To this day, the Ghost in the Shell franchise continues to see various reinterpretations of its rich lore and iconic cast of characters. After a long hiatus, Netflix reignites the series in the form of Ghost in the Shell: SAC_2045, a 12-episode production directed by Kenji Kamiyama and Shinji Aramaki that fails to outshine the original source material, Ghost in the Shell: Stand Alone Complex. True to the 2002 original, Public Security Section 9, a Japanese special-operations task-force, diffuses cyber terrorism while performing amazing cybernetic feats of strength and hacking ability. In this new Netflix series, years of economic turmoil and civil strife, dubbed “sustainable warfare,” push Section 9 to the brink. Yet a new and more significant threat looms on the horizon. It is a dangerous new species of cyber zombies, one that government official’s reference as post humans. Production I. G brings a new level of realism to the Ghost in the Shell enterprise by utilizing motion capture technology. Unfortunately, that is insufficient to achieve a triumphant return of this cyber punk classic. Instead, Ghost in the Shell: SAC_2045 is another disappointing Netflix revival. 

Traditionally speaking, the tone and structure of Ghost in the Shell: Stand Alone Complex is one part existential cop drama and the other part West Wing. On a deeper level, the show examines the philosophical disputes arising from humanity’s evolving relationship with technology. Ghost in the Shell: SAC_2045 attempts to move the series into full octane action but pushes its philosophical roots to the side. While it’s understandable that Netflix would want to cast the widest audience net possible by this focus on action, this is a task that proves to be too much for the Production I. G writing staff. 

The dynamic introductory song, “Fly with Me” by Millennium Parade, is unmatched by Ghost in the Shell: SAC_2045’s plot and screenplay, which include frequently mundane, unnecessary narrative text and clunky action. the terms “simultaneous default” and “sustainable warfare” flash across the screen too quickly, without giving viewers an adequate explanation of what they mean as the series’ characters incorporate these world building terms into their conversations. As viewers eventually realize, “global simultaneous default” implies a world of economic collapse in which currency is worthless and all but the ultra-elite “one-percenters” see their life savings vanish. “Sustainable warfare,” aka perpetuation of economies based on keeping up the military, is not adequate for the masses. By the time Ghost in the Shell: SAC_2045 reaches the half way point, it reverts to a structure that comes closer to resembling that of the beloved original series. Improvements in the lore surface when the series reaches episode 7, “Pie in the Sky –First Bank Robbery,” but this proves too little too late.

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Seasoned fans of Ghost in the Shell: Stand Alone Complex can appreciate that the returning Section 9 members (Major Motoko Kusanagi, Batou, Chief Daisuke Aramaki and Togusa) retain their unique character traits and strong sense of camaraderie. Major Kusanagi is still an ace net diver, while Batou continues to be a battle-hardened cyborg and source of humor. Chief Daisuke Aramaki remains strict but very loyal and protective his subordinates. Only Togusa has undergone any significant change. No longer the happily married man, the once greenhorn salaryman is now divorced and isolely focused on his investigation skills and loyalty to Section 9. These Section 9 members are now mercenaries, known as “GHOST.” But don’t let this carryover of well-liked characters fool you into an automatic expectation of greatness. No amount of character nostalgia and fan service can compensate for the fact that the newest Section 9 team members, including Purin Esaki, and Standard, along with the post human adversaries, don’t make the grade. 

At a glance, new computer technician Purin Ezaki appears like a fun shakeup, but it’s readily apparent that her bubbly personality and dramatic hand gestures are not well suited for a world inhabited by cool headed spies and cold calculating politicians. Purin’s immersion into Section 9’s investigations as a fully formed pro is evidence of lazy script writing. There is no character development or growth for her. Meanwhile, new field rookie Standard proves to be just that, standard, and nothing much else. At first, it seems that Standard serves as the point of view character of new audience members, however he quickly turns to dull comedic relief and is forgettable.   

The adversaries in this new series, post humans, are the strangest adversary Section 9 has yet encountered. Formerly normal human beings, these cyber zombies possess the capability to dodge bullets akin to Keanu Reeves’ Neo from The Matrix. They hack into human cyber brains, then control them like puppets on a string. Yet despite their abilities and terrifying goals of genocide, they function as a juvenile social commentary via bizarre comedy. One of them fights Section 9 with combat moves in the style of Looney Tunes while donning bath robes with assistance from robotic sex maids. Another post human declares war against unfair illegal labor practices and the Japanese politicians who allow them. That sounds noble and inspiring. Yet, because this post human’s one-punch executions bear similarity to the comedy of Celebrity Deathmatch, any sense of social relevance and intellectual depth is lost. Ultimately, it is this animation style that undoes these so called “dangerous” post humans and the show as a whole. 

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Ghost in the Shell anime adaptions are well known for experimental visual and animation styles. Mamoru Oshii’s Ghost in the Shell 2: Innocence (2004) is most notable in this regard. Ghost in the Shell SAC_2045, on the other hand, falls short in advancing animation. To their credit, Kamiyama and Aramaki implement 3D technology to create realistic environments. However, these positive features are dampened by limited emotional responses of the characters, with critical animation of the characters’ cheek bones and brows sadly lacking. Traditional animation might have proven more beneficial for character development and engagement of the audience in the plot. Character physicality is weightless and underwhelming. The most “serious” moments of hand combat are epically tiring. As opponents punch one another, their hand mobility is clunky and awkward. Due to a shaky camera effect and no sense of spatial awareness, the series lacks kinetic energy.      

In Ghost in the Shell SAC_2045, it is enjoyable to watch the animation of the vehicles, machines and architecture. Slick cinematography and artwork contribute momentum and some excitement to chase sequences. The multi- legged Tachikoma (the series’ unofficial mascots) are another animation highlight. These mechanical legged tanks grapple and rappel with the agility of Spider-Man across the city scape. However, these positive aspects are not enough to redeem Ghost in the Shell: SAC_2045. Plans are underway for a Series 2, but — for it to be more successful — Aramaki and his screenplay team will be well served to restore increased humanity to the characters, and to be daring enough to dive deep into political reflection.

Peter Bell (@PeterGBell25) is a 2016 Master of Arts – Film Studies graduate of Columbia University School of Arts in New York City. His interests include film history, film theory and film criticism. Ever since watching TCM as a child, Peter has had a passion for film, always trying to add greater context to film for others. His favorite films include Chinatown, Blade Runner, Lawrence of Arabia, A Shot in the Dark and Inception. Peter believes movie theaters are still the optimal forum for film viewing, discussion and discovering fresh perspectives on culture.