○ Appendix 6: The Rest Is Details II (Episodes 8-13)

A continuation of The Rest Is Details I.

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Episode 8: Henrietta's Door
At the beginning of Pasta, Henrietta has an interview with Doctor Bianchi, during which the mirrors around her reveal the truth and falsity of her statements.  In a very distinctive shot, she is shown in front of a door to her side.

This is one of the most perplexing images in the series to me, because her positioning seems far too purposeful.  It is not the door she entered from and nobody ever touches or acknowledges it.  Not only this, the room is wrong.  All of these observation rooms have one door, not two.  This is a mysterious addition that leads elsewhere.

Furthermore, it is only visible in mirror shots or those seen from the other side of the observation glass.  But I don't want to read in to this too much, because it could be a natural consequence of shot angle: why would they ever want to show that far wall from inside that room?  It makes no sense for the action.  (Related: you cannot see Bianchi or Ferro from the other side of the glass, but that could also be a consequence of shot angle.)

It seems like this image is similar to Claes' later view of the open door in Simbiosi, even so far that when Henrietta exclaims at her worst, "That's not it!" one can see her head covering it.  But the fact that the door is closed means... what?  Henrietta isn't looking at it yet, so she isn't aware of the door?  Does that mean it stays closed for now?  Given the density of meaning in this scene, I would not be surprised if it resolved itself in such a fashion... but can equally see this as a case of over-interpretation.


Episode 8: Angelica Infirmed
Angelica is paralyzed for most of Pasta, a fact that hides in plain site.  When she first wakes up she is unable to move, her arm limp in Biachi's hands.  Later in a wheelchair she is only able to feebly raise her hands, the ample bandages around her wrists indicating the surgery that has taken place.  It isn't until near the end that she is shown standing, the scene before hinting at what it cost her with the full-body mold in the background (picture below).

This is an excellent demonstration of Gunslinger Girl's restraint.  It does not focus on her physical suffering to elicit pity, for that would simply be vulgar to torture these girls for our sake.  By shifting the emphasis subtly away it keeps the focus properly on the importance of the emotional story.

A similar approach is taken with Henrietta in Fratello.  The manga is quite graphic with her physical state before being taken from the hospital.  The anime contains hints, but respectfully downplays them so that you won't notice unless you know what to look for.


Episode 8: Lovely Titles
When Angelica first meets Amadeo and Priscilla, they introduce themselves as the "Missionary of Love" and the "Fallen Angel of Love" respectively.

I understand Amadeo's title, as he plays himself up as a romantic the entire episode.  But I don't understand Priscilla's at all.  I've kicked around a few theories in my head, but none of them are even worth mentioning.  Seeing as it's from the manga, maybe I'm trying too hard.


Episode 8: Meeting Pizza
In a transition scene, Marco states that, "By the time the Pasta Prince met Princess Pizza, Section Two gathered more people, and started to form into its present state."

I am unable to quite fit this into the rest of my understanding.  Obviously Marco is the Prince and Angelica is the Princess, but he met her long before Section Two became strong, a point that is made early on.  I cannot tell if this is an error, or if I'm misinterpreting the metaphor.


Episode 8: Flowers for Ange-non
Toward the end of the episode, Angelica is seen crouched in front of a plot of daisies when Amadeo and Giorgio return from their punishment.  They hand her a bouquet that is composed of yellow carnations, red roses, and a white lily.

Flowers are an easy way to slip in messages, and the director Morio Asaka is on record for using flower symbolism in his other series.  Yet here it makes no sense.  Daisies are associated with purity and innocence, as is the white lily... but so are about half the flowers I look up, making them effectively meaningless.  The red rose is unequivocally romantic love, something that has no place in this scene.

Yellow carnations are, incidentally, a flower of rejection.  This would be meaningful to what is about to happen to her... if everything else is ignored.   So this gets one big, "Who knows?" from me.

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Episode 9: Editorials
In the first scene of Lycoris radiata, after Elsa returns from the mission, Lauro is seen to be reading the editorials.  Underneath the title is a red sentence that appears to be, "Tra sogni dubbi e sperica viste," or "Between dubious dreams and hopes seen."

I will be the first to admit that the last words of this sentence are difficult to read, and I may have them wrong.  However, the first part at least is perfectly fitting, a sad harbinger of the erroneous focus of Elsa's love.


