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msclaritea · 1 year ago

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Women have shared their concern about the erasure of "all female identities" after Johns Hopkins University used the phrase "non-man" to describe lesbians.

The Baltimore-based university received backlash online after defining "lesbian" as "a non-man attracted to non-men" in its glossary of LGBTQ+ terms.

The update, which has since been removed from the website, was initially meant to be inclusive of non-binary individuals, who may still identify as lesbians.

However the definition was labeled misogynistic, with social media users pointing out that the guide does not use similarly non-binary-inclusive language for the term "gay man.

Johns Hopkins University has temporarily taken down the glossary from its website while it looks into "the origin and context of the glossary's definitions" and stated that the guide is not intended to "serve as the definitive answers as to how all people understand or use these terms."

This Language Pushes Us Back Years

In my view, Johns Hopkins describing women as a "non-man" is outrageous and an insult to women everywhere, especially those who want to be known as women.

I believe it strips us of our biological makeup and makes identity more complex. In my opinion, it suggests that women are irrelevant, and it tramples on women's rights and equality that we have fought so hard for.

In my experience, the majority of women in the workplace are happy to be identified as such. It's part of our identity. I feel that this has a lot of wider implications long term, especially around equity.

Johns Hopkins is a prominent research university and one of the first of its kind. A lot of research and opinions that come from the institution are used worldwide. This could mean other institutions calling women "non-men", which is a term I personally do not gravitate towards.

It puts us back years as there is more to fight for. The adoption of this term in the workplace is problematic too, as it brings into play the gender bias that we are fighting so hard against.

Evelyn Okpanachi, 46, from London, is a leadership and women's empowerment expert

I Trained at Johns Hopkins, I'm Dismayed

Johns Hopkins has long been regarded as the premier institution nationally—perhaps globally—for biomedical sciences. I was fortunate to get excellent training and research opportunities from this institution.

I am utterly dismayed that my alma mater would subvert all of the biology that it so assiduously taught me. If Hopkins has decided to cast biology aside, what use is my hard won degree?

In my opinion, Hopkins has decided to pander to the post-modern ideologues who demand intellectual submission to factually untrue statements that serve to erase the humanity, biology, and progress of women.

I refuse to be defined as "non-man". I define myself. I am a woman. I reject the narrative that men are women; it is objectively false.

Perhaps we need to have the broader philosophical discussion about whether or not science should be based on objective reality or whether it ought to bend to ideological mandates. I am ready to have that discussion now.

Dr. Amy Chai, 59, from New Haven County, is a physician, educator and author.

I'm Bisexual, I'm Horrified by This Language

I am a bisexual woman and I was deeply horrified by Johns Hopkins using this language.

In the most charitable possible interpretation, I feel it's a clumsy attempt to include non-binary and gender non-conforming people. But, in my opinion, it should have been obvious to the people making this change that this was not the right way to do it.

It's also concerning that they apparently didn't want to include non-binary and gender-non-conforming people in their definition of "gay".

In my role as co-founder of a diversity and inclusion consultancy, I often run workshops with clients to help them build directories of definitions of inclusive terms, and we always stress the importance of involving staff and key stakeholders in this process, rather than these terms being dictated from above.

Clearly, not enough voices from within the lesbian community were involved in creating this definition. I think this shows how woefully lacking we are in language to describe non-binary and gender-nonconforming people, and how difficult a space this is for organizations to navigate.

We see similar clumsy effects when people are flailing for words to describe people from ethnic backgrounds that are in the minority in the country concerned, and they use non-white. In my experience, many people of color, quite reasonably, don't want to be defined in relation to white people. We have to stop defining under-represented and marginalized groups in relation to the dominant groups.

There's a lot of fear-mongering out there that inclusive terms are "erasing women". For example, I often hear right-wing commentators saying: "You can't say the word woman anymore," when in actual fact inclusive terms are about making space for everyone.

I believe that Johns Hopkins, unfortunately, has added fuel to the fire.

In my eyes, this demonstrates how all organizations make mistakes—everyone can get it wrong sometimes. The fear of making mistakes holds a lot of organizations back from taking any action at all, which is a real tragedy.

It's important that we all learn from this, and recognise that the important thing is to apologize, acknowledge the damage done, listen, learn and take steps to do better in future. Starting with ensuring greater representation of different groups in the decision-making process to make sure voices from these communities are heard.

Allegra Chapman is the Co-Creator of Watch This Sp_ce, an award-winning diversity and inclusion consultancy.

Women Are Being Failed by the Medical Field

Using the term "non-man" to describe women seems to me like a poor attempt to avoid wading into the complex waters of gender; yet it ends up erasing all female identities.

In my view, it takes away all of our hard-fought-for agency and reverts us to something from the past—degrading us to beings that only exist in relation to men rather than as our own, unique and varied people.

It also highlights something most women have experienced, which is having your identity defined by your relation to men.

I recently had a dentist tell me: "If I was his daughter" he wouldn't prescribe me antibiotics for a wisdom tooth infection. I was left untreated, in pain, and feeling belittled. I was angry with him but also myself, because I hadn't pointed out that I was his patient and not his daughter. I ended up needing surgery.

Given Johns Hopkins' role as a prestigious scientific institute, to me it acts as yet another indication of how often women are failed by doctors. Not just in my case, but in the case of every cis woman I know.

For many, it takes years for common disorders to be diagnosed, because our pain and symptoms are chalked up to hysteria.

For example, I know several people who had to wait years for their endometriosis to be finally diagnosed, despite it being a common illness that roughly 10 percent of women in the U.K. experience.

Describing everyone who identifies as a woman as "non-men" others us. I believe it implies that men are the norm, and we are not. In my eyes, it's outdated, has no place in society. We deserve to be seen for the complex beings we are.

Jennifer Smith, 25, lives in London.

I was born a man. Extreme trans activists make my life harder

Regressively Sexist Term

Defining women as "non-men" suggests that our only characteristic is "not being men". It is so regressively sexist that it sounds like it must have been something said about women in the far past. Women are half of humanity and, like men, we should be defined by what we are. Not by what we are not.

The fact that any 21st century medical institution would endorse anything this backwards, and this dismissive of women and girls, is appalling to me.

It is not, however, surprising to me. In my opinion, there has been a relentless social push from certain proponents of trans ideology to reduce women to stereotypes and to body parts—who can forget the headline which referred to women as "bodies with vaginas".

In my eyes, the motive for this dehumanization seems to be an attempt to divorce being a woman from being female, and largely for the sake of the few men who assert that they are women.

But what are they really claiming to be if we are only the absence of a man?

Lorelei H, 35, is a writer and women's rights campaigner from England.

Women Are Being Treated Like Witches

In my opinion, to suggest that a lesbian is not a woman is misogyny, pure and simple. But for an American university to suggest this is even more shocking.

It seems that people have forgotten women were not admitted into universities in the U.S. until the 1960s—they literally had to burn their bras in protest to be given the same privileges as men. And within just 60 years, these same institutions are seemingly, once again, trying to eradicate women.

In my view, not being able to use the word "woman" in an institutional context, states loud and clear that women are not as important as men, that women should not take up the same space as men and that women's voices should not be heard.

I believe that modern universities in the west have become dominated by left-wing groupthink, that silences debate. I feel they have fostered an anti-woman stance, where women who stand up for their own rights and the freedom to disagree with others, are branded TERFs and treated like witches.

It seems as though many people are so tangled up in trying to not discriminate against people who identify as trans that they are discriminating against women, who have been marginalized for centuries.

I believe this cult-like ideology is a new form of male violence towards women. It may not leave physical scars, but it is no less scarring for women as it tries to silence us and wrestle from us our hard-won freedoms and equality.

Let's not go back to burning our bras

Paola Diana is CEO, author and a woman's rights activist.

I'm a Lesbian, I've Distanced Myself From the LGBTQ Community

The Johns Hopkins website recently redefined "lesbian" as a "non-man attracted to non-men," igniting widespread concern and disappointment among women, including myself as a lesbian. This attempt to erase women from the conversation is deeply troubling.

As a prominent Twitter user, writer, activist, and a married lesbian, I spoke up. In fact, I've officially distanced myself from the LGBTQ community due to the erasure of women and lesbians.

The temporary removal of this offensive definition from Johns Hopkins provides some relief, but it underlines the ongoing fight to ensure that women and lesbians are not marginalized or erased.

A woman cannot be defined solely as a "non-man." Women deserve to be defined by their own attributes and strengths. We are beautiful, life-giving creatures vital to humanity's survival and flourishing.

I am not a "non-man." While I jokingly said on Twitter: "man, I feel like a non-man," a reference to Shania Twain, let me make it clear that I am unequivocally female and proud to be a woman who loves other women.

I refuse to let women and lesbians be erased, and I hope this issue has raised awareness among more people. Together, we must stand against this erasure and fight for the visibility and rights of women—adult female humans.

Heidi Briones is a writer and content creator from Portland.

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I first found out about what John Hopkins University had done from the below article on msn:

Woke individual claim lesbians are non-men attracted to non-men and not specifically for women

Story by Asir F • Yesterday 1:00 PM

The article says that Republicans are even coming to the defense of Lesbians. There ARE conservative LGB, many of whom I've seen express upset that Trans were included under the umbrella of LGBTQ.

There actually is an attempt going on to erase women from society, even going as far as taking our very identity.

Two things can be and are true: That all of this is a huge psyops, part of the drumbeat of Fascism in turning different groups against one another. But many of the young people sincerely pushing all of this have been steadily groomed/brainwashed into these beliefs. so, while some know exactly what this is about, others are quite serious.

What is it about? What exactly? As far as I can tell, Population Control by pushing individuals to prefer an alternative lifestyle. Also, Pedophilia. The younger they can encourage kids to talk about such subjects, knowing how experimental and vulnerable children are, that they may just do so. The erasure of women is how pedophiles can get more access to children.

DON'T BELIEVE ME? I'VE ESTABLISHED THAT BRITAIN HAS A HUGE PROBLEM WITH CHILD SEX ABUSE. READ BELOW WHAT THE CHURCH OF ENGLAND IN BRITAIN THINKS IS APPROPRIATE TO TEACH CHILDREN. IF ANY AMERICAN PARENTS, TEACHERS, ETC WANT AN ACTUAL EXAMPLE OF WHAT GROOMING LOOKS LIKE, HERE YOU GO:

"A Church of England primary school in Norfolk has refused to amend its extreme and graphic Relationships and Sex Education (RSE) lessons, and to address safeguarding concerns following parent complaints.

The controversial lessons and materials, which were implemented without effective parental consultation at Swanton Morley VC Primary School in Dereham, Norfolk, teach children as young as seven “to think about what gender they are” and they may be “born like a boy (with a penis), but feel like a girl inside”.

Elsewhere, the material encourages teachers to hold mock same-sex ‘weddings’, promotes the use of contested terms such as ‘pangender’ and ‘cisgender’ and tells children they can identify as pangender – someone who is neither a boy or a girl..."

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grandhotelabyss · 2 years ago

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A few weeks after the Kafka vogue, Andrew Martin considers the youth appeal of Osamu Dazai, as filtered through Soundcloud rappers and TikTokkers (repeat after me: "ironic metaphysical quietism"):

To someone with a great deal of interest in postwar Japanese literature and almost no working knowledge of TikTok, anime or manga (surely I’m not the only one), this combination of elements is baffling, if not alarming. What would it mean to unabashedly identify with a novel that turns on the Hobbesian epiphany that society “is the struggle between one individual and another, a then-and-there struggle, in which the immediate triumph is everything”? Why is Dazai, continually in print but long overshadowed in the United States by his philosophical and literary inheritor Yukio Mishima, now prominently featured on display tables at Barnes & Noble and prompting new translations and reissues of his 75-year-old back catalog from New Directions, the venerable independent publisher not exactly known for viral hits?

As a dilettante-generalist, I know equal amounts about postwar Japanese literature, TikTok, anime, and manga—more than the average person off the street but less than the expert or otaku. I'll pass on Bungo Stray Dogs for now; it sounds pretty distant from my interests, though "Kafka Asagiri" is a good name.

I was more or less ordered to read No Longer Human in 2019 by my Japanophiliac art students. One of them ruminated sagely, albeit with a bit too much east-west narrative essentialism of the kind we just saw Naomi Kanakia debunking, on the difference between a culture that prescribes No Longer Human and one that prescribes The Great Gatsby as a schoolbook. I liked No Longer Human, but I can also understand why Mishima overshadows Dazai. Mishima seems a superior novelist to Dazai in something like the same way Dostoevsky is superior to Camus: the former writers have more of the world in their books than the latter. This may render the nihilism impure, but then if your nihilism were pure, you wouldn't write a book in the first place.

Anyway, if any TikTokkers are out there, you may enjoy my essay on Dazai's No Longer Human—

Here we see the distance between Dazai’s fiction and contemporary narratives of the superfluous man, such as Todd Phillips’s Joker, whose delusional hero might have been saved by a good therapist and the love of Zazie Beetz, and who in any case manages in his mental illness to lead, however inadvertently, a legitimate social rebellion. On the absolutist terms offered by No Longer Human, this naturalistic faith in secular salvation, whether through psychology, love, or politics (or, for that matter, money and social status), is all nonsense.

—and my essay on the revered horror mangaka Junji Ito's graphic novel adaptation, into which I also folded a few skeptical thoughts on that overrated film Come and See:

Ito is too literal a visualist of Dazai’s verbal vision—almost as literal as a camera, the way the best comics and films never are. Dazai’s novel gave me more reason to ruminate than did Ito’s manga; likewise, Jerzy Kosinski’s novel The Painted Bird, for all its notorious problems, offers us all the horrors and then some—and all the horrified questions—of Come and See, with much more besides, including a philosophy of individuation that we experience by growing with the protagonist. This happens in the inner theater of the mind, where we feel and think it at once and as the same thing; but the film remains always outside, a beckoning or threatening spectacle that never becomes one’s own, a permanent dissociation of sensibility.

Do you think, in the age of "ironic metaphysical quietism," we can meme The Painted Bird into a TikTok sensation next? It could be said to combine Kafka and Dazai, though it may be too pornographic for our gnostic straight-edge puriteens.

