Eve no Jikan (Time of Eve) Act 04: Nameless
I love the way this series revels in its sci-fi trappings with the Asimov references and futuristic tech, yet still remembers the principal ethos of science fiction: that of its relevance to ‘our’ reality. I believe Yoshiura was keen to address issues that exist also beyond his intriguing worldview of domestic androids and shadowy organisations from the outset; that is to say, it feels like an allegory for ignorance and prejudice in society but fortunately this point isn’t forced onto the viewer. The way in which this well-trodden theme is presented makes it feel relevant in an everyday sense rather than the detached, philosophical light it’s often cast in, knowing when to inject humour and when to let the significance of the subject matter shine through.
The setting of that wonderfully odd café contributes a lot to this I think. The clunky star of this episode and his predicament is shown to wonderful effect in its unique environment and the characters who frequent it – the problems with the older-style androids, such as the rigid nature of their thought processes, are highlighted by the policy of equality Nagi insists on; at the same time it feels like a gentle reminder of how we can discriminate without even realising it. Nameless’ quirks are certainly a problem unique to androids but Masaki’s and Rikuo’s reactions are similar to those we see in encounters with other humans who are, for whatever reason, different from the norm.
If they ask Nameless a question or give a command outside the realms of his limited capability he undergoes an awkward mental meltdown so they go to extreme (not to mention hugely comedic) lengths to prevent embarrassing or dangerous consequences. This means treating this android with extreme care, but also makes the establishment’s house rule challenging. How can you treat an antiquated android as just another customer when, for example, it may not be able to drink anything?
Equality is not easy to put into practice with even the best of intentions, which is the main message I took from this episode. If, say, the Time of Eve made no discrimination between young and old humans, older people would need to be treated the same as younger ones…but how would frail and infirm people climb the stairs to the balcony unaided? Fit a stairlift or ramp? Or be forced into treating them differently by restricting them to the lower floor for their own comfort and safety?
At this point I was reminded of a similar scene in Spielberg’s A.I.: Artificial Intelligence, albeit less harrowing and featuring more Evelend and less veg
I suspect Nagi knew it (he?) would be able to consume a cup of Evlend without frying but if she was unsure of this, would she hesitate in serving it? I suspect this android’s thought processes are too simplistic for it to be so easily offended but its requirements are pretty strict and unusual since most androids who visit the place are more technically advanced, and closer to humans in physical construction and behaviour.
The fact that this android looks so different even from the other androids also means that Rikuo and Masaki are quicker to nervously laugh at its idiosyncracies…but as easy as it is to judge, that is still strictly speaking against the house rules. Considering how this scene had me laughing out loud too, it certainly makes the viewer question his or her own stance on these issues, which I thought was a wonderfully clever bit of screenplay writing. Because he looked and acted so differently to the other androids we’ve seen so far, it was easier to slip into mockery mode, which is the beginning of the slippery slope towards discrimination and inequality.
Neatly tied to Nameless’ situation in this outing is that of the Ethics Committee and their latest campaign: that of the disposal of obsolete androids. Presumably this one was dumped and its distinguishing features (partially?) erased to prevent the former owners needing to pay for disposal through legal channels. While the ad campaign seems like an ordinary reaction to android fly-tipping I’m still getting the impression that they’re something more sinister.
Why paint the androids in such a negative light when their place in society is so accepted that they’re overlooked and in some cases subject to maltreatment? Is there a conflict or power struggle going on amongst the authorities? Addressing the more practically-orientated aspects of how such a technical revolution can impact on everyday society and the way in which these changes are governed or monitored is one this series’ greatest strengths at this point, and will hopefully be explained more fully later on.
I don’t know whether the fact that Rikuo’s father works in the android industry will become an important plot point later on either – this series isn’t one to waste a moment on meaningless things so I suspect both this fact and Masaki’s aversion to androids in general are significant and certain to be revisited. I know I was initially sceptical of the simulated hand-held camera work but as the episodes progressed I began to appreciate its merits and gradually stopped noticing it entirely; which is a compliment, really.