Episode 9: Euro
When Rico is having trouble with her German she reads off the numbers incorrectly and then sits unhappily for a moment before saying, "Elro?"  Triela comes up and corrects her, saying, "oiro," apparently correcting her pronunciation of, "Euro."

Humor at Japanese speakers playing Italians making Japanese pronunciation errors on German homework aside, I am confused about why Rico is talking about Euros at all.  There is no reference to money on the page she is looking at.  The second and third numbers are clearly calibers of ammunition; "0.223" is as well but the page reads "223."  So is she confused by the lack of decimal, and her subsequent guess is a subtle reminder of how a normal textbook ought to use currency as an example?

It should also be noted that the last line is "der student" with a masculine article.  Is this meant to be a further degradation of the girls, similar to Rico's name?  There is a hint of another line beneath it, which may be "die studentin" as that would follow the pattern of male/female.  I am not confident enough to decide either way.

Finally, this image happens to contain a couple of errors.  The closed books are right-bound rather than left bound, and "Traduca" should be "Traduci" in the Italian.


Episode 9: My "self"
When Jose comes to the shooting range and asks Angelica how she is doing, she replies roughly something to the effect of, "My 'self' has mostly come back."

According to my personal translation team, the wording Angelica uses is unorthodox/bizarre (だいぶ我は戻ってきました), with the best shot being the version above.  The way that Jose pauses before responding would indicate he too was thrown off by what she said.

This feels like there is deeper meaning here.  One possibility is that she is quite literally saying that her true self is returning in the presence of Marco; she is not complete without him.  In which case Jose's pause could be understanding, realizing what his failures mean for Henrietta.  Another potential explanation is that Angelica's speech patterns are harmless yet disconcerting, a parallel with her role as a reminder of death.

The scene also contains a slight error; Jose stops behind Marco when he first approaches but when a side shot is shown he appears to be slightly in front (picture above).  Even accounting for the possibility of an altered angle, the direction of his gaze toward Angelica would indicate he has been accidentally nudged forward a couple of feet to frame Marco's face as the scene required.


Episode 9: Siena Tower

The tower chosen to snipe the police chief from has additional historical significance.  To quote Art Through the Ages:

“The heavy walls and battlements of the Italian town hall eloquently express the frequent need of city governors to defend themselves against their own citizens. The high tower, out of reach of most missiles, [is built for] a vertical defense of the tower’s base.”

It is a subtle but entirely on point commentary about this mission; this is those in power striking against those beneath them.  Nothing about it is justifiable.


Episode 9: Sniping Prowess
While talking to Henrietta after sniper practice, Jose says that he is still better than she is.  Later on the mission, Jose fires first and hits the police chief in the back; once the man is on the ground, unmoving, Henrietta's bullet strikes the skull.

Is this meant to show that Henrietta is actually superior to Jose at sniping, having hit the critical location?  Or is it just a natural effect of Jose firing at a moving target while Henrietta has the luxury of aiming at a still one?  Perhaps no relevance.

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Episode 10: Lorenzo
When Jean is called by the chief, Lorenzo(ni), over the phone his name can be seen briefly on the caller ID.

However, Lorenzo isn't introduced properly by name until Simbiosi.  Whether they were purposefully hiding his name is anybody's guess; make him more remotely authoritative, until the point it's obvious that he's winging it too?  Either way, fun tidbit that can be scavenged earlier.


Episode 10: Rumors
As Pietro prepares to launch a coin at the back of Jean's head in test, Elenora can be heard to interview Jean about anything out of the ordinary.  He responds that there were no reports, at which point Rico significantly angles her head.

This is a nice little touch that I didn't have room to highlight, but another little sign of how alert Rico is despite her appearances of thoughtless daydreaming.  I do, however, wonder how much Rico is intended to know.  The girls have been shown to share information, so Henrietta may have told her something.  In which case, Rico well knows that something out of the ordinary happened, and that it wasn't reported is what causes her reaction.


Episode 10: Report
When the ballistics report comes back about Elsa, there is some text at the bottom.  I can hardly make half of it out, but it seems to read:

"Agenzia di informazioni degli STATI UNITI di società di capitali di assistonza sociale sociale di sociela di senizio publica"

Which translates roughly to something about the information or social welfare agency of the United States.  Your guess is as good as mine in this case, as I don't speak Italian and the translation sites I used all returned muddled garbage (as would be expected from repeated words like that).  Maybe they sent the ballistics somewhere foreign so they could keep it a secret from their own government?

