Ghost and the Shell: A Bold Tokyo Exhibition That Dares to Dig Deeper

Cyberbrain Mode On with AR Glasses

First and foremost, there is one thing that simply must be said. When visiting this exhibition, experiencing the “Cyberbrain Vision” is essential.

Cyberbrain Vision is an AR glasses based exhibition guide system. In simple terms, it functions like a traditional audio guide, but one that has been thoroughly reimagined through the lens of Ghost in the Shell. The result feels less like supplementary information and more like being drawn directly into the world of the work itself.

There is an additional fee of around 1,500 to 1,700 yen, but considering the level of excitement and immersion this simulated cyberization experience delivers, skipping it would be a genuine loss. The exhibition can be enjoyed without it, but with Cyberbrain Vision, the experience becomes something altogether more visceral and unforgettable.

The AR glasses can be worn over regular eyewear, but the staff recommends contact lenses if possible. Covering the sensors on either side can reduce responsiveness, so those with long hair or the Major style angled bob may want to have a way to tie their hair back.

After receiving the AR glasses and a sacoche containing a smartphone like dedicated device, you scan markers inside the exhibition space to activate the guide. It is frustrating not to be able to convey just how striking the visuals are through photos, but one thing is certain. Tachikoma, the beloved guide character from Ghost in the Shell, is overwhelmingly cute.

Exhibits with available commentary glow visibly in your field of view, and in some cases the guide begins simply by following your gaze. The experience is rich with cybernetic flair and genuinely thrilling. The commentary delivered by Tachikoma* itself is also surprisingly sharp and insightful, making the overall experience deeply satisfying.

Mapping the Full Scope of the Ghost in the Shell Saga

The exhibition unfolds across three main sections. Gallery A is devoted entirely to a large scale digital installation, Gallery B focuses on animation production materials, and contemporary artworks are interspersed between the two. Let us begin with the installation in Gallery A.

Data particles drift across the massive hemispherical screen of TOKYO NODE. These are fragments of every scene from all anime works in the Ghost in the Shell series.

Using the control devices placed around the venue, visitors can freely navigate the information they wish to explore. While revisiting favorite scenes is undeniably satisfying, the true appeal lies in the act of immersing oneself in the dense, unpredictable sea of data. In that moment, the space itself transforms into the cyberbrain world portrayed in Ghost in the Shell.

GHOST IN THE SHELL and Its Archive of Over 1600 Production Materials

In sharp contrast, Gallery B presents an analog and austere space lined with simple display cases. Here, visitors can explore an immense collection of production materials from each animated entry in the Ghost in the Shell series. From setting materials and background art to storyboards, key animation drawings, and original cels, the selection may be carefully curated, but even so, the total number of items on display exceeds 1,600.

From the GHOST IN THE SHELL section. The iconic opening scene in which the Major vanishes into the darkness of the night hardly needs explanation. The faint tremors of the lines and the traces of erased pencil marks vividly convey the animator’s hand at work. This is the true pleasure of encountering original drawings face to face.

Beyond the beauty of the drawings themselves, the handwritten instructions and comments are equally compelling. One document marked “Important” regarding the expression of the Puppet Master includes five dense lines of detailed notes about each facial feature, followed by the casually pointed remark, “You get it, right?” It is hard not to smile. Whether this reflects trust in the animation team or a subtle kind of pressure is impossible to say, but the sheet radiates a distinctly human energy from the heart of the creative process.

The World of Ghost in the Shell SAC Through Rare Production Archives

Let me introduce one more area. The section dedicated to Ghost in the Shell STAND ALONE COMPLEX organizes displays by individual episodes as they aired on television, making it easy and rewarding to track down specific scenes. It is striking to be reminded that, despite sharing the same original manga, the series has given rise to such a wide range of animated interpretations. Experiencing the distinct visions and expressive approaches of successive directors side by side in a single venue makes this exhibition feel like a truly rare opportunity.

Tachikoma at the story’s climax. As they fight to protect their comrades, their emotions seem etched into every single line, stirring something deep within the viewer. Faced with drawings like these, it is hard to think of them as anything other than vessels containing the artist’s ghost, their soul made visible on the page. This is an absolute must see.

Exclusive First Look at Production Materials from The Ghost in the Shell

It is a shame that it is impossible to cover every work in detail, but the venue also features dedicated areas for Innocence, Ghost in the Shell S.A.C 2nd GIG, Ghost in the Shell STAND ALONE COMPLEX Solid State Society, Ghost in the Shell ARISE, Ghost in the Shell The New Movie, and Ghost in the Shell SAC 2045. And even more surprisingly…

Even more remarkably, the exhibition includes production materials from the brand new series The Ghost in the Shell, scheduled to air in July 2026 and not yet publicly released during the exhibition period. Produced by Science SARU*, these materials are being shown ahead of broadcast, something that is said to be extremely rare.

This display speaks volumes about the exhibition’s clear commitment to covering every animated iteration of Ghost in the Shell. It is a section well worth paying close attention to.

At the conclusion of the AR goggle guide “Cyberbrain Vision,” one of the series’ most iconic moments is recreated through AR technology: the protagonist diving into the nighttime cityscape alongside the line “The net is vast and infinite.” Even during the press preview, the effect was powerful enough to stir genuine emotion, but it feels like an experience that would be even more spine tingling at night.

