The Future of this Blog

I've debated on whether or not I would stop this blog at the first half of the show, and use it as a means of enticing readers to watch the show first (although, honestly, if you've read this far, it seems pretty ridiculous to not have already). But I decided to continue this on in the coming days. This blog originally started as an English project for my college course, but since I've started it, I've found that this is both extremely difficult and extremely rewarding. So, while there may or may not be another small hiatus in the coming days, I can assure anyone reading this that I will not only finish this first season, but also entertain the idea of doing the same with the upcoming second season (which is coming soon this year, I believe). So if you've enjoyed it so far, stick it out with me into the future, and for Professor Shin, if you're reading this I'll be sure to let you know immediately when I add more!

Episodes 13-16 (The Man in the Mask)

Ah, yes. So begins the better half of Psycho-Pass. Not that the first half wasn't fantastic, but its the second half that really shows what the anime's truly getting at. As I've said, it's always important to make sure one sets up an environment and characters that make a story believable and engaging, but it's what one does with all those elements that brings the entire production together. Within this arc, we see a number of questions about our characters answered, relationships flourishing, familiar literature cameos, the loss of an important character a showdown revisted from the beginning, and the initiation of this town's downfall. And did I mention reveals upon reveals? We also keep up our discussion of identity, looking at how it can be manipulated for another to utilize, as well as the idea of man's more natural and primitive aspects rising up in defiance to the control of technology. So without further ado, let's get into it!

Chasing Makishima

Following the incident between Makishima and Akane, the trust placed in the Sibyl System by the CID is understandably shaken. After all, if the deciding force on justice is unable to function properly, how then can justice be served? Yet another example of the caveats of entrusting everything to an "ultimate" power. The Chief of the MWPSB has been aware of this flaw in the system for 3 years now, and shares with Inspector Ginoza the existence of people who are "criminally asymptomatic", or are unable to be accurately measured in Sibyl's eyes. In other words, these individuals, though extremely rare, exist outside of the form of justice imposed on this society, invisible to the system. Though this flaw is alarming (as it's been made obvious that this can lead to devastating situations), the chief claims  it is still necessary to trust in the system, as it has brought around an end to stress. The purpose of Sibyl has been to remove the need to put in effort to make a decision for one's own self, and as Makishima says, it has crippled humanity as a result. Chief Joshu does admit, however, that some human input is indeed necessary for the system to be effective; hence, the use of the Inspectors and Enforcers, who serve as a safety net for cases that go beyond the system's abilities. And plus, those who can slip through the cracks of the system are merely 1 in 2 million, so there's no real problem, right?

But of course, there is. Through the mass distribution of special helmets that emulate a below-regulation CC of a nearby individual, Makishima has released a crime spree and mass psycho-hazard on society, one that cannot be detected and contained by the Sibyl System. He likens this world to that of Philip K. Dick's Do Androids Dream of Electric Sheep, a novel we are all to familiar with. The idea of a world in which the complications of technology have become so great that man has become unsure or ignorant of his own true identity...Makishima detests this idea, and so we see his true motive: to return man to his rightful identity, in which he decides his actions himself, and accepts those actions' consequences on his own. THe implementation of a device that allows one to commit crimes, without the worry of the Sibyl System's response, seems to almost reveal the presence of stress that was supposedly not around anymore. It seems that what ha been thought to be eradicated, had actually just been pushed deeper and deeper, becoming pressurized and volatile, an explosive that merely needed a spark, a spark Makishima is more than willing to provide

REVEALS, REVEALS, REVEALS.

Perhaps some of this may be strictly plot-based, and not really pertaining to my analysis of the ideas within the show, but I believe they all connect back to them in some way. That, or I just really enjoyed how much information was given to us in these episodes.

From the start of episode 13, the information keeps flowing in. Our favorite stoic Inspector, Ginoza, suffers from elevated CC, an occurrence that could surely prove detrimental, if left to flourish. However, while this is important, it is even more so important to be aware of who he seeks to meet with one-on-one to talk about a number of issues: none other than the Masaoka. And why is that? Well, as his therapist suggested, who better to talk to than family? Yes, Masaoka is none other than Ginoza's latent criminal father! The evidence prior to this reveal does become more obvious once you think about it. Indeed, their relationship seemed the most like that between a father and son (besides maybe Kogami and Masaoka, but that's another story): Masaoka is often ready to defend Ginoza, but is never afraid to put him in his place when necessary. And so we see a man who became disgusted with the Sibyl System's robbing of human will and decision (and thus becoming labeled as a latent criminal), and his son who bore witness to his descent, and has resented it since he was young. I will say, without giving away spoilers, that this relationship becomes especially  important in the coming episodes, so be sure to keep it in the back of your mind.

