Now, I’m getting doubly curious about whether or not this business with the owls has always been part of Ms. Mine’s back-story. The fun of keeping up with all the different avenues of pop culture, of course, is that sometimes you run into some wonderfully serendipitous coincidences. At the moment, all the Batman books are in a cross-over entitled “The Court of Owls” which is introducing a nefarious, owl-themed secret society into the Caped Crusaders’ history. It’s a “retcon,” of course - - and I suspect that these glimpses of owl people in Fujiko’s past might be a retcon, too.
At this point, we can only conclude that DC and FUNi are building up to an epic mutli-media crossover that they’ve managed to keep an astoundingly-tight lid on for all the time it’s taken to put it together.
Anyway, for a show that’s got a veritable landscape of naked breasts parading in its intro, THE WOMAN CALLED FUJIKO MINE actually deserves some marks for subtly. For the first time since this series began, Fujiko wasn’t holding all the cards. You can see her losing her touch throughout the extended chase for the “Illustrated Girl.” Normally, she’s a pretty good shot, but I don’t think a single round out of her near-constant shooting spree hit a mark. Obviously, her obsession with the parallels of the girl’s situation and the incessant, horrible memories they trigger is starting to unravel her already-fractured psyche.
When the show started, I figured it was going to be COWBOY BEBOP REDUX with a string of campy, episodic done-in-ones - - but now it’s looking like it’s aiming to paint something a little more incisive.