It must have taken a lot of restraint for the writers not to have Casshern throw some witty barb at the bad robots that went along the lines of… “So, you’ve accepted death already? Then you won’t mind dying… right now!”
...or something of that flavor that’d be swiftly followed by our hero just wasting these heels.
For as much I’ll crow about how superbly this show works as an allegory or an opera or what not, I’d be remiss not to note how the other side of that sometimes brings leaps of logic and characterization in the service of making the point. In this episode, you know that painter’s got to meet some tragic end because… well… that’s what’s happening to everybody kind soul in this world. However, for that to happen, he’s got to face these evil bots alone and, for that to happen, he’s got be separated from this uber-destructive-yet-still-compassionate killing machine, Casshern.
Yeah, the scene where this cripple’s getting beaten down by these jerks pushed the right buttons, but I couldn’t stop thinking about how the show cheated to get there. He and Casshern got separated long enough for him to get jumped, but not long enough for Casshern to come back and wreck these goons before they were done? What, was Casshern lingering back and admiring the texture of the all-white paintings?
Hell, even showing that would’ve gone a long way to make this twist seem a little more reasonable. It would’ve even added just a pinch of self-aware comic relief, too, to the all-too-earnest thread about how this guy’s really pushing the definitions of creativity with his “modern art exhibit.”
(While we’re on the subject, that’s another downside of allegories like this. SINS has largely been colorful and vibrant enough to avoid being too dour, so far, though).
See kids? I’m not saying this is a totally perfect show, all right?