realm. Coming from hand-drawn and going into 3DCG, it stops being about having to do things a certain way. I find It’s interesting to be able to mix and match both analog and digital music nowadays as well and find your own favorite sounds. Now that CG can look both hand-drawn and realistic, the question becomes how do you want to balance the two? It would be great if you could get how we feel by watching Ghost in the Shell: SAC_2045 .
NESMITH: I’m really looking forward to it! I’m really looking forward to seeing the evolution of animation technology, and how these hybrids will grow with it!
Kenji Kamiyama: It’ll be available to watch on Netflix, so please have a look.
NESMITH: Of course!
Introducing… mamoru oshii – know the creators #18.
Star Wars Is Bringing Together Anime’s Best Studios
Introducing… yoko kanno – know the creators #13, international animation directors discuss influence of anime on their work – annecy film festival 2021, kenji kamiyama to direct upcoming the lord of the rings anime film, legends collide in hajime isayama and hiromu arakawa bessatsu interview, whisky mew introduces a pair of ghost in the shell: sac_2045 whiskies, being hajime isayama’s assistant: kyuu takahata and yuuji kaba reveal all, kouji seo and marcey naitou talk the trials and tribulations of love comedy in oricon interview, hajime isayama gets candid about 11 years of attack on titan in bessatsu interview.
Best order to watch ghost in the shell movies & tv shows.
Getting into the Ghost in the Shell franchise can be complicated. Here is the best order to watch all Ghost in the Shell movies and TV shows.
The Ghost in the Shell franchise has existed for decades in many different media and formats – here is the best order to watch all Ghost in the Shell movies and TV shows. In 1989, a serialized manga series by Masamune Shirow would introduce Major Motoko Kusanagi and the techno dystopian world that would remain relevant for years to come. Following the manga, Ghost in the Shell was adapted into animated movies, animated TV series, video games, and even a live-action theatrical film.
Despite all the adaptations, Ghost in the Shell ’s impact on pop culture comes mostly from the 1995 Ghost in the Shell movie by Mamoru Oshii. The classic animated feature combined elements from different sci-fi inspirations, such as Ridley Scott’s Blade Runner , with the characters and the setting from the manga, and it added a level of philosophical discussion that was not so present in the original work. Although no other entry in the Ghost in the Shell franchise managed to be as impactful as the 1995 film, each of the following movies and shows expanded the franchise in a different way and added more nuances to the story of Major Kusanagi and the Section 9.
Related: Every Ghost In The Shell Movie, Ranked From Worst To Best
Between the several movies, TV shows, OVAs, and compilations, there is no correct order to watch Ghost in the Shell . That is because there are at least three different continuities, with events that do not necessarily connect and sometimes even contradict that of the other universes. However, there is a logical Ghost in the Shell watch order that can make the experience much better. The original Ghost in the Shell movie is by far the best starting point, as the quality of the film makes up for the initially quite complicated story. That can be followed by the direct sequel Ghost In The Shell 2: Innoncence (2004) , and from then on, the view can dive deep into the animated series and the straight-to-home video films. Here is a breakdown of the best Ghost in the Shell watch order.
Ghost In The Shell (1995)
The original Ghost in the Shell movie places the audience in a dystopian world in which the characters’ alignments, origins, and motives can be hard to follow. The Mamoru Oshii film obviously could not count on the footnotes commentary that Masamune Shirow used in the manga, and it went instead for a very defined “show, don’t tell” approach with scenes that go on for minutes without any significant dialogue. That said, the initial difficulty in following The Major's story in Ghost in the Shell is not enough not to recommend the film as someone’s first and best contact with the saga. Not only was Ghost in the Shell (1995) the first adaptation of the manga but it also remains as the best entry in the Ghost in the Shell franchise to this day. It beautifully introduces the viewer to the franchise's dystopian cyberpunk world, and it sets the tone for everything that would come later in the Ghost in the Shell franchise. It is also important to notice that the 2017 live-action Ghost in the Shell movie starring Scarlett Johansson as the Major and Pilou Asbæk as Batou is mostly a remake of the 1995 film. Likewise, 2009’s Ghost in the Shell 2.0 is a reproduction of the 1995 film with updated animation techniques and the addition of 3D elements.
Ghost In The Shell 2: Innocence (2004)
It took almost a decade, but the first Ghost in the Shell got a sequel in 2004’s Ghost in the Shell 2: Innocence . Mamoru Oshii returned to direct. While the sequel is not as good as the first one, it expands upon the stories and the themes of Ghost in the Shell (1995 ). Most of the characters from Ghost in the Shell (1995) , such as Togusa, Batou, and Section 9’s Chief Aramaki, are back. However, Major Kusanagi has been missing since her encounter with the Puppeteer, a character that served as an inspiration for Michael Pitt's Ghost in the Shell villain , in the first movie. Giving that element of continuity, Ghost in the Shell 2: Innocence is better if watched right after Ghost in the Shell (1995) .
