Reflections on Gender Definitions from “Ghost in the Shell”

If we were to exist in a society like that depicted in “Ghost in the Shell,” where physical experiences are not the basis for constructing gender, would the framework for gender still exist? Would we still have the motivation to differentiate between genders?

This article was written in 2021 as the final output of the Gender and Reading Book Club in the Department of Political Science at National Taiwan University (NTU). The writing style and ideas may differ from the present, as this blog was intended to capture the evolving perspectives without many modifications. This article serves as the first piece of content on this platform.
“I” and “the author” refer to me (TU HOW) in this writing.

The setting of “Ghost in the Shell” takes place in a futuristic world where the planet is covered by a vast network, and electronic beams traverse through it. In this near future, people have the ability to replace their physical bodies, excluding the brain, with cybernetic bodies through surgical procedures. The English title of the series, “Ghost in the Shell,” literally translates to “ghost in the body,” highlighting an ongoing discussion addressed throughout the series. Can the “ghost” as the soul be completely separated from the physical “shell”? In a future where technology blurs the boundaries that define us as human or non-human based on our physical bodies, how do we define “humanity”?

“Ghost in the Shell” originated from the manga created by Masamune Shirow and has had a profound impact on the world of science fiction. It includes Mamoru Oshii’s renowned film adaptation and the television anime series “Stand Alone Complex,” which personally captivated into the world of “Ghost in the Shell.” This series has influenced numerous works, directly inspiring “The Matrix” and serving as a source of inspiration for classics such as “Avatar” and “A.I. Artificial Intelligence.”

Beyond its excellence in the realms of cyberpunk, science fiction, and dystopian storytelling, “Ghost in the Shell” is particularly renowned for its deep exploration of philosophy and social issues. The author believes that the discussions surrounding the concepts of “ghost” and “shell” in the series have significant connections to the ways and reasons society distinguishes gender roles. Therefore, this article aims to explore these themes and engage in discussions about gender issues by incorporating elements from the original manga and the animated adaptations.

Throughout this article, we will delve into the plotlines and settings of the manga and anime works, addressing relevant questions and initiating discussions on gender-related topics.

Breaking Traditional Gender Roles Under the Male Gaze: Motoko Kusanagi

The protagonist of the series, Motoko Kusanagi, is a highly skilled cyborg proficient in computer warfare and possessing exceptional military talents. As the leader of the crucial organization “Section 9” in the “Ghost in the Shell” universe, Kusanagi is heavily relied upon by her team members for her outstanding hacking and combat abilities. She breaks the conventional framework of military and science fiction narratives, which often feature male protagonists.

However, despite being a groundbreaking figure as a female protagonist, Kusanagi’s portrayal presents an intriguing contradiction. As a modern woman, she possesses a highly sexualized body, despite the fact that her cybernetic shell is not designed for reproduction and can be altered at will. The series often emphasizes and exposes Kusanagi’s feminine attributes, reflecting the objectification of women under the male gaze.

This paradoxical portrayal raises questions about how we perceive Kusanagi’s departure from traditional gender roles while her physicality aligns with societal conventions. It prompts us to critically examine the intersection of her character’s gender role subversion and the perpetuation of objectification.

“Why not replace your body with a male-type prosthetic that has stronger performance and durability?”

Batou in Ghost of the Shell S.A.C. Season I.

The author believes that this can be discussed through Motoko’s perspective on her prosthetic body. In the TV anime, Motoko was once asked by her colleague, Batou, “Why not replace your body with a male-type prosthetic that has stronger performance and durability?”

Besides her ability to preemptively deal with enemies in information warfare, subsequent plot developments revealed a more significant reason: Motoko wishes to continue wearing the female wristwatch she received during adulthood. Being a full-body cyborg since childhood, she needs to replace her prosthetic body as she grows. That wristwatch is something she received when her body size had already stabilized during adulthood. For Motoko, who has undergone multiple body replacements, that wristwatch is the only constant that has been with her, defining her “external memory.”