#osamu dazai #junji ito #yukio mishima #jerzy kosinski #andrew martin #tiktok #japanese literature #literature #literary criticism #manga #elem klimov

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xavier-elrose · 1 year ago

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What does it mean, to die?

It's one of those philosophical questions, which you can answer quickly and blithely ("To die is to have your head reduced to the consistency of chunky salsa by a mortar round"), as long as you completely disregard what the question is actually asking.

What does it mean, to die?

Around here, it's an unusually complicated question. You can see it happen, but...you also kinda can't.

Let me try to explain.

See, there's all these bits (obviously 'bits' is a highly technical term, here) that collectively make up the whole enchilada that is a person (again, obviously, 'whole enchilada' is what the experts call it. Let me know if the terminology is too much). Two of the big bits are memory (you can think of this as being, like, your conscious self- the part of you that knows and cares about, say, which team is which in a football game) and your...soul? Essence? "Self-stuff"? (As you can see, I am steeped in the technical terminology of these matters.)

Your essence. Lets call it your essence. Like, if you woke up tomorrow with no memory, don't even know what a bed is, your first actions will still depend on who you are. Are you going to get up and explore? Are you going to feel violent? Are you going to roll back over and mutter the language-independent equivalent of "...five more minutes..."? My personal definition of death, which may or may not be what the philosophers have decided to go with, is when these two bits go their separate ways.

Reincarnation is a thing. Your essence wanders back into the world, floating free in time and space, finding another home, usually quite far from the last one. I've been doing this long enough to have a little bit of data on souls that have come through multiple times.

An afterlife- a 'heaven' if you like- is also a thing. It's...kinda not as good as it sounds? All your memories are there, all of your conscious self, but your essence- your true essence- has wandered off elsewhere to live in a snail or a peacock or a medieval Swiss mercenary or something. Your memory persists with a sort of...static copy of your essence coupled to it.

What that means is that you can, kind of, grow and learn, but only in very, very limited ways. You can gain new information and new experiences, but you'll always still be the same you, you'll always process things the same, you'll never really grow and change as a person.

Heaven takes the concept of a single, permanent self and makes it so. The result is honestly a little horrifying, even though it is, in all other ways, quite nice. Heaven is literally if the you right now had everything they could ever want, you just can't ever grow and change.

It's apparently the only way humans can be truly, permanently satisfied. We're not meant for static situations.

What words the philosophers use for all this I don't know, but the main one I use is 'blech'. I didn't want to split my self. I didn't want my essence out there, wandering around in a sloth or swallow or a shark. I wanted it here, with me, all of my memories and ideas and my self.

So when the time came to split, I just...kinda...didn't.

Most people can't really do that. But most people aren't as stubborn as I am. Most people would give up on something like this after a century or two.

But, listen. I've just gotta be me.

There are others around, in various states of transiting. Some simply run on ahead, their essences to orbit and to return to the Earth, their conscious selves and memories to eternal happiness (and the happiness is real, whatever else I've said about it being horrifying), as static monuments to the living beings they once were.

Some stick around for a while.

Some are like me- a little like me. No one else has ever stuck around for more than a year or two out of sheer stubbornness, but they're good company. It's always nice to talk to the like-minded, even if they feel the pull of eternity after a while.

Some are simply dying slowly. Coma cases, certain diseases (especially mental ones, like Alzheimer's), more odd cases than I'd really rather know about. They're disconnected from the Earth, but not yet entirely. They're gone, but they're not gone. They flicker back, sometimes a little, sometimes a lot. Sometimes they even go back...well, not permanently, that's not how that works, but persistently.

With so many wandering through, I decided that I should do something productive.

Hence my little café.

I could have made a fancy restaurant, or some sort of entertainment extravaganza, or even a strip club, being limited only by memory and imagination, but...no. Souls passing through don't want anything big or loud, they want...comfort. The ability to think. To ponder the greatest philosophical questions, on their own time, in their own way. The point of the café isn't the café itself, it's the journey you undertake while in it. Do you make peace with the afterlife as you find it? Do you move on?

Or do you, like me, find what you see imperfect, and strive, in whatever way you can, to make it better?

You run a café on the edge of life and death. Souls who have been departed from their bodies temporarily, such as in comas or near-death experiences, can relax in your quaint cafe for as long as they need before they can either return to their bodies or begin their journey to the afterlife.

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adamworu · 4 years ago

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The Subtle Horror of Evangelion

What keeps us all hooked to Eva time and time again? You get through your initial, confused watch of either Evangelion endgame, probably sometime in your adolescence wondering what the hell it is you just watched. The original source material is suffused with unsettling imagery, and sometimes too-close-for-comfort shorts. It’s so much to process that one watch is never enough. The imagery isn’t enough, however, because the mid-to-late-90s series comes with things you’ll pick up the more you focus on certain characters’ struggles or the interesting world-building. They arise little by little with every re-watch, adding onto what interested you in Eva to begin with.

There’s always that little voice asking you “What it is that really draws me here?”

Oh. The horrors.

The tragedy of it all.

These things never leave you the second you bear witness to them, whether you become aware of them or not. You’re disturbed over it, a tad worried, no doubt, but you’re strangely hooked.

Horror works better on limitation, it’s why found footage capturing pale, ghastly, monstrosities of the deep wood will always stand as exponentially terrifying. While most all of us have taken cracks at Eva’s budget at some point, that’s what really drives these terrors home. Its low budget nature made it work.

Evangelion has commentary which forces a viewer to reflect. Most no one enjoys that. It’s the fear, however, that has its audience come back. Evangelion’s reflection alone isn’t what gives Eva it’s charm decades after its run. It’s the little things, most everyone misses, the anxieties, the terrors, all of it. Most of those things, fly over a lot of fans’ heads.

Buckle up, there’s a lot to go through…. (warning for mentions of abuse, body horror, means of suicide, nudity, blood, and gore)

Table of Contents

I. Icebergs for Dummies

Tier 1: The Tip of the Iceberg

II. The Hedgehog’s Dilemma

III. The AT-Field as a Universal Metaphor

IV. Kensuke Aida + War Idealism

V. Shinji is the Audience Surrogate

VI. Abuse in Evangelion

Tier 2: Just Below the Tip

VII. The Infamous Elevator Scene

VIII. Naoko + Casper

IX. The Other End of Existential Horror

Tier 3: The Body of The Iceberg

X. War Horrors of ‘Ambivalence’

XI. Unit-01 Berserk Scene

XII. Dummy Plugs + CNS

XIII. Kaworu + Adam’s True Power

Tier 4: Pre-Abyss

XIV. The “Nihilist” Lens

XV. The True Nature of Sync Rates

XVI. Unit 01+ MPE Gorging Scenes

XVII. Ancient Ruins of Arka

Tier 5: The Abyss

XVIII. Split Second Misato Death

XIX. Humans Are The Villains in Eva

XX. The Ultimate Paradox

XXI. Conclusion

I. Icebergs for Dummies

For those unaware, the iceberg image illustrates that things are much deeper than they appear, just like an actual iceberg. You’ve probably seen this selfsame iceberg--- separated by tiers--- a few times looking through late night internet rabbit holes (Putting it out in the open: I’m personally guilty of this!), fictional or non. It helps you understand why you’re so enticed to certain material, that you’d revisit them. The highest parts of the iceberg are the things in the material most everyone knows, the surface level stuff. The lower you go, however, the lesser known the parts of the material are. These are the things the person are aware of.

Eva has some iceberg illustrations if you look around, albeit they don’t go through the more saddening, sometimes graphic factors of Eva, only theories navigating through Eva’s universe. Evangelion is so deceptively packed with blink-and-you’ll-miss-it subtleties that if an iceberg were centered on that, the diagram would be packed. And I’m being generous as I write this.

A few ground rules, before we begin: The iceberg will deal with the more obscure and dark material as the tiers get higher rather than it only being relegated to obscure bits. The lower the tier, the higher the iceberg and the more subtler the anxieties which graduate into horrors the deeper you go.

Yes, Evangelion is occasionally horrifying. No, Evangelion is not lovecraftian. I think people use the term lovecraftian way too freely. It’s not enough to see something with (sometimes too many) limbs twisted in ungodly angles. Or legs where legs shouldn’t be. The same applies for creatures assuming forms we don’t entirely comprehend. Eva has never delved into the angels being incomprehensibly terrifying specifically because they come from a cosmic expanse.

Some of these actual horrors, big and small, hit you after adolescence, something that makes you feel deeply for the characters’ dilemmas. It’s a feeling that grows and sometimes aches, rather than fades over time for many of us.

Tier 1: The Tip of the Iceberg

II. Hedgehog’s Dilemma

III. The AT Field as a Universal Metaphor

IV. Kensuke Aida + War Idealism

V. Shinji As the Audience Surrogate

VI. Abuse in Evangelion

II. Hedgehog’s Dilemma

Evangelion has its hand in so many psychological and philosophical cookie jars, from Freud, to Maslow, Johari, as well as Dostoevsky. The very tip of the Subtle Horrors of Evangelion Iceberg is something viewers are introduced to in the fourth episode of the series. It is one of the many psychological concepts dotted throughout the original show. Out of all those psychological concepts, this is the most explicit and most recurring.

The Hedgehog’s Dilemma describes the conundrum of two hedgehogs. The closer two hedgehogs become to one another, the more they harm each other with their spines. If you want to properly live, you need the closeness and intimacy of others. By allowing yourself to be close, however, you end up at great risk of being hurt. It’s the very reason what drives those who live to become guarded. Being perpetually apprehensive or building up walls isn’t a remedy for pains, however. The Hedgehog’s Dilemma isn’t just about why people become guarded after relationships ended on bad notes. It’s about the overall inevitability of pain.

Life is a continual push-pull of relationships, because we’re all creatures of comfort. We guard ourselves to varying degrees and sometimes even tell ourselves we won’t get close again, but personal comfort is one of our most ultimate drives.

The Hedgehog’s Dilemma not only describes that harm happens to us anyway, but illustrates that because comfort is universal we seek companionship regardless.

III. The AT-Field as a Universal Metaphor

The AT-Field is the most crucial rabbit hole in understanding the largest meta-narrative of Evangelion.

If Hedgehog’s Dilemma explains the what and the why people become more or less guarded, then AT-Fields explain the how. People build up walls around themselves all the time. You walk away from someone because they crack a smile at you... and it seems off.

Because you feel an anxious pang.

That’s an AT Field.

AT-Fields, or Absolute Terror Fields bear a few metaphors, one of which being boundaries. You see it as Shinji’s fear of becoming intimate, knowing the future implications or Asuka’s masculine protest (putting up a front). We can see an excellent example of the AT Field used by Asuka, her “Wall of Jericho” in episode 9.

You also see it manifested through the angels, the strange creatures in Eva who supposedly desire to merge with Adam, their mother. Seeing this in the angels makes you realize that the AT Field is actually a metaphor for boundaries which implicates us all. In episode 22, Arael, 15th angel, seeks to understand Asuka. The angel uses its AT-Field (a beam of light) no, its boundary, to breach Asuka’s boundaries.

AT-Fields can be used to not only build up personal walls but to breach them as well. The irony of Arael’s action is that Arael’s AT-Field being erected while it floats just over Earth’s gravitational field makes it immensely similar to the Second Child; they’re both guarded.

The AT-Field is a funny sort of thing because it also sometimes explains how two people who are so alike can be guarded from one another. Sometimes you gain contempt for someone because they’re too much like your least favorable traits. You see this with Shinji and Asuka, both children without their mother desiring validation. Shinji calls Asuka a child midway into episode 9 and Asuka isn’t shy on voicing ideas of Shinji as dense or immature. They’re throwing stones in glass houses.

AT Fields are used to get the user out of dangers both physical and perceived. Sachiel, 3rd angel in the original series’ pilot episode, uses its AT-Field, in the form of flotation, to get itself from enemy fire. It never shows this until it is attacked first.

AT Fields are also responsible for one’s identity and physicality in Eva. Without the AT Field you don’t really exist. When Rei assumes the form of the person the character being cast into Instrumentality loved most in End of Evangelion, she’s causing the character to give up their AT Field. With that gone, they lose their physicality, turning into LCL (given the lovely term ‘tanged’ by fans). The ‘tanged’ individual suffers metaphorical death. Evangelion argues that in order for one to exist, others must perceive you and you must perceive you, a point best illustrated in episode 16. Since everyone is converted to LCL, no one really ‘exists.’ Rei describes this unnerving state as the inability of differentiating who you are and others, since everyone lacks a physical state without AT-Fields. Metaphorical death can be argued as worse than physical, since we all exist to make an impression of some sort. It’s what ties all the Eva cast together and the cause of their dilemmas. Validation. You can be living, yet very much forgotten or simply unknown.

There is living and there is “living.”

You can’t “die” unless someone knows you. You were never there. AT Fields are the thing that make us live, but as a drawback, prevents us from understanding each other fully. Kaworu states in episode 24 that AT Fields are the wall of the mind and the heart of the soul, an unapproachable piece of sanctuary. When all else is taken from us, all we have left is our place of respite.

I’d also like to pitch the saddening reality that the AT-Fields are what prevent us from understanding angels as a whole, our genetic siblings as scared of this world as we are. The psychological angels want to understand us, that much is true. The angels, however, use forms of communication at the expense of our boundaries. Because people greatly value boundaries it makes it hard for us to comprehend angels. The creatures are hardly malicious when you realize they wonder why we all do things that actually hurt us, as well as the fact that they do understand our minds. But, because they breach our boundaries, we become even more wary of the (mostly) unknown. Angels may be us, but the strange forms they take are something we aren’t familiar with. The feeling is mutual with angels, wondering why there are many of us, our forms and outward appearances so identical. It’s a truth as old as time that we all fear the unknown.

The anxiety of an AT Field means comprehending that there’s very little chance to 100% get others. Because we’re all wary in some degree, because we’re set in an idea or perception of someone, even if the someone in the past no longer applies. It’s not healthy for you to continue dwelling on relationships not meant to be, keeping yourself up at night asking why, because both of you have closed off each other for good. There’s always that chance the other can come back and if they do seek to understand despite past hardships, that’s good. If they don’t, all you can do is move on and accept it.

