We get a double-helping of investigations this week, as Mika conducts her own from the MoE archives while Professor Saiga gets the straight story abotu Kamui Kirito from Dr. Mazusaki. Mika and Saiga learn the same thing by different methods: Kamui wasn’t just the only survivor, but the subject of an unprecedented medical procedure that implanted parts of all 184 of the children who died in the plane crash — including seven of their brains — into Kamui, resulting in a Sybil-proof “compound person.” The Togane Foundation holds all the patents for that procedure.
This collection of body and brain parts is a fascinating concept, and very much akin to Sybil’s own collection of brains. Kamui isn’t just one person anymore, you see; and he’s far more than the sum of those parts.
Mazusaki takes full opportunity of his wise audience of Saiga (and Akane) and doesn’t hesitate to spill the beans, including his personal reason for believing in and supporting Kamui, who is essentially a Frankenstein’s monster. The reason is, Kamui showed him the way to clear his psycho-pass and saved him from ruin. That, and Kamui isn’t just after revenge, but the total upheaval of society, starting with Sybil’s downfall.
In an interesting scene with Saiga, Togane remarks that Saiga is the opposite of Kamui, in that he darkens rather than clears psycho-passes, which he deems more than a skill, but a talent. Because that talent deprives Saiga of his freedom in a Sybil-controlled society, Togane imagines it must be less than ideal for Saiga to have to depend on someone with an unusually clear psycho-pass — Akane. Saiga turns it around on Togane, who registered the highest crime coefficient of all time, now an enforcer beholden to the MWPSB.
Mika continues to tap away in her archive alcove, and the more dirt she finds, the more she worries about her own psycho-pass getting clouded (a highly prescient concern). Akane and Togane then get a scene together after a false alarm at her apartment, where Togane tells her she’s a born detective, with all the pros and cons that comes with. It’s a pretty tense scene even though we know Togane won’ do anything (yet), just because we know how obsessed he is.
What’s truly enlightening about this episode, though, is Mika proving her salt as an investigator, after so many weeks of incompetence. She connects Togane’s mother to Kamui and comes up with the conclusion that Kamui is seeking revenge against the Togane Foundation.
Knowing Togane Sakuya’s history with turning inspectors into enforcers, she also concludes that Akane is his next “experiment” (perhaps his toughest nut to crack yet). His goal is to turn her black, meaning Togane is just like Saiga in being the opposite of Kamui…only Togane turns people black for sport; Saiga does it unintentionally.
She wraps up her report with a recommendation to dismiss or suspend Tsunemori Akane, on the grounds that Togane’s fixation on her, as well as her reckless actions (which have, by the way, cost lives) represent an existential threat to the MWPSB that must be dealt with.
Little did Mika know hitting “send” wouldn’t be sealing Akane’s fate, but her own.
Kasei summons her and congratulates her on her report, but also regrets to report that Mika stepped in the wrong shit and was led right into a trap designed to stamp out anyone who digs too deep into Sybil’s secrets. Togane sidles up behind her with a gun and restrains her, and addresses the chief as “Mom”. That’s right: Kasei is Togane’s mom, whose body died, but whose brain became a part of Sybil.
The mother lets the son do what he wants with Mika, which for Sakuya means using her as a guinea pig for the future eventuality of revealing the truth about Sybil to the public. Obviously, this is the absolute last thing a perfect citizen like Mika wants, and while I’ve never sympathized with her more than this week, part of me also thought “Well, that’s what you get for trying to get Akane fired behind her back!”
Had Mika gone to Akane instead of Kasei, she wouldn’t be in this predicament. But instead Mika stayed true to her character and fell victim to resentment and vanity. I haven’t said this before, and I still think she’s a tool, but still: Poor Mika!