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?
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