However, I was not able to place them all in the main work, either because they interrupted the narrative flow or because I could just never figure them out. This page and the next are dedicated to these, a place where I speculate wildly, knowing that sometimes a cigar is just a cigar. Take it all with a grain of salt and enjoy.
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Timelines:
While the series never directly addresses it, there is enough information strewn around to establish a rooted timeline for the main events of the series:
- Henrietta awoke during the summer of 2000, as evidenced by this slip to go to the restaurant being dated for July 28, 2000.
- A year passes while she is trained and prepared, indicated by the seasons montage after the restaurant scene.
- The events of the series begin in the late fall or winter of 2001, as it is cold enough to see Jose's breath and require that Henrietta wear a coat on the roof at the end of Orione.
- The next two episodes (Ragazzo and Bambola) are chronological. Ragazzo likely soon follows Orione because Henrietta can be seen darning her shirt that was damaged in the raid. Bambola occurs before and on the Christmas of 2001.
- The end of Promessa, where Claes asks Henrietta to help her plant a garden, is out of order: Claes wouldn't be gardening in the winter and Henrietta isn't wearing her coat. So this must have occurred in spring of 2001 (see below).
- The remainder of the episodes are chronological, both because of the clear progression of Henrietta's psychology and the various indications that it is still winter. In the final scene Alfonso explicitly says it is bitterly cold on that night, so it is unlikely to be much past February or March 2002.
- Angelica was the first cyborg. Unlike the manga, the anime gives the impression that she was alone all during training and her first mission. If Henrietta's year-long training is average, and Angelica is already breaking down when Henrietta arrives in summer 2000, one would have to assume that she has been at the SWA for several years.
- Triela's only concrete reference is that in the cafeteria she mentions that both Henrietta and Claes were "scary" when they first arrived, establishing her before those two. Mario says that "long ago" Hilshire caught him in Amsterdam, but no time frame is given.
- Rico's information is similarly scarce: she is present when Jean recruits Raballo, and it is mentioned in Fratello that Henrietta will share a room with Rico when she adjusts, making her a veteran on par with Triela.
- Claes is an unusual case, because despite the series giving the impression that she is an elder she is one of the newer cyborgs. Given that Jean and Raballo are wearing coats at the beginning of Promessa, and that Claes' training overlaps with Henrietta's, it appears Claes was brought in late 1999 or early 2000.
As the episode progresses it becomes jacket weather at the lake, soon warm enough for Claes to wear a dress and Raballo to go short-sleeved for her field training, and finally their final scene is in lighter clothing. Combined this puts Raballo's death some time after July 28, 2000, but before it gets too cold. Claes' time of being lost would then extend through to the spring of 2001 when she is planting a garden with Henrietta.
What I find so interesting about this is how the series is able to convey a much greater sense of time with Claes, making her a more womanly character in that her story would seem to span years. A case of fictional licence to develop the person. - Finally, Elsa is likely new but it is hard to tell. Triela's statements above about her being scary would indicate that Elsa is still settling in, undergoing a similar process as the other girls. This makes her the only girl junior to Henrietta, but who is still trained enough to have seen several missions by the events of the series.
The Nature of the Conditioning
“It all depends on the handler and the conditioning....”
This is a subject, which although would seem to be of central importance, I never directly touch on in the main work. In part this is because I believe it is better to demonstrate it than to explain it, for the latter invites what I feel are misunderstandings. However, here at the end it seems it might not hurt to be a little more explicit.
The above line is one of the key statements of the series, and is tantamount to saying, "It all depends on one's upbringing and innate personality." It is a statement not just about cyborgs but about everybody: we are who we are made to be, and this in large part influences our actions and hence our fate. As such, the essence of the conditioning is personality modification. But emphasis on modification; not imposition, not destruction, and not repression. We do not experience our own natures as brainwashing and neither do the girls; theirs have merely been intentionally altered, but are not in any essential way different from those of "normal" humans.
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Opening Theme: Location, Location, Location
In the OP Henrietta is seen standing between the bar and poster. Above her are a series of signs: an arrow to a hospital to the left, tourism location (?) "S. Pio" to the right, and the number 147 (address?).
At first I went for the metaphorical interpretation. Vivaldi does have a Psalm 147 choral piece, but I do not see any specific relevance in that or the associated verses in the Bible. Unable to make out the writing on the hospital sign I was stuck.
I then tried a physical interpretation. There is a Campo san Vio in Venice, which is scenic enough to get its own 360 cities entry. However, one cannot see either the Doge's Palace or any of the areas that the Ospedale della Pietà once occupied from it. Nor is it situated near a hospital. After some quality time spent with Google Maps, I was forced to give up.
In conclusion, I do not know if there is hidden symbolism or whether it is a wall I cannot identify or if it is a locale that was conjured up for the OP. The longer I look the more I doubt I even see, "S. Pio" so before I drive myself mad I will just cut it off here.
Opening Theme: Socialist Poster
Part way through Henrietta is next to a poster which reads, "Socialismo: una storia che non si foma." This translates roughly to, "Socialism: a story without form."
This is an awkward phrase, one I have no confident interpretation for. I've kicked around some vague interpretations but none of them are compelling. The best idea I've heard is that this poster is representative of the SWA. In Gunslinger Girl the government is an extreme leftist group opposing a right-leaning terrorist faction. As such, it's a piece of propaganda: outwardly advertise social welfare and pretending to care like a mother for a child while being nothing of the sort. This leaves the phrase itself unexplained, but is the closest I've felt an explanation to being right.
Opening Theme: Sliding Palaces
As Henrietta stares at the reflection of the Doge's Palace it seems to slide, as though the entire waterfront of buildings were moving across from her. She looks down at precisely this moment in sadness, as though she is reacting to its leaving.
I have no explanation, as she shouldn't be saddened by the SWA being swept away. It is obscured by the motion of the people, but it undoubtedly happens. Is it that everything passes in general?
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Ending Theme: Reflections
The ending theme consists of a single scene, Henrietta's SIG-sauer P239 lying on the cobblestones with the rain. Such a simple yet forlorn image. The weapon has been fired, empty cases lying around; coming at the end of each episode, it is a reminder of the violence before, accompanied by Dopo Il Sogno ("After the Dream"), a lament in Italian:
"Signore, oh, per pietà
lasciami piangere.
Lascia che io pianga la dura sorte
e che sospiri la libertà.
Il duolo infranga queste ritorte
dai miei martiri solo per pietà.
Signore, oh, per pietà
lasciami piangere.
Signore, oh, per pietà!"