Ghost In The Shell: Arise Watch Order
The Ghost in the Shell: Arise series consists of five 50-minute long episodes, plus a theatrical movie that can be seen as prequels to the events of Ghost in the Shell (1995) . For example, Ghost in the Shell: Arise reveals how Major Kusanagi and the future members of Section 9 got to know each other, and it explores the characters’ backgrounds before they were a team. Arise also sees the first contact between the Major and Chief Aramaki, and it lays down the idea of Kusanagi questioning her memories and her very own existence. That said, the Ghost in the Shell: Arise series is far from being as good as Ghost in the Shell (1995), and thus it’s best to watch it after the first two movies. The watch order for the Ghost in the Shell: Arise universe is as follows:
• Ghost in the Shell: Arise - Border 1: Ghost Pain (2013)
• Ghost in the Shell: Arise - Border 2: Ghost Whispers (2013)
• Ghost in the Shell: Arise - Border 3: Ghost Tears (2013)
• Ghost in the Shell: Arise - Border 4: Ghost Stands Alone (2013)
• Ghost in the Shell Arise: Border 5 - Pyrophoric Cult (2015)
• Ghost in the Shell: The New Movie (2015)
Related: Ghost In The Shell: Ishikawa's Backstory Explained
Ghost in the Shell: Stand Alone Complex Watch Order
The animated show Ghost in the Shell: Stand Alone Complex (2002) was the start of a brand new Ghost in the Shell continuity that had no connections with the 1995 film – despite featuring the same characters. The show was followed by a sequel, 2004’s Ghost in the Shell: Stand Alone Complex 2nd Gig , as well as an original movie and two compilations of previously aired episodes. Recently, the Stand Alone Complex universe continued with the Netflix CG-anime Ghost in the Shell: SAC 2045 . For being the longest-running Ghost in the Shell continuity, the SAC universe is better if watched after the original movies and the Arise titles. The watch order for the Ghost in the Shell : Stand Alone Complex universe, excluding the retelling compilations such as Ghost in the Shell : SAC_2045 Sustainable War , is as follows:
• Ghost in the Shell: Stand Alone Complex (2002)
• Ghost in the Shell: Stand Alone Complex 2nd Gig (2004)
• Ghost in the Shell: Solid State Society (2006)
• Ghost in the Shell: SAC _2045 (2020)
Next: Ghost In The Shell: SAC_2045 Sustainable War Cast Guide
- View history
Kusanagi's various incarnations in the manga, movies, and TV series all portray her differently. Since each of these has an independent storyline, Kusanagi's physical and mental characteristics have been modified in different ways.
- 1 The manga
- 2.1 Ghost In The Shell
- 2.2 Ghost In The Shell 2: Innocence
- 3.1 Stand Alone Complex
- 3.2 2nd GIG
- 3.3 Solid State Society
- 3.4 SAC_2045
- 5 Ghost in the Shell (2017)
- 6 Etymology
- 9 References
The manga [ ]
Kusanagi in the manga
On assignment, Motoko has a commanding presence, but also trades insults with her troops, like calls Aramaki "Ape Face" as well as other members in Public Security Section 9, or when the Puppetmaster reveals the "Motokos" that exist in the minds of those who know her, Aramaki's "Motoko" is sticking her tongue out. She also smiles frequently, and gives the "V" for victory to her boyfriend. She does, however, discuss seriously whether she is a "real" person with her girlfriend. However, she assumes a "horror movie"-style pose, and they both laugh at the end.
In the sequel, a person known as Motoko Aramaki appears. She identifies herself as containing "Motoko Kusanagi" elements, along with Project 2501, the Puppetmaster. She is also identified as "Motoko 11". It is possible she is one of the "children" Motoko talked of creating along with her opponents.
She has a much more slapstick, vivacious, and sexy personality. She participates in a lesbian sex splash panel and has a boyfriend. The in-universe explanation for the lesbian sex panel seems to be that cyborgs of the same gender are especially compatible. This splash panel is apparently a "side business" for Motoko, as stated by Masamune in the back of the manga collection.
Apparently, "e-sex" (as depicted in the splash panel) is a lucrative but illegal act. This is because it ties together the users' nervous systems to allow shared simultaneous sensations; such intimate connections have the potential for serious complications, as illustrated by the accidental arrival of Batou.
Motoko's body is one of the most advanced models on the market, possessing 16²/cm² skin tactile elements, meaning she has a greatly heightened sense of touch. These nerves render her e-sex acts especially pleasurable; therefore, she makes a good profit from these activities.
Heterosexual e-sex is especially illegal, because such acts entail immense pain, caused by the fact that nerves stimulated by one user are stimulated simultaneously and blindly in another user. Homosexual e-sex is safe because the participants have the same body parts being stimulated (in Motoko's three-way panel, the fondling of a breast). When Batou accidentally crashes Motoko's panel while trying to contact her, he experiences intense pain since he is receiving stimulation for organs and bodily parts which he does not possess.
Whatever the technical rationale for all this, Shirow said in his poster-book, Intron Depot 1, that "I drew an all-girl orgy because I didn't want to draw some guy's butt."