We're also given confirmation on another character's special abilities. In an effort to find and capture Makishima, Akane agrees to a memory scoop, a process in which memories are relived, and information is removed and made accesible through a database. Naturally, this process may ordinarily seem like an effective one, but in cases of traumatizing experiences, they are indeed prone to increasing CCs to irrevocable points. Nevertheless, we're presented with Akane's determination to find Makishima, and fortitutde as a detective. Indeed, as Karanomori observes, Akane's PP and CC are extremely resilient, recovering almost immediately after their elevation. Is it possible that this may be a factor in her rushed entrance into the CID? Another day, another question.

Return to the Beginning

For me, there are two huge points that occur in this block of episodes that really turn the show on its head. The first of which is where we catch up to the point presented to us in the first few seconds of the pilot episode: the first meeting between Makishima and Kogami. It's an interesting conversation, to say the least; a quoted duel between the two, with Pascal and Ortega as the weapons of choice, before an actual fight breaks out. The interesting point is that the two are so very similar on a number of levels, and connected in their differences. Though they may not look anything alike physically, (Kogami's color scheme being predominantly black, and Makishima's white), they represent the opposite of each other, or rather, a complementing situation. Kogami is portrayed here as a more wild,emotionally charged individual, whereas Makishima seems more calm and collected, even calculating. This is quite similar to the difference and complements we see in the personalities of Neuromancer and Wintermute. They exist separately, but these two, like Neuromancer and Wintermute, are inexplicably connected to each other, seeking out one another with a passion.

But let us not forget about Akane. In an effort to save Kogami, she knocks Makishima unconscious, ensuring his capture. However, Kogami demands that she kill Makishima immediately. Here we see the provess that Makishima has sought to revive in action. Akane is engulfed in grief and rage at the death of her friend at the hands of this criminal, and is fully prepared to see Kogami's command through. However, and with great effort, she is able to control her emotions, and make the choice to instead arrest Makishima, and bring him into custody. This decision is made in the face of overwhelming powerful emotional desires, an example of man's ability to control the darker forces inside himself with his constructs of common sense and reasoning. This ability has been lost with the supervision of the Sibyl System, and it is these processes that have become almost extinct in this society as a result.

DEATH AND SURPRISES

But enough about all that. Let's get to the next moment of extreme awe. For this, we go to everyone's favorite laidback character, Kagari. Whereas Kogami and Akane went to face off against Makishima, Kagari sets off to apprehend the hacker in the bowels of Nona Tower, where, we learn, the true nature of the Sibyl System resides (for this part, follow the link in the next sentence, and finish the episode to its end). Kagari's apprehension of the hacker comes after he succesfully cracks into the Sibyl System's shell, revealing...well, it doesn't reveal what it is, but based on both of their reactions, it is something so mind-blowing, it could end the existence of the system completely. "Mind-blowing" is the word of the day here, too, as we see the death of the hacker come at the hands of Chief Joshu. But not before we're given yet another reveal...the chief is not a human at all, but a cyborg, composed of a completely mechanical body, just as Senguji was. As I said, the form of the Sybil System seems to be something that no one could possibly fathom, and is a secret, a secret that costs Kagari his life as well. What's interesting about his death is that the Dominator use by the chief is originally unable to apprehend him as a threat. However, it becomes forced to (presumably by the chief), transforming into Eliminator mode, and silences Kagari for good. This leaves us at the end of these episodes with the biggest question of them all: What IS the Sybil System's true form?


(Unrelated side note ahead, completely apart from the information above. Also, it's all personal belief, so disregard as necessary)

KAGARI WAS THE MAN. Honestly. Of all the supporting characters, he was always my favorite. Maybe it's because of my own connection with comedy a desire to always joke around? Who knows. But this hurt to watch (again). Classic death of the most human character. Ugh.

Episode 12 (Yayoi Kunizuka)

Episode 12 gets its own post because it serves as a separate story apart from that which we left in episode 11. However, while many may see it as a sort of "filler" that pads out the season, I've found that it provides a fair amount of information on the pasts of some of our lesser-known characters (specifically Yayoi Kunizuka), as well as a look at the mindset of individual of the public who, like Makishima, oppose the Sibyll System's dominance in society.