"Lord, oh, for pity's sake,
let me cry!
Let me weep over my cruel fate,
And let me sigh for freedom
May sorrow break these chains,
If only for pity of my woes.
Lord, oh, for pity's sake,
let me cry!
Oh Lord, have pity!"
In one more layer, the image in the puddles is that of the Doge's Palace of the OP, a reminder of the shadow of worldliness under which this suffering occurs.
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Multiple Episodes: Titles
There are a few episodes which have clever titles that I wish to remark on briefly.
Ragazzo (boy) is a double-meaning. While it most clearly refers to Emilio and the relevance he has to Rico, it is a secondary comment on Rico herself and how Jean treats her. Yet the course of the episode clearly reveals her to be an absolutely beautiful girl, making such a reference also contain a tinge of bitterness.
Bambola (doll) is similarly constructed. The teddy-bears, which are emblematic of Triela's frustration with Hilshire, are the obvious connection. But secondly, Triela herself is treated as a doll by several characters in the episode, a portrayal that is completely at odds with the complex inner turmoil she experiences. Like Ragazzo, it plays to the early series theme of how disjointed the appearances and reality of the situation are.
Lycoris radiata Herb is the scientific name of the red spider lily, a striking blood-red flower that has abundant folklore in Japan. It is the flower of the afterlife, a symbol of loss, longing, and abandonment. It is said to bloom along the path of one you will never see again. To have that title Elsa's episode is truly poignant.
Simbiosi is a peculiar title. Even though I offer an explanation in the analysis, that it is from the cooperation of Franca and the organization, I am not completely confident in this interpretation. The existence of the grain of wheat, another biological term, makes me wonder if it is suggesting sacrifice and symbiosis are related. Or whether it is a broader comment, that the SWA is symbiotic with its opposition, requiring it to exist. None of these stand out to me, so take your pick.
Multiple Episodes: Claes' Hairclips
In the majority of Claes' scenes she is wearing silver-gray hairclips that accent her dark hair. However, in the rooftop scene in Ragazzo and both of her training scenes in Promessa, they are pink.
This change does not correlate with anything in Claes' behavior, and are separated radically in time. But it does coincide with her wearing the same outfit: a vest and shorts rather than her usual smock-dress. My guess is that the same person may have been in charge of drawing these scenes and made this small error.
Multiple Episodes: Claes' Reading
Claes is frequently seen reading a book, although with the exception of the one she brings to her captivity in Simbiosi neither the titles nor subjects are ever given.
However, what is interesting is that one can see what the pages look like, and they are clearly laid out in three-lined stanzas, either for a poem or a play. A small hint that she does not merely read textbooks, but pursues the arts as well.
Concurrent with this, one can also see that her bookmark has a small plant on it in remembrance of Raballo. It is likely Anchusa azurae based on its leaf and inflorescence structure, an identification reinforced by the fact that one of its common names is Italian bugloss.
Multiple Episodes: Jose's Drinking Habits
Jose and Henrietta are together at several tables throughout the series. At the restaurant in Orione he sips his espresso, but in every other scene with her he leaves his beverage untouched.
This is one of the running indications that all is not right with their relationship. Jose tells her what to do but doesn't do himself. On a more human level it is also a subtle rejection, for he is not sharing with her in the common cultural norm of reciprocal dining. This contrasts with how Triela is seen to frequently partake in this same ritual along with Henrietta.
There is one exception to this rule, and it is in Orione where he dines with her and then drinks his espresso afterward. Why this exists as an exception is unknown; was that his one attempt, and when it failed so horribly did he not let his guard down in the future? Too little information to decide.
Multiple Episodes: Obelisks
Around Rome there are several obelisks, and they show up in a couple of episodes. These include the oldest in Saint Peter's Square in both Orione and Simbiosi, as well as the one in the Piazza Della Rotonda in Pasta. They always seem to be viewed at tilted angles.
Reminders of the deeper meaning, standing unmoved by the events and pointing skyward? Or are they just another piece of verisimilitude?
Multiple Episodes: Unidentified Locales
There are several named locations in the series that I am unable to find meaning for and which do not show up in a cursory internet search. Whether they are former locations, renamed locales, or obscure references, I cannot find anything on them:
Despite the series having a very high level of attention to detail when it comes to weapons, it is not perfect. While this is hardly the point of Gunslinger Girl, the folks over at the IMFDB have an extensive compilation of every weapon used in the series, with several noted errors. I will not reproduce that list here.
Episode 2: Tidbits
The permission slip that Jose submits for his outing with Henrietta has a great deal of writing on it, with Italian and English as follows (my thanks to u/Manitary on reddit):
“Autorizzaione per uscita
Reparto di appartenenza del richiedente Settore 2
Nome e cognome del richiedente
Si autorizza il seguente in base all'art. 21
del regolamento: Giuse[ff]o Croce (or maybe Giusello?)
1. Motivo di destinazione
Studio del galateo e della societa' [?] (looks like 'cenate')
2. Luogo di destinazione
Ristorante La T[?]azza (looks like 'Tacezza')
3. Indirizzo di destinazione
Via Ludovi[?], 49 - ROMA (looks like 'Ludovisi')
4. Condizione per [?]rizzazione (looks like 'laurizzazione')
Accompagnato dal fratello
5. Scadenza
Fino al 28 luglio 2000”
“Leave permit
Department of the applicant: Section 2
Name and surname of the applicant: Giuseppe Croce
1. Reason for the leave
Study of etiquette and civil society
2. Place of destination
Restaurant La Terrazza
3. Destination address
Via Ludovisi, 49 - ROMA
4. Condition for authorisation
Accompanied by her brother/fratello
5. Expiration
28th July 2000”
This slip roots the series in a timeline which gives Henrietta's appearance at the Agency to be in July 2000 (see above). Furthermore, there is a Restaurant Terrazza at Via Ludovisi 49, and it is rather upscale and so fitting. It doesn't visually fit inside, but it's been 16+years, so that's not surprising.
There are also a few interesting-but-mostly-irrelevant tidbits. First is that even though I refer to him as Jose (the first translation I watched used this), his canon spelling in the anime is Giuseppe; it is also curiously the only time his last name, "Croce," is mentioned in the anime. Reasons for this unknown. Finally, here is also a small error: Jose's handwriting is in the same font as the document itself.
Episode 2: Discolored Bill
At the restaurant, Jose bribes a waiter with a 500 Euro bill.
Real 500 Euro bills are pink in color while the one that Jose holds is greenish. This is similar in tint to the 100 Euro note, and as such may be the source of the mistake. This is also anachronistic, as Euros were not adopted by Italy until 2001, and this scene takes place in 2000 (see Tidbits above).
