intending to destroy the Puppet Master's and Kusanagi's brains to cover up Project 2501. The Puppet Master's shell is destroyed, but Batou shields Kusanagi's head in time to save her brain. As Section 9 closes in on the site, the snipers retreat. Kusanagi wakes up in Batou's safe house in a new cyborg body. She tells Batou that the entity within her body is neither Kusanagi nor the Puppet Master, but a combination of both. She promises Batou they will meet again, leaves the house and wonders where to go next. Voice cast Production Development Mamoru Oshii's originally wanted to direct Jin-Roh: The Wolf Brigade after he finished Patlabor 2: The Movie. He proposed to Bandai Visual about the project but was asked to direct an adaptation of Shirow's 1989 manga, Ghost in the Shell, instead. Oshii would later get to work on Jin-Roh: The Wolf Brigade, but only as a writer. Oshii stated, "My intuition told me that this story about a futuristic world carried an immediate message for our present world. I am also interested in computers through my own personal experience with them. I had the same feeling about Patlabor and I thought it would be interesting to make a film that took place in the near future. There are only a few movies, even out of Hollywood, which clearly portray the influence and power of computers. I thought this theme would be more effectively conveyed through animation." Oshii expanded on these thoughts in a later interview, noting that technology changes people and had become a part of the culture of Japan. He commented that his use of philosophy caused producers to become frustrated because of sparing use of action scenes. Oshii also acknowledged that a movie with more action would sell better, but he continued to make these movies anyway. When Oshii went back to make changes to the original Ghost in the Shell to re-release it as Ghost in the Shell 2.0, one of the reasons he gave was that the film did not resemble the sequel. He wanted to update the film to reflect changes in perspective. Design Hiroyuki Okiura, the character designer and key animation supervisor, designed Motoko to be more mature and serious than Masamune Shirow's original portrayal of the character in the manga. Okiura chose to depict a physically mature person to match Motoko's mental age, instead of her youthful twenty-something