A Quick Summary

First, we're presented with the backstory of Yayoi 3 years in the past from the story left in episode 11. An ex-guitarist for a band authorized by Sibyll, we find her incarcerated in the rehab ward for latent criminals. She is then recruited by Kogami (who was still an Inspector at the time) and Ginoza to enlist in the MWPSB as an Enforcer. Playing upon her desire to play music, which, Ginoza comments, is just as capable of being a poison as it is a medicine, they are able to utilize her knowledge of underground music (and antisocial) culture to discover potentially dangerous anti-Sibyll activists. However, Yayoi encounters a girl named Rina, who she previously knew before her rehab, who is found to be a member of these activist organizations as well. Despite her pleas, Yayoi is unable to stop Rina from continuing her actions, and Rina escapes with the rest of her group. Acknowledging her lack of power, Yayoi agrees to become an Enforcer, and joins the CID.

What to Take Away

So why is this episode important? For starters, we get our first actual glimpse at the life of Sasayama. Seen as reckless and predatory, he's depicted as Kogami explained him: short-tempered and quick to make decisions. What's interesting is that we see glimpses of this predatory behavior in Kogami in the present; perhaps these shared lapses into an almost beastlike state are a connection that Kogami both acknowledges and cherishes.

Another important point is the brief insight on the population who resist the Sibyll System's dominance. Rina talks a great deal about the fact that this system clips not only the artistic creativity of society, but (like Makishima points out) it is flawed, and causes serious repercussion on the public as a whole. While their methods may be up there with Makishima's in the destructive category, it is nonetheless a response that the audience (and myself) can't help but agree with to some extent, having experienced the first 11 episodes.

And on a small side note, this episode marks the beginning of one of my top favorite OPs for a show of all time. It's just fantastic.

Episodes 9-11 (The Hunting Test)

We're back once again to our analysis of Psycho-Pass!  The story is starting to really ramp up, and these last couple episodes have really brought all the large players together for the first time. Concerning the Hunting Game Arc (as I like to call it that, for the sake of convenience), we continue our discussion on the ideas of identity and ontology, specifically looking at what constitutes humanity, as well as witness one of the most pivotal scenes in the entire show, leading us out of the first half of Psycho-Pass. Just a note: this post may be a bit shorter than the previous ones, as may be those that follow. This is due to a few reasons, but primarily because I've noticed that I may be spending too long on discussing the story. So, the plan is to focus a bit more on the analysis aspect, and try to get my points across in a more concise manner. Because, let's be honest, if you're reading this, chances are high that you've already seen the episodes each post corresponds to; there's no need for me to explain every plot detail. So with that out the way, let's jump right in!

Man and His "Cage"

This arc may be one of my top two favorite cases in the show overall, and this is due to a number of things. First of all, we finally get into the idea of human identity and the effect of body modification, specifically the cyberization of man.We see this idea in countless other works that we've discussed before, like Neuromancer, but the one that comes closest to mind for me has to be Ghost in the Shell. We're provided with our next Makishima interest, Toyohisa Senguji, a man who, save for his brain and nervous system, is completely cybernetic, effectively giving him life until his brain dies. His situation is extremely similar to that of Kusanagi's, consisting of a vast amount of artificial machinery, and a small amount "human" latched into it. However, whereas Kusanagi questions her existence and identity in the scope of humanity, Senguji shuns the "limiting body" made entirely of organic materials, claiming it as a cage. He believes in the idea of Platonic epistemology, in which Plato states that the soul existed long before the body appeared, and was knowledgeable in the true state of things. However, with the confinement of the material body, this knowledge has been lost, and the quest for knowledge itself is a means to reclaim that all-knowing existence, free from the "hindrance" of the material realm. Therefore, Senguji claims, that since the world is already entrusted to electronics and technology, man himself is already a cyborg, or well on his way. Why, then, would he not simply commit to it entirely, and remove himself from his"cage" completely? This is along the same ideas as that of transhumanism, in which man seeks existence on a plane that is not chained to the material.

