Director Shinsuke Satomeets lead co-starsKento YamazakiandTao Tsuchiya

ONLY ON Netflix

The ”game” restart


Two years since the deserted Shibuya shocked the the world
In a ruined and overgrown Tokyo, the life-or-death battle begins anew!

The Netflix Series Alice in Borderland was released worldwide in December 2020. It is impossible to make people disappear from Tokyo’s Shibuya, a city that is bustling with activity 24 hours a day, 365 days a year. Yet Alice in Borderland achieved this feat using high-level visual effects, receiving a massive response around the world and catapulting the show into the TOP 10 list in 70 countries. Arisu and Usagi are suddenly thrown into the Borderland, where they are forced to participate in a series of games that put their lives on the line. The newly-produced Alice in Borderland Season 2 picks up right where the previous season’s final episode left off. In Season 1, Ryohei Arisu (Kento Yamazaki) meets Yuzuha Usagi (Tao Tsuchiya) and they work together to clear numerous sadistic games. Season 2 starts with the next stage. Bounced from one thrilling game to the another, Arisu sets his sights at getting straight to the mystery of the Borderland.

The numeric value of each playing card indicates the difficulty level of each game, and every game in Season 2 is assigned a high value. Each game has a game master, and the games take place beneath the blimps floating in the sky over Tokyo. In Episode 1, Arisu and the others are faced with a game of survival against the King of Spades. Based on their theory that it would be impossible to participate in two games at once, Arisu and the others decide to go into another game to escape the King of Spades’ assault.

The mystery at the heart of the entire story — the mystery of the Borderland — presents a parallel theme in Season 2. Why should people be pitted against one another? Why did Arisu’s best friends, Karube and Chota, have to die? And will clearing all the games allow the players to return to the world they once knew? No matter what happens, Arisu gets up and fights to survive in order to get to the heart of these questions.

About two years after finishing filming Season 1, Kento Yamazaki as Arisu and Tao Tsuchiya as Usagi are reunited with Nijiro Murakami, Ayaka Miyoshi, Dori Sakurada, Aya Asahina, Sho Aoyagi, Riisa Naka and more in Season 2. And the new Season 2 characters are equally splendid. Tomohisa Yamashita plays Kyuma, the King of Clubs, who has a great influence on Arisu. Yuri Tsunematsu passionately plays the role of Heiya, who is eager to survive and takes on battles with a prosthetic leg and a bow and arrow. Hayato Isomura portrays Banda, a participant in the Solitary Confinement game who is full of betrayal and deceit. In addition, talented actors such as Kai Inowaki, Katsuya Maiguma and Honami Sato stir up this world with new games.

Shinsuke Sato, who has continued directing the series, had been thinking about Season 2 during the production of Season 1 and has meticulously created a story that seamlessly connects with the first season. Sato compromises nothing to deliver Season 2 of Alice in Borderland. What awaits in the end?


Arisu and the others have survived the sadistic games in the Borderland and collected all the pip cards with each cleared game. Having been told about the start of a new battle by Mira, Arisu and Usagi head to Shibuya to clear the face cards but are caught in a sudden shootout. Having hypothesized they could not participate in multiple games at once, Arisu and the others head to a different venue, where they are greeted by the charismatic Kyuma. Although he is an enemy, Arisu is touched by Kyuma’s way of living and thus begins to ponder the very meaning of life. Meanwhile, Usagi begins to feel hesitant about returning to the real world in which her beloved father has died.


