Meta’s historic loss in court could cost a lot more than $375 millionNew Mexico Attorney General Raúl Torrez won a historic sum of $375 million in a landmark child safety case against Meta earlier this year. But the next stage of the fight could be even more consequential for Meta and the social media industry at large.
Beginning Monday, attorneys for Meta and New Mexico will return to a Santa Fe courthouse for a three-week public nuisance trial, where they’ll argue over the changes the AG wants the judge to order Meta make to Facebook, Instagram, and WhatsApp. Those changes include adding age verification for New Mexico users, prohibiting end-to-end encryption for users under 18 and capping their use to 90 hours per month, limiting engagement-boosting features like infinite scroll and autoplay, and requiring Meta to detect 99 percent of new child sexual abuse material (CSAM).
“From the outset, our goal was to try and change the way the company’s doing business,” Torrez told The Verge on a recent visit to Washington, DC, to advocate for new kids safety legislation. “I recognize that even at $375 million for a company this big and this profitable, it’s not enough in and of itself to change the way they’re doing business. In fact, there’s probably some folks in that company who think of it as the cost of doing business.”
“Even at $375 million for a company this big and this profitable, it’s not enough in and of itself to change the way they’re doing business”
While any changes ordered by the judge would only apply to Meta and its operations in New Mexico, the company could apply the changes in other states for the sake of simplicity. Or, as it’s threatened to do, it could simply go dark in the state. A court order could send a message to other tech companies that courts may be willing to alter their businesses if they’re found liable.
During the trial, New Mexico will argue Meta has become a public nuisance by creating a public health hazard in the state. The AG’s office expects to call on about 15 witnesses, including experts who will testify to the feasibility of their proposed remedies, and fact witnesses who will testify about Meta’s alleged harms. After Meta makes its defense, Judge Bryan Biedscheid will evaluate which proposals are relevant and feasible — a process that could take some time, compared to the speedy turnaround of the jury verdict in March.
A sweeping win for New Mexico could energize Torrez and thousands of other plaintiffs currently pursuing cases against tech companies. Conversely, a limited order could be a significant blow. The outcome won’t directly impact other cases, but it will almost certainly color negotiations over potential settlements.
Several of Torrez’s requests are hot-button tech policy issues. Age verification would almost certainly require Meta or a third-party provider to collect more personal information on adults and minors alike, which privacy advocates have consistently warned can make users less safe. Don McGowan, who previously served on the board of the National Center for Missing and Exploited Children (NCMEC), said that barring encrypted communications on platforms like Facebook “is a great way to make sure that nobody uses Facebook Messenger anymore and just moves their activity to other platforms that aren’t touched by this lawsuit.”
The mandate may do little to change the reality of certain parts of the business — Meta recently announced it was getting rid of end-to-end encrypted messaging on Instagram that it said “very few people” actually used.
Peter Chapman, associate director of the Knight-Georgetown Institute, which works to connect policymakers and others with independent tech policy research, said there could be “significant tradeoffs” to a prohibition on encryption, and other changes may be more effective. For example, evidence presented by the state showed that Meta’s own profile recommendations were connecting adults and minors, a feature that poses a clearer danger of harm without much benefit, and which Torrez is also asking the court to stop. “There’s an opportunity to intervene at that level and try to prevent more of these harmful interactions from taking place without having to tackle encryption,” said Chapman.
No single feature change is likely to solve the entire child and teen safety problem, said Chapman, which is why it’s notable that Torrez plans to ask for several layers of changes. Still, the overall effectiveness of any given remedy will also depend on how it’s implemented and monitored. For instance, what would be the methodology Meta uses to report a 99 percent detection rate of new CSAM? How does it count or surmise what it hasn’t caught? The same goes for the accuracy and reliability of any mandated age verification.
Meta points to this potential issue in its argument against Torrez’s proposed remedies. “Regardless of where the accuracy threshold is set, Meta would never be able to prove that the system met that standard, because doing the calculation would require that Meta detect 100% of CSAM to use as the denominator,” the company wrote in a legal filing. Torrez’s chief deputy, James Grayson, said on a press call that the court and an appointed independent monitor would have some discretion over tracking; the office hasn’t yet identified who this monitor would be.
