Dirty Pair TV Series

As a genre, science fiction, especially science fiction that is in some way descended from Golden Age Hard SF, seems largely focused on the machinations and inner workings of giant, authoritarian, monolithic institutions. Be it some futuristic extrapolation of the army, the navy, the intelligence sector, the police or huge, sprawling technoscience corporations, science fiction seems one the whole unsettlingly comfortable with mulling about the halls of power, likely owing to the genre’s futurist roots. Remember, James Blish, a member of the influential group of sci-fi writers the Futurians and the guy who novelized the original Star Trek series, thought, somewhat bewilderingly, that Pfizer would usher in a Trotskyist revolution so long as we pledged support to them and bought their products.

This is, suffice to say, equal parts untenable and unacceptable.

There are exceptions to this trend. The first two Alien movies, arguably The Hitchhiker’s Guide to the Galaxy and Red Dwarf, bits and pieces of Doctor Who at various points in its history. Star Trek itself tends to go back and forth on this: Though the point of the franchise is very much that the Federation is anything but an unambiguous group of good guys promoting a utopia and how our crews operate under that knowledge, this fact seems to have been lost on a worrying number of creative teams and this isn’t as emphasized as frequently or as strongly as it really needed to be. Raumpatrouille Orion is better, though that crew is still a bunch of ace pilots. Nausicaä of the Valley of the Wind was anything but this, but invoking Nausicaä in this case does feel a bit like bringing a nuclear bomb to a knife fight.

Then there is, of course, Dirty Pair. Kei and Yuri may job for the 3WA and United Galactica, but they have a much higher calling than that and, by virtue of being professional wrestlers operating by cyberpunk logic and the way this show has been portraying them, we’re very much meant to read them as working class characters. Even so, the series hasn’t done a story overtly about this yet, and this is what “Lots of Danger, Lots of Decoys” is about.

In some ways, this episode is “The Case of the Backwoods Murder” for Kei, with the Angels taking a job that puts them in contact with a childhood friend of hers who gets mixed up in the mission in some form. What this allows us to do is get a rare look at Kei’s backstory: Though the Sunrise anime and the light novels are of course two separate continuities, we can assume Yuri’s backstory is roughly similar here to what was described in “The Case of the Backwoods Murder”. In this episode though, we learn that our suspicions regarding Kei were correct: She grew up on a more urbanized planet and probably lived off of the streets. After Kaia, the leader of a fleet of space pirates who are after the precious gem the girls are tasked with escorting, introduces himself as someone from Kei’s childhood, Yuri even openly supposes he’s one of Kei’s “delinquent friends” from “back in the day”.…

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And the first thing they do is completely torpedo each and every one of our expectations.

“Criados’ Heartbeat” is unbelievably subversive, even for this show. With its ominous countdowns, imposing and mysterious antagonist and seeming dramatic, game-changing plot twists, this is the kind of episode most shows would save for their season finale. And Dirty Pair casually tosses it at us five weeks in with another twenty to go. But we’ll get to all that later-This episode works on a multitude of different levels, so let’s take a look at the most obvious one first. One thing old school science fiction buffs like about Dirty Pair is its musing on trans/posthumanism, typically in the classic cyberpunk sense of body modification and upgrading or augmenting the human form through emergent biotechnology. This is the most visible in Adam Warren’s Dirty Pair adaptation for Dark Horse comics, but it’s a theme the franchise on the whole is known for, and, it’s worth noting, one it hasn’t actually looked at before now.

This manifests, obviously, in Criados himself, a literal mad scientist who, upon committing suicide two years prior to the events of this story, transplanted his consciousness into the computer core of a deep space automated hazardous waste processing facility. It doesn’t look like he did a particularly amazing job of it though, considering he’s become consumed by rage and has dedicated his existence to hunting down and killing Kei and Yuri, who he blames for his death after they shut down a drug smuggling ring he was involved in. And he’s brutal about it, tormenting them with horrific imagery via psychic projection and sending out entire starfleets to track them down and drag them to the space station, which is a meant for the disposal of dangerous toxic waste unfit for human exposure and actually called the Graveyard of Ships. Criados is clearly unhinged and evil and, given what we know about the loose cautionary tone pervading much of Dirty Pair, it’s possible to read this as a criticism of the kind of augmentation he attempted on himself.

But that’s not what I think this episode is actually trying to get at with this theme. As a character, Criados is, in fact, a revelation: It’s only mentioned very briefly when the girls are going over his biography, but Kei does state he had a particular fascination with the supernatural and life after death, which he, of course, managed to attain in the end through his transhumanist experiments. Combine this with his power of telepathy and his interest in hallucinogenics, which is what got him busted by the girls in the first place, and it starts to sound a lot more like Criados is a kind of futuristic shaman who was able to heighten and focus his own pre-existing power and abilities through technology. This alone is a breakthrough in speculative fiction: In the Blade Runner post I expressed concern about mainline transhumanism’s apparent ignorance and dismissal of humanity’s connection with the larger universe, meanwhile, in Dirty Pair, even Criados gets this, understanding transhumanism through his prior exploration of spirituality, and singlehandedly solving one of the biggest questions of mind and consciousness in the process.…

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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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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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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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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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