Kento Yamazaki


Tao Tsuchiya


Nijiro Murakami


Ayaka Miyoshi


Dori Sakurada


Aya Asahina


Yuri Tsunematsu


Yutaro Watanabe


Hayato Isomura


Kai Inowaki


Katsuya Maiguma


Honami Sato


Chihiro Yamamoto


Tsuyoshi Abe


Sho Aoyagi


Riisa Naka


Tomohisa Yamashita



Director / WriterShinsuke Sato

Born in 1970, originally from Hiroshima Prefecture. While still in college, he wrote and directed the short film Ryonai Genshuku (1994), which won the Grand Prix at the Pia Film Festival. After working on screenplays for Isao Yukisada’s films and other productions, he made his feature film directorial debut with Love Song (2001). He is highly acclaimed for his live-action action blockbusters such as the Gantz series (2010, 2011) and the Library Wars series (2013, 2015). He directed I Am a Hero in 2015, which won five awards, including Grand Prix at the Fantastic Film Festival, one of the three largest film festivals in the world. His film Inuyashiki (2018) won the Grand Prize at the Brussels International Fantastic Film Festival. That same year, Bleach (2018) was released in theaters in Japan and released internationally in 190 countries exclusively on Netflix. Following the release of Kingdom in 2019, Kingdom II: Harukanaru Daichi e released in 2022 and is currently a blockbuster hit. The cumulative box-office revenue of the series surpassed 10 billion yen.

WriterYasuko Kuramitsu

Born in 1983. She studied screenwriting at the Graduate School of Film and Media at Tokyo University of the Arts. After graduating, she worked for video production and distribution companies while writing scenarios for mobile games. In 2014, she won the Fuji Television Young Scenario Award and made her TV screenwriting debut with the drama series Love Song (2016). Since then, she has worked on a variety of films in genres ranging from love stories to medical dramas, including Detective Yugami (2017), QUEEN (2019), and Alive: Dr. Kokoro, The Medical Oncologist (2020). Following Season 1 of Alice in Borderland, she co-wrote the script for Season 2.

Director of PhotographyTaro Kawazu

Born in Tokyo in 1969. He has served as cinematographer on numerous films, commercials and music videos, and won Outstanding Achievement in Cinematography and Best Cinematography at the 43rd Japan Academy Awards in 2020. His major works include the films Love Song (2001), The Neighbor No. Thirteen (2004), Sinking of Japan (2006), and Last Winter, We Parted (2006). He has teamed up with Director Shinsuke Sato on numerous films, including the Gantz series (2010, 2011), the Library Wars series (2013, 2015), All-Round Appraiser Q: The Eyes of Mona Lisa (2014), I Am a Hero (2015), Inuyashiki (2018), Bleach (2018), and Kingdom (2019).

Production DesignerIwao Saito

Born in 1958. He apprenticed under Takeo Kimura and worked on the art design for the film Dogura Magura (1987). In 1996, he spent a year in Europe and the United States as an overseas trainee artist with the Agency for Cultural Affairs. His major works include Nowhere Man (1991), Shimanto River (1991), the Ring series (1998, 1999), Warabi no kō (2003), Josee, the Tiger and the Fish (2003), The Grudge (2004) and The Grudge 2 (2006). With Sato’s group, he was involved in the Library Wars series (2013, 2015), I Am a Hero (2015), Inuyashiki (2018), and Kingdom (2019).

Production DesignerHidefumi Onishi

Born in 1974. He entered the industry at the age of 23 with a part-time TV job working on special effects in Ultraman. From there, he worked for several years as a special effects production design assistant for Godzilla and other projects before starting to work as a production designer for feature films. He has worked as an production design assistant on films by Morita, Yukisada, Motohiro, Tsutsumi, Inudo, Higuchi, Yamada, Ichikawa, Furuhata, One, Hasumi, Nishitani, and others. In recent years, he has worked on Seasons 1 and 2 of The Naked Director and Yu Yu Hakusho for Netflix. He teamed up with Sato on the 2003 film Cosmic Rescue: The Moonlight Generations and the 2011 film Gantz (assistant production design).

MusicYutaka Yamada

Born in 1989. After entering the Senzoku Gakuen College of Music, he studied music theory extensively under composers Toshiyuki Watanabe and Masataka Matsuo. In 2011, he made his debut as an incidental music composer for the television series Marumo no Okite. He has attracted worldwide attention, with the original soundtrack for the TV anime Tokyo Ghoul getting over 100 million views on YouTube, and Eminem sampling Glassy Sky in his track Good Guy (on the album KAMIKAZE). In 2018, he moved to Los Angeles, where he has been expanding his activities both internationally and domestically, including composing for the Chinese film Cry Me a Sad River, animated films produced by Warner Bros., games by Tencent and Riot Games, and Japanese productions including the film Kingdom, the Netflix original series Alice in Borderland and Great Pretender.

