Commodity bodies galore, in this long awaited episode of Kaiba.
I am beginning to see where some of the Marxist overtones that Hige identified early on in this show are beginning to come in. One of Marx’s key critiques of capitalism was that intangible goods like labor, time, or even human life itself, would eventually be commodified as the market pressed to put a price on everything. This episode centers around a planet and a factory where “trendy” bodies are manufactured and traded–and where old, discarded bodies are literally turned into food a la Soylent Green. (The moment when this is revealed is unsurprising given the dehumanization of this universe, but is still somewhat shocking; we share the shock as Kaiba looks in horror at her hippo body sent along the conveyor belt into mashed up oblivion.) We notice as Patch produces patently useless, downright ugly bodies for sale–and people buying them nonetheless, until lots of people have mere variations on the same body, including one that somewhat resembles Kaiba’s lost love. It is as if he is creating an army of clones with individuality increasingly stamped out. This is essentially the end result of mass consumer capitalism that Marx predicted.
The episode centers around Patch and Quilt–such appropriate names!–and Kaiba’s interactions with them. Their seams still show, and their names describe the “utopian” planet’s trade, too: recycling trash bodies into food, and making new bodes for desirous consumers. Patch seems alienated from his work, however–he is bitter and angry that the system he created to help others has become an instrument of consumerist desire, and creates useless bodies out of sheer spite. That they continue to buy his bodies anyway, and that he must continue to relive the same moments day by day (only Quilt, his dog who has the memories of his creator, “rewinds” him each time), is a good depiction of the despair that his entire system creates and sustains. Every day, more and more bodies become food, and more and more people look the same in their foolishness and uselessness. Every day, he laments the same thing, only to be “drained” at the same moment. He, too, is a factory worker in that regard, condemned to Sisyphean repetition. This is hardly a “utopia” at all; it’s a dystopia. The artwork turns even more surreal and ugly to reinforce that; they sometimes look like children’s crayon scribbings, and I think that is intentional.
And what of Kaiba? It was interesting to see him chase the hippo body around crying, “my body!” when in fact that body always limited his movement and speech, and that he’s living inside another one at the moment which gives him much more freedom. (Not least since Vanilla the policeman can be so easily tamed with that body.) It seems that living in a body still produces some level of attachment for Kaiba. The old, natural understanding of identity being tied to the body may only exist as a vague feeling in this world, but it is still there in traces.
The episode ends humanely, with Quilt receiving a body similar to her original one at her prime, and Patch restored to his place beside his creator. Such “resurrections” are possible only in this world, and that it restores the status quo of centuries past is perhaps the best that can be done here, though I think there is something a bit unreal about it all. This is a world where everyone potentially gets nearly infinite second chances, but having a greater number of chances doesn’t seem to increase the amount of meaning and purpose in life correspondingly. The subject of death and finality has always been lurking in the back of this show’s subtext, and at some point it will probably be addressed directly; this episode, however, is a good example of how people attempt to “fix” that problem in their own desperate ways: a new body, a new you.