As a fun reference, though, the author of the report is Marco Pantani, a famous Italian cyclist.


Episode 10: Reflections
Near the end of the episode when Jean is feeding Pietro the story of having found R.F. blood at the scene, Rico turns to look out the window in rejection again.  Throughout the scene the reflections can be seen.

Reflections can be remarkably important, yet here I see nothing significant, only that Rico is not only looking away but into herself.  However, if they only show the truth, then Jean shouldn't be visible... yet he is as he clearly lies about the ambush.  Does this man have no reality to reflect at all?  Or is it an inconsistent application of the motif?

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Episode 11: Old Guy
As Henrietta runs frantically to catch up with the police she passes an old man sitting, either sleeping or just with his eyes closed thinking.

Random dude or some meaning?  He stands out more than the other civilians that Henrietta barrels past, and the way the shot is framed always struck me, but I can see no message or interpretation here.  Maybe somebody's grandpa got a cameo.

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Episode 12: The Other Painting

At the beginning of the episode, a picture of the Annunciation is hanging up on a concrete wall.  However, a second painting can be seen at an angle but is never fully revealed.  It appears to have some detail, but whether it is a true reproduction or just a generic image is unknown; I could not identify it from such scant information.  Second shot later on.


Episode 12: Magic Earbuds
Also at the beginning of the episode when Triela is talking to Henrietta, her head can be seen to be free of gear.  However, when Jose radios in she is suddenly possesses an earpiece which is far too prominent to have been accidentally overlooked.  It disappears again as they walk down the hall after training.

Sometimes I look for meaning in these things, but pretty sure this is just a continuity error.


Episode 12: Triela's Knowledge
Also also at the beginning of the episode, Triela and Henrietta talk about how Henrietta may have "overdone it" in Sicily.  Triela was already aware something happened before this.

This situation leaves me slightly confused.  How much does Triela know, and how does she know it?  She only remarks that Henrietta "made a fuss," without any further comment on what Henrietta actually did.  Given how aware Triela was of Elsa's state and her similarity to Henrietta, it seems unlikely she would allow Henrietta threatening to kill herself to slip by.  Or perhaps she is just more fluent than I, knowing that what Henrietta needs right now is to stabilize, counting on the girl's inherent strength to carry her in the long run.

Beyond this, where did she get the information?  Jose didn't seem likely to report anything, so it couldn't be Hilshire.  Pietro?  Henrietta doesn't seem surprised that Triela knows, however.  Maybe the little girl is just used to Triela knowing things and coming for her.  Or this could all just be a discrepancy for the sake of the story needing Triela to talk to Henrietta.  It happens.


Episode 13: Improved Accuracy
When Henrietta and Triela are sent into the training room both perform well.  Based on the sounds and positioning, Henrietta appears to be firing on the front target while Triela is hitting the back.

While the training segment performs a crucial role of showing how Henrietta and Jose are reacting after Sicily, I cannot tell if these details are meant to fit into it.  For instance, Henrietta's accuracy is higher than it was previously (see shooting range in episode 5), so does this mean she's still growing even as her relationship with Jose falls apart?  That she's here, alongside Triela in multiple ways (who still is a bit better than her in accuracy)?  Unknown.  Maybe it's just here to show us the flashbangs for later in the episode and the details are not crucial.  I hate to resolve it that way, but its presence in an episode that also has repeat animation and a weak middle in Claes' abduction makes me wonder (see below).


Episode 12: Magic Scope
When Angelica is preparing to enter the training area her weapon can be seen to not have a scope on it.  However, after the scene where Triela and Henrietta talk, it now has a scope.

As with the earbuds above it's almost certainly just an error.  The frequency of small mistakes here, combined with the "flat" art style/color and slightly off handling give me the impression that Simbiosi was an episode which did not get a lot of attention, being sandwiched between the monumentally important Febbre Alta and Stella Cadente.


Episode 12: Seeding Ideas
As the girls discuss the mission, Triela brings up the parable of the grain of wheat, to which Claes replies dismissively.  In the main work I state that she was introduced to this idea by Triela, the hints being that Triela knows to bring it up, and that Triela is shown to repeatedly and subtly nudge her friend throughout the series.

