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Forest of Illusions

About Forest of Illusions

L.I. Underhill is a media critic and historian specializing in pop culture, with a focus on science fiction (especially Star Trek) and video games. Their projects include a critical history of Star Trek told through the narrative of a war in time, a “heretical” history of The Legend of Zelda series and a literary postmodern reading of Jim Davis' Garfield.

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“We’re on a mission from God.”: The Chase Smells Like Cheesecake and Death

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It would be one thing if all Dirty Pair did was ramble through different film and literary genres parodying and riffing over them in the process. It’s reliance on Long 1980s postmodern cinematography notwithstanding, that would not be an especially novel concept. What Dirty Pair needs to do is to carve its own niche within the televisual landscape of the era: Not just making witty commentary, but delivering its own unique message about what science fiction means in this day and age. The books are very upfront about declaring that it’s Kei and Yuri’s purpose to usher humanity into a new era, by fire if necessary, but the anime does seem to prefer building to this ultimate revelation a bit more methodically.

We will, of course, eventually get there, and sooner rather than later. And while “The Chase Smells Like Cheesecake and Death” at first seems like a complete romp, this episode is in truth another step towards that (I mean, it is a complete romp too, but it’s more than that). This is another great example of how postmodern cinematography and knowing constructed artifice can be used to emphasize different narrative truths, and be a bloody fantastic evening of entertainment to boot. The comparisons…Well, they’re obvious, aren’t they? There’s no way this is anything other than a knowingly wry and comprehensive send-up of The Blues Brothers. For those unaware of that particular movie (for shame), The Blues Brothers is a 1980 comedy film by John Landis, John Belushi and Dan Akroyd based on their Saturday Night Live sketch of the same name. Both concern the titular Blues Brothers, a blues revivalist band fronted by Belushi’s and Akroyd’s characters Jake and Elwood, who grew up in a Catholic orphanage and form a blood pact by cutting their fingers with a guitar string said to belong to Elmore James after being introduced to the genre by the orphanage’s janitor.

The film sees Jake and Elwood breaking parole to reunite their band to perform a benefit concert at the orphanage they grew up in, which is facing foreclosure. They go on a cross-country quest, which Jake constantly reminds us is “a mission from God”, to locate their old bandmates, all the while being hunted by the police as part of a ludicrous car chase that lasts essentially the entire movie. The climax is a thing to behold, with Jake and Elwood screaming through a downtown metropolitan area in the “Bluesmobile” trying to shake their pursuers, whose ranks have been bolstered by the addition of a Neo-Nazi group and a country band, whom the brothers somehow managed to also arouse the ire of.

And, true to form, “The Chase Smells Like Cheesecake and Death” is about three-quarters car chases throughout the neon canyons of Elenore City, with Jake and Elwood replaced by Kei and Yuri and the Bluesmobile replaced by two slick motorcycles. Dirty Pair even manages to *one up* The Blues Brothers in this respect because the police here have futuristic hovercars and go after the girls in *three-dimensional traffic* before the epic showdown on an incomplete section of bridge held aloft by a helicopter.…

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“Television makes a lotta sense.”: Go Ahead, Fall in Love! Love is Russian Roulette

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The Dirty Pair anime is often seen to be heavily influenced by spy-fi, in particular James Bond. There’s been a whiff of gadgetry about the franchise from the beginning, of course, and the Angels certainly act, at least superficially, like what we’d commonly think of as high-tech secret agents. But the link is much clearer on the TV show, even down to the obvious lineage in its title card logo. But Dirty Pair doesn’t reference James Bond just to reference it: Just like its parent series, the anime is as much about its medium as it is a part of it, actively going out of its way to send up television genres, and, in this case, the show is taking TV spy-fi and turning into an experimental laboratory for postmodernism.

In this regard, the better point of comparison isn’t James Bond, but rather Danger Man and The Prisoner, which “Go Ahead, Fall in Love! Love is Russian Roulette” seems immediately reminiscent of. The opening moments are right out of a heist movie, with a super secret super spy breaking into a highly fortified vault to steal an important-looking doodad conveniently in the middle of the room on a pedestal which he reaches just in time to get laser-vaporized for his troubles. Then we cut to a shot of a TV monitor broadcasting our would-be hero’s untimely demise, with a bunch of visibly affluent gents looking on judgmentally. Then of course comes the first big joke, where Yuri gives us our exposition about this sacred poker chip that brings its owner artificially heightened luck that he’s using to monopolize business at the local casino planet while Kei grumps about being called away from vacation. So, in the space of three cuts, the narrative has jumped from heist movie to spy-fi thriller to Dirty Pair.

