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Ayaka is a modern girl running her own successful business-a freelance psychic agency, supplying the power to deal with any problem. Ayaka is also a hopeless lush who can't stay ahead of her finances, blows all her money on designer clothes and karaoke bars, and relies on her child butler, Mamoru, to run her home and her life and to make sure she gets up in the morning. The police's own ghostbusting squad, Section U, headed up by a crumpled-but-cute detective with a soft spot for our heroine, causes even more complications. And as for her staff-she's stuck with a dropout priest, a twisted firestarter, a psychic who only works to enhance her meager pension, and her own rich family's hereditary butler.
Like its longer-running contemporary Ghost Sweeper Mikami, PQC is packed with gentle digs at what has become of Japan. The money-culture of the late 1980s produced many un-real phenomena of its own (the bubble economy, Generation X) while simultaneously trying to forget the spiritual past. The title, with a double meaning in the real and ghostly worlds, sets the tone for a witty, wacky post-X-Files series, but it didn't get the success it deserved at home or abroad. Takuji Endo and Morio Asaka cram their episodes with innovative jerky camera effects to play up the feel of a horror B-movie, just one of the little touches that made PQC, but somehow failed to ignite the audience. Other noticeable presences include Yoshiaki Kawajiri as a "guest" director for the striking opening credits and future Tenchi Muyo!-director Kimura as a humble scriptwriter. Creator Juzo Mutsuki has several other underrated series-the similar ancient-meets-modern clashes of Devil Hunter Yohko and Cyber City Oedo 808. The dub from Pioneer is of high quality, and even boasts a hilarious English-language version of one of Ayaka's excruciatingly melancholy karaoke sessions-the single thirtysomething modern girl singing a widow's song that likens herself to "a riderless horse."