Psycho-Pass, Episodes 1-11
Jan. 8th, 2013 11:19 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
snarp1) I really like the setting and the casual way it's established, like the scene where Tsunemori leaves her apartment and everything in it goes dark, or the one when where we realize her hands aren't on the wheel of the car. It's unusually neatly done for a dystopian anime, a genre not known for its careful thinking-out of what technological change means: There are no random newspapers lying on the ground, as is a standard indicator of urban poverty even in the far future, and no one can find their way around without GPS.
2) But the crimes these people are solving are pretty goofy and over-the-top, and the primary villain is a perambulating cliche. How many narratives does the world need about a criminal mastermind who becomes obsessed with the law enforcement officer trying to bring him/her to justice? No, I'm serious. Let's establish a solid number on this and then perform a census.
3) Tsunemori, please become a bit more badass for me. You seem to be vaguely aware of pop culture, so you should have figured out by now that you are in the kind of show where your breed of anxious, male-approval-dependent heroine gets kidnapped and used as dude-hero bait by the supervillain. Episodes 10 and 11, particularly, should have clued you in.
4) Kougami's characterization doesn't really make any sense. He loses his shit whenever it's convenient to scare Tsunemori, then is fine again in situations that might more reasonably be expected to set him off.
5) I appreciate that Ginoza, the serious dark-haired glasses-wearing guy, 1) is not the cool-headed hypercompetent one, and 2) really resents that. He probably goes home and broods about it: "I know how anime tropes work, this just isn't fair!" Also, I think Masaoka called him "-kun" at one point. And that is funny.
6) Masaoka is totally Ginoza's dad, right?
7) The ostensible lesbian couple basically just look at things and act inscrutable all the time. I'm going to be mad if one of them ends up gorily dead for plot-propellant purposes. But not surprised. A lot sexualized female corpses in this series.
2) But the crimes these people are solving are pretty goofy and over-the-top, and the primary villain is a perambulating cliche. How many narratives does the world need about a criminal mastermind who becomes obsessed with the law enforcement officer trying to bring him/her to justice? No, I'm serious. Let's establish a solid number on this and then perform a census.
3) Tsunemori, please become a bit more badass for me. You seem to be vaguely aware of pop culture, so you should have figured out by now that you are in the kind of show where your breed of anxious, male-approval-dependent heroine gets kidnapped and used as dude-hero bait by the supervillain. Episodes 10 and 11, particularly, should have clued you in.
4) Kougami's characterization doesn't really make any sense. He loses his shit whenever it's convenient to scare Tsunemori, then is fine again in situations that might more reasonably be expected to set him off.
5) I appreciate that Ginoza, the serious dark-haired glasses-wearing guy, 1) is not the cool-headed hypercompetent one, and 2) really resents that. He probably goes home and broods about it: "I know how anime tropes work, this just isn't fair!" Also, I think Masaoka called him "-kun" at one point. And that is funny.
6) Masaoka is totally Ginoza's dad, right?
7) The ostensible lesbian couple basically just look at things and act inscrutable all the time. I'm going to be mad if one of them ends up gorily dead for plot-propellant purposes. But not surprised. A lot sexualized female corpses in this series.