The Thrill of the Hunt

It goes without saying(at least, for me, anyways) that Senguji comes of as both an uncanny and unsettling character. Perhaps it's the wide-eyed, wickedly gleeful look he always seems to have. Or maybe, it's his overwhelming desire for a thrill. It is this thrill, we see, that pulls Makishima to him, and sets the case's proceedings in motion. His desire for the greatest prey of all is based around the idea of revitalizing himself, stating that by hunting and capturing his prey, their souls invigorate his mind, the sole surviving trait that is human within him. He shuns the idea of physical immortality, for reasons explained above. As such, this provides Makishima with a fine opportunity to test his newest interest, Kogami. Through the guise of kidnapping Akane's friend Funahara Yuki, he lures Kogami into a hunting "game", in which Kogami's abilities to think intuitively are put to the test, with Yuki's live and his own on the line. Here we see the continuation of the theme of human life becoming synonymous with that of a beast. Even Kogami makes the reference to a fox hunt. One interesting point is during the scene when Senguji states that his blood is now "set afire", a common phrase, but significant coming from an individual who has thrown away all but their brain. Perhaps this sensation suggests that there is no real means of disconnecting one's mind from explaining or experiencing things through material means? Or perhaps it's just a simple turn of phrase? Something to (maybe) think about

The Past...in the Future?

What I always find fascinating in Psycho-Pass is the impact that items and aspects of the past make on understanding the world in which the story takes place. Again we see a number of items from the past mixed with that of the future. For instance, within the hunting grounds, we see a number of hunting traps that exist from a time far closer to our (the audience) time than that of the show's. Likewise, we see that Senguji utilizes and old-fashioned hunting shotgun as his weapon of choice. These items all speak a fair amount about Senguji's character, though it does seem confusing. While it is true that he is man who lives for the hunt, he also seems intent on removing himself from the ideas of old when it comes to life and transcendence. Why, then, is he so enamored by a time long past, thanks to the progression of technology? This is, in part, answered by Makishima, who, in discussing his perception of Kogami as a "wolf", explains that in the face of fear, man learns himself, and becomes able to surpass his imposed limitations. This he sees in both Kogami and Senguji; hence, this hunting game.


Not only are there instances of items of the past, but also the ideas and studies from a time before as well. Enter Professor Saiga. While Saiga's home is also riddled with anachronistic items (CDs, old-school furniture, OLD BOOKS), he himself serves as an example of a now-antiquated branch of teaching. Before the implementation of the Sibyll System, he was both a college professor, specializing in Clinical Psychology, and an aide in criminal investigation. He explains to Akane that individuals give numerous signs that are extremely subtle, but reveal untold stores of information about that person. These patterns were the original source of apprehending individuals, but after the appearance of the Sibyl System, Saiga was considered obsolete, as his lectures caused elevated PPs and Crime Coefficients. For me, it seems that this speaks to some of the forced control the system pushes onto this society. If the knowledge of being able to understand the truth about an individual is considered too risky, does that not say something? The inhibition of learning to be aware of one's surroundings can become detrimental, as stated in previous posts. The laziness that occurs when told what is right and wrong, as opposed to learning it, leads to a broken society, one that is merely a shadow of what it could be.

Makishima, Center Stage

Speaking of what's right and wrong, we move on to the biggest scene to date: the first encounter between the CID and Shogo Makishima. We find him holding Yuki hostage when Akane apprehends him. Here we learn more about what makes Makishima tick (for this, I'll just post this here, and encourage that you just watch until the episode's end). This dialogue serves as the pivotal moment in which we see the dangers of the Sibyll System explicitly spelled out. Because Makishima's Crime Coefficient is not elevated, he is not seen as a threat in Sibyl's eyes, a feat even he himself cannot explain. However, as he slowly tortures Yuki in front of helpless Akane, he questions Akane's ability to determine the definition of crime and the difference between good and evil. Society has become so reliant on the Sibyl System as the deciding force on right and wrong, that it possesses no individual input. In fact, it has muted it, to point that it has been all but snuffed out. And therein lies the problem. This means that individuals like Makishima, those who are outside of the realm of judgement of the Sibyl System, are free to do what they please without apprehension. Are they, then, the new definition of good? Naturally, this is hard to accept, as seen in Akane's slow descent into despair over her helplessness. The system merely decided a strict good and a strict evil, with no inclusion of the human will. This removed the strength to act independently as a human, taking the ability to judge and individual away, and essential human quality (to judge something, and act on one's will). Because of this, Akane is forced to bear witness to Yuki's murder at the hands of Makishima, with no means to stop it, because she has, as Makishima put it, been crippled by the system in place, a system he wishes to bring down.

