Inside Japan Selection
TBS — EL NINJA VS.CYBORG DRAGON

From 2011 to 2025, New York’s Sleep No More triggered a global wave of immersive theatre. Its impact spurred a variety of immersive productions in Japan—spanning mystery, horror, puzzle-solving, and more. Yet, no new work has matched the scale or quality of Sleep No More, either in Japan or abroad. 

Enter TBS Television, one of Japan’s leading broadcasters, who is now developing EL NINJA VS. CYBORG DRAGON, an immersive theatrical experience unlike anything seen before. The project is a modern reimagining of the 1998 production first staged in Kobe. That original version was groundbreaking with its use of all five floors (approx. 4,000m²) of the Kobe Art Village Centre (now Shin-Kaichi Art Hiroba), transforming the entire building into an immersive stage. In 2000, a sequel—El Ninja vs. the Amazon Hopping Vampire—followed the same interactive style, taking over halls, dressing rooms, studios, and rehearsal spaces. The current project builds on that legacy while embracing new technology. 

The Story The setting is an international film festival. The much-anticipated B-movie EL NINJA VS. CYBORG DRAGON is about to premiere—until it’s discovered that key scenes are missing. In a desperate twist, the director turns to the audience: “We need extras. Let’s shoot those scenes now.” Thus begins a real-time filming session involving the actual audience. Amid chaos and hilarity, can the film be completed? 

The Creators Directed and written by Hirohito Gotō, the show is infused with his trademark comedic yet dark storytelling. Known for hits like The Human Windmill, The Dublin Bell-Hunchback, and Prince Toad vs. the Crayfish Demon, Gotō brings his love of B-movies and anarchic humour to the production. 

Why This Work? TBS producer Yūki Shinozaki explains the choice: “Immersive theatre holds untapped potential. Sleep No More isn’t the only possible success. When this opportunity at the Edinburgh Festival Fringe came up, I thought: rather than relying on traditional Japanese themes, why not take something bold and stylistically new? That’s when I remembered EL NINJA VS. CYBORG DRAGON—a pioneering immersive work from decades ago. 

“Unlike other immersive shows, where audiences stay passive, EL NINJA turns spectators into performers. Ultimately, they become part of the finished film, watching themselves on– screen. It’s a cultural and sensory shift—a deeper form of entertainment.” 

An Updated Approach Though based on an older concept, the team is actively updating the production. Shinozaki elaborates: “We’re exploring technical advancements with director Gotō, the TBS R&D team, and stage video designer, Mucho Muramatsu. But the more we talk, the more we feel a simple take might make it more fun than showcasing the tech itself.” 

Muramatsu recalled a childhood memory: chasing a local TV crew to appear in a morning show—not to be on TV, but to be filmed. Shinozaki echoed a similar memory from Nepal, where children begged to be photographed, even though they couldn’t see the photos. “There’s something primal and joyful about being filmed. Perhaps this instinct leads to the desire to participate. That’s the core of this show—it taps into something essential and universal.” 

TBS and Global Ambitions TBS, headquartered in Akasaka, Tokyo, is the flagship of Japan’s JNN network. Founded in 1951 as Radio Tokyo and launching TV broadcasts in 1955, TBS has led in news, drama, and variety shows for decades. Notably, their Sunday Theatre dramas and global hit SASUKE (NINJA WARRIOR) have become international franchises. 

Beyond broadcasting, TBS is a major force in live entertainment. From 2017 to 2024, they operated the 360-degree IHI Stage Around Theatre in Tokyo’s Toyosu district. Since 2022, they’ve hosted the long-running Harry Potter and the Cursed Child in their Akasaka ACT Theatre. Their theatre division is one of the most prolific among Japanese broadcasters, with global ambitions. 

The area surrounding their headquarters is undergoing redevelopment under the banner Akasaka Entertainment City. New theatres and venues are due to open by 2028, possibly including a future run of EL NINJA VS. CYBORG DRAGON. 

Looking Outward Shinozaki observes that Japanese theatre lags behind film, literature, music, and anime in international reach. “But that gap means opportunity. At the Edinburgh Festival, we hope to meet new partners and audiences. We want to explore new markets—not just the UK and US, but wherever imagination takes us.” 

“Considering the modern boom in immersive theater, EL NINJA VS. CYBORG DRAGON was already ahead of its time 30 years ago. It remains a uniquely joyful, groundbreaking experience—and we’d love to share its story with the world.”