This also means that a premise a self-evidently overblown and ridiculous as sacred poker chips that control the fate of the universe has broken less capable action heroes, but is just overtime to the Lovely Angels.

First off, this episode is once again a laugh riot. After the mediocre, yet necessary, boundary-drawing of last week, the show is back to the rapid-fire exquisitely-timed humour that will become its hallmark. My favourite bits are near the beginning when Kei and Yuri are trying to navigate the confusing streets of the casino planet in their hovervan and multi-car pile-ups spring up around them, the girls’ banter in the bar, which also gives us another good display of Yuri’s Yamato Nadeshiko act, and when Sydney tries to drive them through King’s hedge maze and makes dramatic swerves every five seconds. But, speaking of King, he’s the most important thing about this episode. His name is, of course, symbolic: He’s obviously the “kingpin” of a gambling empire, but he’s more than that. It’s odd (yet savvy) how little this gets commented on in the episode itself, but King is clearly a media mogul as well.…

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“Because the kids know where it’s at”: Do Lovely Angels Prefer Chest Hair?

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After the giddy heights of “How to Kill a Computer”, Dirty Pair dials things back significantly for its second outing. Don’t let the name deceive you, “Do Lovely Angels Prefer Chest Hair?” is a far more straightforward outing than its predecessor. It is by no means my favourite episode, and I have a hard time imagining that it would be anybody’s favourite episode-It is, in fact, stultifyingly mediocre. That said, it’s not utterly terrible, and in many ways it’s the episode this show needed to do at this point in time for the audience it has.

What’s interesting about this episode from the vantage point of someone who owns the complete series on DVD is how unlike the rest of the show it is. For one thing, it is a direct sequel, picking up in the aftermath of the explosion in the Leaning Tower of Damocles and pretty much the entire 3WA hating Kei and Yuri’s guts. Weirdly, in spite of its sci-fi magazine heritage, Dirty Pair has never been much of a serial, even on this show, usually preferring to make its stories largely standalone, although set against the backdrop of a unified constructed world (and yes, this is a storytelling structure I tend to be in strong support of, at least for television). This episode, however, is explicitly dealing with the fallout from last time, and Gooley even assigns the girls a supervisor in the form of consultant Graves because he no longer trusts them. Even the case is low-key; a bog-standard example of corporate rivalry where an starline company sends undercover agents to sabotage their rival’s ships by planting bombs designed to emulate engine failure-Certainly not the kind of thing that would put the fate of humanity at stake.

It’s extremely trivial to explain why this episode exists. It is obviously about explaining to viewers of the anime who might not be familiar with the book series why we should sympathize with Kei and Yuri even though utter destruction follows them everywhere, and it needs to get this across in twenty minutes. Graves starts out as an utterly contemptible character, lounging around in Gooley’s office, throwing his weight around and treating the Angels like spoiled children, even making it absolutely clear he only wants them on the mission so the can check the women’s restrooms onboard the starliner and that he thinks they never do their jobs. He is a a truly repugnant combination of the worst aspects of the Western film noir antihero and traditional, outmoded Japanese conceptions of masculinity and the inherent superiority of elders. This is what Kei is mocking when she tells Yuri that she’s sure Graves must have chest hair, and that she hates men who do: She’s saying she has no tolerance for men who literally wear their manliness on their chest and flaunt it in front of everyone.

Because of course Kei and Yuri are consummate professionals and figure out what’s going on long before Graves does, it’s just we have to get through an extended zero-G firefight on the exterior hull and have the whole ship almost crash into a major metropolitan area to prove that.…

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SIGKILL: How to Kill a Computer

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That Dirty Pair would eventually make the leap to animation is a total no-brainer.