IV. Kensuke Aida + War Idealism

Kensuke is one of Shinji’s classmates, a supporting player in the series. He’s close with Toji Suzuhara, a boy who takes his anger on Shinji, after finding out that his sister has been injured during Shinji’s fight with 3rd angel Sachiel. As Suzuhara beats him down, Kensuke downplays the incident. Kensuke’s and Toji’s relationship is particularly interesting because the latter is affected to some degree by war (the war by humanity to prevent our destruction by angels). Kensuke glorifies the sentient, implicitly eldritch, multi-armored war-machines.

Kensuke can be best described as the ‘wow, cool robots’ drawing you’ve probably seen floating around. This is in relation to Gundam’s war commentary, but replace Gundam with Eva. Kensuke is enamored with the Evangelions and totally, willfully ignorant to the war horrors. Adolescents are forced to be the salvation of humanity, feeling every bit of damage to their own bodies whenever the Evangelion takes any hurt. Even after the war for humanity is long over, the pilots will be afflicted with traumas that will always hang over them.

Kensuke’s glorification is also what draws him to be Shinji’s friend. He uses Shinji’s status as a way of becoming a pilot himself by meeting up with Misato, putting himself at the cockpit of a strange creature magnificent machine.

When Toji becomes hospitalized after his battle in a hijacked Unit-03 vs. A Dummy System-controlled Unit-01, Kensuke expresses discontent at not being a pilot. He’s annoyed because “everyone” but him is a pilot.

Thing is, Kensuke isn’t heartless, just ignorant. Idealism is one of the uglier things that runs thick in the heart of Evangelion. His is one of many cases of unhealthy idealism in Eva, another example of making it difficult for those living to understand one another.

V. Shinji as the Audience Surrogate

Shinji as the audience surrogate isn’t always touched up on, but is sort of understood subconsciously by a lot of the viewers. Shinji’s character is specific, yet so generalized that him being a surrogate for the audience just… works. Don’t believe me? Shinji gets two psychological exploration-based episodes whereas Asuka and Rei each have one. Episodes 16 and 24 are both psychological angel episodes, albeit the latter is more in-series subversive. The 24th episode doesn’t involve a breach of subconscious boundary, but the pilot (Shinji) is in the hot-seat, being made aware of their issues. Leliel, 12th angel, contacts Shinji in the former of these. Both characters talk to one another, shown as a series of horizontal lines and vertical lines, sometimes intersecting. These lines are a strong reference to the Johari Window, a tool in psychology which helps someone become more aware of themselves. The Window’s quadrants are as follows

1. the part known to the self

2. the part known to others

3. the part known to the self and others

4. the part known to no one

Leliel also states that the self only exists of one perceives themselves as well as others. The angel also states that Shinji could better his reality, to which Shinji absolves himself of responsibility by arguing the horrible state of his reality. It’s a subtle pushing to Shinji and by extension the viewer into free will. Kaworu builds up on these concepts with Eva’s in-universe concept for boundaries. Free Will versus Determinism is brought up here, with the idea that AT-Fields are brought up because the living (again, not people – emotional complexities aren’t only human) will them into existence. By exercising free will, it means enduring pain, one of Shinji’s, and again the audience’s greatest fears. Any relationship has pains and conflicts. This is all a buildup of free will, determinism, self-awareness, and the Hedgehog’s Dilemma. Understanding all of these means swallowing the “pain is inevitable” pill. The problem with much of us is that we like the idea of relationships rather than being in one. We want to feel validated but without the conflict, even if the conflict can be solved. We’re all Shinji because we’re all aware to life’s hellish catch-22s, so we run. There’s times in our lives where we run as far as possible from these woes, these truths, but there’s pain in running too. It’s why escapism seems like such a viable action for some of us.

Pain is inevitable, but pain can be mitigated.

More damning evidence to Shinji being a viewer stand-in lies in either endgame of Evangelion (pun intended). In EoE, after the Komm Susser Tod sequence of everyone on Earth being tanged, we’re treated to a shot of EoE’s live audience.

We hear Shinji’s voice about his reality while he talks to Rei toward EoE’s end. There are shots of the city, of people going about their daily lives cementing that this is about us. End of Evangelion shows us a less favorable side of Shinji, a departure from the lauded end series “Congratulations” scene, in which he does understand free will rather than perpetually dwell on negatives. Shinji reacts unfavorably toward Asuka in EoE after his mother’s speech to the audience that ‘anywhere can be paradise’ and Shinji stating he doesn’t know where his happiness resides. Shinji (We) still has a ways to go if he wants to be a better person.

It’s probably why many of us are either inclined to champion Shinji or harangue him, and either reaction is fair. Many of us are aware of audience surrogates, but never to this extent. Shinji isn’t his best person, but he can be. Being his best means self-reflection. Droves of people who first were exposed to Evangelion were teens, and again many of Shinji’s woes are specific yet so generalized, hence our feelings of defense and possibly disgust.

No one likes scathing, yet accurate call-outs on their person, but they’re paramount for us to understand ourselves and others.

VI. Abuse in Evangelion

One of the worst things recurring in all of original Evangelion is a bevvy of abuses.

Abuse comes in many shapes and forms and it’s many characters’ realities. Abuse happens not because the universe ‘wills it’ (determinism aka, ‘that’s just how people are’). Abuse, be it conscious emotional absence, actual neglect, among other ungodly acts fly though the cast.

Abuse is cyclical and a lot of those doing it often get away with murder because they have power.

Much of Eva is comprised of children being forced to sort through adults’ emotional baggage. Those children become adults and the cycle continues.

We all know a Gendo. Or even perhaps a Misato. Hell, even a Ritsuko.

Anno states that Gendo’s character is of a societal meta-text, which explains many viewers’ ire in relation to the character. He’s responsible for many of the seedy goings-on in Evangelion be it the financial (see: Jet Alone’s orchestrated out-of-control nature to give NERV more funding) or abuses (see: Rei, Shinji, Ritsuko, and, Naoko). It’s for this reason why Gendo’s actions are a sore spot for a lot of fans.

Anno: I’m not sure that it’s a real father [that Gendo represents]. Well, not a father in the sense of a parent with a blood relation to his child, but more, I think, [in the sense of being] a representative of society or the system. That’s why he has that expression.

Takekuma: So, he’s kind of amorphous.

Anno: The angels are the same. I made them appear amorphous in that way because, for me, society is unclear, the enemy is unclear.

Takekuma: Gendo is [a representation of] the boundries or the pressure of society itself.

Anno: That might be it. Perhaps Gendo is [a representation of] society itself.

http://wiki.evageeks.org/Statements_by_Evangelion_Staff

After many re-watches of certain Eva episodes, it just hit me, as I’m writing this why I’m sometimes apprehensive on an adult-exclusive lens of the show. This happens a lot in adolescence and our struggles are made trivial because of the mishandled baggage. As children, you’re meant to be subservient to parental whims. You have this sort of obligation to solve their problems. Give them closure. It doesn’t even need to be parental baggage, but just from adults in general. You see the way the adults act not just with the children but with each other. You see the way Gendo justifies neglecting Shinji, objectifying Naoko and Ritsuko or Naoko’s emotional absences as a mother to her daughter (also manifested through the MAGI). It’s these immature excuses as to why they can’t extend empathy to those around them.

It’s always excuses.

Eva’s original series has always been a show about children.

Tier 2: Just Below the Tip

VII. The Infamous Elevator Scene

VIII. Naoko + Casper

IX. The Other End of Existential Horror

VII. The Infamous Elevator Scene

The Elevator Scene is a sequence that sometimes gets glossed over due to Evangelion’s fleeting budget. It took me years to realize the true gravity of the awkward silence of both the 22nd episode and its Director’s Cut version. The Director’s Cut version has Asuka abruptly jerking in the silence, but that blink-and-you’ll-miss-it moment speaks volumes. Understanding the scene means understanding why Asuka quietly stews in her anger. Understanding why Asuka stews means understanding Asuka from her debut to her emotional breakdown.

Asuka’s appearance in the 8th episode, Asuka Strikes!, is marked by a bold persona that carries on until the end. She isn’t shy on imparting her prowess to Shinji, stating that Units 00 as well as 01 were the prototype and the test type, respectively. Her Evangelion, Unit-02 is the finished product. She even states that she graduated from university. Despite these impressive feats so early in adolescence, the only time in which they’re noted is when Asuka talks of them. Misato takes in both Shinji and Asuka, but only ever “dotes” on Shinji. Gendo pays attention to Shinji because he pilots Unit-01, and 01 contains the soul of his late wife. Rei is the clone of Gendo’s late wife, hence Gendo’s attention and overall creepy, selfish obsession with her. Asuka and Shinji’s relationship, with Misato as their caretaker strongly mimics a Golden Child and the Second Fiddle. The only difference is, Shinji gains more attention due to Gendo’s and Misato’s respective baggage. Again, Eva is a series where children are forced to handle the baggage (with no break in the cycle) and when the child doesn’t have anything the adult particularly can clue in on, they become neglected.

That’s Asuka’s dilemma.

It’s why Asuka forces herself to grow up.

It’s why Asuka is driven to be competitive to Shinji and Rei, later growing contemptible at both.

Asuka suffers a few curses, one of which being the youngest, the inevitability of being consciously sidelined dawns on her, leading to her selfsame breakdown toward series’ end. She aligns youth with trivialization, so naturally, she’d front with the opposite. She never gets help in relation to her period. Misato and Ritsuko realize something is up with Asuka but they never really offer her the support.

There’s also the flashback to her trauma in episode 22’s beginning. She’s replaced by her mother post-Contact Experiment (which led to a deterioration of her mental health) via a doll that looks like her, red hair in pigtails. It’s the leading factor to her feigned boldness, her ego. The way in which she is marginalized in the series brings it all back.

Rei breaks the silence with a few words of compassion and all Asuka can do is express disbelief. She mistakes compassion for contempt.

For pity.

The idea that anyone would extend kindness, especially now of all times, is unbelievable.

Asuka also experiences a dilemma here, a dilemma those like her face. She already knows what it means to be vulnerable and deeply hurt, but she needs to make herself vulnerable because now, more than ever, she needs the support. Being vulnerable will cause past traumas to flood back in full force, but by stewing she deprives herself of any support. Rei offers that support, but a few words of support in a wave of trivialization can’t help but feel a bit too strange.

Asuka’s greatest anxiety is realized in the twenty second episode. It’s of being and staying second fiddle, that she’s always been set up to fail. Even 2 episodes after the fact, in which she actually starves herself does she realize once more how she’s permanently ‘below’ others.

Asuka’s curse finds itself in real life, and it’s for that reason why I believe some find themselves resonating with her. Asuka’s gradual descent into bitterness is something I find myself waking up some nights thinking about after 7 years going through Eva; hers is a cautionary tale on being emotionally distant to cries of a damaged youth. Casually imparted knowledge of past achievements, and the competitive attitude mixed with embitterment, some of which from a genuine place but also a product of neglect. We were forced to play second fiddle, we forced ourselves to grow up to feel more legitimate, forced to carry an ire that stews because it seems no one listens.

VIII. Naoko+Casper

The late Naoko Akagi is a woman of multitudes. Those multitudes are compartmentalized into the 3 MAGI. They are Balthasar, Melchior, and Casper.

Casper shows itself to be the most prominent aspect of Naoko’s personality, her as a woman. Ritsuko states that, after the defeat of Iruel, 11th angel, that Casper is the part of her mother which remained that way to the end.

Balthasar and Melchior have been bested, be it by rival MAGI, or Iruel’s assault. This calls back to the fact that Naoko’s other facets aren’t anywhere near as prominent. Naoko has cited her own emotional negligence, of only showing emotions should it ever benefit her.

Casper on 3 occasions fights tooth and nail, Iruel’s assault, an attack by multiple MAGI in End of Evangelion or the defiance of Ritsuko activating the self-destruct sequence. Ritsuko does this to seek vengeance against Gendo for coming to the immense realization that he never genuinely cared for her. Gendo has always used Ritsuko for her body. This would destroy NERV, meaning killing herself and Gendo.

Then you realize why Casper overrides the sequence.

Casper’s stubborn behavior wasn’t actually to defend NERV but to protect Gendo. Casper’s defiance aka Naoko’s emotional absence toward her daughter allowed Gendo to kill a bewildered, rightfully angered Ritsuko.

The saddest part of Casper’s, no, Naoko’s choice is that Naoko got away with murder. Evangelion is a story about children dealing with the selfishness of adults and the adults never receiving justice for their wrongdoings. The relationship between Ritsuko and Naoko is an excellent example that this doesn’t just implicate the young pilots. Ritsuko dies in End of Evangelion with the truth that her mother, as a woman, in the end chose the man who manipulated both of them.

IX. The Other End of Existential Horror

Some spend their whole lives trying to make a mark. Others can’t help but be known.

People get smart sometimes to get themselves out of a current situation. Kaworu and Rei’s existences are such that they’re deadlocked from living. Their existences are the product of an experiment, to be later heavily watched and raised as the Last Messenger. The latter is the result of Gendo’s obsession with his late wife.

Kaworu and Rei’s existential crises are opposite from the rest of the cast; while others do their damndest to become known, they cannot be unknown. Rei’s character centering more around her identity than other characters is also initially and sneakily alluded in the opening.

The Johari Window is a tool encouraging self-awareness in the person, alluded to twice in the show, with the second time being in the sixteenth episode. Both usages of that illustration, for Rei, and Shinji drive home crucial aspects of the meta-text.

This would also tie Rei to Shinji in End of Evangelion forcing Shinji to reflect on his own awareness and will. Rei is an astute, young girl whose arc is about her personal relationship with identity, something she is all too familiar with due to her objectified nature. Rei’s arc is even more so entrenched in identity than other characters that she is one of the characters imparting personal and universal realities.

Ayanami Rei’s existence from start to finish is inundated with the issues of others, causing her to internalize being always expendable. In Rei’s Poem in episode 14, it becomes clear that she sees herself based on usage. She likens herself to a field of flowers, which slyly alludes to the Dummy System’s “parts” 9 episodes later, other Reis.

Rei is seen as malleable vessel which houses thoughts rather than her own person and she can’t do anything about it. So she resigns to her reality. Even if she does tell off Gendo in End of Evangelion for his objectifying, she’s not even out of the woods. She never will be.