Episode 2: Looking at the Sun
During the rooftop flashback, Jose and Henrietta are staring up at Venus, a metaphor for glimpsing the spiritual. When Jose gives her the scope he warns her not to look at the sun.
While the advice is physically sound, whether it contains a spiritual corollary is not clear. It might seem an obvious symbolism that the sun is the source of heavenly brilliance, and so to look at it directly is blinding, but curiously the series never uses the sun as a metaphor. In fact, the sun is absent except for one scene in Ragazzo. It is the night, with its fundamental stillness and silence, that is most evocative in this series. As such I am hesitant in assigning a traditional interpretation here.
Episode 2: Woke
After Henrietta's dream on the roof she awakes on the operating table with tears in her eyes. It was too early to remark on this in full detail, but it is one of the best short scenes in the series to me.
Its genius is that it draws out one of the central conundrums: how is it possible for her to experience transcendent peace that yet shares a world with her ugly, mundane reality? The doctor even injects a skeptical remark: is she sure she's awake now? This is the real world, not what she was dreaming of.
Yet Henrietta is not dissuaded, and indeed she cannot explain why she weeps to him. He can't understand how much she felt like she belonged to that world, that it was more real than what he calls reality. The tears are such a subtle mixture of longing joy and anguished confusion, some of the most sincere that can be shed.
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Episode 3: Birthday Gifts
When Rico is first reminiscing at the beginning of Ragazzo, she mentions that she received her new body two years ago on her birthday.
A small detail that is never visited in the anime but which is explained in the manga is that most of the girls do not remember their birthdays. They have a "reconstruction day" which serves in its place. So Rico is giving its bitter definition, that on that day her new existence here began.
Episode 3: Shylock
On the rooftop, when Triela is imitating Hilshire teaching she pantomimes him asking her to read Shylock's line, page 36.
While a Shakespeare quote would seem to demand meaningful interpretation, I believe it is merely a hold over from the manga. Yu Aida being an Italophile he inserted a reference to The Merchant of Venice. This later ties in with the next chapter where as Triela talks to Mario she says, "Look, my blood's as red as yours.", a reference to Shylock's famous speech:
"Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not bleed? If you tickle us do we not laugh?"
This later line, and hence the reference, are omitted from the anime. While I can only speculate as to why, my first impression is that it does not fit Triela in this version (and a bit too on the nose). She is long-suffering, and while she will call attention to Mario's misbehavior it is not in her nature to demand sympathy for herself, nor the series' nature to demand pity for the girls.
Episode 3: Evergreens
Outside of Henrietta and Rico's room there is a single tall, lovely Italian cypress. A similar one is located outside Triela and Claes' room, as they are planted in a line surrounding the dormitory.
However, in just this episode there are multiple pines of an entirely different species outside their window. Seems to be an error, as these types fill the land the SWA is located on, but are not planted that close.
Episode 3: Sports Page
As Hilshire and Giorgio watch for the targets to enter the hotel, Giorgio reads the sports section.
It is a small detail, but a nice touch. Giorgio is a banal man, easily entertained with sports and not even bothered enough by this murderous mission to be put off enjoying them.
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Episode 4: Jose's Car
In the first scene of Bambola, Henrietta corners Jose in the parking lot next to his car, a Porsche Boxter. This is complemented by Jean’s Mercedes-Benz CL500 seen in Promessa. These are rather expensive cars far beyond what the rest of Section 2 is shown to drive.
Episode 4: Halt, It's the Police!
As Mario flees from his pursuers, they hold their guns professionally while using hand signs to coordinate.
A small detail, but showing how it is not just the mafia but the well-trained, and corrupted, police who are also intent on silencing him. Hilshire and Triela have their work cut out for them.
Episode 4: Strange World
During the exposition of Hilshire and Triela searching for Mario, they stake out an area while Hilshire reads the newspaper as cover.
When examined closely, it is a very curious edition: on the front is a story concerning a suicide bombing in Jerusalem (literally "woman kamikaze" and "massacre in Jerusalem") while on the back is an advertisement for a "child-friendly cancer parade" (a fundraiser).
I've attempted to track down whether this is a reference to a particular event but to no avail. My other thought is that this is a nod to the utter incongruity of this world and a continuation of a core quandary, that such opposing tendencies can be contained within a single edition.
Episode 4: Welcom
As Triela chases Mario she passes under a floral sign saying, "Welcom." I don't think I need to explain the problem.
Episode 4: Church Bells
After Triela has saved Mario the bells begin tolling as he asks if she is okay, with the fifth and final strike occurring as he apologizes.
Meaning? Simply ambiance establishing it is the evening? No idea.
Episode 4: Daddy Mario
In my research I have run into the theory being floated that Mario is actually Triela's father, and that is the secret twist to Bambola.
I'd just like to say that it makes no sense. Besides the completely incoherent interpretation it implies, it undermines the whole intent of the episode. Please don't keep repeating this.
Episode 4: Hilshire's Mercy
During the climax of Bambola, Mario explains how having a daughter caused him to quit the mafia in shame for his actions. Earlier he had said that he was already looking to leave the mafia when Hilshire caught him, but then released him for information.
As something of a pet theory (yes, I realize the irony of this following "Daddy Mario" above), I suspect that in the anime timeline Hilshire let Mario go because of the daughter, not for insider knowledge. Like Triela, he saw that this was a changed man. It would explain why they remained on cordial terms afterward as well as why this moment struck Hilshire so strongly: he just heard Triela surpass him, not only showing mercy as he did but exhibiting further Christ-like forgiveness in a way he knows he cannot match.
Episode 4: Lingering Romance
At the end of the episode, Hilshire finally gives Triela some of the recognition that she has so desired. She blushes deeply, her mouth hanging open at the overwhelming emotion it has elicited in her.
In my write-up I opted merely to interpret this as accepting his platonic affection. And of course, that is all Hilshire intended it to be. Later on in Amare, when Pietro asks Triela if she's in love with her trainer she sighs and tells him to not ask stupid questions, the implication being that she is far too mature to regard her "father" as a focus of romance.
However, given how keenly Triela supported Henrietta's timid machinations at the beginning of Bambola, it would seem to imply that Triela herself was once completely in love with Hilshire; she recognized the signs easily in Henrietta and knew what it would have meant for herself. Her reaction here is a small tip of the hat, reinforced by Ti Amo ("I Love You") playing as he walks away. She isn't still in love, but just for a moment when he gave her what she wanted so much for so long, that small piece of her that still felt that way blossomed.