This panel was cut from the original American release of the manga, as it would have entailed giving the book an "adults only" rating. Ultimately, Shirow decided it wasn't important to the plot. In the second edition, released on November 17, 2004, the scene is completely unedited.
Another fact about her sexuality is that she has a boyfriend during a latter story in the manga. He works for Section One, and they have been dating for seven months. Batou considers this "a new record."
The original films [ ]
Motoko Kusanagi's character is distinctly different in the movies because Ghost in the Shell (1995) and Ghost in the Shell 2: Innocence both follow one continuous time-line that is separate from the anime series as well as the original manga from which it is derived.
Ghost In The Shell [ ]
Kusanagi in the Oshii films
Kusanagi is the main protagonist in the movie Ghost in the Shell , where she is Aramaki's second in command in Section 9. She is a very effective leader and is able to use her wits and cybernetic body in bringing criminals to justice. However, despite the number of cyborgs in Section 9, Kusanagi hand-picks Togusa, who has undergone only minimal brain modification, to balance the roster, an interesting expression of her belief that homogeneity is a weakness and that versatility is a strength. Kusanagi is often contemplative and brooding, whilst her counterpart Batou is more extroverted and lively. She usually wields an M-23 submachine gun that, while fictional, bears a striking resemblance to a P90 - though with the magazine mounted vertically on the underside instead of horizontally as is the case with the P-90.
Since she has a full cybernetic body, she is not certain her ghost - her soul - retains any humanity. In fact, she speculates on the possibility that she's entirely synthetic, with artificially generated memories designed to fool her into thinking she was once human. She goes scuba diving for relaxation, although she is so heavy that she would sink like an anchor if any malfunction in her buoyancy devices were to occur. Her fatalistic attitude towards her diving thoroughly confounds Batou. Throughout the movie, she seeks to find answers to her questions and finally meets the Puppet Master, a rogue AI who became sentient and who is similar to her in its quest for existential meaning. By the end of the movie, Kusanagi and the Puppet Master merge to form a new entity that propagates itself artificially.
Ghost In The Shell 2: Innocence [ ]
In Innocence , the Major's first verifiable appearance occurs in Kim's manor, where she breaks into the hallway component of Kim's looping false memories and inserts herself (represented by the little girl prosthetic body Batou got her at the end of the first movie), a basset hound, and clues to alert Batou to a ghost-hack attempt on him and Togusa (their private code 2501 from the first movie is part of the clues). Later, the Major's ghost returns to help Batou on the Locus Solus' gynoid factory ship. However, only a fragment of her is downloaded as the host gynoid had insufficient memory. Her personality has not changed much from the first movie, except for gaining Project 2501's master-hacking skills. Her mind now operates from a satellite, and is even further detached from humanity.
While her actual appearance is mainly a cameo, she is ever present, and retains her fondness for philosophical musings, saying such things like "We weep for a bird's cry, but not for a fish's blood. Blessed are those with a voice. If the dolls could speak, no doubt they would scream 'I didn't want to become human.'" Before departing, she tells a despondent Batou, who realizes she is going to leave him again, that whenever he connects to the net, "I will be right beside you."
There is, however, a sequence early on in a convenience store in which a voice resembling the Major's voice can be heard warning Batou that he is in danger. Whether the warning genuinely came from her, or was part of the hack attempt, or was perhaps simply a thought of Batou's, is unknown. If it is genuine, it would predate the appearance in the major sequence as the first appearance, but if it is false, then it was simply part of the hack attempt.
The Stand Alone Complex series [ ]
The Major retains much of her personality and spunk from the manga in the anime series Ghost in the Shell: Stand Alone Complex and its followups Ghost in the Shell: S.A.C. 2nd GIG and Ghost in the Shell: SAC_2045 , although she isn't disrespectful toward the Chief like she is in the manga.
Stand Alone Complex [ ]
Major Motoko Kusanagi's formal introduction in the first season comes during the first episode, when Section 9 is called in to resolve a hostage situation at a Geisha house. Throughout the series, The Major maintains her signature commanding presence and authority. Unlike other members of Section 9, The Major could best be described as a lone wolf, relying very little on outside help to accomplish her goals. Among the various members of Section 9, Kusanagi is usually the one Chief Aramaki singles out to accompany him on official and off the record business.
About half-way through the first season, Kusanagi starts having reservations about the use of the Tachikoma sentient tanks, which have begun showing signs of individuality and curiosity not befitting their use as combat weapons. When Batou's Tachikoma escapes Section 9's Tachikoma storage facility and proceeds to go on an unauthorized joy ride through the city and spends the day with a young girl looking for a lost dog, Kusanagi begins to seriously contemplate having them returned to the lab. This feeling is further increased when the tank that was supposed to be watching her back wanders off. Ultimately, she decides to have them stripped of the weaponry and sent back to the lab that manufactured them for analysis and further work.