“The demands that are being made in New Mexico are ill-informed and provide massive additional exposure for other kinds of exploitation”
Meta and other groups that oppose the AG’s approach say the outcomes he’s seeking are counterproductive. “The demands that are being made in New Mexico are ill-informed and provide massive additional exposure for other kinds of exploitation,” said Maureen Flatley, president of Stop Child Predators, a group that advocates for more funding for enforcement of criminal laws against child predators, and has received funding from Meta-backed trade group NetChoice. “This notion that the platforms have to be responsible for pushing all these people out would be like saying to the US Bankers Association, ‘By the way, you are responsible for all the bank robberies from now on,’ which is ludicrous.”
“The New Mexico Attorney General’s focus on a single platform is a misguided strategy that ignores the hundreds of other apps teens use daily,” Meta spokesperson Chris Sgro said in a statement. “The state’s proposed mandates infringe on parental rights and stifle free expression for all New Mexicans. Regardless, we remain committed to providing safe, age-appropriate experiences and have already launched many of the protections the state seeks, including 13 safety measures this past year.”
But Torrez has taken aim at the broader tech industry, too. He recently visited Washington, DC, to advocate for new protections for kids online and an overhaul of Section 230, the law that protects tech platforms from being held liable for their users’ posts. “While we were able to prevail in our district court in Santa Fe, I still think the law as it currently exists creates a lot of ambiguity,” he told The Verge on that visit. “If Section 230 were not something that these companies could hide behind, then it increases the chances that they’re going to have to actually make their case to a jury.”
But Chapman said regulation through lawsuits isn’t an “uncommon sort of story” in the US. “Whether that’s tobacco, opioids, e-cigarettes, there is precedent for legal action moving a broader policy conversation.”
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#Metas #historic #loss #court #cost #lot #millionLaw,Meta,Policy,Privacy,Speech,Tech
New Mexico Attorney General Raúl Torrez won a historic sum of $375 million in a landmark child safety case against Meta earlier this year. But the next stage of the fight could be even more consequential for Meta and the social media industry at large.
Beginning Monday, attorneys for Meta and New Mexico will return to a Santa Fe courthouse for a three-week public nuisance trial, where they’ll argue over the changes the AG wants the judge to order Meta make to Facebook, Instagram, and WhatsApp. Those changes include adding age verification for New Mexico users, prohibiting end-to-end encryption for users under 18 and capping their use to 90 hours per month, limiting engagement-boosting features like infinite scroll and autoplay, and requiring Meta to detect 99 percent of new child sexual abuse material (CSAM).
“From the outset, our goal was to try and change the way the company’s doing business,” Torrez told The Verge on a recent visit to Washington, DC, to advocate for new kids safety legislation. “I recognize that even at $375 million for a company this big and this profitable, it’s not enough in and of itself to change the way they’re doing business. In fact, there’s probably some folks in that company who think of it as the cost of doing business.”
“Even at $375 million for a company this big and this profitable, it’s not enough in and of itself to change the way they’re doing business”
While any changes ordered by the judge would only apply to Meta and its operations in New Mexico, the company could apply the changes in other states for the sake of simplicity. Or, as it’s threatened to do, it could simply go dark in the state. A court order could send a message to other tech companies that courts may be willing to alter their businesses if they’re found liable.
During the trial, New Mexico will argue Meta has become a public nuisance by creating a public health hazard in the state. The AG’s office expects to call on about 15 witnesses, including experts who will testify to the feasibility of their proposed remedies, and fact witnesses who will testify about Meta’s alleged harms. After Meta makes its defense, Judge Bryan Biedscheid will evaluate which proposals are relevant and feasible — a process that could take some time, compared to the speedy turnaround of the jury verdict in March.
A sweeping win for New Mexico could energize Torrez and thousands of other plaintiffs currently pursuing cases against tech companies. Conversely, a limited order could be a significant blow. The outcome won’t directly impact other cases, but it will almost certainly color negotiations over potential settlements.
Several of Torrez’s requests are hot-button tech policy issues. Age verification would almost certainly require Meta or a third-party provider to collect more personal information on adults and minors alike, which privacy advocates have consistently warned can make users less safe. Don McGowan, who previously served on the board of the National Center for Missing and Exploited Children (NCMEC), said that barring encrypted communications on platforms like Facebook “is a great way to make sure that nobody uses Facebook Messenger anymore and just moves their activity to other platforms that aren’t touched by this lawsuit.”
The mandate may do little to change the reality of certain parts of the business — Meta recently announced it was getting rid of end-to-end encrypted messaging on Instagram that it said “very few people” actually used.