This brings us again to the same final question as before: Is what Makishima doing the right thing? Or, to put it better: Are his actions a necessary evil, in order to regain the human identity that this society has lost (or forfeited) for the luxury of blindly following the Sibyl System?

Episodes 6-8 (Specimen/Plastination Case)

Following the conclusion of the Spooky Boogie case, we are thrust into another case almost immediately. We move on to the case of the murder and dismemberment of individuals, recreated in the style of a past serial killer, Touza. Within these episodes, we delve more into the identities and background of not only our male protagonist, Kogami, but we're also given more insight into the enigmatic Makishima. We also discuss the presence (and absence) of stress, and how this society's response to it affects its efficiency.

As we saw before, Mitsuro Sasayama, Kogami's past partner, was murdered during the Specimen case years before, which has recently been revived. As a result, Kogami is taken off the Case by Ginoza, as he claims that Kogami possesses "too many emotions" to function properly. This, from the start, brings up an interesting discussion point: Is it better or worse to erase all emotion during situations like these? In one hand, past beliefs and emotions can color the present situation, blinding the individual to potentially important details. On the other, however, it is just as possible to miss information when is not personally invested to some degree. In Kogami's case, there is the desire to discover the mastermind behind Sasayama's death, an incentive that could (and does, we later see) prove beneficial to the investigation.

We are also presented with a small interlude into the background of our stone-cold Inspector, Ginoza. During a conversation with an MWPSB chief, Joshu Kasei, we learn that Ginoza's father also suffered from an irreversible elevation of PP, and that he should be wary of the same. His reaction is of interest, as it seems to affect him on a deeper level than simply having an old man who has been deemed a criminal threat, and brings up question on that relationship as a whole.

One of the lighter aspects of this show are the small implications of a time past that have somehow survived in this futuristic setting; of course, these are in no way less important to the overall fabric of the story. For instance, in the beginning of episode 5, we're presented with a dialogue between Akane and Kagari within the break lounge of the CID. Old arcade boxes litter the room, but are still functioning and used. In a way, their inclusion almost seems uncanny, an anachronistic existence in a time far past their original creation, especially since they are going out of style in reality today (though, this is not the case in Japan, and would explain the creator's inclusion of them). Likewise, the simple vice of alcohol, a worldwide staple of a dangerous addiction, is all but extinct outside of cooking purposes, replaced with "virtual tripping," a druglike state in which the user is able to experience sensations and perceptions unlike their own. This reminds us of the simstim within Neuromancer, which also function upon the idea of escaping one's own reality, and experiencing another's.

But back to the task at hand. During Kogami's "off-the clock" investigations, we discover that there is a connection between the recent murder of female students of an all-girl's academy and that of the Specimen case. This leads to the idea of a common element between the two cases: assistance to help individuals with the motive to kill, by providing the means to act upon that motive. In other words, someone (who we find out is Makishima) is function as a "non-existent ghost," one who functions much like Project 2501 from Ghost in the Shell. He moves from person to person, creating the impetus (or "hacking") in that person, creating an opportunity for them to enact upon their motives.

And so, we find this to be true, as we are introduced to Ouryou Rikako, the most popular student at the academy, and our current killer. Following in the footsteps of her father, Ouryou Rouichi, and his art style, which also influenced the killer from the Specimen case, she is the next one chosen by Makishima. Between the two of them, we are given a philosophical take on the state of man within the "cushioned" lifestyle under the Sibyll System. Makishima presents the disease of serenity, which is impossible to avoid in a society that seeks to stamp out stress at all costs. This manifests itself negatively, Makashima explains, as a disease called Eustress Deficiency Cerebral Infraction, something Rikako's father has contracted. Essentially, it exists as a side effect of too much stress care. For individuals, stress, in moderate amounts, is beneficial to one's psychological existence, as a constant opposing force that requires management. However, because of the constant therapy care in this society, there exist a poisonous effect on man's ability to function. During his life, Ouryou Rouichi believed in the idea that the acknowledgement of the cruelty within man's heart led to the ability to gain the constructs needed to control said cruelty (reasoning, common sense, etc.). However, with the implementation of the Sibyll System, there exists no need to control said cruelty, as it is controlled by an ultimate force, not by man himself. As a result, man loses the ability to control himself and to evolve, and is ultimately crushed. As Rikako states, looking down on her next victim, she discusses Kierkegaard ideas on how unless man knows despair, he cannot know hope. We see this same idea in Albert Camus's analysis of the Myth of Sisyphus, in which he claims that man's existence is confirmed by his ability to despair and scorn and existence. Without this, he has no means of understanding the quality of his life, forced to play out his life as an "absurd hero" who has no means of appraising his own life. Is this not the same thing that occurs in the society of Psycho-Pass?