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Episode 5: Amadeo's Pondering
While Raballo is having lunch with Jean and Rico in Promessa, Amadeo can be seen sitting on the next table over, watching the rain.
We never learn enough about Amadeo to make a guess on what he is thinking, so all one can do is speculate if there is something in mind or if he's simply there as a random denizen of Section Two. He is present later in the episode, playing cards with Amadeo and Giorgio, but he does not say anything then either.
Episode 5: Is this a JoJo's reference?
In the scene where Claes is talking to Raballo in his room, the gardening book that Raballo is reading can be seen on his headboard. It is authored by Guido Mista.
In a rather humorous recursive reference, Guido Mista is a character in JoJo's with an assassination specialization. In other words, an assassin writing a book about gardening, being read by a soldier who dreams of gardening, in a series about assassins who would be more suited to gardening.
When the scientists invite her in and give her orders she is calm and inexpressive; she knows what is coming but she refuses to give them any sort of sign that they can affect her mind. Claes cannot control her outward circumstances, but the inner life is her domain. She will endure the pain, then, without giving in to herself, and it is with an intense, inward-looking grimness that she faces the task.
At the beginning of Protezione, Jean "accidentally" encounters Filippo. After asking for directions he makes as if to leave and it is only by Rico's love of art that Jean is given a reason to stay. This is the excuse that he uses to request Filippo's presence at the Uffizi.
While Rico's pseudonym is abused for a connection to Florence, Jean could never have intended to use her to lure Filippo in this fashion. While more elaborate explanations could be hatched about his secondary schemes, it is my suspicion this is merely a minor plot hole.
Episode 7: Tour of the Uffizi
Protezione's recreation of the Uffizi is remarkable. While this series has a high level of detail to its locations overall, this episodes deserves a special mention for the reverence it gives to the temple of art. Rather than take the space here I've assembled an Imgur album which follows their progress.
Episode 7: Interpreting Art
Protezione was one of the strangest analyses to write because of the large number of potentially symbolic connections with the art. While some were clear, such as the Rape of Sabine and Rico's strong association with images of female beauty, I was at a loss for many others.
For instance, in the picture to the right Rico is underneath Mary while Jean, Gabriel. It looks like Mary is rejecting him, although it is in truth a fiat, or acceptance. How many levels down to go? Is Rico just being associated with another female archetype? Did the animators misconstrue the painting's meaning and believe this is showing Mary refusing Gabriel, and so Rico pushing Jean away? Is there some long, torturous explanation about how Mary is torn concerning what God wishes to bestow on her, the same way Rico views Jean's "gift" to her with ambivalence? Filippo is between Rico and Jean; does that mean anything? Christiano is standing under Mary, does this mean something? These questions can go on all day long.
What made this doubly confusing is that the rooms they visit were real (see "Tour of the Uffizi" above). They have since been remodeled, but they did once contain all the pieces seen. However, from the images I could find the paintings were not in the same locations as shown in the series; this could potentially mean something, but could just as easily be accounted for by the natural movement of artworks in a museum.
This leaves me in an awkward position where I am never sure if the Madonna looking at Christiano ("Christ") as he orders Rico abducted is meant to be ironic... or if they just happen to be standing in that part of the room which was naturally near the exit, and the artists were being faithful to the actual building.
I have high trust in Gunslinger Girl's subtlety, but I do not like to posit too much as it undermines the interpretations I am confident in. My compromise was to include all the details I could muster and allow others to evaluate for themselves.
Episode 7: Window Gazing
After the trio have left the museum and walk along the back alleys, Rico scans the upper levels of the nearby buildings.
In the analysis I wrote this was to guard against an ambush. However, I'm not sure if it's meant to be a parallel or stylistic choice, but the sequence bears a resemblance to when she was scouting the hotel in Ragazzo, staring up at the windows in the same curious fashion followed by a shot from her point of view.
Episode 7: Heavenly Glass
After running from the mafia, Jean, Rico, and Filippo hide in a stairwell with a brilliant transom above the door.
The series pans slowly across it as Filippo tells his story, confirming what a good man he is. Later on, when the thugs are preparing to storm their area, one looks up in fear at the same pattern with dismay. Is this because Christiano warned them not to damage churches? Or is this supposed to be some sort of heavenly sign?
In the OP Henrietta is seen standing between the bar and poster. Above her are a series of signs: an arrow to a hospital to the left, tourism location (?) "S. Pio" to the right, and the number 147 (address?).At first I went for the metaphorical interpretation. Vivaldi does have a Psalm 147 choral piece, but I do not see any specific relevance in that or the associated verses in the Bible. Unable to make out the writing on the hospital sign I was stuck.
I then tried a physical interpretation. There is a Campo san Vio in Venice, which is scenic enough to get its own 360 cities entry. However, one cannot see either the Doge's Palace or any of the areas that the Ospedale della Pietà once occupied from it. Nor is it situated near a hospital. After some quality time spent with Google Maps, I was forced to give up.In conclusion, I do not know if there is hidden symbolism or whether it is a wall I cannot identify or if it is a locale that was conjured up for the OP. The longer I look the more I doubt I even see, "S. Pio" so before I drive myself mad I will just cut it off here.
Opening Theme: Socialist Poster
Part way through Henrietta is next to a poster which reads, "Socialismo: una storia che non si foma." This translates roughly to, "Socialism: a story without form."This is an awkward phrase, one I have no confident interpretation for. I've kicked around some vague interpretations but none of them are compelling. The best idea I've heard is that this poster is representative of the SWA. In Gunslinger Girl the government is an extreme leftist group opposing a right-leaning terrorist faction. As such, it's a piece of propaganda: outwardly advertise social welfare and pretending to care like a mother for a child while being nothing of the sort. This leaves the phrase itself unexplained, but is the closest I've felt an explanation to being right.
Opening Theme: Sliding Palaces
As Henrietta stares at the reflection of the Doge's Palace it seems to slide, as though the entire waterfront of buildings were moving across from her. She looks down at precisely this moment in sadness, as though she is reacting to its leaving.I have no explanation, as she shouldn't be saddened by the SWA being swept away. It is obscured by the motion of the people, but it undoubtedly happens. Is it that everything passes in general?
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Ending Theme: Reflections
The ending theme consists of a single scene, Henrietta's SIG-sauer P239 lying on the cobblestones with the rain. Such a simple yet forlorn image. The weapon has been fired, empty cases lying around; coming at the end of each episode, it is a reminder of the violence before, accompanied by Dopo Il Sogno ("After the Dream"), a lament in Italian:"Signore, oh, per pietà
lasciami piangere.