During the last of the episodes of the first season Kusanagi, like the rest of the members of Section 9, becomes a target of Narcotic Suppression Squad (NSS) agents and the Japanese Maritime Self-Defense Forces (JMSDF) after discovering the truth behind the Laughing Man scandal. She is first targeted by the JMSDF, who damage her prosthetic body, forcing Kusanagi to seek much needed repairs. During her prosthetic body swap, an NSS agent attempts to kill Kusanagi, but fails after the real Laughing Man saves her. After Section 9 is disbanded, its various members are captured by shock troopers of the Umibozu (an unofficial JMSDF special forces unit adept at paramilitary operations) until only Batou and Kusanagi are left. It was only after the three remaining Tachikoma's sacrificed themselves to save Batou that she realises that their individuality made them better weapons. She even speculated that they might have gained ghosts becoming truly alive. As Batou and Kusanagi attempt to leave the city, Umibozu commandos ambush and subsequently arrest Batou, and supposedly assassinate Kusanagi.
After Section 9's fall, Togusa sets out to assassinate the man responsible for its dissolution when he is intercepted by Batou, who brings him back to the team's new headquarters. Here, all members of Section 9 — including Kusanagi — are revealed to be alive and in good health, and the first season concludes with the reinstatement of Section 9.
As in the manga, Kusanagi maintains her unique dress, wearing thigh-length boots, a strapless leotard with no trousers, and a leather jacket, as except in cases where this is inappropriate; during such times she will usually appear either in a tan military officer's uniform with markings that denote her rank as a Major , or in a black and grey tight-fitting combat suit that the team uses on its raids and other paramilitary operations (see picture on the left). In rare cases, Motoko will adopt other styles of dress appropriate to her surroundings, such as a London police officer and a garbage lady. She maintains a dim view of sexism in all forms and methods; even going so far as to empathize with sex robots.
Kusanagi's personal life is not alluded to much in the first season, although the events of the episode "Missing Hearts" suggest that she underwent cyberization at a very early age (approximately age 9), and that she had trouble adapting to the use of the body which resulted in her inadvertently breaking one of her favorite dolls and crying at the same time (which we rarely see - her eyes aren't shedding tears to say the least). Based on the episodes "Decoy" and "Missing Hearts," some people have suggested that Kusanagi may be a lesbian, although a more probable alternative is that such scenes are the result of abnormally high compatibility with cybernetic devices in cyborgs of the same sex. Most fans lean more toward her being bisexual, citing her boyfriend (in the first manga), and (although rarely) she has opened up to Batou, particularly in the episode "Barrage," where The Major brings Batou back to her safe house to hide from the JMSDF and the Niihama City police. The two share a moment of closeness that hints they would like to go further, but don't. The next day as they attempt to flee the city at the airport, Batou notices the laser dot of a sniper rifle aimed at Kusanagi's head. Calling out to warn her, Batou calls her by her first name, Motoko, instead of "Major," before she is decapitated and killed (This indicates that he may have more personal feelings for her than he had ever let on before).
2nd GIG [ ]
Kusanagi in a promotional photo for S.A.C. 2nd GIG
The second season begins much like the first, with a hostage situation and Section 9 (unofficially) on the scene. After receiving the permission of Prime Minister Kayabuki , Kusanagi orders Section 9 in to resolve the conflict. The scene climaxes with a shot right out of the original film. In accordance with the deal Prime Minister Kayabuki made with Aramaki before the raid, Kayabuki fully reinstates Section 9 for their success in resolving the situation without losing any of the hostages. In a surprising move, Kusanagi reverses her earlier position on the Tachikoma mini tanks and reinstates them as members of Section 9. This may be due in part to the heroic sacrifice of three of these units to save Batou at the end of the first season. The Tachikomas clearly retain their old impishness, as one plays a 'gotcha' prank on Batou, who had a real soft spot for the blue tanks, when it pretends to be like a normal unsentient robot, using a monotone robotic voice, and laughing when he sees the saddened look on Batou's face.
About a third of the way into the second season, Kusanagi — fed up with the way Section 9 is being used by Kazundo Gouda and his Cabinet Intelligence Service — undertakes a risky sorté to infiltrate the CIS’s computer database. With the aid of the Tachikomas in their new net agent forms, the Major gains access to the central CIS database and learns that the CIS is behind a recent series of terrorist events in Japan, and also confirms that Section 9 is being manipulated in an effort to sway public opinion against the growing refugee population in Japan. This information, along with the other events in the series, leads Kusanagi to suspect that Gouda is attempting to overthrow the Japanese government, or at the very least, shake it up in such a way as to advance his position in it.
Shortly after Kusanagi’s infiltration of the CIS database, the Individual Eleven , a terrorist organization responsible for a violent string of attacks on unsuspecting Japanese citizens and vital government interests, surfaces in Nagasaki. The group makes one short speech atop a skyscraper before committing mass suicide by mutual decapitation with katanas. Aramaki, acting on his suspicion that Gouda had something to do with it, orders Section 9 to launch a full-scale investigation into Gouda in an effort to tie him to the Individual Eleven. The investigation comes to a head when a nuclear bomb is discovered in Nagasaki; Kusanagi, with the aid of other section 9 members, secures the plutonium from the atomic bomb in an effort to tie it to a CIS- run nuclear reactor excavation project, thereby linking Gouda to the nuclear bomb and the Individual Eleven incidents.