And yet, these cases all come to a close, even if they leave more questions than answer. We're presented with the implicit effects of the Sibyll System's heavy influence on human emotional responses, as seen during one girl's grieving for her murdered friend. In fear of PP elevation, grief has become a fleeting action, in which it must be quickly dealt with, a course that cannot prove to be healthy in the long run. As the CID closes in on Rikako, we see Makishima's abandon her, claiming that she proved disappointing in her actions and planning, and has her executed. On the other hand, he takes up an interest in Kogami, fascinated in his ability to grasp the truth of the situation from a few minute details. This establishes a connection, a sort of "rivalry," that provides the audience with the initiation of the story moving to the showdown seen in the series' pilot.

One of the biggest questions to mull over: Is Makashima a bad guy? True, he creates instances in which crime can flourish, and cause havoc for others, but he also acknowledges the creeping poison that is infecting the society under the Sibyll System , and seeks to destroy it. While his actions may be questionable, is his ultimate goal a negative one, or something that could become the saving grace of the people of the city?

Episode 5 (Spooky Boogie Case Conclusion)

In the first arc, we were given an overall presentation of the environment Psycho-Pass exists in. Introduction of characters, personalities, and social hierarchy were the primary goals within the shows beginning. However, it is now time to go further in, to pass the surface, and determine that which exists underneath, and motivates the story. So too is this true in Psycho-Pass. Herein we discuss more explicitly the effects of such advanced technology on this society, as well as philosophical ideas that support (and oppose) the implementation of said technology.

Episode 5 (Spooky Boogie Resolution)

We find our favorite unit of the CID in the midst of determining the murderer of famous avatar users on the net, by the request of Spooky Boogie, a fellow avatar of veritable popularity. Though this society is almost entirely engrossed by the use of technology, there still (as always) exists those who are not as concerned or knowledgeable on its intricacies. Cue Masaoka, our oldest member of the CID unit. We see an apparent divide between generations on the idea of now-household ideals and beliefs on the presence of the net, in which Akane claims that Masaoka is part of "an endangered species". The mindset of society has determined that since this tech is there, it should just be accepted without question; after all, why would it be detrimental? Therein, Masaoka suggests, lies the problem. Society is based around a number of constructs (language, currency, etc.), all of which are tools used to communicate and connect with others of our species (see: The Discosure of Inequality), but with the society that exists in Pyscho-Pass, the needs for these constructs are severely lessened by the presence of the Sibyll System's influence, so the question arises: Is this technology truly beneficial?

On the point of technology, we're giving more insight into the various amounts of tech which exist in this world. We're giving a glimpse of the procedures in investigating the house of Masatake Mido, the primary suspect of the murders. Infiltration is delegated once again to the drones, which are usually used for the majority of labor-intensive chores in the criminal department. Likewise, we also see the inclusion of body modification within the society, reminiscent of Molly from Neuromancer. From the artificial hand of Masaoka, to the "shutter-blind" eyes of Choe-Gu Sung, we see a number of body tech examples that are utilized in the fields or interests of the individuals. However, one of the more interesting discussions on the technology in within the society comes from that of the avatars in the net. When referring to the still-active avatars of individuals who have been murdered, the CID labels them as "ghost avatars" that imitate the dead (for instance,  Talisman and Melancholia). However, there are small nuances that can never truly be imitated, as seen in Kogami's realization that Spooky Boogie has also been murdered.

As stated before, there exists this dependence on these technological advances. What becomes even more uncanny is the idolization of these ideas. We see this at the end of the episode, during an interaction between the ghost avatars and their new handler, Masatake Mido. He essentially worships these three avatars, stating that they are entities "most close to Plato's 'idea'." This refers to Plato's theory of forms, which states that though the information experienced through sensation is important, the most influential and essential things that affect us are the non-material ideas and goals, entities that exist outside our realm of interaction on a physical level. Examples of this would be reasoning, morality, and truth, things that are immaterial but extremely important to our identity as social creatures. We see this idolization and devoutness turned on Mido, unfortunately, as the avatars are manipulated by Mido's own benefactor, Makishima himself. By turning them against him, Makishima exposes Mido's lack of personality, which allowed him to impersonate anyone else. This void consumes Mido, psychologically breaking him, and showing that Mido's identity was never stable (or formed, possibly) on its own, leaving him unable to function.