Lascia che io pianga la dura sorte
e che sospiri la libertà.
Il duolo infranga queste ritorte
dai miei martiri solo per pietà.
Signore, oh, per pietà
lasciami piangere.
Signore, oh, per pietà!"
"Lord, oh, for pity's sake,
let me cry!
Let me weep over my cruel fate,
And let me sigh for freedom
May sorrow break these chains,
If only for pity of my woes.
Lord, oh, for pity's sake,
let me cry!
Oh Lord, have pity!"
In one more layer, the image in the puddles is that of the Doge's Palace of the OP, a reminder of the shadow of worldliness under which this suffering occurs.
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Multiple Episodes: Titles
There are a few episodes which have clever titles that I wish to remark on briefly.
Ragazzo (boy) is a double-meaning. While it most clearly refers to Emilio and the relevance he has to Rico, it is a secondary comment on Rico herself and how Jean treats her. Yet the course of the episode clearly reveals her to be an absolutely beautiful girl, making such a reference also contain a tinge of bitterness.Bambola (doll) is similarly constructed. The teddy-bears, which are emblematic of Triela's frustration with Hilshire, are the obvious connection. But secondly, Triela herself is treated as a doll by several characters in the episode, a portrayal that is completely at odds with the complex inner turmoil she experiences. Like Ragazzo, it plays to the early series theme of how disjointed the appearances and reality of the situation are.
Lycoris radiata Herb is the scientific name of the red spider lily, a striking blood-red flower that has abundant folklore in Japan. It is the flower of the afterlife, a symbol of loss, longing, and abandonment. It is said to bloom along the path of one you will never see again. To have that title Elsa's episode is truly poignant.Simbiosi is a peculiar title. Even though I offer an explanation in the analysis, that it is from the cooperation of Franca and the organization, I am not completely confident in this interpretation. The existence of the grain of wheat, another biological term, makes me wonder if it is suggesting sacrifice and symbiosis are related. Or whether it is a broader comment, that the SWA is symbiotic with its opposition, requiring it to exist. None of these stand out to me, so take your pick.
Multiple Episodes: Claes' Hairclips
In the majority of Claes' scenes she is wearing silver-gray hairclips that accent her dark hair. However, in the rooftop scene in Ragazzo and both of her training scenes in Promessa, they are pink.This change does not correlate with anything in Claes' behavior, and are separated radically in time. But it does coincide with her wearing the same outfit: a vest and shorts rather than her usual smock-dress. My guess is that the same person may have been in charge of drawing these scenes and made this small error.
Multiple Episodes: Claes' Reading
Claes is frequently seen reading a book, although with the exception of the one she brings to her captivity in Simbiosi neither the titles nor subjects are ever given.However, what is interesting is that one can see what the pages look like, and they are clearly laid out in three-lined stanzas, either for a poem or a play. A small hint that she does not merely read textbooks, but pursues the arts as well.
Concurrent with this, one can also see that her bookmark has a small plant on it in remembrance of Raballo. It is likely Anchusa azurae based on its leaf and inflorescence structure, an identification reinforced by the fact that one of its common names is Italian bugloss.Multiple Episodes: Jose's Drinking Habits
Jose and Henrietta are together at several tables throughout the series. At the restaurant in Orione he sips his espresso, but in every other scene with her he leaves his beverage untouched.
This is one of the running indications that all is not right with their relationship. Jose tells her what to do but doesn't do himself. On a more human level it is also a subtle rejection, for he is not sharing with her in the common cultural norm of reciprocal dining. This contrasts with how Triela is seen to frequently partake in this same ritual along with Henrietta.There is one exception to this rule, and it is in Orione where he dines with her and then drinks his espresso afterward. Why this exists as an exception is unknown; was that his one attempt, and when it failed so horribly did he not let his guard down in the future? Too little information to decide.
Multiple Episodes: Obelisks
Around Rome there are several obelisks, and they show up in a couple of episodes. These include the oldest in Saint Peter's Square in both Orione and Simbiosi, as well as the one in the Piazza Della Rotonda in Pasta. They always seem to be viewed at tilted angles.Reminders of the deeper meaning, standing unmoved by the events and pointing skyward? Or are they just another piece of verisimilitude?
Multiple Episodes: Unidentified Locales
There are several named locations in the series that I am unable to find meaning for and which do not show up in a cursory internet search. Whether they are former locations, renamed locales, or obscure references, I cannot find anything on them:- Episode 3: Hotel Villa Gadd, Rome
- Episode 3: Yoneco (jewelry?) store, Rome
- Episode 4: Lucilio... something, Naples
- Episode 4: Al Mangia restaurant, Naples
- Episode 4: Bar Abruzzi, Naples
- Episode 10: Bar Indiana, Rome
- Episode 12: Bar ___lino, Rome
Multiple Episodes: Weapon Discrepancies
Despite the series having a very high level of attention to detail when it comes to weapons, it is not perfect. While this is hardly the point of Gunslinger Girl, the folks over at the IMFDB have an extensive compilation of every weapon used in the series, with several noted errors. I will not reproduce that list here.
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Episode 1: Are You Thirsty?
When Jose first walks into the room he notes that Henrietta is awake. He then proceeds to ask if she is thirsty (literally, "Is your throat dry?").
For being one of the first things Jose says to Henrietta, it seems awfully mundane. I interpreted it as trying to treat her like a human, but such a line cries out for more. Having her throat dry hints at a need that must be slaked, but the line itself is so basic that to convince myself it means anything other than "thirsty" seems a stretch. Maybe that is all it is.
Episode 1: Expendable Innocence
One of my section headings is, "Expendable Innocence." This is not my own term, but one shamelessly borrowed from the title of an AMV. I have always found it a haunting phrase that as an epithet cuts immediately to the core of all that the Social Welfare Agency stands for. The AMV itself is also the best-produced one I am aware of for the series, and although in my finicky way I don't think it's 100% on the mark, it is still excellent.
Episode 1: Blue Sky Interlude
Nestled between the scenes "Jose Irrational" and "Tea Time" in Fratello, a slowly panning image of Jose and Henrietta on the rooftop is shown.
This is an anticipation of "Celestial Bodies" in Orione, and a hint of what Henrietta is thinking about; she is contemplating her dream even as Jose can only conceive of her as broken. I did not include it at all in the main work as it was awkward to explain and interrupted the flow of ideas; indeed, it honestly is a bizarre scene even in the anime, for it feels like the end of the episode has come.
