The deadly consequences of yuri. Anyway, I apologize if this is a bit of a rush job compared to my previous entries.
Plot summary: Shinya uses his detective smarts to identify Oryo as the culprit. Unfortunately, he lets an old man prevent him from apprehending the suspect. Not that it would’ve mattered anyway, since the Dominator would’ve just annihilated the girl. I mean, wouldn’t they want to question her? Oh, this is the plot summary section? Okay, to continue on… Makishima initially helps Oryo escape, but she soon realizes that she has been betrayed. Makishima no longer takes an interest in the girl, so he allows for her to be “raped,” so to speak. See the analysis below for an explanation of what I mean.
• Makishima: “If the academy doesn’t take action, they’ll have to answer to the parents.” I would have expected them to answer to the parents after just one unsolved murder, let alone two.
• I like and dislike Oryo’s feminist spiel at the start of the episode. I dislike it because it’s too obvious. To echo my complaints from the previous week, PSYCHO-PASS has a tendency to beat its audience over the head with its message. This academy trains young women to become nothing more than trophy wives! So I literally turn them into trophies! Remember the mystique of the first victim? It was interesting to decipher what the statue meant. It was fascinating to see how other people interpreted the same piece of “art.” In the end, I think we came close to what Oryo says at the start of this episode, but without the anime having to spell it out. The message could be found within the visual narrative of the anime itself. So what I’m disappointed by is that the writer just decided he couldn’t hold it in any further. He had to tell us now! The dialogue isn’t necessarily boring, but it also felt unnecessary and uncreative.
So what do I end up liking about the spiel anyway? Just that it’s not everyday that you find an anime character decrying the shackles of the “good wife, wise mother” role. All I want, however, is for this message to be presented in a visually interesting way. Hey, it’s anime, not a dissertation!
• This is not so much a flaw with the anime, but a flaw in Oryo herself. Oh, so she’s perceptive to how society pigeonholes young girls into a single role? Well, what does she do about it? She just constructs gruesome statues. She said last week that she’s bringing her father’s work to life, but it’s unclear how these statues are supposed to make people confront their human despair. In the end, she seems to be a purposeless killer.
• Y’know, it’s bizarre to me that our lovable gang of detectives continue to think Toma is the prime suspect just because plastination is involved. From what I can tell, the previous cases of plastination yielded grotesque corpses. What Oryo has done, on the other hand, is so markedly different. But then Akane says, “Based on the analysis of the chemicals, I could only think that the possibility has increased that this is the same culprit from three years ago.” Uh, only if the culprit suddenly has the flair for the fabulous! I mean, seriously now… criminals don’t just suddenly become artists.
The fact that the victims have been turned into art is itself a clue! Hey guys, here’s a hint: all art is derivative in some form or another! Maybe you could use all your amazing computer technology to look up similar works of art to see where the culprit gets his or her (yes, we all know it’s a she, but the characters don’t) inspiration!
• So of course, this sets Shinya up to look like a genius! But oh no, the genius has been taken off the case! Instead of actually making Shinya a genius, however, the writer has instead opted to make everyone else incredibly dumb.
• Oh dear, Akane beams when Shinya invites her to come along with him on their own private investigation. It’s the one time she doesn’t look droopy-eyed.
• We get to visit a facility where the dangerous members of society are kept or trapped, depending on how you choose to interpret it. First, we see a guy surrounded by dolls, then we see another guy who appears to be into drugs. We also see a guy who is deeply interested in… books? Is learning a crime? Is he some sort of anarchist who takes in dangerous literature?
First, it’s surprising to me that these dangerous members are allowed to keep such contrabands. It makes you wonder if rehabilitation is the goal at all, or if the System simply wants to conveniently remove these people from the population.
Second, you’ll notice that they’re all males. Finally, these images are all rather transparent, aren’t they? Oh, the obsessive otakus, the zombified drug users… the enemies of any police state.
• Shinya also tells us that the facility won’t hesitate to vent poisonous gas through the vents in an emergency. This is a cruel and barbaric society beneath all cleanliness.
• Well, I guess instead of looking it up on the internet, you could always go ask some nutjob for clues instead. But yeah, a strange guy in the facility identifies the artwork easily. That’s usually how it goes.
• Strange guy: “It was because they were not superficial, trendy art. Instead, they contained firm fundamental themes.” Uh huh. Yo anime, are you trying to convince me or are you trying to convince yourself?
• Way to go, old man:
Now those kids will never buy into authority cuteness again! But anyway, I’m assuming that Shinya’s under Akane’s authority. Why did she not bother to mention to her colleagues that Shinya would be showing up at campus? Is this how a brilliant professional of the MWPSB operates? Instead, she opts to run up at the very last second to say, “Please wait! There’s a suspect among the students!” Gee, a little warning would’ve been nice.
• How on earth does Shinya know where to find Oryo? He just walks straight to her location on campus.
• Why would the headmaster tackle Shinya? Did he not hear the massive 473 coefficient? Or does he doubt the Sibyl’s judgment? And of course, an old man restrains a super fit guy long enough for Oryo to escape.
• In the end, Oryo disappoints Makishima, and he quotes Tamora, a character from Titus Andronicus:
“So should I rob my sweet sons of their fee:
No, let them satisfy their lust on thee.”
To give you a little context, Tamora is the one who directed her two sons to rape and mutilate poor Lavinia. Lavinia begged Tamora to just kill her, because for women back then, losing your virtuousness was worse than death itself. But recall Oryo’s rant from the very start of the episode. What is the purpose of the boarding school? To turn young women into proper ladies so that they may become trophy wives. What would these rich husbands likely desire least of all? A tainted woman for a wife. So in the end, Oryo meets a similar fate as poor Lavinia. One of her legs gets caught in a trap, and a robotic hound slices one of her hands, probably removing a few fingers. Not only that, look at how the old man at the end kills her. He aims a rifle (a phallic symbol) straight at her head and fires a shot so powerful that it literally sends her head flying (removes her maidenhead, i.e. her virginity). That’s one way to rape a girl without being explicit about it.
• So how does Oryo disappoint Makishima? He rejected Mido because he felt Mido wasn’t original enough. I guess you could say that Oryo merely imitated others, but I suspect there has to be something deeper than this. Makishima seems like an agent of chaos, someone whose purpose is to disrupt the System in power. Perhaps he feels neither Mido nor Oryo are impactful enough in their crimes. After all, Makishima sees the society as one being in a deep slumber, its senses deadened by “serenity.” Anyway, he now has his eyes set on Shinya.