Although clearly indebted to Golden Age science fiction, this is a series that has always placed deliberately over-the-top, staged action sequences high on its list of priorities. Haruka Takachiho may be a master at prosaic imagery, but the fact is Dirty Pair has always been an intensely visual series. After all, Yoshikazu Yasuhiko’s illustrations are just as iconic to the look and feel of the novels as Takachicho’s own writing is, and you can’t inherit as much from professional wrestling as Dirty Pair does and not end up tackling visual media in some form. The question was not if there would be a Dirty Pair anime, but precisely how the series would bring its unique spin to the medium because, perhaps counterintuitively, there are also some things about it that make it somewhat hard to adapt.

Chief among these is the fact the the novels are told in the first person from Kei’s perspective (or rather, what she wants us to think her perspective is), and this ties into their use of extremely clever postmodern and self-aware literary techniques. Kei being an unreliable narrator and an oral storyteller firmly working within the conventions of serialized sci-fi, light novels and fanfiction means that a great deal of Dirty Pair’s uniqueness comes from being a book series in the first place. For the anime to succeed on any level other than a purely superficial one, it’s going to have to translate this sense of knowing and pointed structural playfulness into some equivalent visual media form.

Which, thankfully for everyone, it does. But to get an understanding of how, we once again have to take an extremely fine-toothed comb to the proceedings here, as this is another case where a lot of meaning is deliberately left to be conveyed through subtext and subconscious association. First of all, fans of the novels will likely immediately notice that everything looks a lot different in “How to Kill a Computer” than it did in The Dirty Pair Strike Again, which was, if you’re playing along at home, just last year. Kei and Yuri now look quite a bit more cartoony (as does Mughi), though not in a bad way, and their outfits have been slightly tweaked to make them brighter so they stand out on 1980s TV sets. The girls’ starship, the namesake Lovely Angel, is a completely different vehicle. In the novels, Kei describes something that sounds like a cross between a rocketship, a flying saucer and a fighter jet, but the anime’s Lovely Angel looks like a pink, superdeformed Star Trek Phase II USS Enterprise (Andy Probert and Matt Jeffries version, not James Cawley version).

(This was by no means unintentional. The show’s director was a massive, massive Star Trek fan and would slip in references at every opportunity. Trekkers may also want to take note of the readout on the computer monitor Yuri is looking at during the episode’s opening moments.)…

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“All Aboard the Express Kundalini!”: The Dirty Pair Strike Again

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I trust we all have a pretty solid understanding of how Dirty Pair works by now, so there’s no need to go into quite the same amount of detail as we did last time. Especially since The Dirty Pair Strike Again has a great deal of complex and head-spinning twists, turns, themes and motifs all its own. If you thought the first book was an overabundance of mad brilliance, this one will disintegrate your brain. In a good way.

First of all, I just want to say this book has possibly the most amazing opening chapter in the history of literature. Four years have passed between the first Dirty Pair book and this one, and, as if sensing that we’d missed the girls when they’d been away, Haruka Takachiho tosses us one of the most captivating, over-the-top action scenes I at least have ever read. Kei and Yuri are sitting in the 3WA headquarters with their testy chief after their latest successful, yet disastrous, mission. The chief chews them out for destroying an entire planet (which of course wasn’t their fault) and the Angels play along with exasperation. Yuri goes through an elabourate routine of mock-grovelling while Kei openly rolls her eyes at her idiotic superior and tries not to break out giggling at Yuri’s masterful performance. Then, out of nowhere, the entire freaking front side of the building explodes and in fly a bunch of flying shadow ninjas in jetpacks firing indiscriminately at everything in sight.

What happens next is nothing short of sheer poetry. Kei and Yuri fall back to the roof of the 3WA building where they take off in single pilot needle-nosed rocketship jet fighters and pursue the shadow ninjas throughout the entire city, as Kei naturally gives us a truly riveting play-by-play commentary. Power plants and chemical refineries are utterly razed by the firefight, causing gigantic explosions that reach into the upper atmosphere and level whole city blocks in a single blow. The Angels dogfight with the shadow ninjas in the skies above major metropolitan centres, weaving in between Blade Runner skyscrapers before straight shooting out of city limits and soaring over expansive fields and rolling meadows. And then, best of all, Mughi (who, need I remind you, is a giant sentient alien cat beast who is also chief engineer of the girls’ starship) charges headfirst into the fray, leaps fifty feat into the air, snatches said shadow ninjas out of the sky in mid-flight and then field pitches them straight into said skyscrapers, toppling them like bowling pins made out of Jenga. It is a breathtaking, awe-inspiring scene of inconceivable carnage and indescribable beauty.

