Characters: Lupin III: The Woman Called Fujiko Mine
In this series, some of the characters act differently than their previous incarnations. Any tropes that apply to the Lupin III cast in general belong on the main character page. Please remember that Character-specific tropes can often be spoilers, so keep that in mind while reading Character pages.
Broken Bird: The series gradually reveals more and more of Fujiko's past, memories of mental and physical torture, and plays of sympathy for her current mental state. Until the end of the series, where The Reveal is completely subverting this trope and others, Fujiko had these memories implanted inside her mind, but was able to block them out and ignore their effects, as well as being a Dark Action Girl and Femme Fatale before the implantation, too. It's just how she rolls.
Combat Stilettos: Fujiko wears high heels to make sure guys check out her legs. They're never taken off when she's doing the running around.
Dark Action Girl: Fujiko has always been an independent Villain Protagonist, and despite this series being about her, it's still Lupin making friends. But "Love Wreathed In Stream" is significant for showing how independent she is. While trying to steal a human painting, she's ruthless enough to try killing Lupin, Jigen, and the painting, just to feel free from Almeida's influence.
Dark and Troubled Past: Fujiko remembers being molested and experimented on as a little girl, but the trope is Subverted when it turns out those are Aisha's memories, not Fujiko's.
Enemy Mine: With Zenigata in the first part of the finale in tow of finding Oscar and fighting her clones.
Cicciolina: What a beautiful body. Men would... No, even women would surely become enslaved by it.
Fake Memories: All of those memories of Fujiko's 'childhood' you saw all through the series? Fake in the sense that they weren't hers, but Aisha Kaiser's.
Femme Fatale: Fujiko is on a scale not seen in any of her previous incarnations, save the original manga. It actually appears to be a Deconstruction of Femme Fatales; Fujiko went through nine hells since her implantation of Aisha's memories to become the weapons-grade Femme Fatale she is. Then it turns out that the false memories had nothing to do with it, and the trope is Reconstructed. Her fascination with Lupin is deconstructed as well - though he obviously admires her charms, he admires her professional use of those charms even more. This leads to the author's interpretation of them "enjoy(ing) each other" through their Friendly Rivalry.
Full-Frontal Assault: In every opening, we're treated to a full display of Fujiko's front (and rear) "assets".
Hello, Nurse!: Fujiko uses her body to get close to people, and lure them into her traps. The only one it ’’doesn’t’’ work on is Lupin, in the first episode.
Hot Teacher: In "Prison of Love", she enjoys being fawned over by the students.
Madness Mantra: At the end of "Love Wreathed In Stream", Fujiko is having trouble dealing with what her past has done to her, becoming almost catatonic with fear and confusion.
"What the hell?"
Master of Disguise: Done subtly, since Fujiko isn't seen with the same hairstyle/colour/dress in any two episodes. Only rarely does she attempt to disguise herself as anyone else. Good enough to catch Lupin when he does, though.
Omniglot: Travels the entire world, and is able to talk to anyone, but the recurring German is plot-relevant.
OOC Is Serious Business: The calm and self-assured Fujiko becomes a reckless pursuer in "Love Wreathed In Storm" as she shows no qualms about murdering Lupin, Jigen, and the human painting that she was after. In fact, during the pursuit, she becomes so sloppy that she falls from a skylift that Lupin shoots, rammed off of the road and into a ditch during a car chase, and even drops her gun into the boiling, hot spring when chasing Lupin and the painting. She even goes into a Heroic BSOD from the Bright Slap Lupin gives her at the end of episode!
The Rival: To Lupin and Jigen, explicitly so with Lupin, because he believes that theft is more fun as a “competitive sport”.
Aisha is the daughter of two scientists who worked for Count Almeida. Picked out as his favourite experiment, she was not only the victim of physical torture and brainwashing, but also given False Memory of additional tortures, selected from the other experiments. Unable to accept Almeida’s death, she continued the memory and torture experiments, modifying the pattern to discover what she might’ve done if the experiments hadn’t left her a quadriplegic.
Animal Motifs: Aisha shares peacocks and butterflies with Fujiko, featuring mostly butterflies in Fujiko's false flashbacks. Her high-backed chair at the dinner table, however, shows peacock feathers.
Big Bad: Aisha has been controlling the events of Fujiko's life for the entire series. But she's been doing it on behalf of Count Almeida, making him the mastermind responsible for everything bad that's happened to the main characters. Since he's dead, he is no longer an actual person forcing Aisha to do anything. Aisha' fear, however, makes him a Bigger Bad to her, and inverting the trope in the process.
The Chessmaster: Aisha replaces Count Almeida after his death, and chooses to continue his incomplete plans regarding his primary experiment (her). She uses her extensive Big Brother Is Watching sources to manipulate the people around Fujiko.