Episode 1: Magic Tea and Cake
As Triela leads Henrietta back to her room she tells the little girl that in tea and cake there is a magic spell that makes people feel better.
A nice little flair on the part of Triela's character with regards to the underlying allegory. There is nothing magic about what she does, but it is what Henrietta can understand, and which allows this hurting child to hope that it can be made better.
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When Jose first walks into the room he notes that Henrietta is awake. He then proceeds to ask if she is thirsty (literally, "Is your throat dry?").For being one of the first things Jose says to Henrietta, it seems awfully mundane. I interpreted it as trying to treat her like a human, but such a line cries out for more. Having her throat dry hints at a need that must be slaked, but the line itself is so basic that to convince myself it means anything other than "thirsty" seems a stretch. Maybe that is all it is.
Episode 1: Expendable Innocence
One of my section headings is, "Expendable Innocence." This is not my own term, but one shamelessly borrowed from the title of an AMV. I have always found it a haunting phrase that as an epithet cuts immediately to the core of all that the Social Welfare Agency stands for. The AMV itself is also the best-produced one I am aware of for the series, and although in my finicky way I don't think it's 100% on the mark, it is still excellent.Episode 1: Blue Sky Interlude
Nestled between the scenes "Jose Irrational" and "Tea Time" in Fratello, a slowly panning image of Jose and Henrietta on the rooftop is shown.This is an anticipation of "Celestial Bodies" in Orione, and a hint of what Henrietta is thinking about; she is contemplating her dream even as Jose can only conceive of her as broken. I did not include it at all in the main work as it was awkward to explain and interrupted the flow of ideas; indeed, it honestly is a bizarre scene even in the anime, for it feels like the end of the episode has come.
Episode 1: Magic Tea and Cake
As Triela leads Henrietta back to her room she tells the little girl that in tea and cake there is a magic spell that makes people feel better.A nice little flair on the part of Triela's character with regards to the underlying allegory. There is nothing magic about what she does, but it is what Henrietta can understand, and which allows this hurting child to hope that it can be made better.
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Episode 2: Tidbits
The permission slip that Jose submits for his outing with Henrietta has a great deal of writing on it, with Italian and English as follows (my thanks to u/Manitary on reddit):“Autorizzaione per uscita
Reparto di appartenenza del richiedente Settore 2
Nome e cognome del richiedente
Si autorizza il seguente in base all'art. 21
del regolamento: Giuse[ff]o Croce (or maybe Giusello?)
1. Motivo di destinazione
Studio del galateo e della societa' [?] (looks like 'cenate')
2. Luogo di destinazione
Ristorante La T[?]azza (looks like 'Tacezza')
3. Indirizzo di destinazione
Via Ludovi[?], 49 - ROMA (looks like 'Ludovisi')
4. Condizione per [?]rizzazione (looks like 'laurizzazione')
Accompagnato dal fratello
5. Scadenza
Fino al 28 luglio 2000”
“Leave permit
Department of the applicant: Section 2
Name and surname of the applicant: Giuseppe Croce
1. Reason for the leave
Study of etiquette and civil society
2. Place of destination
Restaurant La Terrazza
3. Destination address
Via Ludovisi, 49 - ROMA
4. Condition for authorisation
Accompanied by her brother/fratello
5. Expiration
28th July 2000”
This slip roots the series in a timeline which gives Henrietta's appearance at the Agency to be in July 2000 (see above). Furthermore, there is a Restaurant Terrazza at Via Ludovisi 49, and it is rather upscale and so fitting. It doesn't visually fit inside, but it's been 16+years, so that's not surprising.
There are also a few interesting-but-mostly-irrelevant tidbits. First is that even though I refer to him as Jose (the first translation I watched used this), his canon spelling in the anime is Giuseppe; it is also curiously the only time his last name, "Croce," is mentioned in the anime. Reasons for this unknown. Finally, here is also a small error: Jose's handwriting is in the same font as the document itself.
Episode 2: Discolored Bill
At the restaurant, Jose bribes a waiter with a 500 Euro bill.Real 500 Euro bills are pink in color while the one that Jose holds is greenish. This is similar in tint to the 100 Euro note, and as such may be the source of the mistake. This is also anachronistic, as Euros were not adopted by Italy until 2001, and this scene takes place in 2000 (see Tidbits above).
Episode 2: Looking at the Sun
During the rooftop flashback, Jose and Henrietta are staring up at Venus, a metaphor for glimpsing the spiritual. When Jose gives her the scope he warns her not to look at the sun.While the advice is physically sound, whether it contains a spiritual corollary is not clear. It might seem an obvious symbolism that the sun is the source of heavenly brilliance, and so to look at it directly is blinding, but curiously the series never uses the sun as a metaphor. In fact, the sun is absent except for one scene in Ragazzo. It is the night, with its fundamental stillness and silence, that is most evocative in this series. As such I am hesitant in assigning a traditional interpretation here.
Episode 2: Woke
After Henrietta's dream on the roof she awakes on the operating table with tears in her eyes. It was too early to remark on this in full detail, but it is one of the best short scenes in the series to me.
Its genius is that it draws out one of the central conundrums: how is it possible for her to experience transcendent peace that yet shares a world with her ugly, mundane reality? The doctor even injects a skeptical remark: is she sure she's awake now? This is the real world, not what she was dreaming of.Yet Henrietta is not dissuaded, and indeed she cannot explain why she weeps to him. He can't understand how much she felt like she belonged to that world, that it was more real than what he calls reality. The tears are such a subtle mixture of longing joy and anguished confusion, some of the most sincere that can be shed.
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Episode 3: Birthday Gifts
When Rico is first reminiscing at the beginning of Ragazzo, she mentions that she received her new body two years ago on her birthday.A small detail that is never visited in the anime but which is explained in the manga is that most of the girls do not remember their birthdays. They have a "reconstruction day" which serves in its place. So Rico is giving its bitter definition, that on that day her new existence here began.
Episode 3: Shylock
On the rooftop, when Triela is imitating Hilshire teaching she pantomimes him asking her to read Shylock's line, page 36.While a Shakespeare quote would seem to demand meaningful interpretation, I believe it is merely a hold over from the manga. Yu Aida being an Italophile he inserted a reference to The Merchant of Venice. This later ties in with the next chapter where as Triela talks to Mario she says, "Look, my blood's as red as yours.", a reference to Shylock's famous speech:
"Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us do we not bleed? If you tickle us do we not laugh?"This later line, and hence the reference, are omitted from the anime. While I can only speculate as to why, my first impression is that it does not fit Triela in this version (and a bit too on the nose). She is long-suffering, and while she will call attention to Mario's misbehavior it is not in her nature to demand sympathy for herself, nor the series' nature to demand pity for the girls.
