Armitage III

S.O.T.A. Revolution | home

Armitage III

genre: Cyberpunk / science-fiction / action

Thirds -- the name given to the latest generation of robots who are virtually indistinguishable from humans. Ross Sylibus found his hands more than full when his reassignment to St. Lowel City on Mars lands him in the middle of a battleground. Recovering from the recent loss of his partner in Chicago, he finds himself teamed up with yet another female cop: Armitage the Third.

This 1994 OAV series shares more than a passing resemblance to Ridley Scott's Blade Runner, as both have their roots in Philip K. Dick's short story, Do Robots Dream of Electric Sheep? A movie has also been recently produced from the OAV series, and boasts a well-known cast list for the English dub. Released in North America by Pioneer LDC.

Recommended for Mature Audiences - Violent, bloody and adult language used throughout. Armitage may be machine, but she does have some organic flesh that does bleed - and she does get banged up from time to time. But only a tenth as bad as she personally deals out. There is a fair amount of nudity, including some female full frontal scenes. A fair bit of profanity, though this is primarily a result of Pioneer's choice of words in translation. The "reproducing machine" issue is complex one, and suggests sexual themes, though they are discussed "clinically" and with no actual sex scenes.

1. Electro Blood

Length: 50 minutes

Rating: NR, Graphic violence and nudity, Parental Guidance Suggested

Format: Subtitled (VHS)

Screenplay: Konaka Chiaki Director: Ochi Hiroyuki Animation Director: Abe Kunihiro Character Design: Ochi Hiroyuki Music: Namba Hiroyuki

After losing his partner in a devastating experience with a robot, Ross Sylibus leaves Chicago to join the Martian Police Department in St. Lowel City -- a city marred by very heavy anti-robot protests of the general public. But his arrival is marked by the brutal slaying of galactic country music superstar, Kelly McCanon. Ross is shocked to discover that popular country star was not human, but an ultra-sophisticated robot, called a 'Third'. But McCanon's death is merely the beginning -- one by one, Thirds are being hunted and destroyed... But Ross discovers that he has his hands full with another problem: His flashy new partner, Armitage -- Armitage the Third.

I'm sure I'm not the first person to comment about this series' pedigree -- the influence of Philip K. Dick's now famous short story is unmistakable. Androids that are virtually indistinguishable from humans invading our culture? Certainly, this idea breaks no new ground. What makes elevates this story above the rest is that the writers dared to go beyond the obvious, and introduce a few more realistic elements. What's so bad about robots become part of our culture? Nothing of course -- unless they start encroaching upon our own means to survive. Armitage III takes a very real concern we have in today's increasingly mechanized society, and extrapolates a potential future... One in which people not only have to compete with the assembly line, but also with the very services that we consider "humanistic." A society where robots can not only be personable sales representatives, but imaginative sex partners, and worse... creative artists. It's a fascinating premise that very few programs have explored seriously.

Had this series stopped there, things would have been just fine. But it seems that the writers wanted to borrow something from just about everywhere, and I found that the sheer familiarity of so many story elements detracted from an otherwise fine story line... (You can't tell me that the writers didn't lift Ross' jogging scene from Rocky) The antagonist is once again portrayed as a very disturbed, psychotic killer -- but not a true killer in the human sense, since he's out killing 'Thirds.' (and as far as the MPD is concerned, that's not really murder, it's more like a grievous form of property damage.) Unfortunately, the character designers and screen writers decided to make D'anclaude a cross between Sting's Feyd in Dune and David Bowie's extraterrestrial visitor in The Man Who Fell to Earth. Had the similarities not have been so obvious, this show probably wouldn't have bothered me so much, but they virtually lifted all of character elements, from appearance to mannerisms... Inexplicably, I expected to see Arakkis in the background...

The rest of the characterizations are pretty typical: Ross Sylibus, the strong, silent type, and Armitage, a totally wild cop with a killer punk-rock outfit, shades and attitude to match. It comes as no surprise that Armitage is a 'third' as well (otherwise, there'd be no reason for the pun in the title, would there?) The overall acting talent is above average, though I thought Kasahara Hiroko's abilities were stretched pretty thin during the more emotional scenes. Set and vehicle designs are a bit outlandish and all too improbable. But the character designs are most notable; they're given a slightly softer touch which is a very refreshing change from the Anime mainstream. Overall, this first episode has lots of material, but presents itself as a mixed bag.