Dark and Troubled Past: Aisha’s memories of torture and brainwashing are the fuel for her fear of Count Almeida. This fear drives her to control every aspect of Fujiko’s life, and manipulate the people around her.
Fake Memories: Aisha has had memories of other girls implanted, had her real memories covered up, and had her memories implanted into other people.
Grand Theft Me: Aisha pulls this trope on Fujiko, and many other girls who were in her experiment, via replacing their memories with hers. She continued Count Almeida's work in a vain attempt to get her "story" back by implanting her memories into young girls to see if she was able to live a different life, assuming the physical torture hadn't made her a quadriplegic.
Tragic Monster: What Almeida put her through left her unable to move or speak without aid of a computer, but after he died she kept up his work, not knowing how to do anything else.
Walking Spoiler: It's very hard trying to talk about her until the two-part finale.
Count Almeida is an Owl-obsessed Mad Scientist who owns the Fiction500 pharmaceutical organization, Glaucus Pharmaceuticals.
Animal Motifs: Owls are Count Almeida's preferred animals, to the point where the drug Fraulein Eule will make people think they see people with Owl heads, and not notice anything out of the ordinary. He also decorates his castle with many owls, including a statue to the Greek goddess Minerva (who was represented by owls).
Big Bad: As of "Dying Day", Count Luis Yu Almeida is the mastermind behind nearly the entire story, despite the fact that he's dead, and it's actually Aisha that's now running the show.
Bigger Bad: This series inverts the idea of a mastermind being revealed as the toy to an even more powerful and impersonal force. The character acting as the unapproachable mastermind dictating every event in the series is revealed to have two assistants, Aisha and Minerva, who have continued his experiments after he died. But Aisha couldn't bear the thought of her experiences being over, so she continued the torture. He is, therefore, completely impersonal while still operating as the Big Bad at the same time.
The Chessmaster: Count Luis Yu Almeida, whose plans included manipulation of his own scientists and possession of their children. Until The Reveal of him being Dead All Along, he audience thought he was behind the various plots which included Fujiko, Lupin, and Oscar. And yet His experiments continue as if he is still alive to oversee them.
Dead All Along: His experiments continue as if he is still alive to oversee them.
Disappeared Dad: This trope is zigzagged, as Dr. Fritz Kaiser is the father of Fujiko (child), who disappeared years ago. Not just from her past, but even her memories, due to Count Almeida's influence. Then, Lupin encounters Dr. Kaiser as an illusion conjured by the Fräulein Eule while also affecting the physical world.
Mr. Exposition: He only appears in one episode, but he reveals a lot of key information that Lupin was trying to find out about Fujiko (child). Every scene he's in adds more and more to the mystery.
The "Owl of Minerva", a.k.a Dr. Minerva Kaiser
Minerva is Aisha's mother, but was so ashamed that she couldn't resist Count Almeida that she erased herself from Aisha's memories, and serves as her second-in-command as Aisha takes over Almeida's experiments.
Missing Mom: Dr. Minerva Kaiser is Aisha's mom. Everyone assumed that she died early on in Aisha's life but in actuality, she was one of the scientists that took part of making Aisha the way she is. She became so overwrought with guilt that she had erased herself out of Aisha's memories, which we saw through Fujiko and became the 'Owl of Minerva' to serve as a Hypercompetent Sidekick to Aisha as a way to absolve her failure to protect her child.
The eponymous Lupin is currently playing second banana to Fujiko (although he is still The Heavy character in terms of plot). Wearing the Green Jacket for most of the episodes, Lupin is mostly unchanged from his earlier characterizations.
Decoy Protagonist: Lupin isn't the main character. He does, however, headline a number of episodes, notably the last four.
Starting out as the mark for Fujiko, Jigen leaves The Mafia after seeing one too many deaths, and guesses he might become a thief like her.
Brainwashed and Crazy: He becomes inflicted with the Dizzy Powder and proceeds to chase Lupin while gunning him down in the second part of the finale.
Last Name Basis: In this version, the Japanese put his name as "Jigen Daisuke", which makes Jigen his family name (Western order is Daisuke Jigen), and he is addressed as "Jigen" by the other characters.
Morphic Resonance: When Goemon hallucinates him as having an owl head he keeps his curled beard.
The Rival: Fought against Fujiko several times, while his rivalry with Lupin develops into a shaky friendship.
Wholesome Crossdresser: After his kidnapping by the Owlmen in "The Feast of Fools and escaping being turned into a Fujiko clone, he has no choice but to dress as the woman in the same exact wardrobe she wore in the end of "Master Thief and Lady Looter".
Gruff and square-jawed, this version of Pops is much closer to his depiction in the manga chapters; a serious cop who is intelligent and respected, working to catch Lupin and uphold the ideals of The Law.
Back-to-Back Badasses: With Fujiko in the first part of the finale while searching for Oscar and fighting the Fujiko clones.