VFX SupervisorMakoto Kamiya

Born in 1965. He debuted as a special effects director for the film Whiteout (2000). He was the special effects technician for Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), and the director of the fully CG-animated Resident Evil: Degeneration (2006). Since working on Gantz (2011) with Sato’s team, he has been involved in most of Sato’s films as special effects director and VFX supervisor. Other major works include Bokoku no Aegis (2005), L: Change the World (2008), Resident Evil: Damnation (2012), Human Trust (2013), I Am a Hero (2016), and Kingdom II: Harukanaru Daichi e (2022).

VFX SupervisorAtsushi Doi

Born in 1973. Director of Digital Frontier Inc. Works on VFX as a VFX supervisor and CG director. He won an award for Best Special Effects at the 51st Sitges Film Festival for his work on Sato’s Inuyashiki (2018). He has also worked on Bleach (2018), Death Note: Light Up the New World (2018), I Am a Hero (2016), and many other films directed by Sato. Other films include Resident Evil: Damnation (2012), The Sun (2016), and Detective Dee: The Four Heavenly Kings (2018).

Action DirectorYuji Shimomura

Born in 1973. Director of U’Den Flame Works. After working for Kurata Action Club, he worked as a freelance stuntman. In 2001, he made his debut as an action director in the film Versus. He then studied under Hong Kong action actor and director Donnie Yen. He founded U’Den Flame Works, where he provides action guidance and direction in a wide range of projects including movies, games and commercials. Major films for which he served as action director include the Gantz film series (2011), the Library Wars film series (2013-15), I Am a Hero (2016), Inuyashiki (2018), Bleach (2018), Kingdom (2018), and Kingdom II: Harukanaru Daichi e (2022).

Sound RecordistNagayuki Komatsuzaki

Born in 1973. Major works include the films Bali Big Brother (2015), the Chihayafuru series (2016), Let’s Go, JETS! From Small Town Girls to U.S. Champions?! (2017), Make a Bow and Kiss (2017), Over Drive (2018), Little Love Song (2019), The Sun Does not Move (2021), and Your Turn to Kill (2021).

Line ProducerTomoki Takase

Born in 1979. Since 2003, he has been involved in the production of several hit films, including the 20th Century Boys series ('08-'09) directed by Yukihiko Tsutsumi, which grossed 11.3 billion yen, the Library War series ('13, '15) directed by Shinsuke Sato, which grossed 3.5 billion yen, the smash hit Museum (16) directed by Keishi Otomo, which grossed over 1.5 billion yen, and the blockbuster hit Stolen Identity ('19) directed by Hideo Nakata, which grossed over 1.9 billion yen. Since August 2022, He has been a member of THE SEVEN,INC.

ProducerAkira Morii

Born in 1973. Starting with Maboroshi no Hikari in 1995, worked on the production of several films including Kids Return and BLOOD&BONES. After joining ROBOT COMMUNICATIONS INC. in 2009, produced content for numerous hit series such as Umizaru and Mozu. In 2020, Alice in Borderland Season 1 was a project that was proposed to Netflix when the Netflix Japan office was established. In 2021, he became independent and launched Plus One Entertainment CO., LTD. and has since become one of Japan’s leading hitmakers with viral titles such as YuYu Hakusho and Zom 100: Bucket List of the Dead. He has been a member of THE SEVEN,INC.

About the Original WorkAlice in Borderland

Alice in Borderland is a popular comic book series written by Haro Aso that was serialized in Weekly Shonen Sunday S and Weekly Shonen Sunday (published by Shogakukan) from 2010 to 2016. Ryohei Arisu, a third‐year high school student, wanders into Borderland with his friends Chota and Karube. Eventually, they meet a female mountain climber named Usagi, and they try to survive a series of sadistic games. The story is further accelerated when the stage shifts to the Beach, a place where survivors live as a community. It presents an epic human drama unfolding much like a saga and confronts the reader with the ultimate question: Why do we live? The artwork impactfully portrays the choices Arisu and Usagi arrive at under extreme circumstances while they go through spiritual growth, experience psychological transformation, hit their limits and transcend despair.