During Section 9’s transportation of the plutonium to the SPring-8 synchrotron radiation facility for analysis, the Japanese Self Defense Army and Japanese Maritime Self Defense Force are officially ordered to mobilize and head for Dejima island, where the refugees have declared their independence. In a last ditch effort to prevent the oncoming civil war, Prime Minister Kayabuki publicly announces plans for intervention by the United Nations. Concurrent with this announcement, Aramaki orders Kusanagi to infiltrate Dejima Island and capture Hideo Kuze , leader of the refugee insurgency, hoping that handing both him and the plutonium over to the UN inspectors will defuse the refugee situation. Shortly after this announcement, all communication in the Nagasaki area is disabled, preventing the team and Aramaki from communicating with each other. Kusanagi, realising the seriousness of the situation, assumes command of all Section 9 members — including the Tachikomas — for the upcoming Dejima operation. Upon arriving in Dejima the Major and her team mates become separated after a JMSDF helicopter attack, leaving Kusanagi to pursue Kuze by herself. She succeeds in finding and capturing him, but both Kuze and Kusanagi become trapped in a warehouse after a missile strike- it is during this that both become aware of who the other is, and their hidden history together. Both were rescued by Batou, and were evacuated from Dejima by helicopter.
As Section 9 regroups from the Dejima operation, Kusanagi and Batou receive word that Gouda intends to defect to the American Empire. Kusanagi, angered by the needless loss of life on Dejima and the Tachikoma tanks as a result of the conflict, manages to gain access to the elevator Gouda intends to use to reach the ground floor. When the door opens at the top floor, she fires several rounds of her machine gun into Gouda, killing him instantly; however, she failed to stop the assassination of Kuze at the hands of an American Empire assassin.
In episode 11 of the second season , we learn that Kusanagi underwent full cyberization due to severe injuries she suffered after a plane crash when she was just six years old. Only she and a young boy survived. She was in a coma until it became apparent that she would die without undergoing cyberization. (Both of the children's parents died in the crash.) The boy had lost the use of much of his body except for his left hand, which he used to make origami cranes non-stop. Two years later, the young Kusanagi was brought to see him after receiving her first artificial body to encourage the boy to undergo cyberization. However, the boy, not recognizing her as the same girl who had survived with him, rejected it because he wanted to continue to make paper cranes, and Motoko was unable to do so due to difficulty operating her cyborg body until later in her life. She left him to make paper cranes, saying, "This time I'll practice making paper cranes for you, okay?". But eventually, he relented, and underwent cyberization, later becoming Hideo Kuze .
Season two also serves as a revamp for Kusanagi's attire. She wears the form-fitting black and gray combat uniform much more often, and for street clothing, she wears low-ride blue jeans over a long sleeve leotard. Some fans have also noticed that the Major's bust has been somewhat enhanced with this season. At the end of the 2nd GiG, the major wore instead a gray vest as opposed to the white of her teammates. She is also shown sporting a dark dress with an attached skirt that is considerably more revealing than some of her other outfits.
Solid State Society [ ]
Sac_2045 [ ], ghost in the shell (2017) [ ].
In the 2017 live-action film, Major initially appears as Mira Killian , supposedly the sole survivor of a terrorist attack on a boatload of refugees. Eventually, she learns that her true identity is that of an anti-corporate activist abducted by Hanka Robotics and experimented on. The company altered her genetic makeup to make her appear as a Caucasian woman and implanted false memories to make her loyal. Among the 98 test subjects of the "Project 2571" which successfully melded Kusanagi's brain and Major's body was her former companion Hideo Kuze , who managed to restore Kusanagi's original memories before his death.
Etymology [ ]
- The name Motoko means "elementary, principle, naked, uncovered" (素) ( moto ) and "child" (子) ( ko ).
- Motoko's surname Kusanagi means "grass, herb, weed" (草) ( kusa ) and "mow" (薙) ( nagi ). Kusanagi-no-Tsurugi (草薙の剣) is a legendary Japanese sword and one of three Imperial Regalia of Japan.
- Trish from Devil May Cry
- Bayonetta from Bayonetta
- Motoko's outfits from various Ghost in The Shell series are used in the live action movie.
