“Hyper-Oats?” We’ve only got maybe five episodes left, and that’s going to be the major sci-fi McGuffin to turn the tide of this dystopia? Whoever’s doing the dub should seriously consider picking a new name that doesn’t sound like a healthy choice cereal alternative that packs enough concentrated fiber to blast your colon out after every serving.
(That’s what “hyper-oats” conjures to my mind, at least).
Anyway, I did a little outside reading about this show and came across a few interesting behind-the-scenes tidbits over at ANN that seem pretty on-the-money to what I’ve been observing about the show, so far. Apparently, Urobuchi and the series director, Katsuyuki Motohiro, set out to make PSYCHO-PASS run counter to everything that’s trendy at the moment; specifically banning MOE even though the producers warned them that doing so (among other things?) would most likely lose female viewers.
I’m not aiming to open up any can of worms pertaining to gender and demographics but, all the same, I'll say this is a show that probably uses its brain more often than its heart - - and if it’s cold for that, then it looks like it’s intentionally so. That said, I’d again assert that the show has an emotional palette; it’s just that the colors of that palette take longer to register, and only after a bit more reflection perhaps, than the colors that push your buttons more directly in shows with "heart."
Let’s look at Kogami and Ginoza, specifically. Neither of these guys have any loved ones who’re directly in jeopardy because of Makishima’s terror campaign. Both men are defined by their jobs, and the sense of identity and self-worth that’s wrapped up in those jobs is what’s being threatened here.
Kogami’s speeding off to make see his obsession through, resigning to the fact that doing so will end his life - - either corporeally or professionally. Ginoza, likewise, is coming to terms with the creeping reality that the sort of do-right, socially-acceptable infallibility that’s defined his adult life - - in contrast to his co-workers and his father - - is inevitability being claimed by the same cloud thoughts that everybody's vulnerable to.
Of course, neither of these conflicts involve a guy racing to save his son, or trying to patch fences with his estranged girlfriend... so is that really what's really needed for this show to have heart?