Created byHaro Aso

Enrolled in the Department of Bioengineering, Faculty of Engineering, Kansai University. He dropped out of college in his fifth year to become a manga artist and was selected for the Shonen Sunday Manga College Award in 2004. He made his debut in Weekly Shonen Sunday Super with YUNGE! in 2005. In 2008, his comic Hyde & Closer was serialized in Weekly Shonen Sunday. In 2010, serialization of Alice in Borderland began, and it was completed in 2016 with a total of 18 volumes. Subsequently, he published a new chapter, Alice in Borderland: Retry, in two volumes, from 2020 to 2021. The spin-off Alice on Border Road was also serialized in Monthly Sunday Gene-X from September 2015 to March 2018, and he is currently writing the original story Zom 100: Bucket List of the Dead for the same magazine.

Production Note

Shinsuke Sato and the production design team’s realism

Shibuya Station and its scramble crossing were faithfully reproduced in an open set, attracting much attention for Alice in Borderland Season 1. The realism created by merging the best of the art team and the VFX team achieved the vision of the setting sought by Shinsuke Sato.

Production Designer Iwao Saito said, “I aimed to achieve surrealistic visuals to depict an unreal vision of the world.” “Make enormous things enormous and numerous things numerous. It’s tricky, but it will put some people off if you make it too fantastical, even if you do it in the name of surrealism. Reality is still necessary. Director Sato really values explanations. This time, some time had passed since Season 1 and the overgrown Tokyo became important, but now he asks me to explain things that are unexplainable, like, ‘Why is it overgrown and why does that happen?’ (laughs). The most important thing was the scale used in the Beauty Contest game. It wasn’t realistically drawn in the original manga, but the director said, ‘I want to realistically express the gradual tilting until the liquid finally spills out.’ So, I had to consult a university professor about how to best make that a reality. We discussed things like, ‘Wouldn’t the angle change little by little if we used a heavy scale?’ and ‘Let’s create a part for a hook,’ and created a mechanism that would allow the liquid to overflow when the scale was made to slide. I was asked to create a design that was a true work of art using surreal shapes, dimensions, liquid amounts, angles, and other aspects.”

The Shibuya scramble intersection set made in Season 1 was used again in Season 2. In addition, several new sets were built. Along with Saito, Hidefumi Onishi, who was in charge of recreating the Shibuya 109 building and its surrounding roads and drugstores, visited Shibuya every day in the early morning when there were few people around to take photos for reference material and measurements required to make the set. They collected detailed information on finer points, including building entrances, the telephone poles and traffic lights along the road, and the locations and materials of the places with roadside trees, and turned them into drawings. “As I did in Season 1, I walked around Shibuya quite a bit this time as well. Shibuya is a city that is in constant flux, so the public bathroom at Shibuya Station where Arisu and the others hid at the beginning of Season 1 no longer exists. The work actually eternalized the disappearing Shibuya.”

Varied and huge sets

The great number of things in the production design is also something to look out for. For the Osmosis game that features Kyuma, filming was done on location at a container port for approximately one month. This was the part of Season 2 that took the most time and energy. Said Onishi: “It was important for Arisu and the others to be thrown about within a huge place. If it were a small place, it wouldn’t be the Borderland. Although the sheer number of containers was slightly enhanced with VFX, we asked to have as many containers as possible on site. It was a large-scale shoot, with containers being moved around depending on the scene being shot.”

The mind game Solitary Confinement, which Chishiya participates in, was filmed at the former Nara Prison. The place is characterized by its radially extending confinement wards and the cells lined up in them, but of course, instead of being used as-is, it was modified to suit the Borderland. Since the opening and closing of cell doors represent judgments, all the doors were equipped with plates. Hundreds of plates were prepared for this purpose, and the preparation process, which was unique to this work, was to create even the parts that are not shown on-screen.

The Boiling Death game, which starts abruptly at the stadium Heiya visits, is depicted in a terrifying way, with boiling water suddenly gushing out and with many enormous columns of water so big they could destroy the arena. The hot spring, which appears later in an important scene with Arisu and Usagi, is the ruins of a collapsed stadium with debris scattered about. It seems like a dark place at first glance, but it really shows off the wisdom of the production design team.