Episode 3: "That's a boy's name."
After Rico encounters Emilio behind the hotel she shares her name with them. On hearing it, he exclaims with surprise that Rico is a boy's name.
One thing I've never confirmed but suspect is that this moment is also one of revelation to a Japanese audience. "Riko", a phonetically identical word, is a common female name in Japanese; therefore there was nothing clearly wrong with her name to the casual viewer in its native language. It's only afterward that the impact of what Jean has chosen to do is clear.
Episode 3: Evergreens
Outside of Henrietta and Rico's room there is a single tall, lovely Italian cypress. A similar one is located outside Triela and Claes' room, as they are planted in a line surrounding the dormitory.However, in just this episode there are multiple pines of an entirely different species outside their window. Seems to be an error, as these types fill the land the SWA is located on, but are not planted that close.
Episode 3: Sports Page
As Hilshire and Giorgio watch for the targets to enter the hotel, Giorgio reads the sports section.It is a small detail, but a nice touch. Giorgio is a banal man, easily entertained with sports and not even bothered enough by this murderous mission to be put off enjoying them.
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Episode 4: Jose's Car
In the first scene of Bambola, Henrietta corners Jose in the parking lot next to his car, a Porsche Boxter. This is complemented by Jean’s Mercedes-Benz CL500 seen in Promessa. These are rather expensive cars far beyond what the rest of Section 2 is shown to drive.What is curious about these choices is that although in the manga the brothers are from a rich family, this is not a core part of either of their stories in the anime. In fact, their backstory is not present yet in the manga itself at the time of the anime’s adaptation, so I can only presume that, excepting insightful chance, it is the result of communication with Yu Aida himself.
Which touches on the last oddity of all this: the Boxter is only shown in anime-original scenes, both here and later in Lycoris Radiata Herb as they drive to Siena. Similarly, Jean’s Merceds-Benz is not detailed in the manga scene but shown clearly in the anime. As such, the anime may be hinting at this backstory through the incorporation of novel details without intending to fully pursue it.
Episode 4: Halt, It's the Police!
As Mario flees from his pursuers, they hold their guns professionally while using hand signs to coordinate.A small detail, but showing how it is not just the mafia but the well-trained, and corrupted, police who are also intent on silencing him. Hilshire and Triela have their work cut out for them.
Episode 4: Strange World
During the exposition of Hilshire and Triela searching for Mario, they stake out an area while Hilshire reads the newspaper as cover.When examined closely, it is a very curious edition: on the front is a story concerning a suicide bombing in Jerusalem (literally "woman kamikaze" and "massacre in Jerusalem") while on the back is an advertisement for a "child-friendly cancer parade" (a fundraiser).
I've attempted to track down whether this is a reference to a particular event but to no avail. My other thought is that this is a nod to the utter incongruity of this world and a continuation of a core quandary, that such opposing tendencies can be contained within a single edition.
Episode 4: Welcom
As Triela chases Mario she passes under a floral sign saying, "Welcom." I don't think I need to explain the problem.
Episode 4: Church Bells
After Triela has saved Mario the bells begin tolling as he asks if she is okay, with the fifth and final strike occurring as he apologizes.Meaning? Simply ambiance establishing it is the evening? No idea.
Episode 4: Daddy Mario
In my research I have run into the theory being floated that Mario is actually Triela's father, and that is the secret twist to Bambola.I'd just like to say that it makes no sense. Besides the completely incoherent interpretation it implies, it undermines the whole intent of the episode. Please don't keep repeating this.
Episode 4: Hilshire's Mercy
During the climax of Bambola, Mario explains how having a daughter caused him to quit the mafia in shame for his actions. Earlier he had said that he was already looking to leave the mafia when Hilshire caught him, but then released him for information.As something of a pet theory (yes, I realize the irony of this following "Daddy Mario" above), I suspect that in the anime timeline Hilshire let Mario go because of the daughter, not for insider knowledge. Like Triela, he saw that this was a changed man. It would explain why they remained on cordial terms afterward as well as why this moment struck Hilshire so strongly: he just heard Triela surpass him, not only showing mercy as he did but exhibiting further Christ-like forgiveness in a way he knows he cannot match.
Episode 4: Lingering Romance
At the end of the episode, Hilshire finally gives Triela some of the recognition that she has so desired. She blushes deeply, her mouth hanging open at the overwhelming emotion it has elicited in her.In my write-up I opted merely to interpret this as accepting his platonic affection. And of course, that is all Hilshire intended it to be. Later on in Amare, when Pietro asks Triela if she's in love with her trainer she sighs and tells him to not ask stupid questions, the implication being that she is far too mature to regard her "father" as a focus of romance.
However, given how keenly Triela supported Henrietta's timid machinations at the beginning of Bambola, it would seem to imply that Triela herself was once completely in love with Hilshire; she recognized the signs easily in Henrietta and knew what it would have meant for herself. Her reaction here is a small tip of the hat, reinforced by Ti Amo ("I Love You") playing as he walks away. She isn't still in love, but just for a moment when he gave her what she wanted so much for so long, that small piece of her that still felt that way blossomed.
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Episode 5: Amadeo's Pondering
While Raballo is having lunch with Jean and Rico in Promessa, Amadeo can be seen sitting on the next table over, watching the rain.We never learn enough about Amadeo to make a guess on what he is thinking, so all one can do is speculate if there is something in mind or if he's simply there as a random denizen of Section Two. He is present later in the episode, playing cards with Amadeo and Giorgio, but he does not say anything then either.
Episode 5: Is this a JoJo's reference?
In the scene where Claes is talking to Raballo in his room, the gardening book that Raballo is reading can be seen on his headboard. It is authored by Guido Mista.In a rather humorous recursive reference, Guido Mista is a character in JoJo's with an assassination specialization. In other words, an assassin writing a book about gardening, being read by a soldier who dreams of gardening, in a series about assassins who would be more suited to gardening.
Episode 5: Trieste...?
When Raballo calls the news office to report the SWA a poster hanging behind the reporter on the wall says "Trieste...something."
I cannot make out precisely what that second word is (looks like "Diesel," which leads me to information on the Trieste cruiser in the Italian navy). It looks like a movie poster to me. Apparently the city of Trieste is a cinema hotspot, and given that there are several other such references in the series it wouldn't surprise me if this had more meaning.