Peter Chapman, associate director of the Knight-Georgetown Institute, which works to connect policymakers and others with independent tech policy research, said there could be “significant tradeoffs” to a prohibition on encryption, and other changes may be more effective. For example, evidence presented by the state showed that Meta’s own profile recommendations were connecting adults and minors, a feature that poses a clearer danger of harm without much benefit, and which Torrez is also asking the court to stop. “There’s an opportunity to intervene at that level and try to prevent more of these harmful interactions from taking place without having to tackle encryption,” said Chapman.
No single feature change is likely to solve the entire child and teen safety problem, said Chapman, which is why it’s notable that Torrez plans to ask for several layers of changes. Still, the overall effectiveness of any given remedy will also depend on how it’s implemented and monitored. For instance, what would be the methodology Meta uses to report a 99 percent detection rate of new CSAM? How does it count or surmise what it hasn’t caught? The same goes for the accuracy and reliability of any mandated age verification.
Meta points to this potential issue in its argument against Torrez’s proposed remedies. “Regardless of where the accuracy threshold is set, Meta would never be able to prove that the system met that standard, because doing the calculation would require that Meta detect 100% of CSAM to use as the denominator,” the company wrote in a legal filing. Torrez’s chief deputy, James Grayson, said on a press call that the court and an appointed independent monitor would have some discretion over tracking; the office hasn’t yet identified who this monitor would be.
“The demands that are being made in New Mexico are ill-informed and provide massive additional exposure for other kinds of exploitation”
Meta and other groups that oppose the AG’s approach say the outcomes he’s seeking are counterproductive. “The demands that are being made in New Mexico are ill-informed and provide massive additional exposure for other kinds of exploitation,” said Maureen Flatley, president of Stop Child Predators, a group that advocates for more funding for enforcement of criminal laws against child predators, and has received funding from Meta-backed trade group NetChoice. “This notion that the platforms have to be responsible for pushing all these people out would be like saying to the US Bankers Association, ‘By the way, you are responsible for all the bank robberies from now on,’ which is ludicrous.”
“The New Mexico Attorney General’s focus on a single platform is a misguided strategy that ignores the hundreds of other apps teens use daily,” Meta spokesperson Chris Sgro said in a statement. “The state’s proposed mandates infringe on parental rights and stifle free expression for all New Mexicans. Regardless, we remain committed to providing safe, age-appropriate experiences and have already launched many of the protections the state seeks, including 13 safety measures this past year.”
But Torrez has taken aim at the broader tech industry, too. He recently visited Washington, DC, to advocate for new protections for kids online and an overhaul of Section 230, the law that protects tech platforms from being held liable for their users’ posts. “While we were able to prevail in our district court in Santa Fe, I still think the law as it currently exists creates a lot of ambiguity,” he told The Verge on that visit. “If Section 230 were not something that these companies could hide behind, then it increases the chances that they’re going to have to actually make their case to a jury.”
But Chapman said regulation through lawsuits isn’t an “uncommon sort of story” in the US. “Whether that’s tobacco, opioids, e-cigarettes, there is precedent for legal action moving a broader policy conversation.”
![‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開！ 原画｜小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ｳｵｵｵ攻殻機動隊1話にLOと作画監督で参加させていただきました！憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜！こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell](https://gizmodo.com/app/uploads/2026/07/The-Ghost-in-the-Shell-Mokachan-Shuhei-Handa.jpg "‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開！ 原画｜小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ｳｵｵｵ攻殻機動隊1話にLOと作画監督で参加させていただきました！憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜！こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell")
![‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開！ 原画｜小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ｳｵｵｵ攻殻機動隊1話にLOと作画監督で参加させていただきました！憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜！こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell](https://i0.wp.com/gizmodo.com/app/uploads/2026/07/The-Ghost-in-the-Shell-Mokachan-Shuhei-Handa.jpg?ssl=1 "‘The Ghost in the Shell’ Director, Character Designer on Keeping Motoko True to the Manga
Dan Da Dan anime studio Science SARU’s adaptation of The Ghost in the Shell is finally streaming on Prime Video, and its pilot episode looks like a ’90s anime fever dream in the best way possible. Major Motoko Kusanagi kicks all the ass, its soundtrack is a bop, and its action sequences are a chef’s kiss. Don’t just take our word for it; check out the trailer below and see for yourself how Science SARU cooked once again. [embed]https://www.youtube.com/watch?v=ahZn4dVCbvs[/embed] Ahead of its premiere, io9 got to chat with director Mokochan and character designer Shuhei Handa at Anime Expo about how their vision for Masamune Shirow’s seminal cyberpunk manga came to be, as well as a couple of pointed fandom-centric questions for fans who’ve been dying to see Major Motoko Kusanagi realized in all her goofy glory. Left: Shuhei Handa, right: Mokochan. © Isaiah Colbert/io9 This interview was edited for clarity. Isaiah Colbert, io9: From Keep Your Hands Off Eizouken!, Devilman Crybaby, Inu-Oh, Scott Pilgrim Takes Off, and Dan Da Dan to Sanda and Jaadugar: A Witch in Mongolia, Science SARU has built an impressive portfolio and reputation for making bold, expressive, and experimental anime. What about The Ghost in the Shell made it feel like a natural fit as the studio’s next project?