“We started creating the debris six months ago, and it took two to three months to build the set,” said Saito. “After that was completed, we placed the debris. Each piece of debris was 2 to 3 meters in size, and we made hundreds of them. It’s a set that’s difficult to measure, so I first made the whole image as a miniature set. Then, I numbered each piece of debris scattered there and made a blueprint for each shape. The molding craftsmen made molds based off of those, so I had to show the completed form first. Since the shapes were not simple shapes like triangles or squares, they can’t be made into drawings. Again, quantity was key here. The goal was to make a lot of debris. We had to control everything from shape and texture to quantity. It took a massive amount of effort.”

Sato praised Saito’s work, saying, “That debris set is so amazing that it will go down in the history of Japanese cinema.” It was so well made that it was used in other scenes, and since it seemed a waste to dispose of it, so it was taken over for another movie. Saito said: “This debris felt like a sculpture made piece by piece. This set is also a sculptural, magnificent, experimental world. You could call it a fist-of its-kind piece of work in films.”

Creating an overgrown Tokyo

The most notable thing about the production design in Season 2 is that the city is in complete ruins and plant life has taken over the dilapidated roads and buildings. This is apparent in Shibuya, which is the starting point of Arisu’s newest battle. But as the characters move outside of Tokyo’s 23 wards, trees grow even more lush and give way to mountains. Viewed from a broader perspective, it also means that the trees are gradually encroaching on the city center.

Strong teamwork between the production design team and VFX was essential to creating this vision of the world.

Saito said: “The whole city is deteriorating. It becomes gradually dirtier and starts to fall apart. Time also passes. We needed to create this with reverse calculation. The filming was done separately, so ensuring that the timeline of overgrowth made sense in the completed show was a challenge.”

The degree of vegetation that varies depending on the place and time was divided into five levels, and the way cracks form and the plants grow was set for each level. Saito says he used a map to carefully confirm how each scene was changing over time. “It’s important for the audience watching to be involved in the passage of time, so we emphasized the direction of momentum over the details of the setting. The team simply built a foundation.”

It was necessary to populate the site with actual plants, as well as to add plants with VFX in order to realize the overgrowing of the city. ESPEC MIC Corp. in Aichi Prefecture provided support for the greening of the site. The company does contracting for plant production and natural environment projects such as urban greening, but it is the first time it has been involved in an entertainment project like this. A team led by Toshiyuki Nishida of the landscaping department prepared a large number of 1-square meter sheets growing just grass. These sheets could be connected like a carpet and could be cut and patched to an easy-to-use size. The sheets were fibrous and did not contain soil, making them light to carry. They were also had made to retain water so the plants would not dry out quickly.

“Mr. Nishida found a landscaper in Aichi who handled the sheets and worked with him on planting,” said Saito. “His team also worked on the landscaping of the aerial garden where the Croquet game was held. They really took on the project with passion, including dirtying up the set. I couldn’t have done it without them.”

The VFX team was given the task of managing the way the plants grew thicker as the scenes went further out into the suburbs. VFX Supervisor Atsushi Doi created about 40 image boards for the production of Season 2. He painted a number of bizarre landscapes that Arisu and Usagi would see. To get an understanding of how Tokyo’s neighborhoods — such as Sakurashinmachi, Futakotamagawa, Nakano, Ogikubo and Kichijoji — would be invaded by plant life, the team scouted locations and created an image board. Then, Sato thoroughly checked it over.

Doi explained: “The director has always said, 'I want to make the city feel like it’s getting swallowed up by mountains.’ What we had in mind initially was not that the land had risen to create a mountain, but that a landslide buried the city. However, instead of depicting landslides, we decided that ‘the areas outside the 23 wards would be mountains.’ Around Nakano, we added buildings so that the buildings in Shinjuku could be seen in the distance. The appearance of the building changes depending on the location, so we carefully checked that aspect as well. Both Director Sato and Production Designer Saito value realism, so we had many discussions about how it would be strange for a tree to grow from here or there, for example. The most difficult part of Season 2’s VFX was to make the city overgrown, but it was fun to think about and create the city that I know, rather than an entirely fictitious one.”

In Season 1, the VFX team created a realistic black panther with computer-generated imagery. For Season 2, two powerful elephants were created.