I used to think Rei’s “slap” to the face to the man with the (most) baggage was empowering. Then I learned about abuse during adolescence, how kids who lack a support system act while away from their abusers. Even saying an emphatic “fuck you” to your abusers isn’t enough to be a happy ending. Rei is a girl who lacks a support system and she suffers from it. Start to finish.

Kaworu’s crises are much trickier to pinpoint because there’s so little to work with. He doesn’t get an episode dealing with personal, subconscious explorations. Getting his character means first getting how Evangelion re-contextualizes what “Ode to Joy” symbolizes. It also means understanding the AT-Field and most people won’t pick that up on an initial foray. Or maybe even a second. Most people don’t pick up that the AT Field implicates anything living and physical or its metaphor for boundaries and identity. There’s the common misconception that Evangelion is a “human” show.

Kaworu marks off his appearance humming “Ode to Joy” while Shinji wonders who to turn to. It’s a song generally known for its jovial nature, but most importantly, Ode to Joy is:

known also as the “Choral” Symphony. Its finale is a musical setting of Friedrich von Schiller ’s “Ode to Joy,” a hymn to the unity and freedom of humanity.

http://www.dictionary.com/browse/ninth-symphony

The Choral Symphony assumes a more horrific context later on. Kaworu is the last messenger and what his action is would lead to the mass annihilation to lilin/human or angels. ‘Unity of man’ is changed in Eva’s context – it marks either unity of man or the death of man. It doesn’t matter who Kaworu allows unity to, because his hands would be stained with death anyway. Then you realize why Kaworu deploys his most powerful AT Field during his descent to Heaven’s Door.

This is his reality.

Kaworu’s status as the Angel of Free Will isn’t about him being the only complex angel, as a lot of people think. It’s about being the sole individual handing that freedom to others.

You realize his terrifying dilemma goes to the tune of being feared for his own existence as an angel (which he notes to Shinji) and not being able to properly live.

Sometimes you ”hurt” people by existing.

Sometimes people hate you for the simple act of existing.

Kaworu’s and Rei’s terror is the other end of existential horror, that you can’t help but forced to be known. Sometimes you have knowledge but aren’t allowed to do much with it.

Tier 3: The Body of The Iceberg

X. War Horrors of ‘Ambivalence’

XI. Unit-01 Berserk Scene

XII. Dummy Plugs + CNS

XIII. Kaworu + Adam’s True Power

X. War Horrors of ‘Ambivalence’

Episode 18 is where anxieties graduate into horrors both implied and visceral. Unease hangs over the episode, with the mystery of Unit-04’s disappearance and tests being done on Unit-03. Misato tells Shinji that because tests would be done, there’d be a pilot there. Misato uneasily withholds this info from Shinji and Kensuke breaks the silence with his recurring desire of being a pilot, still ignorant of the war horrors. There’s a subtlety that Shinji picks up on with Toji but not enough to put two and two together: that the big-eater himself isn’t feeling so hot.

The continual chirp of cicadas and birds nor the peel of the school bell are enough to break the unease of the viewer or of Toji. Toji goes from indirectly being affected by war vs angels to being chosen, drafted even, a child at the first line of defense for the apocalypse. We get a flashback of him beating down Shinji, before it cuts back to present day Toji. He will be in Shinji’s shoes.

Toji balls a fist, a recurring theme in Eva, to the tune of “What is your hand for?” Toji is finally about to take things into his own hands.

Asuka takes a few cracks at Shinji to Hikari that he hasn’t quite gotten the memo, but when Shinji asks her even she’s halted in words.

Then the day comes.

Tests are being done and suddenly Unit-03 goes rogue with Toji in her (note the Evangelions have the souls of the pilots’ mothers, save for Rei). Unit-03’s’s strange behavior is revealed to be the work of the 13th angel, Bardiel. Shinji’s ignorance is made worse by Misato’s absence (with Misato telling Ritsuko she’d tell Shinji the pilot’s info after the tests). Units 00 through 02 are sent out for the new threat and Shinji sees this new threat. Anxiety rises.

The song “Marking Time Waiting for Death” accentuates the anxiety. Unit-03’s silhouette eerily contrasts with the sun, her body slightly hunched and approaching slowly.

Fear washes over Shinji when he deduces that with an Evangelion inside, there must be a pilot.

Yet he still doesn’t know.

The other pilots are aware, and show reluctance to the revelation. A hijacked Unit-03 sets herself on Asuka, Rei, and even strangling Shinji. Shinji allows the angel-hijacked-being to strangle him, because killing another human being is simply horrific.

Eva has its hand in the war morals cookie jar here because Shinji stands at a conundrum, to other let this creature take his life or to murder flesh and blood. This dilemma goes double-time in war. Gendo asks why Shinji hasn’t dealt with the 13th yet, with a somewhat horrified Shinji pleading about the pilot. Gendo commands for the unfinished Dummy System to override Shinji’s controls and then suddenly...silence….

The Dummy Controlled Unit-01 springs back and we’re treated to a close-up of Unit-03/Bardi3l being strangled.

A nauseating crunch sounds and the unit goes limp. A controlled Unit-01 proceeds to raise hell on the incapacitated enemy, resulting in the unit’s blood and guts flowing through the streets. NERV’s personnel can’t do anything save for become fearful at the Dummy System’s capabilities. Terrible, visceral noises sound one by one as blows strike, as the unit’s severed limbs and blood splatters riddle the urban battlefield. Shinji hears every second, every squelch and splat.

Imagine the pain of 03’s pilot.

But the terrors don’t cease here.

01 doesn’t stop at just raising hell on the incapacitated 03, and we’re treated to another close-up shot of 01 tightly holding onto 03’s entry plug, before crushing it.

Somewhere away, Misato receives news that Unit-03 has been dispatched as an angel. Shinji feels the weight of having actually killed someone, before Misato actually breaks the news that the pilot is not only alive but that the greatly injured pilot is his classmate.

It never really hit me until now how this scene holds another horrifying subtlety. Compare this to episode 3, where Toji’s first interaction with Shinji involved him punching him, the very scene playing at this episode’s beginning. The 18th episode ends now with ,Toji and Shinji are both joined in the same camp, of children emotionally and physically marred by war, not able to fully control their situations.

XI. Unit-01 Berserk Sequence

Shinji stands in a situation where he can no longer take the terrors aligned with the Evangelion. He’s gone from sustaining injuries great and small from combat with the eldritch angels, to indirectly harming a friend through it. He resigns from his position as a pilot, understandably running away even with the approach of the 14th angel.

After a talk with Kaji about how he can control his future and he only, Shinji once again puts himself at the forefront of further pains. He must once more thrust himself to the terrors that align with the war-machines whilst struggling with other traumas.

During his fight against Zeruel, his Evangelion dies out and it all floods back to him. Shinji once again finds himself at a position of no power, frantically pressing at his controls to no avail.

He can only hear blow after blow of the 14th’s onslaught. He and Unit-01 are at their most vulnerable.

Until Unit-01 springs back.

W hat follows is the famous Berserk sequence, a scene whose terror can be thanks to Evangelion’s low budget.

We see the Evangelion in all her terror and the sort of off-ness that carries in this scene.

Episode 19 has no problems on treating us to front-row tickets to terror.

Unit-01 snatches part of Zeruel’s appendage and adds it to her mass. A sickening squelch sounds and her new appendage contorts into place in an instant.

She moves over to her incapacitated, angelic meal and doesn’t hesitate to chow down. The shots feel too personal yet nowhere near in the sense of the show’s meta-textual reflections. It’s almost like stumbling on a cryptid and when she shoots a look at the viewer, it feels as if she’s looking at us, like we’ve interrupted her dinner. Or perhaps she did finish the meal... and she’s in the mood for seconds? Perhaps even thirds?

The bizarre and eldritch nature of the Evangelions goes full force with this imagery. Episodes 2 and 16 laid the foundation of how off the Evangelion Unit-01 was with how she openly mutilates her targets. Or even the unsettling roar of Unit-01 that’s not entirely bestial. The sound is straddles a line between the blood-curdling bestial and the human. But here? Eva Unit-01’s position, from her hunched figure, to her more feral position as she feasts, feels far too organic...and far too human.

The Evas themselves aren’t human, but the souls housed within are. Eva’s souls are souls of the respective pilots’ mothers, an example of the mother and child symbolism omnipresent in Neon Genesis Evangelion.

Shinji’s mother is Yui and as we go through the series, we realize the s2 engine appliance was intentional. An s2 engine offers infinite stores of energy and this is needed for Instrumentality. With the s2 engine within her grasp and the fact that Evas don’t subsist on anything, this would make the consumption of 14th completely recreational.

It’s super tempting to frame this scene as containing some abomination that now stands unchained and indiscriminate in its targets, but it isn’t. It’s sort of understandable because Units 00 and 02 don’t come close to exhibiting this sort of behavior nor were they in this circumstance. Neither Unit-00 nor 02 have any desires in regard to Instrumentality. In the end, we should look to Yui and her own endgame, because Yui’s running the show here.

XII. Dummy Plugs + CNS

Ritsuko states the Dummy Plugs are machines which imitate pilot’s thinking. There’s a bit more than the possibility of this being 100% AI due to the apparatus Rei is in.

This very likely implies the respective person’s thought processes added with AI programmed in a way which best “describes” the pilot (basically how they are perceived). In episode 17, Rei is situated in this apparatus strongly resembling the central nervous system, the brain and the spinal cord.

{The central nervous system CNS is responsible for integrating sensory information and responding accordingly. It consists of two main components:

1. The spinal cord serves as a conduit for signals between the brain and the rest of the body. It also controls simple musculoskeletal reflexes without input from the brain.

2. The brain is responsible for integrating most sensory information and coordinating body function, both consciously and unconsciously. Complex functions such as thinking and feeling as well as regulation of homeostasis are attributable to different parts of the brain.

https://mcb.berkeley.edu/courses/mcb135e/central.html

Ritsuko imparts the unsettling revelation about Rei and by extension the Dummy Plant itself (after Misato coerced her into learning about Rei). The Reis are the core of the Dummy Plugs (and the System used to brutalize a hijacked Unit-03 and its trapped pilot). This scene adds more to the extent of Rei’s objectification, of her being replaced. It adds on to Rei III’s comment of being ‘the third.’

Rei isn’t savage by any means but the sheer brutality of Dummy System’d Unit-01 5 episodes prior may hint at her straightforward nature.

I’d like to pitch that Ritsuko’s approach to Rei’s Dummy Data was also the product of her subtle animosity toward Rei. When she refers to the Dummy Plug as a machine which mimics human thinking, she’s talking about Rei. She also refers to her similarly in episode 23 by referring to Rei as spare parts, as if Rei herself is some soulless machine whose parts can be switched out if need be. This could also call back to Rei’s poem, in which she calls herself a vessel which holds human thoughts.

Another question remains: how does Kaworu play into this?

The MPEs (the Mass Production Evangelion series) use Kaworu’s Dummy data, meaning that there are cloned Kaworus stored off somewhere, perhaps floating with soulless smiles the same as Rei has.

Treated as spare parts.

This also implies that Kaworu is more or less reduced to an object.

What’s more disturbing is the nature of the MPEs gratuitous method of ravaging and mutilating Unit-02 and by extension Asuka.

Kaworu hasn’t ever demonstrated any degree of malice, so this can’t really insinuate a ‘Kaworu is secretly evil’ narrative. But this can tie back to a recurring theme of humans fearing and despising angels. It’s because of this that the revelation of our genetically identical nature or the fact that they can comprehend our psychology is framed in-show as kind of shocking. It is because we’re so disturbed at the angels’ existence (or anything else we don’t comprehend) that we view them as inherently savage in nature. Kaworu’s quick-to-perceive personality most likely translated itself along with the AI. This would also rule in the somewhat strategic way in which the MPEs act against Asuka, exploiting her attack patterns through surprise attacks.

Some of Kaworu’s as well as Rei’s Dummy Data are the product of universal (Kaworu) and personal (Rei) contempt by people. Let that sink in.

XIII. Kaworu’s + Adam’s True Power

The bottom of the fridge horror portion of this iceberg is something that has subtly plagued me for years. We’ve only ever caught glimpses of Kaworu’s abilities in his debut episode. I picked up on it little by little with each re-watch of the episode, with every other time his abilities dawning on me. If I wasn’t focusing on how his character fits in the greater framework of Evangelion, I was cluing in on his abilities.

One of his abilities is being able to block out light, magnetism, and subatomic particles. Some of the forces which make up the universe. This witnessed by the viewer when he realizes the whole of humanity’s welfare hangs by a thread, due to the coexistence of angels and Adam.

Adam.

Adam’s soul lies within Kaworu. Adam. Who utilized an Anti-AT Field which caused Second Impact. An Anti-AT Field, which killed off much of the Katsuragi Crew in Antarctica.

This makes Kaworu the most powerful angel in the original Evangelion series.

Eva has shown that ownership of an angel’s soul (or partially, if you’re onboard the Rei I is in Unit-00 theory) allows the person to inherit the angel’s abilities through Rei. Rei blocks off Kaworu’s immensely powerful field with one of her own, canceling out both as a result. As we know, AT Fields for people are a figurative affair. People lack the physiology to exhibit a physical AT Field because they don’t have cores like angels do. Angels’ souls when possessed by humans have a sort of ability to circumvent parts of human physiology (if you’re looking for the whole package, you should eat angel’s flesh too). Rei also shows the ability to float, implied in episode 24 and shown explicitly in End of Evangelion.

But this raises a few questions about the last messenger is the ability to block out some of the forces of the universe Adam’s powers or Kaworu’s? Another ability that continues to plague me the more I think about it is Kaworu’s AT-Field usage on Heaven’s Door to bypass its lock.

We haven’t actually seen Adam’s other powers (if the angel has any) because the it’s anti-AT Field was halted via Lance of Longinus. Other than its ethereal appearance in flashbacks, we only see an incapacitated Adam in embryonic form. That’s it. We don’t know if Adam exhibits any other powers due to this impediment. If Adam does have more powers, this would add onto both the fridge horror factor of Adam and Kaworu.

