Even for a long-time fan like me who has read the source manga multiple times over the years, this episode’s plot is hard to follow. It’s an issue with the original chapter, which is full of author Masamune Shirow randomly name-dropping a bunch of characters, political situations, and off-screen events without providing proper context. It’s not the cyberpunk technobabble that provides Ghost in the Shell with its highest barrier for entry; it’s the storytelling.

As far as I can make out, this Section 9 adventure involves corporate money laundering on an industrial scale, implicating not only a massive conglomerate, but also both Japanese and Russian governments, and a sinister cybernetically-enhanced thug with a mechanical arm that makes mincemeat out of one of Batou’s new rookies. That, at least, provides some personal motivation to enliven an otherwise very dry story.

Thankfully, Science SARU‘s incredible attention to visual detail, setting, and tone really helps to elevate what could have degenerated into an unintelligible mess. Avid Stand Alone Complex fans may recognize many aspects of this episode that were previously repurposed into components of later installments of SAC: 2nd Gig, especially the “far north” setting of a wintry technostate, and a privately-owned geofront swarming with bad guys. In the original manga, the advanced northern city is built on one of the Kuril Islands north of Hokkaido, though in the real world they remain disputed territory between Japan and Russia, so the adaptation fudges the details a little. (Oshii’s Innocence movie also utilizes some elements from this chapter, including its primarily Northern setting.)

There’s so much going on this week that, amazingly, they manage to cram everything into a single episode. Not only is the plot dense, but we’re treated to excellent renditions of several iconic scenes, including, first and foremost, the inclusion of the Puma Twins cameo! Iconic supporting characters from Shirow’s police/comedy manga Dominion, they last appeared twenty years ago in the TANK S.W.A.T. 01 CGI OVA that never received an official English-language release. Tonally, this version of Ghost in the Shell shares a lot in common with Dominion, so their brief scene is very welcome. I’d love an up-to-date anime version of Dominion from Science SARU, by the way, just sayin’. Hint. Hint.

The Fuchikomas also get several opportunities to shine, including one of their number’s psychedelic digital mind-melding with one of Section 1’s tanks, and their badgering of the Major to be supplied with natural oil. It transpires that the Major’s reticence to use anything other than synthetic lubricants is based on genuine concerns – Batou’s use of natural oil in his personal Fuchikoma causes its brakes to seize at the most pivotal moment mid-action scene.

Poor Batou doesn’t have a great time of it this episode. Not only is he initially assigned the “boring” job of training rookies, but he’s hit hard by the news of the death of previously unseen character Yano, even lashing out at boss man Aramaki. Having his Fuchikoma sputter and stall halfway down a precipitous drop isn’t what he needs. No wonder he snaps and executes the fleeing criminal Koil Krasnov, not that it’s excusable. As Togusa comments, it would have been better to allow him to live, at least for interrogation purposes.

Major Kusanagi doesn’t escape the dangerous north unscathed either. She’s axed in the back by a random nutjob in a van – though she coldly executes him immediately afterwards. Although she’s far goofier in this version, she’s a certifiably terrifying badass. In fact, she’s such a badass that she completely screws up her stealth mission by drawing her gun, alerting the surveillance AI to her intentions. Oopsie. The corrupt CEO dude she fights at the end is no match for her, though, despite his multiple bodies. She essentially outwits him by waiting patiently (and invisibly) for him to attempt to escape.

Although this version of Section 9 is filled with imperfect people who make mistakes, they do tend to get the job done one way or another, even if they take certain liberties. Kusanagi ensuring one of the laundered gold bars finds its way into Yano’s family’s inheritance is a nice touch. Kusanagi’s conversation with Batou as they head to Yano’s family grave is unsettling. There’s so little organic material left in her body that when she dies, most of her will be recycled or repurposed for other cyborgs. It’s throwaway pieces of world-building like this that make Shirow’s world so convincing. This is immeasurably enhanced by Science SARU‘s gorgeous background work. The far north city looks amazing, like something ripped straight from a 1980s sci-fi OVA. Director Mokochan fully understands the assignment he was given, and so far his approach has certainly elevated the sometimes uneven source material to a level of stunning artistic consistency.

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The Ghost in the Shell is currently streaming on Prime Video.