Doi said: “Last time, I went to the zoo to see a black panther, but the animals in the zoo don’t move much… This time, I searched the internet for videos of wild elephants and used that for reference. When I first made the elephant according to the storyboards drawn by the director, it ended up being about 6 meters long (laughs). An actual elephant is about 3 meters and takes up about 4.5 meters of space. We made it look really awe-inspiring.”

The elephants, which received Sato’s seal of approval as “a job well done,” are definitely noteworthy.

Intense action uniting the entire staff

Gamers, climbers, former Japan Self-Defense Force officers, high school students, and other people with various backgrounds are forced to fight for survival. That is Alice in Borderland. Each character has their own personality, even in the weapons they wield and the way they fight. The actors put their bodies to work in games like Checkmate, in which Usagi has to make the most of her physical abilities; Osmosis, which pits teams in a battle at a huge container port, and Survival, with hand-to-hand combat and car action unfolding throughout the streets of Tokyo. Yuji Shimomura, one of Japan’s leading action directors, produced visual storyboards for the action scenes and coached the actors on how to perform them.

Said Shimomura: “We began training the actors three months prior to the start of filming. Aguni and Shirabi needed to practice how to hold guns and how to carry themselves, so we asked Ryoma Muto, a former Japan Ground Self-Defense Force and a gun action advisor, to join us. I wanted wild movements for Usagi, so I gave her animal-like movements that kept her low to the ground. Kuina’s actions are based on karate, so I added some dynamic kicks that look impressive. Karate doesn’t look powerful unless the upper and lower bodies work together, so I had the actor do some simple center-of-gravity-shifting exercises and ‘kata’ form demonstrations. The new character Heiya performed action as well. With the constraints of a prosthetic leg and having to use a bow and arrow, the action scenes were tough for this character. It was Yuri Tsunematsu’s first time performing action scenes, but even though she hadn’t perfected her movements during practice, she did a wonderful job during the actual shoot.”

As the action director for Season 2, Shimomura had hoped to include spectacular car action in urban areas. That happens as part of the battle that unfolds right from the first episode in the King of Spades’ game of Survival.

“Car action scenes in Japan tend to be done in safe places with no traffic, like around a port,” Shimomura explained. “I requested that I wanted the cars to zoom down city streets like in Hollywood movies, and that’s what happened. The car overturning wasn’t CGI, but was done with the help from the car stunts and practical effects department. I wanted to immerse the viewers in the scene, so I had in mind creating a scene with Arisu and the others involved in flashy car action.”

Arisu and the others participate in Osmosis to escape from Survival. It was midsummer when they filmed at the container port. Both the concrete ground and the containers got very hot, making performing the running around required of the action scenes a lot more difficult than anticipated.

Said Shimomura: “Everyone wears clothes that reveal a lot of skin. The spot on the ground where Kyuma would fall onto had to be cooled down using a carbon dioxide fire extinguisher. I had Tao Tsuchiya run and jump on top of the container, but I asked her to do it herself as much as possible while ensuring safety using wires. She has great physical ability and was able to do scenes in a place that would make ordinary people afraid.”

And then there’s the hand-to-hand battle around Shibuya 109 that unfolds at the end of the story. Arisu, Kuina, Usagi and Ann face the unrelenting Shirabi, who gets up no matter how much they attack. A fierce battle involving Heiya and Aguni takes place in a narrow alley in Shibuya. This back alley is actually a fictitious place. Onishi and his production design team scouted all the back alleys of Shibuya and Shinjuku and created “a back alley that is likely to exist in Shibuya.”

Onishi explained: “After confirming the flow of the action with Director Sato and Mr. Shimomura, we created a fictitious alley by the side of the (chain restaurant location) Yoshinoya where the battle would take place, and connected to the (drugstore) Sundrug from there. I confirmed with the action team how wide the road must be in order to actually make the action scenes work. If it’s too wide, then it doesn’t look like a back alley, so I measured various alleys and scouted locations, and I think I was able to create a nice back alley.”