Tier 4: Pre-Abyss

XIV. The “Nihilist” Lens

XV. The True Nature of Sync Rates

XVI. Unit 01+ MPE Gorging Scenes

XVII. Ancient Ruins of Arka

XIV. The “Nihilist” Lens

There’s something that implicates the whole cast. Something that goes beyond the meaning of the AT-Field, and the all-too-known Hedgehog’s Dilemma.

Eva is filled to the very brim with psychological concepts, but there’s one thing which ties this all together. It goes much larger than the desire to become validated or cycles of abuse and unresolved issues to a newer generation.

Free Will Vs. Determinism ties the entire cast together and is disturbing in its own right. It not only ties the cast together but also contributes to Eva’s meta-narrative.

Episode 16’s sequence with Leliel, Shinji, and the Johari Window gives little breadcrumbs to this psychological dilemma. Leliel teaches Shinji about his own identity as well as slowly ushering him to a sense of self-awareness. Leliel also attempts to usher Shinji out of filtering reality with only convenient parts. Shinji argues that he can’t really be held culpable for his actions, because the one and only reality is that reality is awful, bar none. Not his reality, but reality as a whole. This deterministic stance becomes ever more blatant 8 episodes later with the appearance of Nagisa Kaworu.

Kaworu’s designation is the angel of free will. The irony of this stands in the fact that Kaworu isn’t the only angel who can exhibit free will (with some of the angels before him taking the time to try comprehending people). Kaworu’s status comes from his identity as the last messenger, bringing about freedom for one species (humans/lilin or angels) at the expense of the other. Kaworu knows his reality well and in the end, seeks to better the reality of those around him. Eva doesn’t romanticize the prospect of free will, however, because Kaworu is so aware of his own person and how he can hurt those around him that it greatly bothers him.

The metatext doesn’t just position Shinji as being in the wrong, but also the audience. Remember the point I made before about Shinji being the audience substitute? It’s further hammered home from the series’ tail end and into End of Evangelion.

“That’s just the way things are.” is a common response to things in life we feel resigned on changing, because we don’t know how to change them. This quote is a parallel to Shinji’s “humans aren’t made to float!” in episode 16.

Shinji does know how to change much of his reality, but by doing so he’d be pushed into free will. Free Will is the solution and it means holding yourself accountable rather than believe that it’s everyone else with the problem. With the idea that you can change your reality, it offers you the opportunity to love yourself.

If you love yourself, then it becomes much easier to love others.

Eva’s free will and determinism metatext hammers home the extension of empathy.

Shinji/the viewer’s greatest problem is that because we don’t love ourselves it makes it difficult to extend the love to everyone else. Shinji’s love translates as idealism. Because of his unhealthy idealism, he is hindered from understanding people.

By ascribing your beliefs from determinism to free will, it opens your mind to an entire world of possibilities, but therein lies the terror. It is because of these possibilities that Shinji and by extension, the viewer, likely fears free will. Shinji finds ways make himself validated, but with free will, the argument could be made that it doesn’t matter. There’s the anxiety-crippling likelihood that none of it actually matters, because your existence doesn’t matter. If we’re going on this bent, acts of making an adequate impression on others are acts of personal denial. In the end, these are what they are, possibilities.

The greatest terror of it all is that we don’t know.

User power-chords makes an excellent point about the inherent darkness of an internal locus of control.

User power-chords posits the idea of existential absurdity for Shinji not as a certainty but a possibility. There’s always a likelihood that our desires to comprehend the world around us, to find ultimate understanding are in vain.

Cheesy as it sounds, people fear ambiguity because we seek a satisfying end. We don’t just seek answers. We want outside closure and inner peace, but we won’t always get it. It’s why we rationalize relationships that end on bad notes. Sometimes you worry about your falling-outs...and it hurts. You never got the answers your wanted so this pain carries, for months, sometimes even for years. Dwelling on the issue serves no purpose other than to keep that hurt with you. The best thing to do sometimes is to find your own closure, your own meaning.

No, Evangelion isn’t actually pro-nihilism, but it presents us with that likelihood. That’s what makes this aspect of the narrative so terrifying: The consideration that we find meaning in the meaningless.

XV. The True Nature of Sync Rates

The nature of injuries and having them in adds onto the innate horror --be it war or otherwise-- and themes of the Evangelion. The severity of the injury is based on how high the pilot’s sync ratio is. An average rate while sustaining damage will bring hurt to the actual pilot in the respective spot. Some examples:

Sachiel makes multiple headblows to Unit-01 and Shinji in episode 2, causing head trauma.

Ramiel’s, (5th angel), particle beam attack in episode 6, an attack so severe that Shinji needed medical care.

Unit-00 and Rei being infected by a Bardiel hijacked Unit-03 in episode 18. Toji’s condition in episode 18 stands as a large example of the innately disturbing nature of sustained injuries.

Toji’s condition becomes all the more nauseating when you see Evangelion parts and blood flow through Tokyo-3.

Toji could feel every last second of strangulation, body blow, and feel the unspeakable pain of his arm being severed. Let that sink in.

Asuka receives the worst of these considering the nature of her sync rate being high. The higher the rate the more kept the damage is. The circumstances behind Asuka getting the worst of it goes back to the AT-Field. Asuka understood the meaning of the AT-Field, that the more you open yourself up to others, the more hurt you become. The realization dawns on Asuka as her mother from within the Evangelion shields her from the onslaught of JSSDF troops.

It’s then that Asuka finally comprehends what the Absolute Terror Field is. Despite her emotional needs being neglected, realizing she’s set up to fail, and going comatose she still goes on.

Asuka, despite everything, takes a chance and opens her heart knowing the double-edged nature of the AT Field. What happens next?

Asuka took a chance.

She opened her heart...

...and she got hurt all because she opened herself.

XVI. Unit 01+MPE Gorging Sequences

The brutality of both Unit-01 and the Mass Production Evas holds three layers: of visual horror, implied horror, and thematic horror. Unit-01, after taking Zeruel’s s2 engine into herself, proceeds to then brutalize the 14th angel by way of still gorging on it. The feeding was entirely recreational considering Evangelions don’t subsist on food to function. This was more about the sheer act of brutality for brutality’ sake.

The Mass Production Evas also fall under this category, the way in which they deal with Asuka after incapacitating her with a replicated Lance of Longinus is also sadistic and gratuitous. They also proceed to gorge on Asuka, her fate made worse through the simple fact that her sync rate is heightened.

The MPEs don’t even swiftly finish her off. She is in a state of tremendous and unimaginable pain. They fly above her slowly, circling above her mangled Eva.

They are almost mocking her as she can do nothing, save for writhe. Asuka’s seething, repeated “I’ll kill you...I’ll kill you….” is then silenced by the MPEs spearing her down.

The brutality doesn’t end there, as we see much darker implications of the damage sustained toward the end of the first half of End of Evangelion.

Shinji bears witness to the implications after seeing the decimated remains of Unit-02 being carried off by some of the Mass Production Units. The sickening reality of it all dawns on him and he is once more exposed to the woes of war and the nightmarish aspect tied of the Evangelions.

XVII. Ancient Ruins of Arqa

We’re ending the pre-abyssal end of the iceberg with Evangelion’s original proposal.

Eva’s proposal, a far cry to the show today, had a more sci-fi angle to it. Psychological concepts weren’t exactly pitched nor was it self-aware. The angels weren’t even referred to as the angels, but as the Apostolos. Instead of the 18 we were presented with in the original show and the movies, there were 28 Apostolos.

The Apostolos designs stand as testament to how far of a departure the proposal was to the final cut. They look far more menacing than the more amorphous, much softer defined, beady-eyed angels we’re used to. To top it all off, the Apostolos were the de facto villains of Evangelion’s prototype pitch. The Apostolos in the Proposal, toward the end, proceed their onslaught as a group rather than the series’ one by one. Toward the series’ end, the 12 strongest Apostolos begin their assault on North America, annihilating the continent in its entirety.

Only 12 of the creatures laid waste to a singular continent.

Episode 24: "Now, the Promised Time"

Rei breaks down. Her secrets are revealed. At last awakened, the twelve strongest Apostolos descend from the Moon. Both Eva Unit-06 and the American continent vanish completely. Humans acknowledge their helplessness in the face of the Apostolos' crushing power. The promised time, when people will return to nothing, approaches. A human drama in the depths of despair.

Episode 25: "Arqa, the Promised Land"

The laboratory holds the ancient ruins of Arqa, which have become key. In order to stop the twelve Apostolos, the United Nations' head members annul the Human Instrumentality Project and resolve to destroy the Apostolos. Shinji's father objects. Shinji and the others stay at the laboratory for Rei. A drama of people conflicting over incongruous objectives.

https://wiki.evageeks.org/Resources:Neon_Genesis_Evangelion_Proposal_(Translation)

The aforesaid creatures were so powerful in the original pitch that Human Instrumentality and the ancient ruins of Arqa would be the way of stopping the onslaught.

Tier 5: The Abyss

XVIII. Split Second Misato Death

XIX. Humans Are The Villains in Eva

XX. The Ultimate Paradox

XVIII. Split Second Misato Death

As the last and most explicit aspect of original Evangelion, it would only make sense that EoE specific content would take its place in Tier 5. End of Evangelion is a 90 + minute tour de force with disturbing imagery back-to-back. Split Second Misato Death refers to one of the most unsettling images sprinkled all throughout the movie. Here are a few of the many examples of EoE’s building up on Evangelion’s ugliest parts.

Everyone cites the infamous hospital scene not even 5 minutes into the film as the first proof, but user power-chords has pointed out, Shinji has actually attempted suicide (refer to the ‘Free Will v. Determinism’ part of the iceberg.)

After Misato is mortally wounded and sends Shinji off in an elevator not long after, the JSSDF blow up that part of NERV. A few people have pointed out the most disturbing facet of this scene: through freeze-framing that you can actually see Misato’s body during.

The JSSDF scene partway through End of Evangelion in which NERV personnel are summarily annihilated.

For those missing the small detail of Shinji’s attempted suicide ,Shinji’s depressed state is made more clear when the JSSDF locate him. When they do they attempt to kill him execution style. Shinji doesn’t move.

“I don’t want to die…!” during the JSSDF’s assault, Asuka is awoken from comatose state. She is protected by her mother via an AT-Field by Unit-02. She gains back her self-preservation after this realization, and multitude of images play. One of them is an extremely gruesome close-up of Asuka’s face. (extreme body horror warning, proceed with caution)

The Komm Susser Tod scene beginning with Shinji strangling Asuka in harsh coloring, Naoko’s same action toward Rei plays right after. A few disturbing child drawings follow after, predominantly featuring death. (seizure warning, body horror warning)

End of Evangelion’s flooring nature comes from the fact that it builds up on the subtly horrific and makes these terrors explicit. Whatever existed beyond closed doors becomes now available for us to see,

XVIII. Humans Are The Villains in Eva

At the penultimate point of the abyss lies a horror as old as much of time. Of the humane being more disgusting than the monsters.

That we can be monstrous.

This fact becomes known with the appearance of the JSSDF as dispatched by SEELE, methodically mowing down NERV personnel with little to no weaponry of their own. We’re treated to NERV’s personnel in their hallways, some forced with the moral dilemma of leaving their own to die while surviving or helping their own while both end up being gunned down.

It becomes apparent that SEELE has been gradually, intentionally chipping away at NERV’s Defense Budget, getting rid of the (little) competition they have after the defeat of the Last Messenger.

There’s a degree of contempt and casual sadism that comes with how they kill the personnel. In one instance, a NERV worker surrenders to the JSSDF, before being killed off in execution style in the distance (one headshot plus two extra shots for good measure).

When you look back at it, this sort of sheer, unabashed brutality wasn’t felt about the angels. Human attitude about the angels is largely fearing, anxious. This attitude accentuated itself through a sometimes nervous soundscape. Of observing these weird, ghastly creatures as they creep and swim. And the feeling’s mutual. The problem is that we don’t know.

But here? We do know.

When the JSSDF move in, the anxiety of angels graduates to the full-force dread of creatures that have killed before. The greatest enemy to humanity has always been with them all along, forcing them to a catch-22. The dread falls on Maya because she understands this perfectly. NERV has only ever shot at targets rather than living flesh…

...and SEELE knows this.

SEELE’s slow, but sure suppression of NERV’s budget is kicking a man while he’s down, but the man in question is a child instead. The JSSDF have more than enough firepower, calling it overkill goes beyond an understatement.

The JSSDF demonstrate the lack of remorse further with the discovery of Third Child, Shinji Ikari. One of the members presses the barrel to Shinji’s head before Misato steps in and kills the members.

The JSSDF isn’t the only damning evidence of how ugly members of humanity can be, however.

Humanity’s on-occasion grossness shows itself in small ways throughout the series, in dislike and conscious emotional distance for individuals, or beliefs of the angels being unintelligent and/or savage. Other times it manifests fiscally, in orchestrating more ethical approaches to stopping certain destruction to go seemingly haywire in order for NERV to receive more funding. This all due to a rival company of NERV challenging the very idea for its usage of child soldiers.

The worst of this damning fact is that many of the morally repugnant members exist on a higher echelon of society. There are Gendos running around, doing as they so please and they’re the tip of their echelon iceberg.

XIX. The Ultimate Paradox of Evangelion

“Anywhere can be paradise as long as you have the will to live.”

We’re treated to these words as Shinji finds himself on shores surrounded by an isolate hellscape, with Asuka next to him. The strange and altogether horrific nature of End of Evangelion has gotten fans believing on End of Evangelion’s endgame was in certain, nihilistic. But Eva dipping its hand in the likelihood of meaning in the existentially meaningless isn’t even the ultimate terror of Eva’s self-aware universe, nor is it the tendency for man to become contemptible towards itself.

Evangelion greatest terror is the paradoxical nature of free will.

Yui’s words to her son as she drifts off into the ever-expanding cosmos, her status as a deity realized, is that paradise is universal. EoE assumes this unconventionally positive approach to a whole series worth of characters’ woes. The issue is: finding paradise is ultimately conditional.