Character Check: Zenigata is much less of a buffoon in this incarnation. Sure, he's still always one step behind Lupin, and Lupin still mocks him, but the emphasis is that he's only one step behind Lupin, and if Lupin ever made a single mistake, he'd be done for. He's not afraid to actually open fire on Lupin and even hits him once; however, Lupin was armed with a bulletproof vest and a squib vest underneath, too, to make it look worse than it really was.
Enemy Mine: With Fujiko in the first part of the finale while searching for Oscar and fighting the Fujiko clones.
Hyper Awareness: Figures out quickly that the crimes attributed to Fujiko are not actually being committed by her due to the actions being very out of character for her, which is the reason he doesn't pursue them despite his chase of Lupin being contingent on them. Likewise, he quickly realizes the real culprit is Oscar, after seeing the tattoo Oscar has on his chest in one of the photographs.
Zenigata’s right hand in working to catch Lupin and Fujiko. His professionalism becomes more and more compromised by his personal feelings for Zenigata as the series continues, especially where Fujiko is concerned.
Bishounen: Oscar is easily mistaken for female, even in-universe. A fact that he uses to his advantage by wearing Wig, Dress, Accent to fool Fujiko, and later on, other cops.
Canon Foreigner: Strange example, as The Woman Called Fujiko Mine is a prequel, but Oscar is still an original creation.
Creepy Crossdresser: This trope doesn’t come into play until Oscar’s dream sequence. Until this point, he has only worn women’s clothing in order to disguise himself. A malicious, nasty guy, but once he is shown wearing the dress and flying to Inspector Zenigata, it cements his position as a Creepy Crossdresser.
Dirty Cop: Becomes so fixated on destroying Fujiko that he commits several robberies to frame her, kills a man, collaborates with Almeida’s Owlmen, and almost blows up a populated bridge. Just before the explosion, Inspector Zenigata tells Oscar about the day he stopped being a Dirty Cop himself, which triggers Oscar pulling a Redemption Equals Death.
Disguised in Drag: Oscar disguises himself as a woman several times over the course of the series. Each time he’s impersonating someone specifically. The first time is in "Prison of Love", as Isolde Brach. Then he’s disguised as Fujiko in "The Feast of Fools", to frame her for several thefts and a murder, and "The Woman Called Fujiko Mine", where he’s been brainwashed.
Driven by Envy: As the Owlmen point out, he hates Fujiko so much because she got what he wants from Zenigata.
French Jerk: A flashback shows him as a young street urchin in what's obviously Paris, and he's certainly a jerk.
Jumping Off the Slippery Slope: Though he was already walking a thin line, the point where Oscar not only dresses up as Fujiko and commits crimes in her name but also murders a cop to get Zenigata to take it more seriously is the official point he goes off the rails.
Knight Templar: Subverted. He breaks the law repeatedly trying to catch Fujiko, but it’s not out of good intentions – it’s out of jealousy.
Nightmare Fetishist: When Oscar finds Zenigata unconscious and covered in stage blood, he remarks how beautiful he looks before mentally giving himself a shake and wailing.
Parental Incest: Inspector Zenigata fulfills a Parental Substitute role for Oscar. Oscar has worked hard to be the Inspector's right-hand man in the police force after that. Then it's implied by the Owlmen that the way he really wants to repay his debt is to satisfy "urges" the way Fujiko did.
Parental Substitute: Zenigata found him when he was a child, brushed him off, and made him a police officer. Oscar really wants to repay him for that.
Redemption Equals Death: Subverted. While he has a Heel Realization and throws himself into a river holding a bomb, the police never found the body, which triggers Inspector Zenigata actually tracking down Fujiko and demanding some answers from her. The two of them go looking for the Owls. [[spoiler: They find Oscar in a room full of Fujiko clones.
Slut Shaming: Does this to Fujiko, calling her a pig and spittoon for sleeping with Zenigata, but it's pretty clear this is out of jealousy rather than genuine slut shaming.
Sour Prudes: Calls Fujiko a pig and a spittoon for men to use basically entirely because he wasn’t the one Zenigata used as a "spittoon".
Subordinate Excuse: As mentioned, Oscar works as Zenigata’s assistant and is very very in love with him.
Trans Equals Gay: Oscar wearing dresses comes up a lot. Posing as a schoolgirl could be excused, dressing as Fujiko while framing her was excessive (isn’t the point of being a master thief not being seen in the first place?), but wearing a wedding dress in his (not) Dying Dream where he flies into Zenigata’s arms just goes too far, overlapping with Creepy Crossdresser.
Walking Spoiler: Not to the extent of Fujiko (child), but after a certain point in the series, there's only so much that can be discussed about him.
Yandere: Goes to truly terrifying extremes for his love of Zenigata, including becoming a thief himself and committing murder.