That is because after sunset, the roll screens on the windows of TOKYO NODE on the 45th floor are raised, revealing the real Tokyo night skyline as part of the exhibition’s backdrop. Details can be found on the exhibition’s official website, but as a rule the venue stays open until 9 pm on most days except Tuesdays and Fridays. Visiting in the evening, deliberately timed for nightfall, comes highly recommended.

Hajime Sorayama’s Vision of the Future Body Through Motoko Kusanagi

Now, for a typical anime original artwork exhibition, this would be where the viewing report ends. However, this exhibition has another major pillar: a display of collaborative artworks by artists overflowing with love for the work, inspired by the world of ‘Ghost in the Shell’.

Among all the works on display, one piece stands out with overwhelming presence: Sexy Robot_The Ghost in the Shell type1, a brand new sculpture by contemporary artist Hajime Sorayama, unveiled to the public for the first time anywhere in the world. Conceived around the idea of the “future body,” the work takes Motoko Kusanagi, the protagonist of Ghost in the Shell, as its model.

Since the 1970s, Sorayama has been known for depicting female robotic figures, relentlessly exploring the boundary and aesthetics between the human body and machinery. He is also widely recognized for his work beyond the fine art world, including album artwork for Aerosmith and the design of the robotic dog AIBO. Sorayama is said to have shared a long standing personal exchange of letters with Ghost in the Shell creator Masamune Shirow, and he is also involved in the upcoming 2026 animated project, contributing to its title logo design.

The lustrous body, created using materials such as aluminum, ABS resin, and silver mirror coating, is dazzling to behold. Its metallic skin, wrapped in intense reflections, evokes a strange sensation of presence and distance at once, undeniably there yet seemingly untouchable. There is a kind of divinity born from the unknown, while at the same time the limbs, drawn in undeniably ideal curves, are unmistakably erotic.

It leaves one feeling slightly awkward, as if gazing at a sacred statue with an indecent eye. Yet Sorayama once remarked in an old interview that “those who inspire awe are sexy,” which suggests that this conflicted sensation may be precisely what the artist intended.

Contemporary Art Powered by Deep Respect for Ghost in the Shell

Elsewhere, collaborative artworks are scattered throughout Gallery B. In the area dedicated to Ghost in the Shell STAND ALONE COMPLEX, one particularly playful piece stands out: Laughing Man Mirror.

Much like the cyberterror incident known in the series as the Laughing Man case, the work uses a camera to mask visitors’ faces in real time. In that moment, you and I both become the Laughing Man. It feels as though the fictional world is hacking into reality itself, and while it may be slightly irreverent, the sensation is undeniably thrilling.

Of all the works in the exhibition, the one that thrilled me most was the apparel piece titled Camouflage for an AI Surveillance Society. This arresting T shirt does something genuinely unexpected. Simply by wearing it, the wearer becomes less likely to be recognized as a human by the image recognition AI used in surveillance cameras.

The graphic print incorporates a technique known as an adversarial patch, a method developed to interfere with machine learning systems. What looks like an eye catching design at first glance is in fact a functional strategy of resistance, transforming clothing into a subtle yet provocative response to life in an AI monitored society.

At the venue, visitors can actually test the effect themselves by holding the T shirt against their body in front of a surveillance camera and monitor. Perhaps I was a little too human looking, because I stubbornly continued to be recognized as a person, which was frustrating. The staff member who helped with the demonstration, however, vanished perfectly from the image recognition AI. Combined with a visual effect inspired by the optical camouflage so iconic to Ghost in the Shell, it was a moment that genuinely sent a shiver down my spine.

One last work is also worth mentioning: EGO in the Shell. In this piece, the artist overlays images drawn from their own real memories with AI generated images depicting an imagined lifetime lived as a cyborg woman. The result resembles a wedding profile video or a life flashing before one’s eyes, forming a deeply uncanny and emotional visual sequence.

As you continue watching, the boundary between fabricated memories and real ones becomes eerily blurred. You begin to think, maybe it really was like this, or at least it feels as if it could have been. Human memory is constantly overwritten and conveniently reshaped, and that is precisely what makes the experience so unsettling.

If a similar video were created using images from my own life, could I confidently assert that I am unquestionably a living, flesh and blood human being? When I put it that way, I find I have no such confidence at all. In this sense, the work resonates deeply with the existential unease felt by the protagonist of GHOST IN THE SHELL, touching on the same fundamental anxiety about identity, memory, and the self.

Inside the Animator’s Data Archive

And the act of “digging” itself becomes another key to fully experiencing the exhibition. Sifting through vast layers of accumulated data in search of something that resonates with you is a painstaking, deeply personal, and surprisingly enjoyable process.

The venue offers two dedicated sections for this purpose, one for digital digging and one for analog digging, each providing a distinct and contrasting kind of excavation experience.

In the digital DIG section, visitors are free to browse through data folders taken directly from an animator’s desktop. The slightly illicit thrill of peeking into someone else’s computer, like hacking into a private machine, only adds to the experience. Before I knew it, that feeling had me completely absorbed, digging deeper and deeper into the image files.

In the analog DIG section, countless cut envelopes containing reproduced key frames are neatly arranged. These thick envelopes, commonly used on animation production sites to store materials, encourage visitors to browse through them by hand, much like crate digging for records, and to slowly uncover an image that speaks to them.

With the purchase of a separate 2,000 yen ticket, the reproduced drawing you dig up can be taken home as is, allowing the experience to extend beyond the exhibition space and into something personal and tangible.