Free Will’s paradoxical nature is what gives credence to the ongoing Free Will vs. Determinism dilemma. People can use their free will to take away yours entirely and this is most evident with Rei. Her existence is the result of a man’s unhealthy attachment to his wife, her lack of self-preservation the result of being conditioned as a multi-purpose vessel; her desire to merge with Lilith to become an omnipresent mother-figure was not hers. The nature of disallowing free will exists on a spectrum, as people can use their free will not to take away the whole of others’ freedoms, but to disallow them proper emotional growth. The adults around Asuka weren’t around for her during the series, leading to her eventual downfall.

Unit-01, throughout much of the second part of EoE holds the power to give or deny people’s physicality due to her status of having both Fruits of Life (the s2 engine held by angels) and Wisdom (from the Lance of Longinus merged with the Eva earlier on). This gives Unit-01 her deity status and while within Lilith-Rei, Shinji realizes that not everyone would be there in his life, that he can’t be in the center of others’ lives. It’s for that reason why he denies people’s physicality (“They can all just die.”), which turns people into LCL.

Shinji gives allows people the ability to come back from Instrumentality after realization arises that without other people, there’s no way to tell if Shinji, himself exists or not. Kaworu and Rei also give him the reality that with people back, pain will become an inevitability once more. With all the souls gathered by Lilith-Rei, they are released after her death.

With the souls of those cast into Instrumentality dispersed, those turned into LCL now hold the ability to come back from Instrumentality if they so choose.

While the idea of anywhere being paradise rings true, it’s not entirely satisfying to say that EoE is unconventional in its uplifting message to the viewer. Evangelion is at its core a cautionary tale. It warns the viewer into extensions of empathy and openness that others would properly live. This goes double for those with power. Without that compassion, we’ll have Asukas, Misatos, Ristukos, as well as Reis, those in the world whose downfalls come from emotional absences, neglect, objectification, and forced baggage. We would have Shinjis, those wanting to be at the nexus of others’ importance because they were deprived while young.

Kindness is a powerful thing and the lack of compassion present in all of Eva implicates most everyone. It leads to yet more abusive cycles, with the only thing breaking that cycle being a hand for those in need.

XX. Conclusion

What more can be said over this juggernaut which is a host to a bevvy of darkness? Evangelion is testament that anxieties and horror don’t need to start out as blatantly shocking or visceral to make an impact years down the line. They also don’t need to be out in the open to initially hook you either. You pick up on a few anxieties as well as horrors and you realize deep down, there must be more, which drives many of us to engage in this often times unabashedly dark source material.

Some of us are doing it later in the throes of adolescences, others are doing so well into their 20s, possibly dipping into their 30s. Point is, it draws in a lot of us and for a lot of us, it doesn’t ever let go.

Some of its charm could be chalked to the visceral ways in which characters interact. Even after years of re-watches, I’m still learning new things about the child soldiers, and I’m quite sure there’s others finding small details. There’s also the possibility of Eva’s approach to terror. I think Evangelion “humanized” its horror. It didn’t make horror a universally human feeling, but made it so that the true big bads looking to cause apocalypse weren’t actually the eldritch. Many of the angels are more or less lost kids looking for their mother (I still think Ramiel’s “singing” in episode 5 was it calling for its mother!).

With those newer details after 20+ years, there will be more added to the iceberg. Hell, there should be more added to the iceberg. This iceberg is the tip of an even greater iceberg. I’m still learning about their adults and their desires as well, how cyclical their actions are. For others, the draw-in factor lies in its low budget. Personally, it’s all of these for me: the low budget helped cement these darker aspects of the series due to horror and the genre’s overall relationship with limitation. It works best on limitation and had Eva worked with a much higher budget, I don’t think the content would be as effective, or perhaps it’d be much more difficult to make it so.

Evangelion is such a well-done, deceptively compact series that each lens a fan assumes has its own interesting rabbit hole. Your circumstance shapes the experience, and this too involves how you navigate the series’ menagerie of terrors.

I’d also like to thank the reader for getting through the largest rabbit hole in Evangelion. I’d also like to thank you for getting through the whole of this meta from a fan who slowly began to resonate with the characters as the years went on!

#neon genesis evangelion #shinji #kaworu #asuka #rei #seizure warning #body horror warning #suicide mention #correct me if im wrong #credit goes to twitter user decoratedboar for the iceberg picture help #and fixes

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squidproquoclarice · 4 years ago

Note

If you'll answer AMA that's not about MTSBH, aside from Arthur dying what one thing would you change from the game?

Yeah, "Arthur doesn't need to die for the sake of the story" is my first call, of course. ;)

My next in line is the Chapter 3 mission "Blessed Are the Peacemakers". They either needed to cut it, IMO, or do far more with it than they did. Because as-is, what you have is a mission where Arthur undergoes a horrifying near-death experience where he's strongly implied to have been set up by Micah and abandoned by Dutch, only to have it fizzle out like a wet match...just so three chapters later we can hit the exact same notes with TB so he can have a slow-death experience and be abandoned by Dutch and finally expose Micah as a traitor. And as introspective and thoughtful and philosophical as he is, it's very, very weird that an ordeal where he's almost certainly set up, and then captured, severely injured to the point full recovery of that shoulder would be a while if ever, imprisoned, beaten, tortured, implied to have been sexually assaulted, and nearly dies of sepsis merits just "I guess I'll live, even if uglier than before" in his journal and is dismissed with only that. And aside from a few comments around camp immediately after and Sadie's angrily telling him in Chapter 6's "Goodbye Dear Friend" that at least he lived unlike Jake, it's really never brought up again by anyone. It's like this profound, prolonged trauma that should have shaken the foundation of everything he's believed for so long is just utterly forgotten, erased only so its beats and themes can be repeated almost exactly several months later. Arthur's mortality and how the life he's led has made him suffer. Dutch's complete narcissism and how he uses people. Micah's cold, cunning betrayal. It's almost like it's a relic of an earlier storyline that got abandoned so they could focus on the TB and making Arthur into a sacrifice. And it's peculiar, because it feels like that could so easily have been a springboard to the exact same thing: his growing realization exactly how little he or anyone else means to Dutch and his delusions of grandeur, things with Micah coming to more of a head, and dealing with his mortality and the legacy of his life. It also would tie in better with Sadie's own descent into ugly, messy PTSD courtesy of the O'Driscolls and give even more shading to their intimacy and friendship. As-is, the O'Driscolls don't seem to matter at all to Arthur in terms of either anger or fear or anything else, which is somewhat weird given how much they put him through. He's not allowed to have any PTSD reactions to them like Sadie is, which is frankly weird. Even for a man who thinks as little of himself as Arthur does, it seems unrealistic for him to have zero reaction, even privately, given we see how deeply he feels things. And so Peacemakers is this weird blank where a profound, alarming event that feels like it should very possibly have been the turning point along with Sean's sudden, shocking death in Rhodes and triggering that slow-creeping horror of no, we are not going to just wait it out and be OK, and it seems I cannot rely on Dutch to make it all OK because we're in deep shit and all he's doing is talking grandiose promises realization...apparently just doesn't matter at all? As-is, you could cut it from the game and it wouldn't change anything at all, and that really says something. I feel like if they gave Peacemakers a bigger prominence, the game's pacing would have worked better. Chapters 4 and 5 in Shady Belle and Guarma could have easily been more naturally working towards Arthur's growing awareness of Dutch and Micah rather than artificially prolonging it and suddenly having it all happen in Chapter 6 after like three dozen glaring neon signs already, and after many of Arthur's likely allies are conveniently dead and he's dying. It maybe gives him the chance to confront Micah and Dutch more actively. It gives him a chance to make choices and truly grow up from that scared, traumatized street kid who's made Dutch his father and god and become a man in his own right, rather than becoming a martyr.

#arthur morgan #rdr2 #thank you for coming to my red talk #i may or may not have a growing au idea here #oh noes #but i'm guessing a fic may happen at some point lol

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thepapergirlandthespiegelman · 3 years ago

Text

Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

#review #thoughts #television #animation #adult animation #video game adaptation #fantasy #Netflix #Netflix Original #Castlevania #storytelling #writing #characters #plot #character development #vampires #Isaac (Castlevania)

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archival-dodger · 2 years ago

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I think the most obvious difference— and one that, thankfully, is beginning to be subjected to greater scrutiny— is that it reifies the traditional mind/body divide. The one-sex model, for all its flaws and errors, ultimately grasps the notion of the individual as a product of integrated systems and processes, allowing either one’s sexed traits to influence one’s selfhood, or one’s selfhood to influence one’s sexed traits. Of course, the lack of separation between body and mind— i.e. the need to view body and mind as an integrated whole— is not only (unsurprisingly) more accurate than the binary distinctions favoured in the nineteenth century, but generally supports a more sensible understanding of gender diversity (amongst everyone, not just trans folks). In other words, the idea of a ‘settled’ science that confirms a sharp distinction between sex and gender simply does not exist.

What’s important to note in terms of rhetoric, discourse and theory— and which Laqueur stops short of, because of his periodisation— is that the concept of a separation between sex and gender- in the contemporary sense- derives from medical professionals working after Freud: John Money, Madison Bentley and Robert Stoller (an older but quite accessible text on this is How Sex Changed, by Joanne Meyerowitz, but also Jules-Gill Paterson does current work and writing around this period). Their theories were then taken up and co-opted outside of their original (if debatable) scientific context, filtering into both feminism(s) and academic fields (gender studies, women’s studies, queer studies etc). So arguably, most people discoursing about gender now are merely working with not only received knowledge, but something that’s emerged like the end of a game of telephone: sex is biological fact, gender is identity (i.e. mental and/or emotional) isn’t exactly what was said in the beginning, but it’s what we wound up repeating at the end.

So while the sex/gender split echoes the binary divisions common in English, I think it’s less a product of linguistics and more the use and abuse of theory. As Paterson notes in her post:

“Actually, the word “gender” didn’t mean at all what it does today until the 1950s. Before then, the word “sex” had to do all the heavy lifting. But in that decade a cohort of psychologists, endocrinologists, and plastic surgeons who had been forcing horrifying experiments on intersex infants and children for decades needed a new theory of human development and identity to save the binary.

…

The new word gender, by which these researchers meant our deeply felt sense of being a boy and/or a girl, was supposed to fix that conceptual weakness, to give the binary new teeth. And it did, with a kind of sleight of hand that we are still trying to outsmart all these years later. John Money, a psychologist at the Johns Hopkins Hospital in Baltimore, knew that finding a biological basis for sex could never be the justification for enforcing a match between anatomy and identity. Instead, he changed the terms of engagement. From now on, the issue was not if humans were biologically binary, but rather “the life adjustments of patients in our series”—how normal they felt, or how well they adapted socially. With that twist, a gender identity that did not conform to a binary body could be subject to medical control because it might lead to social stigma, not because there is anything unnatural or unhealthy about it.

Of course, however, ‘gender’ as a concept was then picked up and utilised by ‘cis people’ even more broadly (Paterson problematises the term in her article) for analyses that were not only un/non-scientific, but which bolstered the absolutist notion of a sex/gender dichotomy throughout numerous fields and ideological approaches across the political and philosophical spectrum. In other words: like the one-sex and two-sex models, the sex/gender dichotomy is simply the most recent (pseudo-scientific/theoretical) construction that we’ve come up with and, in reality, is less than a century old.

(Note: Meyerowitz and Paterson work in the context of US trans history, so while the discourses they reference are essential to how sex/gender are understood in the Anglosphere, their broader observations about historical patterns and experiences of trans people are not always relevant outside the US context, or are currently under/not researched).

Reading Thomas Laqueur's Making Sex is fascinating for a number of reasons but it has put at the forefront of my mind more than ever how much this quirk of English of having the sex/gender distinction affects rhetoric, both because some people find it a useful construct for talking about trans people and here in Laqueur where he's looking at the historical conceptualisation of biological sex as both distinct from and interrelated with social gender, because like obviously there is a distinction between biology and social role, but in what ways does this quirk of English shape that understanding?

Most languages would use an adjective to modify the same word, the same essential thing, but English gives them different nouns and thereby, perhaps, suggests a different essence?

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curligurl0896 · 4 years ago

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So getting to read @thejakeformerlyknownasprince 's FMA AU reminded me of my own ideas for a FMA/Animorphs fic. A crossover, in this case, a Megamorphs of sorts (complete with rotating narration) because I really want an excuse to have the Animorphs interact with the characters of the FMA universe. I don't have enough ideas worked out to confidently write a whole fanfic yet, so I think I'll just share some of my ideas so that at least they don't stay inside my head forever like the vast majority of ideas that I either never finish enough to post it or just never get around to at all, especially when my brain is always generating new plot bunnies instead of focusing on developing the ones I already have, it's so distracting lol

(Also maybe y'all could give some suggestions if you wanna, I'd definitely appreciate it lol)

Anyway, here it is:

First off, the answer as to how exactly the Animorphs end up in the FMA universe: I was kicking around a few ideas for this, and was originally thinking something along the lines of like, a freak accident that somehow results in them ending up in front of the Gate of Truth, but I think a better idea would be for an alchemist (or perhaps even several alchemists) to end up in the Aniverse, get Yeerkified, and the Yeerk (or Yeerks, as it may be), intrigued by the memories and knowledge of an alternate Earth where you can manipulate matter and shape it according to your will with nothing more than a well drawn chalk circle (or even less than that if you've been through the Gate, as the Yeerk(s) will eventually discover), lured in by the idea of a legendary object that supposedly can be used to circumvent a pesky little law known as Equivalent Exchange, decides to pull something of a "Tom's Yeerk and his Yeerk buddies a la book 52" deciding to start their own colony in the FMAverse where they won't have to answer to the Council of Thirteen or the Visserarchy (well, at least the ones higher ranked than the Yeerk in charge, who, I imagine, would have to be a Sub-Visser at the very least to have the power to arrange all this) in addition to being able to use alchemy, which, much like the morphing power, can be used for a massive variety of things, ranging from merely convenient to pretty damn useful in a pinch to OP as fuck to even just downright terrifying.

It takes a lot of time and meticulous planning, of course, as they have to find a way to transport the Yeerks, their ship, and all the other stuff they'll need to thrive over there through the Gate and into the FMAverse-- all while in a universe where alchemy flat out doesn't work. The Yeerks have to figure out how to get around that issue, and it takes at least a year of research and using their new hosts' alchemical knowledge to work out a solution, but they work it out, and soon enough they get everything set up and ready to go. At some point, the Chee find out about this secret unknown project going on, inform the Animorphs about it, and Jake decides that they should at least check it out on the off chance that it's something big.