- AN, 98.01.29

2. Flesh & Stone

Length: 50 minutes

Rating: NR, Graphic violence and nudity, Parental Guidance Suggested

Format: Subtitled (VHS)

Screenplay: Konaka Chiaki Director: Ochi Hiroyuki Animation Director: Abe Kunihiro Character Design: Ochi Hiroyuki Music: Namba Hiroyuki

The arrest of d'anClaude hasn't produced the results that the MPD was expecting -- in fact, the opposite. The violent deaths of the Thirds still continue, and to make things worse, Armitage has disappeared. The death of a blind writer adds two more pieces to an already complicated puzzle. Why are all the Thirds female? If d'anClaude is recovering in ICU at a security hospital, who is carrying out these gruesome murders? Might Armitage herself be a suspect in these crimes?

Forget what I said about the stereotypes exhibited in the first episode -- this second installment will make you forget all about the weaknesses of the first, and get you immersed into a good old fashioned detective thriller. As we discover more about the androids known as 'Thirds', we also begin to catch a glimpse behind d'anClaude's motivation to destroy them... or perhaps there's something else yet? Script writing for this episode is a classic example of how to put together a multitiered mystery, and still make it comprehensible enough for the average viewer. Normally, I expect to see one or two simple subplots in a short series such as this, but here, we're given plots with real substance.

Acting is above-average, though sometimes the obligatory 'ensigns expendable' venture into the overacting territory. Ogata Megumi (Ikari Shinji in Shinseiki Evangelion) does a very credible performance as Julian Moor, Armitage's brother -- and the only male Third. I'm still not really sure about the choice of Kasahara Hiroko as Armitage, however. Animation and set design continues to be a very strong feature in Armitage III, with some very unusual and somewhat 'possessed' facial expressions given to the characters. Anime characters have, as a rule, featured large, expressive eyes. Armitage's aren't just expressive... they can be downright spooky at times. Add to that a soundtrack that fits tightly like a glove, and you'll find yourself drawn into the gritty Martian underworld!

- AN, 98.02.23

3. Heart Core

Length: 30 minutes

Rating: NR, Graphic violence, nudity and strong language, Parental Guidance Suggested

Format: Subtitled (VHS)

Screenplay: Konaka Chiaki Director: Ochi Hiroyuki Animation Director: Abe Kunihiro, Takahashi Shinya and Onda Naoyuki Character Design: Ochi Hiroyuki Music: Namba Hiroyuki

A rash of suicide bombings by Seconds announce a new wave of terrorism sweeping St. Lowell city. The MPD's focus shifts full-time into these bombings, leaving the grisly murders of the Thirds on the back burner. Sylibus is not too happy about the recent turn of events, and decides that the mystery of the Thirds deserves more attention than it's getting...

Meanwhile, Armitage is reunited with her brother -- the only male Third, and the last of the series. Armitage discovers two shocking secrets: Rene d'anClaude, along with Dr. Asakura created the Thirds. But even more shocking: Thirds can reproduce, and their children would be fully human. But this raises even more questions -- why is the last of the series, Julian, a male? Why is d'anClaude so bent on destroying all the Thirds? And if d'anClaude is in ICU at Shinora hospital, just who is responsible for the continued attacks? Julian tries to hack into the central database, but when his attempt fails with disastrous consequences, Ross and Armitage decide that there's only one hope for finding out: Get to d'anClaude at the hospital. But this might prove trickier than first thought, for the Martian government has decided to guard the hospital with tanks!

I have no idea why this series isn't better known. The writing and visual concepts are better than most cyberpunk-genre shows out there. If you're a technophile (or as I like to phrase it, "techie-geek"), there's a virtual cornucopia of imaginative ideas to be had in this series. If you're a mystery lover, this story unfolds better than an Agatha Christie novel. If you love guns and action, this series has that as well. If you're into philosophical dilemmas, Ross Sylibus' predicament of become more and more artificial will tickle your fancy. If you love cute babes -- well, maybe that's where the problem lies...

