Since the enactment of the revised Bill 156 of Tokyo Metropolitan Ordinance Regarding the Healthy Development of Youths, creators of manga and anime have had to reconsider the representations of sexuality in each of their respective works. A shrewd observer of his medium and society, Japanese anime director Mamoru Oshii, had already been reflecting on the increased sexualization of fictional characters. In 2004, several years before Bill 156, Oshii directed the anime film Ghost in the Shell 2: Innocence, a futuristic police story in which ‘sex dolls’ – modelled after little girls – become sentient and murder their owners. Oshii’s preoccupation in this film seems to be with the remnants of desire and sexuality in ‘the age of their mechanical reproduction’ and the consequent discomfort in such a civilization. In this article, I will first discuss a few points on the depiction of ‘little girls’ (shôjo literally meaning “little female”) brought up in the two essential writings by renowned anime and manga scholars: Susan J. Napier and Frederik L. Schodt. Following this, I will then analyse Ghost in the Shell 2: Innocence, mainly through the inversion of what Napier calls the “disappearing shôjo,” as well as a reflection on the doll’s body within the motion picture as a kind of sexual ‘no man’s land’, both metaphorically and literally. Subsequently, I will analyse the anime film through the prism of horror – that is, focusing my attention on how, paradoxically, these ‘dolls’ become ‘monsters’ in order to combat abjection and, in turn, reclaim their ‘innocence.’