If science can improve significantly on the basic design of the human body, is there any advantage in being human? Does a streamlined, superpowered cyborg have any use for something as invisible and intangible as a soul?
For Motoko Kusanagi, the grimly beautiful star of the animated Japanese mini-epic Ghost in the Shell, these aren't just abstract philosophical questions. As a mechanized, super-efficient government agent with only a fistful of brain cells remaining from her original body, she's brilliant, fast and deadly. But she's haunted by the dual question of whether she's still human and whether it really matters if she is.
Her insecurities solidify into concrete relevance as she and her strike team battle a plague of increasingly mysterious internal governmental problems. From the defection of a prominent computer programmer to the plotting of a mind-wiped terrorist, each new case is another piece in an emerging pattern. The missing link between all of Kusanagi's recent troubles appears to be the top-secret "Project 2501" -- a computerized super-spy dubbed the Puppetmaster.
When the Puppetmaster's machinations produce a wholly synthetic body that nonetheless claims to have a "ghost," or soul, Kusanagi's worldview is permanently shaken. If there really is an artificial soul locked in the Puppetmaster's cybernetic shell, it may hold all the answers to Kusanagi's questions about her true nature. On the other hand, it may be a trap designed specifically with her needs in mind.