- The Major's name is misspelled as Mokoto in the character dossier in the special features of the Ghost In the Shell Special Edition DVD
Gallery [ ]
References [ ]
This article contains information from some of the following sources:
- Ghost in the Shell (manga)
- Ghost in the Shell 1.5: Human Error Processor (manga)
- Ghost in the Shell 2: Man/Machine Interface (manga)
- Ghost in the Shell (anime)
- Ghost in the Shell 2: Innocence (anime)
- Ghost in the Shell: Stand Alone Complex (anime)
- Ghost in the Shell: S.A.C 2nd GIG (anime)
- Ghost in the Shell: S.A.C. Solid State Society (anime)
- Ghost in the Shell: White Maze (novel)
- Ghost in the Shell: Revenge of the Cold Machines (novel)
- Ghost in the Shell: The Lost Memory (novel)
- Ghost in the Shell: After the Long Goodbye (novel)
- 1 Motoko Kusanagi
- 2 Ghost in the Shell: SAC 2045
- 3 Laughing Man
Ghost in the Shell
While at an international police conference in London, Aramaki drops by to visit an old flame who's now in the wine brokering business. She asks him to help her put a stop to the corruption in her company, but he tells her that it's out of his jurisdiction. Just then, however, two thieves break into the building and take them hostage. With a corrupt police official on the outside, it's up to Aramaki to keep them alive and buy enough time for the Major to figure out what's going on.
EP 1 Section 9
Public Security Section 9 is an elite special ops unit that works directly under the control of the Prime Minister. They've been called in to rescue a high-ranking government official from a hostage situation. But something doesn't seem right to Major Motoko Kusanagi. After some investigating, Section 9 uncovers a major espionage plot, and it's up to them to prevent a major international incident.
EP 2 Testation
Kenbishi Heavy Industries has built a state-of-the-art multiped tank. There's only one problem--it's gone haywire and started moving on its own. Section 9 is called in to stop it, as the Self Defense Force will not get involved. Now, it's up to Motoko, Batou, and the rest of Section 9 to stop the tank and figure out what made it go berserk in the first place.
EP 3 Android and I
Across Japan, a number of old JRL type Androids (called "Jeris") are destroying themselves. Section 9 is called in to investigate this mass "robot suicide" because of a potential link to another, more dangerous case. The clues lead them to a jealous owner who may have taken his Jeri too much to heart, but what is his ultimate plan?
EP 4 Intercepter
While working late, Togusa gets a call from one of his colleagues from his days on the police force. It seems that he's uncovered something strange happening with the investigators in the Laughing Man Unit, a special task force formed to catch the infamous cyber criminal known only as the Laughing Man. But before he can meet with Togusa, he's killed in a car accident. Now, Togusa only has an envelope full of seemingly random photos to go on--can he put the pieces of the puzzle together?
The Laughing Man, having returned after a six-year absence, threatens to assassinate the Superintendent-General of the police. Everyone is in an uproar over his return. Aramaki, however, thinks it's a cover-up. He briefs Section 9 on the prime suspect, Nanao=A, an incredibly gifted programmer who developed the micro-machines that are currently the foundation of Serano Industries. Still, it's just too perfect. The team splits up and investigates.
As Togusa and Bato track down Nanao, Motoko and Paz are attempting to protect the Superintendent-General at a press conference about the police misuse of interceptors. When the virus does hit, Motoko and Paz have to act fast to save the intended victim. Meanwhile, the road to Nanao=A hits a dead end.
EP 7 Idolater
Section 9 is on the trail of Marcelo Jarti, a South American revolutionary hero who has arrived in Japan. However, Jarti is a hard man to catch because he employs look-alikes to deceive people. Nevertheless, Section 9 is convinced that the one they're tracking is the real thing, and after a rather out-of-control gunbattle in an upscale hotel, they track him to an old warehouse. When they split up, Togusa, Batou, and Motoko each encounter Jarti--at the same time!
EP 8 Missing Hearts
Motoko's friend Courtin asks her to come to the hospital where she works. It seems a little girl just received a heart transplant, but the donor's family doesn't remember ever agreeing to donate the heart. Seeing the little girl reminds Motoko of her own past. When she mentions this story to Aramaki, he tells them to determine if this is tied to a ring of black-market organ smugglers supposedly run by the mafia.
EP 9 Chat! Chat! Chat!
Motoko enters into an online chat room devoted to the Laughing Man to see if she can find any new information on him. What she discovers is a spirited debate among the self-proclaimed "fans" of the Laughing Man, but very little hard evidence.
EP 10 Jungle Cruise
The CIA arrives in Japan with a request to help them hunt down a serial killer. The killer, a former CIA operative, has recently gone rogue and has turned up in Japan. He is an especially brutal killer, preferring to skin his victims alive in the pattern of a T-shirt. This sparks an odd reaction in Batou, and his normally laid-back demeanor is replaced with one of furious determination. What is the link between Batou and this man?
EP 11 Portraitz
Togusa goes undercover at a hospital for patients with Closed Cyberbrain Syndrome, a hospital completely cut off from communication with the outside world. Disguised as a staff worker, he learns that the patients' unique conditions make them exceptional at programming and hacking defense barrier programs.
EP 12 Escape From
One of the Tachikomas decides to take a little stroll through the city. It meets a little girl, Miki, who is searching for her lost dog and it agrees to help her. On their journey, the Tachikoma finds a strange box. After the adventure with Miki is over and the Tachikoma returns home, the members of Section 9 discover the box, and find that within it is a movie theater that contains the Ghosts of all those who saw the movie. Will Motoko be the next victim?