That's where the story officially starts: with our team of traumatized teenage shapeshifters at the location where this thing is being set up (haven't figured out the where yet). They've spent the past several days spying on these Yeerks, but still aren't sure what exactly is going on-- they keep talking about opening a gate-- and aren't sure if it's worth it. Marco's convinced the whole thing is ridiculous, especially after overhearing a human Controller mention something about a "Philosopher's Stone" ("What is this, Harry Potter? Are they gonna wave wooden sticks around and yell in Latin?") . Rachel is bored at this point, and just wants to kick ass and call it a day-- they were probably up to no good anyway. Cassie isn't particularly keen on the asskicking part, but she's been having a bad feeling about all this that she can't shake, and Tobias agrees that something fishy is going on and says they should wait a few days-- after all, from what they've gleaned, whatever plans these Yeerks had would be set in motion very soon. Ax, being Ax, declares as usual that he'll just go along with whatever Prince Jake orders, though when Jake presses him about his opinion, he just says he isn't sure what to make of it. In the end, they keep it up for a couple more days, and sure enough, the time comes for the Yeerks to "open the gate", whatever that means.

After all the time they'd spent spying on the Yeerks, it is conveniently now, when the Yeerks are about to do their thing, that they're discovered. It quickly turns into a fight, and the Animorphs attempt to bail as they're soon overwhelmed-- and then the Gate is opened.

None of them had any idea what to expect next. They certainly weren't expecting the blue lightning that erupted around them in a massive circle, seeming to originate from the curving lines that had been so painstakingly carved into the floor. They aren't expecting the atmosphere to turn dark and purple and creepy, or for a giant grey eye to suddenly appear beneath them, or for wavy black tentacle arms to come out of that eye. And they definitely were NOT expecting to abruptly find themselves in the white void of Zerospace.

Only they aren't in Z-space, exactly. Surrounded by it, sure, but somehow they stand there, as if on solid ground, surrounded by the eerie blankness that had once nearly suffocated them to death.

Each Animorph is utterly alone, with nothing and no one else in sight. That is, until they hear a voice, one that sounds like several voices speaking in unison, and suddenly they see a figure-- or, more accurately, an outline of a figure, with only shadows to mark where the figure ended and the void began. The figure is shaped like a human in all but Ax and Tobias's case: the figure Ax sees is shaped like an Andalite, and Tobias's version takes the form of a bird.

Truth gives the whole "I am God, I am the world, and I am also you" speech, then informs them they can't pass through the Gate without payment. Suddenly, there's a huge gateway where previously there was nothing. Truth is unconcerned with the fact that these "A-ni-morphs" have zero clue what's going on-- it simply takes the required toll and sends them on their way.

Except the toll is literal body parts-- which, even then, isn't usually a big deal for an Animorph, but in this case it absolutely is a big deal, because, as they'll soon discover, there's no way they're going to just replace their lost limbs through morphing. It's expressly forbidden for one to simply have nice things in this universe; in other words, Truth isn't letting them off the hook that easily.

The discovery that they're not able to replace their lost body parts through morphing is especially horrifying to Ax, because, well, y'know... book 40. The one that every Ax fan, and really anyone who otherwise genuinely enjoys Ax's character, would like to pretend never fucking happened.

In fact, given Truth's precedent for irony when extracting payment from people who've opened/been through the Gate in the series, I have no doubt in my mind that Ax would end up suffering the exact same fate as Mertil. Andalites, after all, place high value on their tail blades, especially the warriors; it's their number one go-to weapon when shit hits the fan. Ax himself is such a warrior, in fact it's a huge part of who he is as a person. Needless to say I think yeeting Ax's tail blade would be the exact kind of twisted irony that Truth would employ.

He gets over himself eventually-- well, sort of. However, it takes him a long time to truly come to terms with it-- instead of accepting that the attitudes he'd been taught his whole life regarding those who aren't fully able-bodied are actually shit, I feel like he'd be more likely to double down on them, internalizing them, and actually go into full-on self loathing as a result.

He holds his metaphorical tongue, though, upon seeing that Tobias has suffered a payment that is arguably far more cruelly ironic-- given that Tobias is a bird, given that his initial attraction to the morph that eventually became his default body came from the sense of freedom and escapism only provided through flying, I think it's fairly obvious what Truth would take: his wings.

As for the others: Rachel has lost her arm (for basically the same reason Ed did), Cassie loses her hands (which she uses to, you know, help injured animals and stuff), and as for Jake... well, it was a bit of a struggle, the best I could come up with is the idea of him going blind much like Mustang did after being forced to open the Gate (though maybe not for the same reason, though... idk. If anyone has any better suggestions, please let me know lol, I couldn't think of any solid ideas for what body part would be ironic for Jake to lose). Marco is the only one who doesn't lose any outwardly visible body parts-- what he loses is his voice.

At some point, they are discovered, taken into custody by the Amestrian military, and eventually they end up in Colonel Mustang's office. Mustang listens to their story with a massive dose of skepticism. He isn't sure what to make of these bizarre barefoot children, nor their claims of fighting bodysnatching slugs from outer space by turning into animals, nor their wingless pet hawk, nor... well, he could only assume the other creature was some sort of chimera, although he had zero clue what animals could have possibly been used to make something with blue fur and extra eyes.

At this point, they're about to do a morphing demonstration to prove to the Colonel that they aren't completely batshit, when suddenly the door is slammed open, and a teenage boy with blond hair and sharp golden eyes comes sauntering in, accompanied by a hulking giant covered head to toe in a suit of armor.

The boy immediately starts shouting at Mustang, calling him a bastard and accusing him of wasting his time, to which Mustang responds by merely rolling his eyes and sighing, as if this sort of thing happens all the time (spoiler alert: it does). After a moment, the kid stops as he takes notice of the other kids standing in the room.

"So," he says, calmly, as if he wasn't yelling at his superior just a moment ago, "what's the deal with these fuckers?"

The casual use of the kind of language that would have surely landed them in hot water back home was quite shocking, but they don't comment on it. Instead, Rachel says, in a voice sweet as honey, "Oh, look, Marco. He's just as short as you are."

Before Marco could turn to glare daggers at her (come on, it wasn't like he could argue back in that moment), the boy goes absolutely ballistic, and the armored guy has to physically restrain him as he screams obscenities at Rachel ("The fuck did you just call me, you freakishly oversized bitch? I'll show you too-fucking-short-to-fucking-sit-at-the-fucking-table-without-a-fucking-booster-seat! Call me short one more fucking time, I fucking dare you to! You think I give a shit that you're a girl? I'll fuck that pretty face of yours right up, just you fucking wait--")

"Brother!" The armored guy cries. "Calm down!" Then, to the Animorphs: "I'm sorry about my brother's behavior. He's, um, a bit sensitive about his height."

"A bit sensitive" is the understatement of the century, but none of the Animorphs call him out on it. They're too dumbfounded by the sound of his voice, which sounds sweet, innocent, and, despite his size, sounds like it belonged to a boy no more than nine or ten years old.

And that's where I'm going to leave it for now, since I've spent way too long on this post already. I have a few other ideas, but mostly in bits and pieces, not really any more comprehensive plot points beyond this point. Please do let me know what you think!

#animorphs #fullmetal alchemist #crossover fic #partial outline #i really just want to write them interacting #and to talk about ed's staunch refusal to kill in comparison to the fact that the animorphs have crossed this line countless times #even cassie who's the pacifist of the group #but besides that ed and al could pretty much be honorary members of the team #even if they can't morph #i mean they definitely have enough trauma to qualify don't they?

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livlepretre · 3 years ago

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This is prob a weird question, but do you wonder what a ‘typical vampire’s’ relationship to religion would be like in the tvd universe if it had been explored (&I get why it wasn’t), at least upon being turned, considering that most vampires would have been brought up in eras where religion (generally) played a comparatively more serious role in everybody’s lives? I mean, how would one BEGIN to grapple or fit in this critical aspect of one’s (prior??) worldview, with rising from the dead as what’s essentially a demon, w supernatural powers & preying on humans — what would be t implications of your existence? Were the Salvatores never believers? Plus, do u have any hc on the Originals’ faiths as humans?? Were they Pagans? Christians? Or… I guess not the latter/they would have believed in the spirits as their mother was a witch..? Thoughts? (Srry if I’m bothering you with this question btw, I appreciate that you’re probably busy)

No, not bothering me, I'm very interested in the intersection between religion and vampirism.

We have to assume that religion played a huge role in the lives of MOST vampires-- secularism is relatively recent, and even then all that's happened is that older gods have been replaced with newer gods. And I can't think of any religion where rising as a vampire would be anything other than, as you say, rising as essentially a demon, a night hag, an abomination. And also, to make a blanket statement here, many religions focus a lot on the progression from life into death-- on making sense and peace of the natural order of birth, life, death (and rebirth). Vampirism breaks a person from this cycle, forever divorcing them from the natural world, the natural order. The combination of becoming that demon, of fearing themselves, and of becoming trapped in the netherspace between life and death is a horror unto itself-- one of the main reasons I find tvd vampires in particular so fascinating is because it is not just that they are truly monstrous and frightening, but that the show delves into the way the vampires horrify themselves with their own monstrosity (at least, it used to). They can only be horrified by that monstrosity if they retain some sense of what it is to be human-- and therein is the key. TVD vampires don't lose their human souls, as the vampires in BTVS do-- they simply... transmute. They're cursed with that never ending bloodlust that turns them inevitably into monsters, and they go further and further down that road until they just give in. It's a very dark curse. I'm sure there are plenty of vampires who lose faith... but there are probably even more who don't lose their faith, but instead come to accept their role as the dark mirror in opposition to life. There are a lot of really profound psychological implications to all of this.

As for the specifics of the religions of the vampires-- Damon and Stefan would have almost certainly been raised Catholics-- and I've never thought they weren't still Catholic, although, being Catholic doesn't necessarily make one devout, as with any other sect of any religion. Damon obviously crossed a lot of lines as a human. Also, the show would never have gotten into the thick of us, but how much of Stefan's guilt and shame is tied up in an understanding of the world and morality based on his religious upbringing? We can talk about Humanist ideals all we want, but I think it would be stretching credulity that someone turned as a 17 year old in the 1800s would be feeling so much shame from pure philosophical ethics and not from a sense of morality built into the religion he was brought up in. (And how do we know that Damon isn't so furious with Stefan for forcing him to turn because Stefan has essentially damned him?)

The other vampires are interesting because they're medieval people, so their worldviews would have been even more strongly intwined with religion than the Salvatores.

Katerina I've always assumed would have been Bulgarian Orthodox (you could make an argument for other religious takes based on the Travelers-- but that came later and I tend to just blot that all out of my memory because frankly I think making Katherine exceptional at all other than as the doppelganger is stupid and actually robs her story of tragedy-- it's tragic for her to just be living her normal life and losing her baby the way she did and then to discover that no, she has this dark fate she had no idea about-- it's somehow less tragic if she also is from a family with superpowers and her daughter just gets vamped to track her down) -- nothing much to this other than that is a likely choice. Although I have ALWAYS wondered about Katerina's life in Bulgaria, since it was part of the Ottoman Empire at the time and of course, the show has no interest in history so there's nothing that even touches on this potentially fascinating detail.

Okay the Originals. I have a special place of loathing in my heart for the Viking!backstory and have basically decided to whole heartedly reject it. I think Elijah's "my father was a landowner in Eastern Europe" story was much more convincing and likely. I prefer the idea of Russian!Originals, for various reasons I've documented here on this blog, so I think they would also be Orthodox Christians. (But: potentially before the schism between the Catholic and Orthodox Churches? so perhaps they wouldn't really think of themselves as "orthodox," or perhaps they later started to think of themselves this way.) The Orthodox Christian thing also ties into Tatia Petrova, whose descendants I headcanon as Orthodox. (I'm also fond of the idea that the Originals were Jewish, or the idea that Esther was Jewish.) There are a lot of mystic arts buried in religious arcana, so I don't see there being a conflict between Esther's witchcraft and simultaneously practicing a religion. I think in a medieval context, framing the world in terms of religion would have been just so inevitable, so tied in to every other element of life. It's actually fascinating to consider what hold overs of this thinking medieval vampires would have. (And I think of the Originals as deeply medieval in outlook, in ways in which they are largely unaware)

At any rate, the Originals are by far the most monstrous of the vampires, and the ones that have slipped the furthest from their humanity. I wonder in what ways they developed such horrific tastes as a means of spitting in the eye of their faith? If some of their differences could pertain to who held on to faith (Finn) vs. who felt most abandoned by it (Klaus)? Food for thought!

#anonymous

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0aurelion-sol0 · 4 years ago

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SNK 134: Why we need to move forward.

Well...

That's horrifying...

Oh but whatever they are probably bad people in there. Thieves, greedy people, hateful mothers, men who beat their wives , liars, bullies, killers, murderers, rapist, child rapist and racist babies.

Yeah...

This is a rhetoric that has been used for ages and is currently being used in this fandom especially on reddit and 4chan.

The justification of injustice.

When George Floyd was slammed on the ground and died because he couldn't breathe anymore, conservatives and republicans at large ignored the police brutaliy leading up to that.

He was just a cocaine or drug addict who one day pointed a gun at a pregnant lady. So he was a criminal and deserved that.

Of course ignoring the racial segregation that happened from the very legalized slavery hundreds of years ago and how poor and racially stigmatized black people are being in America right now.

When the Uyghurs are being genocided by China, the world blinds itself because China is one the worlds necessary assets in economy as it basically produces a good chunk of what is being used in the world. Most made by children, " but it makes us live "... Apparently that's the only logical reason...