And on top of that, it’s an utter jaunt to read, keeping you smiling every step of the way. Kei is as sassy, snarky, sharp and whip-smart as she’s ever been, and her comic timing is dead on. Her storytelling is a spectacle unto itself. Not only is it absolutely hilarious, it effortlessly and vividly evokes the kind of cinematic splendour I didn’t think was even possible to convey through prose, and it goes on like this for fifty-four whole pages.…

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Sensor Scan: Coast to Coast AM

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The Long 1980s are usually seen as the era when the sweeping hegemonic counter-revolution came in and tore down all the radical mainstream institutions and media artefacts people had spent the Long 1960s putting into place. And there is an extent to which this is true, and indisputable. However, by virtue of being in many ways the high water mark of what we now call “traditional” or “old” media, the Long 1980s were also the period where people working in those structures pushed them to their limits and beyond. People have something to say in every era, and there will always be those who call for positive change, and they will make their voices heard in one way or another.

So, put another way, even though the Long 1980s can be argued to be the point where large-scale media consolidated itself to be firmly and inexorably a part of the authoritarian establishment, there were just as many people who freely acknowledged this, yet continued to use their master’s tools against them. Television may have become the boot of the oppressor, but, whether you think it was successful or not, Star Trek: The Next Generation certainly strove to be a force for material social progress, as did its sci-fi colleague across the pond at the BBC (but we’ll get to that soon enough). You can say the cinema of the 1980s swept away the auteur, experimentalist cinema of the 1970s, but there were still films like Nausicaä of the Valley of the Wind. Thanks to Nintendo, the video game industry was as energized, inspired and full of life as it would ever be. And, the Long 1980s were really the last time pop music was allowed to be openly radical and critical of the status quo without making a ton of concessions, with people like Siouxsie Sioux, Laurie Anderson and Nena topping the pop charts.

And on the airwaves, on the one hand you had most of the medium being co-opted into the neoconservative revolution leading to a profound shift in the essence of talk radio. On the other, you had Coast to Coast AM.

Though the pioneer of paranormal radio is widely accepted to be Long John Nebel, who for years ran a wildly successful talk show out of New York that dabbled in the supernatural and conspiracy theories, the archetypical, definitive example of the genre really can only be Coast to Coast AM hosted by Art Bell, and later George Noory. Like Nebel before him, Bell was a tremendous showman, bringing a fire and zeal to his performance and quickly gained fame and recognition for his dogged pursuit of a huge swath of different topics, from the expected paranormal gossip and hypothesizing to quantum physics, theology, philosophy, science fiction and flagrantly radical political topics from all angles of the spectrum (which was an early indication of both the strengths and weaknesses of Coast‘s overall impact in my opinion).…

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Sensor Scan: Nausicaä of the Valley of the Wind

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My house sits on a small meadow, at different tiers owing to the craggy glacial deposits that make up this part of the country. The lower portion of the meadow is flat, tapering off from its hilly upper portions and ending in a small pond we used to swim in a lot when I was younger. We don’t swim in it anymore though because a series of powerful rainstorms followed by two consecutive hurricanes in recent years, caused the pond to overflow its banks, kickstarting the process of ecological succession. It’s now slowly transforming into a wetland. The children of the previous owners liked baseball a lot, and used to use this part of the meadow as a baseball field. In fact, you can still see the small piece of shale they would use as home plate, though each year it vanishes further and further into the ground as the grass grows around it. The meadow is surrounded on all sides by mixed broadleaf forest, and on certain summer days in June the wind hits the deciduous trees at such an angle that the sunlight is reflected brilliantly off the bottoms of the leaves. If you were to look up on those days, you would see towering, rolling structures of cloud drifting by in the endlessly deep blue summer sky, and might catch a glimpse of a distant plane travelling far overhead.
Nausicaä of the Valley of the Wind is not a movie. Nausicaä of the Valley of the Wind is not a manga. Nausicaä of the Valley of the Wind is somebody’s magnum opus. This is a life’s work collected to chronicle one person’s metamorphosis and growth over the course of a career. The piece we get to look at today is but a tiny, tiny fraction of an indescribably, incomparably sprawling work of philosophy and emotion (as all works of art ultimately are, but this one embodies this truth better than others), and yet even so it still manages to be a crystal clear, defining statement by and about its creator, even if it only catches him at one specific moment in time.
Where can I even begin talking about something like this? I suppose with Nausicaä’s medium, Hayao Miyazaki, an artist who is as acclaimed and beloved as he is misunderstood. Miyazaki and his Studio Ghibli are major players in what’s often called the Renaissance Age of Animation: Roughly lasting the period between 1985 and 1995 (though people do squabble over the start and end dates), this period saw animation as a medium almost completely casting aside the negative connotations it had accumulated, however fairly or unfairly that may be, over the course of the Long 1960s. For the first time since the 1940s, critics began to sit up and take notice of the work animators were doing and cartoons began to be taken seriously as legitimate forms of creative expression for what was, in retrospect, probably the last time.
…

