Science fiction is about the politics and societies of the future. There’s no better example of that than one of it’s landmark works, Isaac Asimov’s Foundation trilogy, which focuses on those topics exclusively. But in its focus on these two subjects the genre very often gets distracted from the thing that makes questions of society and politics important: the individual. After all, it is the individual impact of these questions that drives people to consider them at all. While many people will set aside their own concerns of health and happiness if they think it’s for a greater good; without a clear statement of how deprivation might serve the greater good it’s unlikely any will make such sacrifices. Conversely, if you want to prevent people from giving of themselves the simplest way to do it is to convince them there is nothing greater than themselves worth looking for.

But beyond all that, there is another question science fiction is often interested in. Namely, what is the nature of individual?

Kado, The Right Answer is interested in all three of these questions. Sadly, it’s not always adept at answering them.

The basic premise of Kado is scifi gold, beginning with a bizarre extradimensional object intruding into our world over an airport in Japan, absorbing an airplane and making itself at home. Most of the first episode is devoted to the Japanese government trying to figure out what they’re dealing with and ends with a passenger from the plane appearing on top of the object as an ambassador for the entity within. The second episode gives us events from the passenger’s perspective. The rest of the show is about what the entity wants and how humanity will react to it.

Kado plays with many of the wonderful hypotheticals futurists like to dream about, like limitless energy and the impact such technology might have. But it doesn’t explore any of them with a great deal of depth, as the story plays out over a matter of a few months, not nearly enough time to examine the deep changes that might result from a power source that theoretically anyone can create. By the same token even more fantastic technology is introduced in the second half of the show and given freely to humanity by the entity from beyond but what that might mean for humanity in the long run is never really unpacked.

The political ramifications are explored to an extent, with the UN becoming involved and Japan facing everything from threats of sanctions to prying business executives. While the Japanese government plays around these things in gutsy and amusing ways the real depths of these political machinations aren’t deeply explored either.

Finally, two thirds of the way through the season, the question of human nature and what it might mean in the face of life altering technology and beings from other dimensions is introduced. Unfortunately, Kado has been more interested in it’s clever technologies and shallow machinations than in developing its characters. There were hints of who the people dealing directly with Kado and it’s enigmatic passenger were but not quite enough to move them beyond fairly one dimensional characters. While Kado never disrespects it’s characters or treats them as props to a poorly conceived plot it never quite manages to let us get to know them enough to be invested in the existential crisis that Kado’s appearance ultimately provokes.

With twelve full twenty minute episodes plus a prequel it might seem like Kado wasn’t pressed for time to unpack it’s ideas but the show felt overstuffed, like it might have been able to make more of its high concepts if only there had been time to play around with them. Many interesting side characters never developed beyond a single note and the main trio are sketched well but without nuance. And, as I already said, none of the futurist ideas that the story introduces are explored with any depth. I wanted to like Kado, the Right Answer more than I did, and if you’re a sucker for scifi in general or first contact stories specifically you’ll probably still like this show. But casual scifi fans or the general public should give it a pass.