Well, it’d be interesting if the show kept up this formula...
Each episode, the A-plot centers on a new, incidental morality play that Alka gets involved with, while the B-plot gradually advances her larger quest for revenge. It’s a more retro style of TV plotting, more like KUNG FU on its most basic level. And -- to revisit my observations last episode -- it’d actually be appropriate since that show was really one of the first major on-screen projects to explicitly connect Easter and Western heroics.
(Hell, Alka’s recurring flashbacks with her mentor are pretty much the same as all the ‘young grasshopper’ scenes in KUNG FU, aren’t they?)
That said, one advantage KUNG FU episodes have over BLADE & SOUL’s is that they’re twice as long; so there’s more time to properly handle the A-plot’s set-up and fall-out. While I did get the general gist of this episode - - the boy dooms himself and the girl because he’s too childish and emotional about handling moral quandaries - - the episode really does rush through the specifics. I was scratching my head a little about who was who at the climax, even while I was being moved emotionally.
If I have it right, this tragedy centers around some do-gooder dooming himself because he gets too bent out of shape about the morality drug traffics. If that’s the case, it adds to my point last time about how observing the parallels between samurai stories and Westerns isn’t actually that profound - - because this really smelt more like a gangster story. Swap the katanas for tommy guns, replace our naïve swordsmen with a g-man, and recast Alka as a hitman, and it’s easy to picture, isn’t it? And because it’s so easy to picture, it puts a point on how this sort of… conflict set-up is just universal.
And that’s perfect for a fantasy landscape that isn’t beholden to any specific culture and time period, no?