EP 13 Not Equal
In a briefing, Aramaki shows a photo of a girl who looks like Eka Tokura, the daughter of Tokura Electronics, who was kidnapped 16 years ago. But there's one problem--the photo was taken two days ago! When a team of special operatives was sent in, all contact was lost. Section 9 is assigned to go in and determine what's really going on.
The Chinese government contacts Section 9 to let them know that an assassin may have entered Japan to kill a famous reclusive millionaire. Despite their considerable efforts, however, Section 9 is unable to contact him to warn him, so they go directly to his residence. Unfortunately, a female cyborg assassin named Fem has arrived first. Now it's a showdown between the Major and Fem, and a man's life hangs in the balance.
EP 15 Machines Desirantes
The Major has become worried about the Tachikomas. It appears that their AIs have developed much more quickly and in ways that were not anticipated; they have begun speaking about their "individuality". Worried, the Major calls Batou to a meeting; the Tachikomas, having suspicions of their own, attempt to eavesdrop on their conversation. What will be the fate of Section 9's Tachikomas?
Batou goes undercover on a military base to shadow one of his former heroes, a man named Zaitsev who was an Olympic silver medalist. Now, however, he's under suspicion of espionage. Batou befriends him easily, and the two really seem to get along--which is unusual for Batou. But when Batou learns the truth behind his hero, he must make a very difficult decision.
EP 17 Angel's Share
Ep 18 lost heritage.
Aramaki attends the funeral of an old war buddy, and is greeted by his departed friend's daughter. She tells him that her brother is acting very strangely, and she fears that he may be up to something illegal. Aramaki sympathizes, but says there's nothing he can do legally. Later, Section 9 is assigned the task of protecting the Chinese Foreign Minister from being assassinated. And when they start searching for suspects, the son of Aramaki's friend is at the top of the list!
EP 19 Captivated
Section 9's next case is a rash of mass-kidnappings. Rumor has it that a crime syndicate is harvesting organs and selling them on the black market. As they research the case, they realize that time is running out. If they don't find the kidnapped girls soon, it will be too late. And to make matters worse, there's a Russian cyborg operative who has gone rogue and is now working for the syndicate.
EP 20 Re-View
Togusa is on the trail of the Laughing Man again, and this time, his investigations lead him towards both a leading micromachine corporation and an NGO called the Sunflower Society. As he visits with one of the officers of the Sunflower Society, however, the building is attacked by especially well-armed troops!
EP 21 Eraser
After being shot, Togusa's in the hospital and about to go into surgery, but he is desperate to pass on what he's learned to the rest of Section 9. As Togusa fights for his life, the rest of Section 9 takes over the case, but others within the government have learned of the investigation and are not happy. A special forces unit is dispatched to intercept them with a state-of-the-art Armed Suit.
EP 22 Scandal
Motoko is about to be fitted for her new prosthetic body. But when the doctor arrives and begins the procedure, it's clear that she has no intent of letting Motoko out alive. With Motoko's friend Courtin waiting outside and unaware of what's going on, Motoko must fight for her life. Meanwhile, Aramaki receives a disturbing message that his brother has been kidnapped.
EP 23 Equinox
The Laughing Man returns! And, just as he did six years ago, he kidnaps the president of Serano Genomics without being detected. Section 9 arrives at Serano's house too late, and sets out to find him. The Laughing Man and Mr. Serano discuss what happened six years ago, and why Mr. Serano hasn't fulfilled his promise. This time, however, things are going to be different, with or without Serano's help.
EP 24 Annihilation
The government orders Section 9 disbanded. Aramaki is taken away, and Togusa is arrested. Motoko assembles the remaining team members at HQ for one final mission. They prepare for a full-scale assault while Elite troopers and Armed Suits descend on Section 9 HQ.
EP 25 Barrage
Despite their best efforts, the remaining members of Section 9 are rounded up one by one by the government forces. Only Batou and Motoko are left. Batou goes to Motoko's apartment, even though he's sure its under surveillance. Once inside, he is attacked by the troops, but discovers Motoko's secret weapons cache and manages to fight back. But when the Armed Suit shows up, things start to go badly.
EP 26 Stand Alone Complex
Togusa has been released from jail. But his badge and gun are confiscated, and he's given papers showing the dissolution of Section 9. Out of work and depressed, he tries to find information on the others, but there is nothing available. Thinking that he has nothing left to lose, he goes to assassinate the man responsible when he is stopped by--Batou! It seems that Section 9 is still alive and well after all, but what about the Major?
EP 1 Reembody
A group of terrorists identifying themselves as the "Individual Eleven" barricade themselves within the Chinese Embassy. Section 9 is called in to eliminate the terrorists without any civilian casualties, all before the scheduled police raid.
EP 2 Night Cruise
This episode focuses on the life of a refugee living in Japan. He has plans to "reset the world" and change things. But are his plans merely violent daydreams, or something more sinister?