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Sensor Scan: Reading Rainbow

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Talk about Roots all you want, it definitely deserves it. But from my perspective, if you want to get a handle on LeVar Burton’s personality, style of acting and overall legacy, there’s only one place to look.

It doesn’t get commented on anywhere near enough that Reading Rainbow and Star Trek: The Next Generation were on the air at the same time. Having started Reading Rainbow four years before being cast as Geordi La Forge and continuing an additional twelve years after the television voyages of the USS Enterprise NCC-1701-D came to an end, Star Trek was LeVar’s night job, quite literally so in some cases. This makes him somewhat unusual among the Trek pantheon, and also means that between 1987 and 1994 he was arguably one of the busiest, most hardworking people in Hollywood. And consider what that was like for an entire generation that was at the age where they would have been familiar with both shows: Imagine how cool it felt to see one of your childhood heroes in costume onboard the Starship Enterprise on one of the highest rated and most talked about shows of the time.

One has to wonder if there wasn’t some element of design in this. Patrick Stewart’s later phenomenal acclaim tends to eclipse the historical reality that he was by no means intended to be the main attraction of Star Trek: The Next Generation in the beginning. He was hired because he’s a gobsmackingly brilliant thespian, of course, but, just like everyone else on that cast, he was an unknown in the United States and any fame he came to was the *result* of Star Trek: The Next Generation‘s success, not a cause of it. Well…When I say everyone was an unknown, I mean everyone except LeVar Burton, that is…who *was* already well established thanks to both Roots and a beloved and award-winning children’s television programme he hosted. Yes, believe it or not, LeVar Burton was the one bit of celebrity casting Paramount allowed themselves, was wildly more known and popular than any of his co-stars at the time, and was likely somebody who was the main draw for Star Trek: The Next Generation to a lot of people in its early days, be they skeptical OG Trekkers, mainstream audiences, or kids who were fans of Reading Rainbow.

I know he was for me. I was one of those people who came to Star Trek through LeVar Burton, being a big admirer of his other work. In fact, the very first piece of Star Trek merchandise I ever got was the reissued Wave 1 Playmates Geordi La Forge figure. That’s not to say there weren’t other things that caught my attention about Star Trek: The Next Generation, there definitely were, but LeVar was a *major* contributing factor in my becoming a fan and as a result, when I first started watching, Geordi was the character I focused on almost exclusively. I mean, I liked everyone else just fine: I enjoyed the sense of dignity Patrick Stewart exuded as Captain Picard and I really enjoyed how dynamic and commanding Jonathan Frakes was as Commander Riker.…

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Sensor Scan: Mister Rogers’ Neighborhood

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If I need to explain to you who Mister Rogers is, this can only mean one of two things. You either hail from somewhere that isn’t North America or Hawai’i or something has gone badly wrong with the universe. Because the only thing that needs to be said about Mister Rogers is that he was one of the greatest television personalities, if not one of the greatest human beings period, to ever live. For almost forty years, he asked generations of children and children-at-heart to be his television neighbour for a half an hour each day. And, anyone who took him up on his invitation knew that for that time they would feel welcome and safe and enjoy sharing the company of someone who truly cared about them and was interested in what they were thinking and feeling.