Location Map

  • tokyo
  • yokohamakanagawa
  • chiba
  • saitama
  • gunma
  • ashikagatochigi
  • shizuoka
  • toyama
  • nagoyaaichi
  • nara
  • osaka
  • wakayama
  • kobehyogo
  • kita-kyushufukuoka



3-21-3 Shibuya, Shibuya-ku, Tokyo

Arisu and Usagi flee from an attack by K

Season 2 / Episode 1


2-24-12 Shibuya, Shibuya-ku, Tokyo (Direct access from and right above Shibuya Station)

Arisu and Usagi take on Q Mira’s “game”.

Season 2 / Episode 7,8

Shibaura-Minami Futo Park

3 Kaigan, Minato-ku, Tokyo

Arisu tells Usagi about her resolve to survive in this world.

Season 1 / Episode 4,8


Yokohama Open Set

A huge open set recreates the devastated SHIBUYA109 intersection and the back alleys of Shinjuku.

Season 2 / Episode 4,5,6,7,8

Mosaic Mall Kohoku

1-31-1-2 Nakagawa Chuo, Tsuzuki-ku, Yokohama-shi, Kanagawa

Arisu, Karube, Chota, and Shibuki’s base of operations in “Borderland”

Season 1 / Episode 2,3


Chiba University Hospital

1-8-1, Inohana, Chuo-ku, Chiba-shi, Chiba

The hospital where the players are admitted

Season 2 / Episode 6,8


Clea Konosu

29-1 Chuo, Konosu-shi, Saitama

Arisu and Usagi see Kuina off on her journey.

Season 2 / Episode 4



Hakusan, Shimonita-cho, Amaraku-gun, Gunma

Arisu, Aguni, and Heiya come up with a plan to defeat K.

Season 2 / Episode 5



284-5 Gojibe-cho, Ashikaga-shi, Tochigi

The Shibuya Scramble Crossing recreated

Season 1,2 / Episode 1,8



Ann investigates “outside of Tokyo” in a mysterious forest with the atmosphere of the Sea of Trees.

Season 2 / Episode 5,6,7

Shizuoka Convention & Arts Center GRANSHIP

2-3-1 Higashi-Shizuoka, Suruga-ku, Shizuoka-shi, Shizuoka

Game scenes shot with VFX and set in Arata Isozaki’s famous architecture

Season 2 / Episode 5,7


Joshi Street

Toyama-shi, Toyama

The street in front of the station is blocked off for a while with a car chase in action. A cut was shot as the centerpiece of the car action.

Season 2 / Episode 1



Naka-ku, Nagoya-shi, Aichi

Arisu and his friends flee from the pursuit of K on a six-lane boulevard.

Season 2 / Episode 1

Kinjofuto-P.City of Nagoya

2-7-2, Kinjo-futo, Minato-ku, Nagoya, Aichi

Arisu tries his best to find Usagi who got lost.

Season 2 / Episode 5


Naka-ku, Nagoya-shi, Aichi

The longest section of the city center was blocked off, and the biggest car chase in the history of Japanese video was dared!

Season 2 / Episode 1


The Former Nara Prison

18 Hannyaji-cho, Nara-shi Nara

J set in an actual juvenile prison that operated from 1908-2017: the shooting of “Solitary Confinement”

Season 2 / Episode 3,4


Sakuya Konohana Kan

2-163 Ryokuchi-Koen, Tsurumi-ku, Osaka-shi, Osaka

Arisu, Karube, Chota, and Shibuki take on 7’s “game”: the venue of “Hide and Seek” venue.

Season 1 / Episode 3,4

Osaka Shinsaibashi BIGCAT

BIGSTEP 4F, 1-6-14 Nishi-Shinsaibashi, Chuo-ku, Osaka-shi, Osaka

Live scene of the band led by Kyuma

Season 2 / Episode 2

Yanmar Stadium Nagai

1-1 Nagai Koen, Higashisumiyoshi-ku, Osaka-shi, Osaka

Heiya’s first “game”, 7: the venue of “Boiling Death” (Boiling Pot)

Season 2 / Episode 4


Nanki Shirahama Resort Hotel

768 Iwasaki, Kamitonda-cho, Nishimuro-gun, Wakayama

Shooting the main lobby, etc. at the “Beach”, the ideal world for the players

Season 1,2 / Episode 5,6,7,8


the Former Foreign Settlement of Kobe

Chuo-ku, Kobe-shi, Hyogo

Arisu and Usagi’s reunion and the two walking down the street at night, shot with the area blocked off.