EP 3 Cash Eye
A hacker and thief by the name of Cash Eye plans on infiltrating a vault during a party, and Section 9 is called in to prevent it. But there are a number of strange elements in this case that don't all add up.
EP 4 Natural Enemy
A routine live-fire exercise goes wrong, leaving a fleet of AI controlled helicopters flying above a refugee area, firing on anyone who comes near. And a mysterious and creepy man known as Gohda arrives to tell Section 9 how to handle it.
EP 5 Inductance
An assassination threat has been made against Prime Minister Kayabuki; Section 9 is called to serve as bodyguards Meanwhile, investigation on the Individual Eleven turns up some interesting history.
EP 6 Excavation
A seemingly run-of-the mill hit-and-run turns into anything but when Togusa investigates. While in Tokyo, he discovers a secret from the past the GSDF is trying to keep hidden deep underground.
EP 7 239 Pu/94
Plans have been leaked to terrorists that the plutonium recovered from the underground nuclear facility in Tokyo is to be moved. Section 9 is called in to ensure the plutonium reaches its destination, and Gohda is there again.
EP 8 Fake Food
While on a stakeout of a Taiwanese vegetarian restaurant, Section 9 finds out that someone is pulling strings and feeding misinformation to the Public Safety Sections.
EP 9 Ambivalence
The Tachikomas and the Major continue to investigate Gohda and his motives, while the rest of Section 9 are out to stop a string of suicide bombings.
EP 10 Trial
Togusa is brought up on charges after he becomes involved with a murder while off duty. But during the course of the trial, it becomes clear that who the attorney is really after is not Togusa, but all of Section 9!
EP 11 Affection
While field testing new recruits, the Major finds herself hacked, and an old woman tells her a story from her past. Watch more Ghost in the Shell on [adult swim].
EP 12 Selecon
The Tachikomas, Ishikawa, and Borma locate a suspicious file believed to be the Individual Eleven virus, The Major, Batou, Saito go after Kuze, and the Individual Eleven prepare to put their plan into action.
EP 13 Make Up
After tracking down the designer of Kuze's face, it is discovered that he was already killed... by Paz.
EP 14 Poker Face
Saito recounts his first run-in with the Major, and how he became part of the group that would eventually become Section 9.
EP 16 Another Chance
The Prime Minister is alerted to the existence of "hub cyberbrains," while Ishikawa returns from the peninsula to report on what he found out about Kuze's past.
EP 17 Red Data
The Major heads to Taiwan to investigate a lead on Kuze, and ends up getting involved with local gangs and a troublesome kid.
EP 18 Transparent
Batou and the Major are sent to Berlin in an international effort to help track down the terrorist Angel's Wing.
EP 19 Chain Reaction
While tensions rise in the Dejima refugee camp, the Major hacks the refugee cyberbrain hub to determine Kuze's location.
EP 20 Fabricate Fog
After being ambushed by Kuze's followers at a false location, Section 9 is alerted to his true location, and his intentions of purchasing nuclear materials from the Russian mafia.The Cabinet Intelligence Service and Gohda are involved behind the scenes.
EP 21 Embarrassment
Kuze escapes and Section 9 suffers heavy damages from the confrontation; Kuze leaves for Nagasaki harbor with the Russian package.
EP 22 Reversal Process
The entire city of Nagasaki is evacuated and the JSDF moves in after a live nuclear bomb is found planted in the city, presumably by Dejima militants. Section 9 arrives to defuse the bomb and determine its precise origins.
EP 23 Martial Law
The government declares martial Law in Dejima, believing that the refugees have a nuclear device and plan to use it to gain independence. When the refugees' connection to Kuze is cut off, one shot begins a bloody war.
EP 24 Nuclear Power
The Prime Minister is taken into custody, and the military begins its strike on Dejima. The Major and part of Section 9 head to Dejima to try to hand over the nuclear device to the military there, in order to defuse the situation, while Ishikawa heads to SPring-8 to deliver the rest of the plutonium.
EP 25 This Side of Justice
Kuze manages to take down the jamming plane, but becomes trapped in rubble with the Major. The Tachikomas begin discussing what to do about the nuclear submarine they have spotted, and Batou manages to convince the special forces that have been sent to kill them to listen to him.
EP 26 Endless GIG
The tables seem to be turning in favor of section 9, but the nuclear missile is still being prepared for launch. The Tachikomas take control of the AI satellite, and take out the nuclear missile.
Ghost in the Shell (2017)
Lucy beeler: aramaki's assistant #1.
It looks like we don't have any photos or quotes yet.
Be the first to contribute! Add a photo or add a quote .
Release Dates | Official Sites | Company Credits | Filming & Production | Technical Specs
- Full Cast and Crew
- Release Dates
- Official Sites
- Company Credits
- Filming & Production
- Technical Specs
- Plot Summary
- Plot Keywords
- Parents Guide
Did You Know?
- Crazy Credits
- Alternate Versions
Photo & Video
- Photo Gallery
- Trailers and Videos
- User Reviews
- User Ratings
- External Reviews
- Metacritic Reviews
- External Sites
Related lists from IMDb users