The episode ends with Akane's perception of Kogami throughout the case, which prompts Ginoza to enlighten her on Kogami's background within the CID: an Inspector demoted to Enforcer after the psychological effect of losing his old partner, Saseyama. This leaves us with an important question: Where is the line that, once crossed, one cannot recover one's PP?

Back from (a small) Hiatus

So as anyone can see, it's been a while since I started posting to the blog after the first two initial posts. This was mostly due to an onslaught of tests, papers, and presentations over the last couple of weeks (which, I can assure, were far from desirable). Nevertheless, with the majority of work out of the way, it's time to come back and finish up our look at Psycho-Pass, so let's get to it!

Episodes 1-4 (The Introduction Arc)

Like every show, it's important to grab the viewer's attention from the start. I mean, without it, you've forced the audience to try and justify continuing on, and this already puts a strain on the relationship between the show and the audience. In an attempt to avoid, Psycho-Pass starts us off in medias res, presenting us with a fight scene that we have no context for. We're immediately inclined to ask questions, to seek knowledge about a fight scene we have no information on. Of course, we're left with these questions in the back of our minds as the story jumps back to its beginning. Therefore, we too can jump back to it as well.

Setting

The story is set within the year 2113 in a futuristic city (assumed to be located in Japan, though I believe it is never explicitly named) where the stress of living has been mitigated by the implementation of the Sibyl System, a complex network that rules over the city's society, much like an absolute justice system. Throughout the city, there are points in which each individual's psychological state and potential are analyzed and quantified into a number, their Psycho-Pass (it's the name of the show, so it MUST be important). This system is considered the end-all be-all on the potential threat of individuals within the society. Already here we see the idea of an overall technological entity maintaining the well-being of humanity, much like how we saw in William Gibson's Neuromancer, with the god-like jurisdiction and power Wintermute and Neuromancer possess in the Matrix. This Psycho-Pass is determines the potential threat of an individual; the more elevated the number, the more dangerous the individual is considered to be. We see this explicitly explained within these first 4 episodes, from the average joe Nobuo Okura of episode 1, who goes off the deep end due to his PP (Psycho-Pass) reading, to the meek and mild-mannered factory worker-turned-killer in episode 3. What is most interesting about both of these instances of elevated PP, is the fact that the crimes committed by each of these individuals is committed after elevation. Okura does not kidnap the woman until after he is flagged by the Sibyl System, and the worker no only commits a crime after his PP rises, but it also lowers itself and clears up afterwards. Not only that, but there also appears to be a contagious effect of a clouded/elevated PP on those surrounding them. Having been kidnapped and held hostage by Okura, the woman herself adopts an elevated Psycho-Pass, one that is outside of parameters. Even though she is strictly a victim of circumstance, she is nevertheless treated as the same as Okura. This brings in the question of the efficiency of the Sibyll System overall. Is it truly as efficient as it claims to be? Or is it merely a construct that has corralled humanity into a false sense of safety?

Technology

Being set in the future, it's no surprise that Psycho-Pass hosts a expansive list of technology years beyond our time. As seen in the works we discussed in class, while the presence of machines, programs, and robots in everyday life can make things much more simple, it seems that a caveat of this advanced technology is the somewhat heavy dependence that can occur with it. Outside of the Sibyl System (we'll return to it in a moment), we're frequently given glimpses of the technology at the disposal of society. For instance, in the beginning of episode 2, we're given a scene in which our protagonist (who will be discussed later) is capable of commanding a program to cast a hologram that transforms her apartment from a simple one into a 5-star hotel room. Not only that, but this same technology is utilized for personal appearance as well. This idea reminds me of a more superficial version of the technology seen in Dollhouse. While individuals may appear a certain way, they are instead altogether different from what they show. This, in and of itself, shows a malleability of personal identity this society...if you don't like what you look like, simply change it with the press of a button. A pretty convenient option, indeed. This same technology also seems to be used within the public safety domain as well, though I personally found its use a little disconcerting.