Season 1,2 / Episode 4

Kobe Minatojima Tunnel

Chuo-ku, Kobe-shi, Hyogo

Arisu and Usagi’s first attempt at 4’s “game” together: “Distance” shot in a block-off weekend night.

Season 1,2 / Episode 4

Kobe Port Island

Chuo-ku, Kobe-shi, Hyogo

K’s “game” led by Kyuma: the venue of “Osmosis”.

Season 2 / Episode 1,2,3

Kobe Ikuta River

Chuo-ku, Kobe-shi, Hyogo

Recorded footage left by Kameyama, shot with an 8mm film camera.

Season 2 / Episode 4

Kobe Rokko Island Marine Park

Higashinada-ku, Kobe-shi, Hyogo

Arisu and his friends after clearing a “game”.

Season 2 / Episode 3



5-2 Ohata-cho, Yahatanishi-ku, Kitakyushu-shi, Fukuoka

Arisu and his friends being chased by K

Season 2 / Episode 4,5

Adachi park

Kokurakita-ku, Kitakyushu-shi, Fukuoka

Arisu, Aguni, and Heiya intercepts K’s attack.

Season 2 / Episode 4,5

Hibikinada Thermal Power Station

1-94-4 Hibiki-cho, To Wakamatsu-ku, Kitakyushu-shi, Fukuoka

Q’s “game” at a state-of-the-art thermal power plant using biomass fuel: the shooting of “Checkmate”.

Season 2 / Episode 5,6


  • Super Teaser Trailer
  • Official Trailer

Original work: Alice in Borderland  by Haro Aso(published by Shogakukan in Weekly Shonen Sunday)

Director: Shinsuke Sato


  • Kento Yamazaki
  • Tao Tsuchiya
  • Nijiro Murakami
  • Ayaka Miyoshi
  • Dori Sakurada
  • Aya Asahina
  • Yuri Tsunematsu
  • Yutaro Watanabe
  • Yuki Morinaga
  • Keita Machida
  • Hayato Isomura
  • Kai Inowaki
  • Katsuya Maiguma
  • Honami Sato
  • Chihiro Yamamoto
  • Nobuaki Kaneko
  • Tsuyoshi Abe
  • Sho Aoyagi
  • Riisa Naka
  • Tomohisa Yamashita

Writers: Yasuko Kuramitsu, Shinsuke Sato

Music: Yutaka Yamada

  • Director of Photography: Taro Kawazu
  • Production Design: Iwao Saito, Hidefumi Onishi
  • Visual Effects Supervisor: Makoto Kamiya, Atsushi Doi
  • Action Director: Yuji Shimomura
  • B Camera Operator: Hideki Shima
  • Gaffer: Jin Kobayashi
  • Sound Recording: Nagayuki Komatsuzaki
  • DI producer/Color Grading: Seiji Saito
  • Visual Effects Producer: Kentaro Nishio
  • Technical Supervisor: Norimasa Ishida
  • Set Decoration: Koichi Hirai, Shoichi Yamagishi, Sakura Sakaki
  • Editing: Tsuyoshi Imai, Shokichi Kaneda, Kazumi Wakimoto
  • Music Producer: Kohei Chida
  • Practical Effects: Kazuaki Sekiyama
  • Gun Effects: Kikuo Notomi
  • Script Supervisor: Sakura Yoshino
  • Stylist: Haruki Koketsu
  • Hair and Make-up: Mariko Honda
  • Special Makeup Effects: Kakusei Fujiwara
  • Casting: Sawako Ozu, Yoshino Kusuma
  • Assistant Director: Kazuyuki Yamagishi
  • Production Manager: Shinichiro Yoshida
  • Executive Producer: Kaata Sakamoto(Vice President of Content, Netflix Japan)
  • Producer: Akira Morii
  • Line Producer: Tomoki Takase
  • Production Cooperation: Plus One Entertainment
  • Planning and Production: ROBOT
© Haro Aso, Shogakukan/ROBOT
ONLY ON Netflix