Episode 25 of Rahxephon begins with Ayato having “become” the Rahxephon, its true form being a giant version of him with design elements of the machine itself attached. This is, one could argue, the “mid-season upgrade” of the machine, its point where its true power is unlocked for the final battle – and there is definitely a final battle at hand, with the Mu controlling earth, TERRA in ruins, Narai-Kanai destroyed and the moments of love-confession and resolution passed. Rahxephon has toyed with becoming a super-robot anime at times, but never committed; some combination of events has always subverted or prevented action catharsis. In a way this is the ultimate in the robot representing the pilot – Ayato has never been particularly comfortable in his identity or at home in this unusual world, and TERRA has never really understood what it is doing – and so the “message” being pressed home is that there cannot ever be proper catharsis. When he tries to be decisive, he misunderstands the situation. When he vacillates, people die.
As of episode 9 of Rahxephon, it seems that the established traditional super-robot arc is coming to an end; the mysteries about the supernatural, anti-technological aspects are coming to the fore and it is reveals there is something significant about Quan as well as Reika. In some ways the dream episode just seen could be unsatisfying; there is a mixture of pouring new mysteries onto those that are still not fully known, and almost-straightforward expository revelations. Yet this ambiguity – the way in which simply explaining something has been subverted by the cast – is ultimately the driving force of the plot.
In the previous article in this series I focused on one of the two main features of what I called the “underdog-robot” subgenre of super-robot anime – the technological disparity between mankind and its enemies. The genre is based on the subversion of the traditional inherently superior hero archtype – while traditionally in the superhero or super-robot genre, the protagonist is at least able to fight on an even technological or power footing with the enemies (setting them ahead of the “ordinary” characters who cannot), a series like the previously-mentioned Evangelion takes a different approach. In it, the “best” that can be put forward is generally shown to be inadequate in some way, or unpredictably effective. While in a series like Fafner this balance of power is skewed too far against the heroes to make their continued success and survival seem likely, when done well it forms the core of a genre based around innovative action and a different kind of dramatic tension to the norm.
Note: This article contains significant plot information about Rahxephon, especially Episode 19.