However, it exists as a possibility that Claes simply found this quote in her own extensive reading and was drawn to it, and that I have over-interpreted Triela's behavior in this particular instance.  She knew to ask about it because Claes had perhaps discussed it with her; Triela would be the natural person to ask concerning a Bible quote.  Fortunately, it does not make too great of a difference to the overall purpose of the series.

This issue is complicated because the scene in question involves reused animation, notably the frames in which Triela brings the idea up and when Claes replies to her (but importantly not when Claes recites the parable).  This limits the degree of interpretation, for while they would have selected expressions which fit, it is still a first-order approximation (hence the jokes in my writing: "In what has become a familiar scene," "Claes' expression is indecipherable"... what?  I thought they were funny).


Episode 12: Equestrian Statue

As Claes is abducted an equestrian statue is shown.  This is Vittorio Emanuele II, the first king of a united Italy, in front of the Altare della Patria, a significant monument to Italian nationalism.

Whether this is merely scene-setting or a commentary on how the SWA is fighting separatists under the nose of the symbol of Italian unity is pure speculation, but it's a great recreation of the area anyway.


Episode 12: Henrietta's Grimace
Right before Jose and Henrietta storm the mountain villa, Jose tells her to get ready to go.  She clutches her weapon and gives a serious, almost angry, scowl while uttering a threatening, "Yes."

I have no interpretation of this expression, for it is nothing like what she has ever had before.  Is it just reinforcing that the girls take rescuing Claes seriously?  I'd hate to discard this, since when the series gives such a clear view of an emotion it means something, but I'm just not sure what to make of it.


Episode 12: Stupid Threats
When the terrorist has Angelica cornered in the room he tells her not to move, then shortly appends the nonsensical comment that she'll be shot even if she doesn't move.

From a character perspective, this line makes no sense; it gives all the reason in the world to fight back.  Its presence is explained by the role it serves in interpreting Claes.  That is, without it one might misconstrue that Claes' attack was what caused the man to fire, and thereby making her the one at fault for Angelica's death.  But that is not the purpose of this segment, where the focus is on how Claes failed her values, not that her actions were accidentally tragic.

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Episode 13: Bookmark
In the first scene of Stella Cadente, Claes is reading once again, but she holds her bookmark such that we can't see the plant on it properly.

It seems to me that Claes' flower bookmark is a throw back to Raballo, always in her books.  Yet during this time she is running from herself, and so holds it.  Is this a subtle signal that she is contemplating it, or is it out of her view?  Or just general pensiveness?  Hard to tell for sure.


Episode 13: Rigel
As Jose shows Henrietta the stars one last time, he tells her that Rigel is a double star, "The left leg of the giant" in the Orion constellation.  She becomes displeased on hearing this.

While I interpreted this merely as him telling old, tired tales there exists the possibility that this is supposed to be a reference to her.  "Look, there you are, right where you should be, my support."  However, such risks over-interpretation so I left it out.


Episode 13: Bedside Flowers
Henrietta brings flowers to Angelica in the hospital.  They can later be seen behind Claes as she speaks with Angelica.  They appear to be a mixture of white and pink roses.

White usually stand for purity (surprise!), while pink has the interesting associations of gentleness, admiration, and sympathy.  This seems natural enough, but I'm wary given previous issues with flower messages (see, "Flowers for Ange-non").


Episode 13: Out of Breath
As Claes delivers her confession to Angelica, she is forced to stop and take a few deep breaths to calm herself.

However, if you watch the Funimation version, she doesn't.  They've been edited out of her most important scene, diminishing the degree to which Claes is affected.  I just wanted to comment on this because it frustrates me to no end.


Episode 13: Body Posture
As the girls sit and stare up at the sky during the meteor shower each of them has a characteristic pose, relaxed before the infinite.  I had wanted to comment more on this exquisite tableau, but it simply did not fit the narrative structure.

On the left, Claes still sits demurely.  She has discarded her star chart; it isn't a revocation of her science, simply that for the moment she finds that it is not helping her.  Rico sprawls, soaking it up with total abandon, childlike in her lack of decorum.

