The thing about crime dramas is that usually, the lead characters are always pure, fighting on the side of justice - absolute light fighting absolute darkness. That's not the case for Crisis. Yes, they do their best to protect innocent people from danger, but they also question a lot of the assignments that are issued to them. Moreover, what makes them effective is that they don't hesitate to use unorthodox methods in bringing down their targets. You can imagine how a team that creative will also be asking a lot of questions about why they do what they do. Do they really do their jobs to protect ordinary citizens, or to cover up the secrets of government politicians? How much change can a small team of idealistic policemen bring about really?

With its high production value, great acting, and top-tier writing, Crisis is definitely one of Japan's best dramas that I've seen.

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If I were to rate the original BORDER series, I would give it a 4 out of 5. With BORDER: Redemption SP, I would give it a 5.

My main concern with BORDER's original series run is that it didn't have an overarching plot line, or the One Great Mission that Ishikawa had to complete. Because of that, the series seemed episodic, and didn't give the characters much of a bigger mystery to complete, which in turn deprived viewers of catharsis. With the carefully written addition of BORDER: Redemption, however, we get the closure we deserve. It's a great ending in that it ties up the original series and gives it greater philosophical depth, while at the same time opening up the possibility for more episodes in the future.

When I think of the title BORDER, my first instinct is to interpret it as Ishikawa living on the border between the living and the dead - given how he has a bullet in his head, and he can talk to dead people while still being alive. When you get to watching BORDER: Redemption, however, you realize that the title BORDER has a deeper second meaning: It references Ishikawa, as a police detective, standing in the middle of the Light and the Darkness. As a dedicated police officer, we see throughout the entire original series how Ishikawa fights for justice. But as the series progresses, and especially with this concluding Special Episode, we see how he eventually turns to the underground because it's the only way he can bring justice to some of the victims of the cases he handles. Effectively, he's standing on the border between justice and evil, with one foot on each side. This becomes more pronounced given his decision in the conclusion of BORDER: Redemption. In his quest to save everyone and fight Absolute Evil, as his nemesis would say, he assumes the role of Absolute Justice - someone who is no longer human.

Overall, a great Special Episode to conclude a great series.

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BORDER is an absolute treat. Not only is its production value high and crisp, it also has a great ensemble of actors with electric chemistry and interesting crimes-to-solve per episode. The starting premise of a passionate detective who can see the dead is a good hook enough, but add to that the difficulty of finding evidence for a crime when you already know who the killer is, and you have a remarkable series. Because Oguri's Ishikawa can talk to the dead, he often already knows who the criminal is - the challenge is proving it, and it's this unique challenge that adds drama to what could easily have been just another police procedural.

My only beef with BORDER is that it is too episodic. In the first episode, Ishikawa comments that he doesn't have much time for his personal life - in his free time, he only watches boring television shows and sleeps. While BORDER isn't in any way boring, it does have the feel of having no strings attached to a greater, more complicated narrative arc that requires more of the viewer's attention and investment. It doesn't really have One Great Mission that you, as the viewer, will look forward to completing with the lead. In that, it feels like a show you can just dive into randomly to watch what challenge Ishikawa is facing this week, and if you miss an episode, it won't be a problem, because you won't have missed anything in the greater scheme of things.

BORDER: Redemption offers a greater opportunity to explore a wider, deeper story arc, but my thoughts on that will require a separate post.

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A show with a plot this bizarre could only come from real life. While the dynamic between father and son seems awkward to me, the acting collaboration between Osugi Ren and Chiba Yudai is adorable enough that the show never seems to feel stunted. It has a strong supporting cast, too, with all of the characters having well-crafted quirks that make you want to follow their individual stories long after the main narrative has ended.

Overall, a heartwarming series that's surprisingly profound despite the light atmosphere that it aims for during most of its runtime. Because of the interesting parallel between the son's journey into adulthood and the father's eventual acceptance of his old age and the quick passage of sweet time, there's never a dull moment in this show. The episodes are very short, too. I would definitely want to watch parts of this again.

PS I was very sad to hear about what happened to Osugi Ren. Knowing that made watching this show feel even more significant.

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Arguably Japanese television's most successful template for a series is that of a problematic third-year class whose teacher aims to educate them re: the true things that matter in life before they graduate. The template works because a great acting ensemble set against the backdrop of topical social issues always makes for riveting entertainment, but it's a tired genre. I feel like if I were a Japanese high schooler, watching this endless parade of shows showcasing my type as nothing but entitled, lazy scum of the earth would make me indignant. There is a tendency towards an excess of passion and unsubstantial yelling in classroom dramas like this one. Moreover, they tend to come off as preachy.

This show predictably has the same failings as others of its kind. The kids are irritating, the teacher character gives the vibe of being overly self-righteous, and the twists are predictable. But - as expected of the genre, too - the acting is great; you have a stellar young cast, each of whom carry their own weight. Masaki Suda is also excellent in this, exercising just the right amount of dramatic flair and restraint needed to play a convincing anti-hero. Also, despite how I've seen this type of story so many times, told in so many other ways before, it still made me cry.

Not too shabby.

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