Incidentally, I've also always wondered if that guy is supposed to mean anything. I've tried to see if there was some hint that this conversation was being listened to by a plant in the office, but to no avail.
When Raballo calls the news office to report the SWA a poster hanging behind the reporter on the wall says "Trieste...something."
I cannot make out precisely what that second word is (looks like "Diesel," which leads me to information on the Trieste cruiser in the Italian navy). It looks like a movie poster to me. Apparently the city of Trieste is a cinema hotspot, and given that there are several other such references in the series it wouldn't surprise me if this had more meaning.Incidentally, I've also always wondered if that guy is supposed to mean anything. I've tried to see if there was some hint that this conversation was being listened to by a plant in the office, but to no avail.
Episode 5: Claes' Defiance
At the end of the episode the flow didn't allow me to comment on a crucial aspect of Claes' behavior: her stoic defiance in the face of how she is treated.
Afterward, when her arm is dislocated, it is clear she is in significant pain but also still trying her best to not show it. She will not beg them for pain killers, but nonetheless there is a simmering rage. Yes, her locus is internal, but that doesn't prevent her from feeling a deep anger toward these brutal men. Claes does not maintain for the Agency, then, but to spite them, and let herself know that no matter what they do to her they cannot overmaster her soul.
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Episode 6: Poor Etiquette
As Henrietta eavesdrops on Perdini the silverware from the finished meal can be seen on the table. While Enzo has his utensils politely placed together to signal he is done eating, Jose's and Henrietta's are in relative disarray.
Is this meant to be a point of characterization? Jose is supposed to be the one teaching Henrietta how to act properly, but he is rather failing at it. It is an added detail compared to the manga, which is often a sign, but I don't feel confident enough in declaring it to be the case.
Episode 6: Bait
During the raid, which I exclude in the write-up, Jose sends Henrietta out to pretend she is a lost girl so that she may get close to the men guarding the end of the hall. This scene is curious because it should have been a developmental moment, but due to the general mishandling of Gelato it was not.
Symbolically, it demonstrates that Jose is willing to put Henrietta in danger, and even sacrifice her, to accomplish this mission; a hint of what is to come with Elsa. Yet it is so blatant, mired with idiotic bad guys ("Hey, there's a random girl, let's take her captive because we're EVIL") and poor characterization (Henrietta cannot act at this point in the series), that I couldn't even bring myself to analyze it.
I mention it here because it's an interesting example of how this episode was supposed to work, and yet went off the rails.
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Episode 6: Poor Etiquette
As Henrietta eavesdrops on Perdini the silverware from the finished meal can be seen on the table. While Enzo has his utensils politely placed together to signal he is done eating, Jose's and Henrietta's are in relative disarray.Is this meant to be a point of characterization? Jose is supposed to be the one teaching Henrietta how to act properly, but he is rather failing at it. It is an added detail compared to the manga, which is often a sign, but I don't feel confident enough in declaring it to be the case.
Episode 6: Bait
During the raid, which I exclude in the write-up, Jose sends Henrietta out to pretend she is a lost girl so that she may get close to the men guarding the end of the hall. This scene is curious because it should have been a developmental moment, but due to the general mishandling of Gelato it was not.
Symbolically, it demonstrates that Jose is willing to put Henrietta in danger, and even sacrifice her, to accomplish this mission; a hint of what is to come with Elsa. Yet it is so blatant, mired with idiotic bad guys ("Hey, there's a random girl, let's take her captive because we're EVIL") and poor characterization (Henrietta cannot act at this point in the series), that I couldn't even bring myself to analyze it.I mention it here because it's an interesting example of how this episode was supposed to work, and yet went off the rails.
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Episode 7: Jean's Plan
At the beginning of Protezione, Jean "accidentally" encounters Filippo. After asking for directions he makes as if to leave and it is only by Rico's love of art that Jean is given a reason to stay. This is the excuse that he uses to request Filippo's presence at the Uffizi.Episode 7: Tour of the Uffizi
Protezione's recreation of the Uffizi is remarkable. While this series has a high level of detail to its locations overall, this episodes deserves a special mention for the reverence it gives to the temple of art. Rather than take the space here I've assembled an Imgur album which follows their progress.
Episode 7: Interpreting Art
Protezione was one of the strangest analyses to write because of the large number of potentially symbolic connections with the art. While some were clear, such as the Rape of Sabine and Rico's strong association with images of female beauty, I was at a loss for many others.For instance, in the picture to the right Rico is underneath Mary while Jean, Gabriel. It looks like Mary is rejecting him, although it is in truth a fiat, or acceptance. How many levels down to go? Is Rico just being associated with another female archetype? Did the animators misconstrue the painting's meaning and believe this is showing Mary refusing Gabriel, and so Rico pushing Jean away? Is there some long, torturous explanation about how Mary is torn concerning what God wishes to bestow on her, the same way Rico views Jean's "gift" to her with ambivalence? Filippo is between Rico and Jean; does that mean anything? Christiano is standing under Mary, does this mean something? These questions can go on all day long.
What made this doubly confusing is that the rooms they visit were real (see "Tour of the Uffizi" above). They have since been remodeled, but they did once contain all the pieces seen. However, from the images I could find the paintings were not in the same locations as shown in the series; this could potentially mean something, but could just as easily be accounted for by the natural movement of artworks in a museum.This leaves me in an awkward position where I am never sure if the Madonna looking at Christiano ("Christ") as he orders Rico abducted is meant to be ironic... or if they just happen to be standing in that part of the room which was naturally near the exit, and the artists were being faithful to the actual building.I have high trust in Gunslinger Girl's subtlety, but I do not like to posit too much as it undermines the interpretations I am confident in. My compromise was to include all the details I could muster and allow others to evaluate for themselves.
Episode 7: Window Gazing
After the trio have left the museum and walk along the back alleys, Rico scans the upper levels of the nearby buildings.In the analysis I wrote this was to guard against an ambush. However, I'm not sure if it's meant to be a parallel or stylistic choice, but the sequence bears a resemblance to when she was scouting the hotel in Ragazzo, staring up at the windows in the same curious fashion followed by a shot from her point of view.
Episode 7: Heavenly Glass
After running from the mafia, Jean, Rico, and Filippo hide in a stairwell with a brilliant transom above the door.The series pans slowly across it as Filippo tells his story, confirming what a good man he is. Later on, when the thugs are preparing to storm their area, one looks up in fear at the same pattern with dismay. Is this because Christiano warned them not to damage churches? Or is this supposed to be some sort of heavenly sign?
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