Mokochan: For all of the works done by Science SARU, using animation to do storytelling is very important. That’s why we use a lot of hand-drawn animation in it. For The Ghost in the Shell, the most important thing is to use the visuals to capture its world. It’s the same policy with other series as well.
TVアニメ「#攻殻機動隊 THE GHOST IN THE SHELL」⋱ご視聴ありがとうございました⋰ ◤◢◤◢◤◢◤◢◤◢◤◢◤◢ 第01話より草薙素子と荒巻大輔の出会い 👩🏻 🐵迫力の原画を大公開！ 原画｜小島崇史 さん ◤◢◤◢◤◢◤◢◤◢◤◢◤◢https://t.co/wICYD3OlUm pic.twitter.com/6rNlJdXZZk — サイエンスSARU (@sciencesaru) July 7, 2026 io9: From the jump, The Ghost in the Shell marks a stark tonal shift—a return—towards Masamune Shirow’s lighter, more mischievous vision of the cyberpunk epic. What led Science SARU to pivot away from the austere, military tone that Mamoru Oshii’s 1995 film would go on to cement as the franchise’s vibe for decades? Mokochan: We didn’t intentionally try to change the tone from how director Mamoru Oshii did previously because the concept for making this new series is to base it on the original manga, so we already had our own way of making this one.
© Masamune Shirow/Kodansha io9: In an era when people often use AI to cheaply mimic retro anime aesthetics, the new Ghost in the Shell feels like a deliberate rejection of AI’s pervasiveness in the arts—where every frame in the trailers looks unmistakably hand‑crafted. It’s a phenomenon that’s certainly paradoxical, considering that the manga prophesied how such technologies would be utilized in the not-so-far-off year of 2029. What’s Science SARU’s stance on AI, and what specific animation techniques did it use most to capture the show’s aesthetic through the power of collective human artistry? Mokochan: One of the concepts of the original manga is about the mysterious part of the human being. So we wanted to honor how the original creator captured the world and how we express all of the story in the original manga. So we wanted to follow the same concept using the same method to show humanity by using hand-drawn art. We prefer to just use our arms to draw all of the animation. Handa: It’s because the main concept is about the human body, so that’s why we prefer hand-drawn art over AI.
© Science SARU io9: Major Kusanagi has long been read as a bisexual icon in the West, especially because of Shirow’s famous island-escapade chapter with her gal pals, which has been lost in some Western reprints of the original manga. She’s also considerably goofier in the manga, a trait fans lovingly call a “bisexual disaster.” In what ways was it important for Science SARU to depict Kusanagi’s inherent goofball nature and her queerness in this adaptation, and what does portraying that side of her mean for a global audience in 2026? Mokochan: During the process of making the new series, we were actually very surprised by it because, compared to the original manga, a lot of the thoughts about sexuality are very advanced, exploring many possibilities. It’s not just about sexuality; it’s also about the human being, technology, and many other things. [The manga] accepts everything in the world. That was a very big surprise. We didn’t intend to modernize the content to make it fit the new era.
© Science SARU [The Ghost in the Shell producers’ note in regard to Science SARU’s adaptation of Motoko’s vacation scene from the original manga: “We had to adjust the depictions in the original work to match the rating.”] Handa: When we portray Kusanagi’s character, we like to bring out all the comical parts because they’re in the original manga. It’s kind of different how director Oshii portrays her in the previous series because, in those series, Kusanagi was not that expressive. We prefer to keep the authentic parts of the original manga, so we thought we definitely needed to keep the comical parts in the character, so that’s why we included that content. © Science SARU © Science SARU © Science SARU © Science SARU io9: As a fan of the series, I’ve seen Ghost in the Shell go through different iterations, reinterpretations, and reboots. And in that, Motoko’s design has changed in a way that reflects how different people interpret her. But while her outer shell is different, the themes—the ghost in the original story—remain in each adaptation. For Science SARU’s newer adaptation of The Ghost in the Shell, which themes from the original manga feel more prescient now than when it first came out?
