Time again for terror! Lisa’s been captured, Twelve’s made his choice, and Nine stands alone. With three episodes left, it seems unlikely this will all end in smiles and rainbows, but I’d sure like for Lisa and Twelve to get out of this, at least. That may defeat the show’s purpose, though – Nine’s anger is just as understandable as their connection, and no one can really escape the world they’re born into. All you can do is adapt or burn the damn thing down.
Incidentally, vestenet made a great post about Zankyou’s historical context over at Isn’t It Electrifying. I’d definitely check that out to see some of the more specific unrest and political circumstances Zankyou’s building on!
Alright, let’s get to terror.
0:34 – I like this line. It works for her while also striking at the common fear here. Kids can be rebellious, but only for so long
1:40 – And I always love this transition in the opening – Twelve’s boyish smile in the first shot turns menacing when viewed through a sterile camera. The difference between a boy and a terrorist is a matter of distance
4:16 – And this is his first line. He’s the opposite of a child, a member of the old guard
4:20 – And even as a representative of the structure itself, he’s now simply an old man living without family. Nine and Twelve aren’t monsters, but neither is he
5:18 – Wonderful framing for this shot. Light represents the illusion of safety and transparency, but we are always surrounded by darkness. Not to mention the voyeurism implied here
8:59 – You’re powerless as long as they hold the threat of expulsion over you. That sort of makes Hamura the bravest of them, since he has the most to lose
9:31 – On the nose, but yeah. Dehumanization etc. And they continue to call each other by those numbers. We perpetuate what society makes of us
10:32 – I always find the fear of “inhuman AIs dictating our society” pretty funny, because we’re more or less already there. The diffusion of human responsibility across massive organizations removes empathy from the equation – corporations and governments essentially already are our robot oppressors. And nothing is anyone’s fault
11:03 – And again with the framing. A small window of light in the darkness
12:36 – A nice shot
13:33 – The music helps a lot. I’ve never seen a bomb defusal framed as an intimate scene before
15:30 – Loving this scene. They can only have this conversation in the context of the violence Twelve has learned
20:38 – Nice shot. Not surprising the lights shut off the moment he betrays Twelve
Our family is in ruins. That was a strangely lovely little scene with Twelve and Lisa – I really liked that their closest emotional moment was basically mediated by the bombs themselves. And now that the (fairly obvious) full story has been revealed to Shibazaki, it looks like we can move towards the big ol’ finale. I’m ready for the bombs to fall!