Indeed, in this work, Motoko does not have a strong attachment to her physical appearance. In the SAC version, she chooses to use standardized female-type prosthetics and customizes them for functionality, without insisting on creating a unique external image that is exclusively hers. Moreover, throughout the story, Motoko frequently switches between different prosthetic bodies and appearances. The author believes that this demonstrates Motoko’s refusal to define herself solely based on her prosthetic body. When the material body is no longer restricted and can freely change, the ways in which one defines oneself and defines gender are no longer confined to the physical body. Memories, behaviors, and even external factors become more important in defining one’s identity.

In recent years, with the embrace of diverse creative directions, various character representations have emerged in the market. However, this expansion of diversity has, to some extent, compressed the creative space for “traditional” character images. This phenomenon is particularly evident in the Western entertainment market, where opponents often use the term “Social Justice Warrior” (SJW) as a derogatory term to criticize the changes in the creative industry. In such a context, would characters like Motoko Kusanagi still exist?

The author stands in support of diversity and understands concerns about reinforcing stereotypes. They believe that this phenomenon should not be attributed to the “progressive camp” causing a limitation of freedom. Instead, it calls for reflection on whether society allows the existence of alternative options. Defending people’s freedom of choice is a common factor for most individuals. Therefore, embracing diversity could perhaps focus on “increasing the presence of diverse and excellent works” rather than suppressing existing creations.

“Gender-Swapping Puppeteer”: Does Artificial Intelligence Have Gender?

The “Puppeteer,” who serves as an important antagonist in both the original work and the film adaptation, was originally an operational program created by the Japanese Ministry of Foreign Affairs. However, after being exposed to a vast amount of information, the Puppeteer developed self-awareness and even detected the presence of a Ghost within “them.” After causing significant chaos, the Ministry of Foreign Affairs sealed the Puppeteer within a female cyborg that was disconnected from the network. In the final stages of the story, the Puppeteer engages in an intriguing dialogue and confrontation with Motoko Kusanagi.

“If we’re talking about definitions (of human), your DNA is nothing more than a program for self-preservation.”

Puppeteer from Mamoru Oshii’s 1995 film adaptation “Ghost in the Shell”

The Puppeteer itself is an intriguing character that blurs the boundaries between human and non-human. In Mamoru Oshii’s 1995 film adaptation, the Puppeteer seeks political asylum from Public Security Section 9 and, upon being rejected on the grounds of not being human, responds with the statement, “If we’re talking about definitions, your DNA is nothing more than a program for self-preservation.” Defining “what is human” is inherently an ambiguous question. The philosopher Haraway, who proposed the “Cyborg Manifesto,” stated, “We have never been human except as the human species has been constituted within the manifold of ‘cyborg’ imagery.” So, returning to the core issue of gender in this context, for the Puppeteer, who was not born with a physical body, what gender should be assigned to them?

Since the Puppeteer doesn’t possess a biological body, the traditional concept of gender based on biological sex may not be applicable. Instead, the gender identity of the Puppeteer could be understood as an expression or performance shaped by their self-awareness, experiences, and interactions with others. It could be a matter of self-identification or the perception of gender that the Puppeteer chooses or embodies. The exploration of gender beyond the limitations of physical embodiment is an interesting aspect of the Puppeteer’s character.

With society’s increasing recognition of gender diversity and inclusivity, we have begun to differentiate groups based on biological sex, gender identity, sexual orientation, or gender expression. However, these classifications still seem to be constructed based on accumulated experiences of biological gender, such as associating masculinity with traditional traits assigned to individuals born as biological male. For an information-based life form like the Puppeteer, who lacks a physical body, does it still hold meaning to differentiate them by gender?

In the 1995 film adaptation of Ghost in the Shell directed by Mamoru Oshii, the Puppet Master, who was sealed in a female cyborg body, had a male voice. However, in the 2004 remake Ghost in the Shell 2.0, the Puppet Master in the same female cyborg body had a female voice (referring to the differences in voice actors as mentioned on the Japanese Wikipedia). These clever manipulations of gender characteristics provoke the imagination of future human civilizations regarding gender perspectives.

Although the Ghost in the Shell series does not explicitly portray changes in human reproductive methods, we can still anticipate that as prosthetic technology and artificial reproduction develop, people’s perceptions of their bodies and gender may undergo drastic changes. Will gender still be necessary or exist in the future? Will different traits and differences be fragmented into labels and attributes, no longer confined to hasty classifications and instead able to flow freely?