Mokochan: Because the original intent of this project is to follow the original manga—not just Kusanagi, but also all the content and the world’s concept—we didn’t try to modernize any part of it. The creative team, all of whom are also big fans of the original manga. So, for the world, the story, the characters, and the theme, it’s all the same because we want to honor the original manga. ｳｵｵｵ攻殻機動隊1話にLOと作画監督で参加させていただきました！憧れの攻殻機動隊に関わることができて感激です🔥LOはセンターの子供が撃たれるあたりから脱走するところまで、作監は冒頭からOP前あたりまでです。少佐かっこよくて可愛かった〜！こちら担当LOのうちの1カットです🙏🏻#攻殻機動隊 pic.twitter.com/zUlxgD9fin — 宮かなえ (@miyakanae_) July 7, 2026 The Ghost in the Shell is streaming now on Prime Video. io9 is on the ground at Anime Expo 2026. We’ll be bringing you updates on all the biggest panels, screenings, and announcements, plus exclusive one-on-one interviews with the people behind some of the best and most popular anime around. You can check out all of io9’s Anime Expo coverage here. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #Ghost #Shell #Director #Character #Designer #Keeping #Motoko #True #MangaAnime,Anime Expo,Science Saru,The Ghost in the Shell")
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.jpg?ssl=1 "These New Smart Glasses From Solos Come With a Privacy Shield for the CamerasSmart glasses company Solos has long focused on audio-only smart glasses. On Tuesday, it announced two new pairs of glasses, one of which has a camera—but you can buy a separate accessory to hide the camera for privacy’s sake.Solos’ new smart glasses are the audio-only AirGo A6 and the second iteration of its camera-enabled glasses, the Solos AirGo V2. The latter was first announced last year as an effort to directly “outshine Meta.” These 9 glasses do just about everything you’d expect from Meta’s new 9 Meta Smartglasses, including photo and video capture, playing music, and interacting with an AI-powered assistant that can see what you see. They can be fitted with prescription lenses and have a 10- to 12-hour battery life.The AirGo V2 glasses can also be paired with a new Privacy Kit, a set of clip-on accessories that let wearers control what their camera glasses can access. The clip-on privacy shield blocks the cameras from view and from recording the world, allowing you to keep wearing the glasses in audio-only mode. There’s also a clip-on polarized lens, and the full kit of modular options costs .Selling a privacy kit as a clip-on accessory is perhaps not the most effective way to stave off concerns about people running around with small, discreet cameras on their faces. Having to buy a separate item, then clip it on and off every time you want to use or disable the camera, is a lot of extra steps that will likely keep people from bothering with privacy at all. Also, there isn’t anything stopping bad actors from removing the clip-on blockers later in an interaction—say, after entering an event that prohibits camera recording.Courtesy of Solos SmartglassesSolos’ first camera-enabled glasses, the Solos AirGo Vision, launched in 2024. WIRED put them in the “Don’t Bother” section of our Best Smart Glasses gallery, citing some decent design choices, albeit ones held back by middling media capture quality, frustrating touch controls, and a power-hungry app that demands too many permissions. All in all, the glasses haven’t quite reached the standard Meta has set with its popular smart glasses.Meta has been the dominant force in the smart glasses market, but other big companies are trying to fill in the cracks. Google and Samsung have a partnership to build out Google’s Android XR platform, with new glasses arriving later this year from eyewear brands Warby Parker and Gentle Monster. Apple has reportedly been building its own smart glasses as well.Some smaller companies are adjusting their target markets to counter Meta, like Even Realities and its camera-free glasses. Solos’ reemphasis on privacy comes after a period of widespread criticism of Meta’s glasses. The devices have been called creepy “pervert glasses” and were criticized after the company silently added face recognition code to its glasses, then quickly removed it after public outcry following a WIRED report. Meta hasn’t done itself any favors since then, announcing last week that it will start charging for features on its smart glasses that have previously been free.Meta has acknowledged that a market for audio-only smart glasses exists, as CTO Andrew Bosworth said in a private Q&A session with media that he thinks there is “market demand for that product for sure.” But Meta hasn’t moved away from its camera-forward spectacles yet. It may very well make audio-only glasses in the future. Until then, companies like Solos are eager to chip away at that market.#Smart #Glasses #Solos #Privacy #Shield #Camerascameras,design,smart glasses,wearables,artificial intelligence,meta")
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