Episode 12: Where’s The Heart Going? Hitomi’s Coming To You!

A bizarre little show ends in a fairly conventional way – Hitomi and Techno’s relationship becomes solidified, Techno’s deepest emotional problems are ameliorated, and it all ends happily. Of course, it happens by way of a mock alien invasion via ICBMs made up to look like Techno’s pet missile Mimi, but still. Conventional.

This last episode doesn’t provide any major thematic revelations. Instead, it centers around the major drive of the series: the dual inadequacies of the main characters. Hitomi is very ready to believe that, despite Techno’s possessive stalking of her, he is just waiting to reject her at any moment’s notice. And Techno…he’s still just a freak, so detached from everyday humanity that he’s ready to destroy them all if the chance comes.

This grand conflict leads to a central moment intended to be powerful and heartfelt, but it struck me as being incredibly maudlin: when, for whatever reason, Techno collapses while attached to all the computers of the world (or whatever) and Hitomi runs to him, ordering him not to leave her alone. Thus, the title.

This, then, is broadcast all over the world, and becomes a message of peace and love that makes soldiers put down their weapons and ICBMs explode up in space and…all sort of other bullshit. Maybe I’m just being hard-hearted (or thick-headed), but would seeing this message, unadorned, be confusing or inspiring? It ain’t exactly “give peace a chance,” which is insipid on its own.

But in the end this peace-loving message can be seen as a sort of self-fulfilling prophecy ending Techno’s confinement. He was meant to be locked into the cellar until man gave up his war-like ways and made it safe for the young man. And, after a fashion, that’s just what happens. I guess.

The implausibility of the ending tempers the power of the thematic continuity, if just a little. I don’t buy that lions will lay down with lambs even if confronted by an alien invasion that says “don’t leave me alone.” So it’s melodramatic, and it makes the entire series look a bit silly in retrospect.

It is no lost, brilliant Evangelion, no masterpiece of pacing and storytelling like Escaflowne. Don’t Leave Me Alone, Daisy is an above average show judged entirely in terms of its weirdness. This isn’t a show with a deep fear of offending, even as its general themes could be seen as pretty healthy: it’s nice to be wanted, and everybody has their own problems. Both Hitomi and Techno complement each other since they both have hang-ups to overcome – sort of. The point would have been hit home more powerfully if Hitomi had been fleshed out more strongly earlier, but then we wouldn’t have had that neat narrative shift of perspective from Techno to Hitomi as the show progressed. Sure is a weird one, though.
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