The more pertinent question is why now? I could have looked at Mister Rogers’ Neighborhood at literally any point in this project, that’s how important Fred Rogers was to our collective memory and for how long. But I wanted to take just a little time to talk about him, his show and his legacy here, in the mid-1980s for a number of reasons, one of which is because in an era so deliberately and self-consciously steeped in artifice and performativity, it’s important to keep in mind that all this spectacle isn’t just for its own sake. There are real, genuine truths we’re trying to talk about here, even if we’re approaching them from odd angles, and we must never lose sight of that. Performativity and artifice do not equate to vacuousness and falseness, and nobody understood that better than Mister Rogers.

The Neighborhood only ever existed on TV, and Mister Rogers was well aware of this. There’s a reason he always called us “television neighbors”, after all. It clearly operates by televisual logic, and most certainly hails from a time when television was seen as disposable theatre. The show always opened with an aerial pan over the Neighborhood, which is very obviously conveyed through miniatures.We then cut to inside Mister Rogers’ house, where he hasn’t arrived yet. Then we pan over to the front door, and Mister Rogers comes in singing “It’s a Beautiful Day in the Neighborhood”, taking off his coat and shoes and putting on his sweater and sneakers. Likewise, the show always ended by doing the opposite, panning away from Mister Rogers’ house and retracing the steps in reverse.

I always got the sense that the show’s intro was meant to depict each one of us coming to the Neighborhood from different places: Mister Rogers probably hitched a ride on the Neighborhood Trolley, which you can always see making the rounds in the street, and then walked the rest of the way. As for us, perhaps we flew because we exist on the other end of the television and can travel via camera angles. Each episode then is a different visit to the Neighborhood, which is a place we all come to from somewhere else at the same time, even Mister Rogers himself.…

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Sensor Scan: Blade Runner

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People are going to argue with me, but I think it’s a pretty safe bet to say Blade Runner marks the beginning of cyberpunk in Western science fiction, at least in terms of mass mainstream pop consciousness. In fact, I’d even go so far as to say Blade Runner is likely the film that codified at least the visual style and iconography associated with the genre and is even probably what most people think of when they think of science fiction in the 1980s (well, this and Tron).

And although the anime, which defined much of the look and feel of the franchise, wouldn’t debut for another two years, the fact is we’ve already covered a great deal of Blade Runner‘s most important innovations by introducing Dirty Pair in the last post. Yes, Dirty Pair owes a great deal to Golden Age science fiction too, but by virtue of the specific tradition it comes out of it is very much what we’d now call cyberpunk. Which means that, from my perspective at least, going from “The Case of the Backwoods Murder” to Blade Runner does feel like something of a rather large step backwards. But this is not entirely fair, given the fact that even though they’re in some sense comparable, the fact is these two works ultimately come out of two different cultures and traditions.

Blade Runner is of course loosely based on Philip K. Dick’s Do Androids Dream of Electric Sheep?, but I’m going to leave Dick’s work out of the analysis here for the most part largely because it has nothing to do with it. Dick’s stories were famously extensively altered before they were adapted into movies, and Blade Runner is no exception: The original novel was an exploration and defense of empathy, while the movie, well, isn’t, mainly. The one major theme of Dick’s the movie leaves more or less intact is his exploration of the Self and personal identity theory-We talked about this a bit in the context of “What Are Little Girls Made Of?”, but as this is pretty much the single thread Blade Runner‘s entire plot hinges on, it’s worth talking about again here. Breaking the issue down into its component parts, we get two horns: “The Self” refers to theories about what, if anything, we fundamentally, essentially are, which is oftentimes liked to the idea of consciousness, while “personal identity” refers to more to how these said essential personalities persist over time and how that can be used to categorize and describe us.

None of the works we’ve looked at so far that have tackled personal identity have handled this exceptionally well: Gene Roddenberry’s big rebuttal to the persistence of the self argument and why the androids in “What Are Little Girls Made Of?” (namely Doctor Korby, who beamed his consciousness into an android body) shouldn’t be considered sentient extant beings basically amounted to “because robots”, but thankfully Blade Runner gives us something a tad more nuanced-The Tyrell Corporation’s main argumentative premise, and the one Deckard initially holds to, is that Rachael’s memories are inauthentic; implanted into her positronic matrix to maker her more human-like and thus more controllable (this, incidentally, brings up another interesting train of thought in regards to both corporatism and transhumanism, but I honestly don’t think the writers thought the ramifications of these motifs all the way through).…

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