However, the piece of technology that tends to stick out the most of all is the Dominator. Shaped like a handgun, this device is the most effective means of determining (and apprehending) individuals with elevated PPs. Dominators are only usable by registered members of the Ministry of Welfare Public Safety Bureau, Criminal Investigation Department (also known as the CID within the MWPSB). It is this organization that is tasked with the apprehension of criminals, a detective/police force, if you will. Each Enforcer and Inspector (again, explained later) is capable of establishing a link whilst using a Dominator, usually signified by a blue glow in their eyes. The Dominator is capable of two settings: a non-lethal Paralyzer mode for subduing suspects, and a lethal Eliminator mode, for dispatching threats. These guns are linked to Sibyl System, and are only capable of firing at individuals with PPs considered too elevated by the system (this is an EXTREMELY important point to remember later on, as the show progresses).

Characters

At last, we reach the part in which we can look at one of the show's most important aspects of all: the humans that exist in this world. For the entirety of the show, the focus remains on the members of Section One of the CID. From the wise-cracking Kagari, to the uptight and by-the-book Ginoza, to the "father figure" Masaoka, the audience is given a myriad of characters and personalities to observe. However, the story tends to fall around the two main protagonists: Akane Tsunemori, the newly appointed (and inexperienced) Inspector to Section One, and Shinya Kogami, a veteran Enforcer in the CID. Between these two, the audience is faced with opposing approaches to the cases presented in the show: the optimistic (and sometimes naïve) ideals of Akane, versus the hunting tactics of Kogami.

One of the most interesting things about the CID is the hierarchy that exists within its ranks. Section One is divided into two groups: Inspectors and Enforcers. Inspectors are considered to be the ones in charge, and are capable of giving orders and commands to the Enforcers. This is because the Enforcers are actually what are called "latent criminals". This is a term given to an individual whose PP is elevated past the acceptable level, but instead of being detained, they are used to analyze and predict the actions and thoughts of other latent criminals. In fact, within the first few minutes of the first episode, the nature of the Enforcers and their purpose are made explicitly clear. Already we see another instance of the duality of humanity in this world: the "normal", those who have been deemed acceptable by this absolute power, and the "aberrant", those who deviate from what is normal, and are considered dangerous to the well-being of the majority. This also emphasizes the idea that a select few must suffer for the preservation of the many. However, what makes the connection to hunting all the more interesting are the tendencies for Kogami to became enthralled in the hunt of a criminal, seen in episode 3's ending. Is it possible that the social constructs under which this hierarchy exists could lead an individual to embrace this "beast" label? Is this considered forfeiting humanity, and if it is, is it a positive or negative choice?

Of course, the question that may be the most intriguing are those surrounding the importance of Shogo Makishima. An enigmatic character for sure, we see him for the first time since the beginning of the entire show, in the ending of episode 4. What is his connection to the Spooky Boogie murder, and what is is purpose as a character overall? For that, we'll have to look to the next set of episodes, which will be found in the next blog post!

It's no surprise that people are intrigued by, and wonder about, the progression of technology in humanity's future. Robots who take care of the menial tasks we drudge through each day, androids who are able to speak and even "think" like we do, instantaneous transportation...the span of man's imagination of what the future holds is boundless. And yet, there still exists that small nagging voice in the back of our minds: What if it's not all it's cracked up to be? Is it possible that there could be some caveats that would arise, as we push forward relentlessly? These two sides of the topic are both perspectives that can be discussed to great length; as a result, it's no surprise that numerous forms of media have attempted to parse out the pros and cons of technological advancement.

The style of Japanese animation, often nicknamed "anime," has produced numerous visions on the state of man's future with technology, ranging from co-habitation with androids and robots to post-apocalyptic wartime against invading machine forces. As expansive as the style is, I've chosen to focus on a fairly recent addition, Gen Urobuchi's Psycho-Pass. Released in 2012, the show is set in a future not too removed from our own present, and is for the most part a gritty detective program. However, it also delves deep into the concepts of transhumanism, ontology of the human, and the impact social structure has on personal identity, all viewed through the lens of dependency on technology. It should be cautioned that this blog is not a means to provide an in-depth summary on the entire series, but rather to tie in the aforementioned ideas with a number of literature works and articles discussed in class. Granted, there will be spoilers (obviously), but to get the full effect, I would encourage anyone who reads this to watch the show first, or at least the corresponding episodes for each post. Other than that, there's not much to say, so I hope you enjoy!