On the right Triela lies in a relaxed pose as well, and indeed one might mistake it as similar to Rico's.  But there is a self-possession in how she holds her head up, one knee bent as though prepared to move; she is informal, but that should not be mistaken for sloppiness.  Finally is Henrietta, wearing her red coat and holding her hands together in a polite, lady-like pose that is simply part of her now.  But that's okay; she doesn't have to hate everything that came from Jose.  Like the rest of them, she is only what she is.

Episode 13: The Big Dipper
In the final scenes of the series, the girls are staring up at the night sky.  Clearly visible is the Big Dipper/Ursa Major constellation.

Any possible meaning is unknown.  It could merely be a recognizable constellation in the northern hemisphere.  I looked for whether Orion should be visible, and whether it was absent, but that was a dead end.  I had a similar question concerning the shot out of Henrietta's window as she mourns Jose, but I couldn't recognize anything.


Chapter 13: Removed Chaperones
In the anime, after Angelica requests that Marco read to her and before her final scene, it cuts to the two chaperones, Hilshire and Alfonso, at the van.  After several drafts I decided to remove this from my analysis.  This is for two reasons:

1) A quick cut to that scene and back works in the visual but fails miserably in text.  It interrupted the atmosphere.

2) The scene follows the music.  That is, as Ode to Joy passes its first triumphant chorus it moves into a male-dominated segment, during which Hilshire and Alfonso talk (link to segment).  So while this is an elegant match of the imagery to the song, it is also dictated by it.  There had to be something there so that the final serenade would line up with Angelica again.  Seeing as how I cannot benefit from this concordance I decided I could only lose by attempting to be overly faithful.  However, not wanting to completely lose everything, here is what I had written:

A moment is spared for the chaperones, who remain at the truck.  Hilshire is peering at the sky, but Alfonso no longer thinks to look up.  He snickers:

“Little girls who kill terrorists and speak three languages are now singing Beethoven in this bitter cold.”  
(Alfonso pauses for a moment before proceeding, suddenly struck by the realization)
“It’s a shame that they have to be cyborgs.”  

A shame.  A waste.  These words are appallingly insufficient.  Strange beings that they are, though, the cyborgs stand here now in this moment, triumphant, blessed in a way that such men cannot understand.  How lamentable that they do not.

Episode 13: What Does The Prince Say?
As Angelica goes silent, Marco is reading from the book:

"Prince Pasta said to Princess Pizza, 'This dragon is...'"

At which point he notices she is still and stops reading.  Regrettably I had to omit this line, for like so much of the end a certain flow was required.  I used to struggle for an interpretation, but over time I have come to the conclusion the line is meant to fade off in unimportance.  The dragon no longer matters in this scene.


Episode 13: Credits
As the credits move across the screen, there are two images of special note.

The first is Marco sitting next to Angelica.  If one watches closely his right arm moves, reaching toward what is likely her hand on the sheet.  It is a touch that brings tears to my eyes; she was loved.

The second is of the girls once again out on the field.  Henrietta is no longer being held but is standing on her own; a small shift, but a significant one.  Triela helped bring her here, supported and carried along the way, but she is at last able to stand before it herself.


Episode 13: Collar
The very final shot of the series mirrors an earlier one, in which Henrietta stares enigmatically at the camera.  In the Fratello version of the shot both sides of her collar are white, but in Stella Cadente the left one is now darkened (picture right).

As much as I would love this to be symbolic, I cannot think of any explanation.  My suspicion is that they reused the animation and realized that her collar should be lighted from the side and casting a shadow, fixing the final scene in a way that was overlooked initially.

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There is so much more to say of this series.  I have added and removed appendices frantically, seeking to explore all that there is.  However, a time must come where one says, "Enough" and accept that its full scope will not be encompassed in so few words.

Sitting here on this morning, putting the finishing touches on the project after ten months, I'm reminded of a comment by Kenneth Clark regarding Rafael's "School of Athens":

"I suppose that Rafael's frescoes, as works of art, aren't all that easy to enjoy.  Even in the 18th century, when Rafael stood at the summit of the established Olympus, Sir Joshua Reynolds warned young artists not to be disappointed by their first visit.  But to go on looking and looking until they finally understood the restrained but perfectly balanced language in which he expresses his ideas.  I've tried to follow his advice over the last forty years.  And, I promise you, it's been worth the effort."

Hearing that, unbidden a smile comes to my lips and I cannot help but think, "There isn't enough time."  There are too many other wonderful things to explore, and so I finish this with gratitude for all that it has taught me.