Oh, and this. I’m sure Nameless’ final monologue dropped some hints about Nagi amongst the noise
As a matter of fact the only time this effect caught my attention was when it spun from one side of the table to the other in the café during Nameless’ scene, giving a great sense of immediacy and heightening the nervous, panicky feel of the situation in question. The end result is less about cuts and simulated viewpoints and more of a wonderfully fluid journey through the environs, making fine use of the layouts and giving an almost first-person perspective on what’s going on. Similarly the flow of the script took me from curiosity through out-loud laughter and lump-in-the-throat contemplation when the full implications hit home; another excellent episode from an outstanding series.
Excellent post, I think you’ve covered pretty much all of the important and pertinent points that grabbed me about this episode, which really is an absolute slice of genius, particularly in the way it turns your laughter into guilt and sadness in literally a matter of seconds. I’ve actually watched it twice already since it became available, and I can’t say that about many shows at all.
I’ve actually really liked the fluidity of the camera shots throughout this series, it suits the cafe setting really well and definitely proved its worth in this episode’s more manic moments, particularly when ending in that classic understatement “Just now, the information was quite confusing…”.
One thing that I’ve been mulling over since watching this episode is whether Nagi is a human or android – I’m starting to wonder if her rigid sticking to the rules in this episode suggests the latter (although admittedly I’ve always tended to her being an android based solely around the similarities to Mizu no Kotoba), but I suppose it’s something you could argue endlessly at the moment. I’m not sure if Rikuo’s father is going to be a big deal beyond acting as a vehicle to introduce Rikou’s own personality and the issues at hand though.
>Why paint the androids in such a negative light when their place in society is so accepted that they’re overlooked and in some cases subject to maltreatment?
Substitute any race, religion, class, gender or other disenfranchised group for “androids” in the above statement and you’ve answered your own question.
I also agree that I got an Asimov-esque feeling while watching the plight of the abandoned robot.
The one thing that always amazes me is the subtle and pervasive influence of Western science fiction writers in anime. From the end of World War I all the way up to the bubble years.
For me the contributions made by these writers to the various genres of anime is palpable indeed.
This is why I like Eve no Jikan because it is good science fiction. Not the glorified infomercials and/for gaudy merchandising that passes for science fiction these days.
(I will not name names…seriously!)
Good science fiction presents a compelling story of the future by scrutinizing the present. After all today was once tomorrow. Tomorrow is today that waits to be born.
Robots are not people. They were manufactured by people to make their lives easier.
Society might still be able to function if you gave them rights and free will and control over their own lives, but then we’d just have to build ‘dumb’ robots again so what’s the point? Unlike discrimanated minorities today, humanity will have created these robots, why shouldn’t they 1) protect their investment in them, and 2) be afraid what they will be capable of (don’t have to sleep, more durable, personality, memory, etc. are all programmed/subject to change and manipulation)?
Also, Masaki is a robot or something. Has to be. The irony of the human girl being jealous of his interest in robots is too delicious for it not to be so.
The age theme is something I hadn’t given much thought to until you mentioned it here. Nameless definitely seems to occupy a sort of grandfather role, particularly in regards to the young boy he was owned by who discarded him when he grew up. I wish I knew a bit more about Japanese society to relate it to their aging population problem – it seems like a core bit of allegory for this episode. So does, of course, our attitudes to things and people that are ‘different’.
Nameless’s retro appearance gives the humans an opportunity to act out their subconscious fears/anxieties towards androids. His slightly ridiculous looks helps them relax, having been confused by the other androids’ human appearance, and be honest in their reaction towards them.
I think Nameless also serves as a sharp reminder of where the current generation of androids come from. The boys’ nervous reaction is a product of their spoilt interaction with sleek, familiar looking androids – when faced with an old fashioned jittery piece of machinery they’re in fear of it exploding/failing, thinking it inferior and dangerous. You could read into it as a wider comment on our relationship with technology, and again how we relate to old folks (in an abstract sort of way).
Man, every time I spent a few minutes writing about this show I get so excited by how good it is. I hope we get a chance to own it in a more physical way.