The drawing style of Ochi Hiroyuki might take some getting used to; still I don't find that it detracts from the visual impact this show presents. While Naomi Armitage has some of the most disturbed looking eyes ever endowed to an Anime character, it's nevertheless fitting. Her personality meanders like the wind. The imagery presented is intricate without being overwhelmingly complex, with just the right touch of background music to get you completely involved into the plot. Several times I had to force myself to remember to take notes, lest I get completely enthralled with what I was watching. This OAV series feels like it should be a feature-length film -- and perhaps that was the thinking behind the recent release of Poly matrix.

This show is not perfect, though -- acting by Kasahara Hiroko is not as strong as the character demands, though you won't find it too disappointing. Some of the scenes look like they were lifted from other SF shows, most noticeably the voyage through the neural net to the main databank, which was an obvious copy of Star Trek: The Motion Picture scene of Spock passing through V'ger. Perhaps the most disappointing was the translation by Pioneer. A lot of "artistic license" was taken in the English subtitles, to the point where I felt that it changed the intent of the original script. It won't affect how you understand the story, but it does change how you would interpret the relationships between the various characters and how they interpret things. Some strong language was also inserted into the English version, but since this is targeted at an adult audience, I didn't find it out of place. Finally, this episode is short... very short. Only thirty minutes, as compared to fifty for the previous two. Just as things seem to get rolling, the closing credits appear. But in the end, this episode has far more positives than negatives which translates to a big 'thumbs up!'

- AN, 98.03.07

4. Bit of Love

Length: 30 minutes

Rating: NR, Graphic violence, nudity and strong language, Parental Guidance Suggested

Format: Subtitled (VHS)

Screenplay: Konaka Chiaki Director: Ochi Hiroyuki Animation Director: Abe Kunihiro, Takahashi Shinya and Onda Naoyuki Character Design: Ochi Hiroyuki Music: Namba Hiroyuki

The loss of both d'anClaudes creates two problems: First, Ross and Armitage still have no answers to the rash of crimes plaguing St. Lowell City. But an even larger problem looms: The two partners are now wanted criminals, and everyone is out looking for them...

Only one hope remains: Naomi Armitage's father and creator, Dr. Asakura. But his whereabouts is unknown, and the only clue to his location is d'anClaude's final words: Danich Hill. Strangely enough, the location of which is deep in the Martian countryside, and all traces about it location has been mysteriously deleted from all existing maps. Can Armitage finally discover the truth about her existence? What will become of her and her kind should a reunification treaty be signed with Earth, a society which has condemned the existence of robots?

The final chapter of this very short OAV series strives to answer all the questions it has posed in the first three installments. Unfortunately, the show struggles in its attempts to bring all the elements together. While all the individual elements are there - motives, background, plot development and resolution, I found the methodology somewhat unsatisfying. Perhaps the primary reason would be a very "Agatha Christie-esque" introduction of a last-minute element: The political pressuring by Earth. There was so very little mention of this in earlier episodes, that most viewers would have shrugged off this detail is immaterial. Perhaps the writers demanded more than this reviewer's capabilities allowed, but I felt somewhat cheated in the end.

The climactic battle between the Martian military and our two heroes also presented its own little problems... Just where did Ross Sylibus pick up a mil-spec battle-mech? How did he get the transport container to that most convenient location? Perhaps the thirty minutes allotted for this final episode didn't allow for the complete exploration of these questions; it's too bad -- another example where poor planning can literally destroy a good story. This is even a bigger shame when you take into account the production of the final battle scene: It's eerie, somewhat symbolic, and beautifully composed. The entire sequence is done so detached, with the mechanized world looking on with uncomprehending attentiveness, that the sheer irony is sharply poignant. Two beings, fighting a battle that they can't possibly win, in which they have such far less at stake than the fascinated observers, who can only watch -- without understanding what is really taking place. It's brilliantly directed, and will have you completely enthralled -- that is, until you come to the end, and realize that the denouement is very unsatisfying, and perhaps even a little contrived. It's not that I mind 'happily ever after' endings, but why even present such a conclusion, when everything up to that point tells you that it's not possible? Perhaps, if another ten minutes had been allotted to the show, a better final package could have been produced... and perhaps that's the real reason for the movie Poly Matrix.

- AN, 98.03.07