When Palestinians and Israelis are literally killing each other over some complicated non sense that no one ever really understands and also Israël basically doing Apartheid at this point,

When the totality of the Middle East has turned into a warzone because of the United States's violent imperialism,

When most far right or extremist group decided that Islam and Islamic terrorism are the same thing,

When xenophobes and racist always attack immigration,

"If she wasn't wearing that skirt, she probably wouldn't have been raped",

When we have homophobes, transphobes, LGBTphobes, telling us what's natural and always bragging about "\___-_-___/ God, Holy Jesus",

When you have people who tells you that poor people chose their way of living when there are a small percent of billionaires and soon to be trillionaires having such a gigantic amount of wealth,

When 6 millions Jews were genocided which was 40% of Jewish people at the time and 2/3 of European Jews,

When the prime minister of Israël is saying that the Holocaust wasn't Hitler's Idea but Haj Amin al-Husseini, (who was extremely anti semitic, don't get me wrong)who suggested it to him maiking the prime minister a revisionist but at the same time making his actions against Palestinians justified,

When around the world Christianic places of worship are being vandalized,

When entire SYSTEMS of segregations have made societies work,

When the South American continent has been attacked by the United States because of different political beliefs,

When people use their rape as a way to attack other communities of a specific religion or color,

When Black Panthers uses racism against White people because of the story of USA and are being anti semitic but essentializing a whole group,

When Nationalistic Israelis tells you what is a good Jew and what isn't a good Jew,

When dozens of groups have been forced to extinction,

Natives who were being murdered, yeah? YOU DON'T SEE THAT A LOT IN YOUR COWBOY MOVIES ?

When literal "feminist" calls for the destruction of men while they can't educate the kids about what to do and what not to do, OH, can also be transphobic apparently,

When you have entire websites who encourages pedophilia,

And pedophiles killed, left alone and live a life of endless torment while no one does nothing to help them and fight those who encourages it even in the highest places of our society,

Oh and Hollywood, that's all I need to say.

And let's not even talk about animal brutality and the destruction of ecosystems.

And there is more and more and more and more and more and FUCKING MORE,

All that because of reasons, reasons, reasons, reasons,

All stuck in a cycle of hate, violence and discrimination that just never ends.

The selfishness,

The greed,

And at end, everything is meaningless. There is just blood.

This is what this chapter represent the meaningless of it all. How everything goes to shit...

How everyone, whether it's the oppresor or the oppresed, will justify the violence, the injustice.

Society does nothing cause society right now runs for the entitled and the entitled only and creates it's own monsters.

I want to ask those people who defend the rumbling.

After everything we saw in this manga, after what the real world has commited, after how much these real events have inspired this story, how can you say it was the only way ?

After everyone hided Hange valuable informations including Eren who had information about KRUGER who was a spy in MARLEY. Who has created a civil war in Eldia and activated the rumbling while killing Eldian civilians in the way.

After seeing the mental breakdown of Bertolt, who we don't hear about anymore, Annie and Reiner's mental breakdown over GENOCIDING AN ENTIRE GROUP OF PEOPLE, by the way Reiner totally didn't develop another persona at that time to cope with what he was doing, HUH ?

After all the deaths, Carla, Grisha, Dina, Faye Marco, Levi's squad, Ymir, Erwin, Sasha, Hange, Hannes, Floch and many others, how can you go and be like "CHAD EREN, BEING DADDY, FUCKING HIS MEAT WAIFU, PHILOSOPHER FREEDOM SEEKER"

"104th crybabies... xDdDDDD Prfrpfr"

Come on...

This isn't serious at this point.

And for the H character, we're gonna come back for her but...

GODDAMNIT!

THANK YOU, DEATH.

This has sparked debates.

Some are thankful for this speech by the commander.

Others are finding it disingenous.

Others think it's too on the nose and not natural.

Others don't care.

On my part, I enjoy it but I take it with the context. Most of their airships have been destroyed and they are facing their doom upfront right now. It's more of a death plea at this point. Just like in the cave with Histor... GOD IT'S SO HARD SAYING HER NAME... with Historia who said truly horrible things at the point of an imminent death. At that moment, words like this can tell what you really are inside but even that is not enough to have a full picture.

It did have some interesting elements.

It is true, using, raising, breeding hate and shoving problems upon a group will always come bite you up the ass someday.

Marley in their extensive and violent coloniaslistic, imperialiatic behavior towards Eldia creates only weaknesses for them on an international field and create this monstruosity that is right now Eren.

Eren, a soldier who suffer from trauma and PTSD, who has terrible insecurities and everything to lose after losing so much and possibly in my book being influenced by another entity decides to kill them all.

But...

In no way does that justify Eren's actions, in fact it goes against it.

He is just as angry and hateful as they were back then but instead of destroying the system, he decides to genocide.

Essentializing the whole world as your ennemy and problem, and deciding to get rid of it is just continuing what has been started and continued for hundreds of years before.

No one ever thinks about the simple families, the innocent children, the homeless...

What about them Eren ?

What about the people who faced discrimination like Ramzi ?

What about the other groups that are almost extinct just like yours ?

What about the groups that tried to support the Eldians but were considered freaks ? HUH ?

What about the babies and innocent children ?

Isayama is even spelling it out for you this chapter.

Is he not worth it ? To stop all this ?

He was born into this world just like every other baby.

Look at that while everyone, is trying to jump off, their trying to save the baby. Even if it's probably impossible. That's humanity right there.

And... jesus christ...

I literally saw people who said that the mother was dumb to give it to the people because titans were behind them.

I can't even...

Imagine if Eren is the daddy of H's Baby and that he completes the genocide, killing his friends or even persuading them and at the end he is saying you are free to this baby.

So this baby is worth more than this baby ?

He is more legitimate to live than him.

I can't even imagine what the arguments would be like with the Eren stans:

"He's protecting his friends."

While literally challenging them to fight and right now trying to kill them.

"Well, you know the Rumbling is horrible but they got what was coming for them. They did nothing to help Paradise."

While forgetting the complexity of human nature, how banalization of these acts of violence have come to be BECAUSE...

These just like me and you are just simple people. With simple lives and not too much power who can't do anything about it.

Most of the people today sees all the suffering in the world, they just don't have the power, nor the will to go against such complex geo-political conflicts.

Would you be able to just resolve the Israelo-Palestinian conflict ? I don't think so, so shut your ass down with this argument.

These people can't change the world with power that they have and the one that has the power to change that, is killing them right now. BRAVO.

" Well, uh, the child is a child, parents might be racist and uh... child maybe is racist or will become racist..."

God...

Just because someone has done horrible shits or is an horrible shit doesn't mean he should die like this.

Here it is people, how we work as human :

Fuck redemption and possible solutions, let's kill everyone who did something bad.

Y'all would have been perfect during monarchies time.

And like... having an argument on a baby should face genocide is just fucking disgusting.

AND DON'T GIVE ME THE BULLCRAP OF FICTION DOESN'T EQUAL REALITY!

That you are interested into what could bring the Rumbling in terms of thematics and story is fine.

BUT ENDORSING IT ?

Do y'all even hear yourselves sometimes ?

You just sound like every racist, bigoted, fascist and violent person that has ever existed.

You're just excited to see someone die because he commited something wrong, sadistic pricks.

You're no different. Perhaps the guy who was talking to Grisha in chapter 97, who was a Marleyan and gave serums to Eldian is right. When he was talking to Grisha, Isayama use it to break the fourth wall and talk to the readers.

Why do we watch this, all this violence ?

" Because it's fun!"

" People take peace for granted!"

" Of course we're abnormal in society's eyes."

" We wish to exterminate all eldians!"

" Your sister did nothing wrong. Shame she was an Eldian!"

The fun fact is that this guy is a racist fuck but he dies pushed by Kruger and killed by his very own creation: a titan.

Why do people endorse genocide ?

" Because it's justice!"

" They got what was coming for them!"

" Isayama is just showing us that genocide is not really wrong if you just understand the concept of morals. Puritans."

" Humanity can die, they deserve it!"

" I'm sad for Ramzi, he didn't do nothing wrong but you know... maybe he didn't have good ideas about Eldians."

While also saying why children could deserve genocide. \____@-@____/

Of course I found most of these on Reddit and 4chan, the nazi propaganda website. Tumblr is a little free of it.

Babies....

Literally babies...

That remind me of somethin'...

OH YEAH!

QUEER NO MORE.

*put gloves on*

PUUUUUUUSSHH!!! COOOOOOOMMEEE OOONN!!!!

Breathe...

I SEEEEE THE HEAAADDD, IT'S HEREEEEEE!!!!

Natalie, bring the bucket, quick!

Of fuck she shitted on herself a little bit!

_________________________________________

So ?

Y'all like my fanfic ?

It's about how Erehisu is canon and how Historia is actually thinking about Eren right now because she is blushing.

But also about how Historia actually looks good and sexy while being pregnant and how she looks so happy!

She also is a lesbian that turned straight.

I'm so proud of my work.

_________________________________________

In all honesty...

This is... dissapointing and an insult to Historia fans. Why ? What is the purpose or the reason ? Being tragic ? To show how far Historia can go to protect her loved ones ? A female Eren so ?

I always leaned towards the fake pregnancy even if I don't know how something like that could be really pulled. I didn't understand this choice for his storytelling. The others I understand but this one...

O_o

What the fuck ?

So she really is pregnant ? But nothing leading up to it makes sense.

The character whose thematics still rings too much true for this arc is put in the background and as a breeding farm on top of that.

It even came to a point I started people to stop asking about her.

I had faith in her presence in the final arc. That she would have a role play.

But now ?

/\/\/\

For people who don't understand why this aspect of story is wrong, we have to break it down.

First off, Historia one of the first queer characters with Ymir in SNK. Others are suspected but these two are the few that holds a definitive representation as queer.

Most often in media or in real life, LGBT people have been forced into a situation that requires them to fall under heterosexuals lives. Here Historia is forced to be pregnant, yes in a way she agreed because of her people, but at the same time she didn't really want it.

For queer people, like me, this still rings true. Too much true. People literally forces you to go for your opposite sex everytime, to have a family.

No, stop forcing your view of your own life or desire of life on other people.

The fact that the fandom rationalizes that and says that she is happy and in love with Eren is just so fucking weird.

It either is blind ship following, heteronormativity or not understanding the story.

And I saw people saying she might be bisexual. This doesn't change anything. Also ignoring the fact that she hasn't shown any attraction to men other than women in the story.

If she is bisexual, it doesn't change anything, she is still queer. Not semi-straight AND EVEN IF SHE WAS A WOMAN WHO HAPPENED TO BE STRAIGHT, SHE IS STILL FORCED INTO SOMETHING SHE DID NOT WANT.

Bisexual is not semi-straight, semi-gay.

It's bisexual.

Bisexual, Straight and Homosexuality are not the same thing.

And if she was straight, that doesn't make it acceptable. It's just sick.

Just because you're a straight woman doesn't mean you are going to be more happy or have god like duty to have kids.

I just don't understand it...

A manga who was so progressive with his female characters reduces Historia to this.

Imagine...

Just imagine...

Eren is the father. I would shoot myself in the face. A forced straight relationship at the end for the pleasure of shonen readers and heteronormative readers.

" What if I have baby, Eren ?"

" Only if it is from me. I want him to live and have FREEDOM!"

" It's open bar, honey." *saying this after hearing the guy says he's going to genocide which goes against her own values and actions as queen*

Ew... Just ew...

And even worse she wasn't supposed to give birth right now, she was supposed to give birth in a few months.

She could DIE. SHE IS 19. This is dangerous.

Everyone is like this is normal.

THIS IS NOT NORMAL. *sigh*

This goes against what she is supposed to have as a character development.

The fact that she would be okay for genocide while as a queen she reached out to the most weak and in need is fucking incoherent.

No. This doesn't make sense. Even Eren said that Historia's action as a queen were to help others. How could she be okay sitting at her house ? Telling no one about what Eren was going to do ? And becoming a breeding farm ? What is the logic in that ?

Why make it suspicious than ?

The only thing that was able to make any logical sense to me was that the person we are seeing here isn't Historia.

I know if my theory is right, it's sick, even more sick.

The only times we saw Historia after the timeskip was during flashbacks, the reveal at 107 and possibly at the end of 123.

If this is her at the end of 123, I want to ask you why is she all prepared, why is she all dressed up and why is she wearing the same clothes in 134 that she is wearing 107. Something doesn't add up.

She is young, small-petite, blonde and her belly and face are hidden.

I was only able to go through the theory that this is a fake Historia. Than who it is than ?

Well, I searched for female characters who look like her or who could look like Historia right now. From all the characters that we haven't seen coming coming back and that has interacted with Historia, there is only one.

Rico Brzenska.

For those, who don't remember her : She was a Garrison Member who helped Mikasa and Eren during the Trost Arc and also helped Historia while she was exhausted during the Clash of the Titans Arc.

She hasn't appeared ever since the start of the Return to Shiganshina Arc unlike many of the older characters.

She is the only one I see who could pass as Historia I think.

I know this is still sick. But this is the only way I would be able to make Historia get out of this crappy storyline and play some relevance in the story. And if we look at Rico and Historia in 107, they kinda look the same. They have the heart shaped face, they are both small and they both have this sort of closed eyelids.

One line that just stuck with me of Rico was:

"Hiding/Lying about Eren's rampage in the report wouldn't have benefited humanity. "

This was during Eren's trial before joining the Survey Corps. What was discused was when Eren lost control of himself during the Trost Arc and attacked Mikasa.

The second line that struck was the one where she holds Historia who is exhausted in her arms:

"Wow! Who is this girl, is she okay ?"

I don't know why it just pushed that theory. And I kinda believe it now, because no one can make me believe that there is something satisfying coming out of this. Why would she sacrifice herself for Historia ? Well, I don't really know but Rico was always a little wary of Eren, even after the Trost Arc but yeah ultimately for Rico being able to give her own life for Historia. I don't know about that. But with this manga you never now. It is a very dark and twisted theory but this is the only logical thing I can see right now since no answers have been provided.

Monkey is BACK

Zeke is back and like most of us predicted, Eren dragged him with him. And I'm not gonna lie, the way he was attached to the spine was pretty badass.

He is used as a puppet which reinforces the theory for me that all three of them: Eren, Ymir and Zeke are being used by the Attack Titan.

I cannot understand Eren's illogical behavior especially after seeing the train scene where he says he wants them to live long happy lives and than having him kill his friends.

Ymir the first being free and having eyes to returning to having no eyes just like before and Eren.

And Zeke would have never agreed to the Rumbling. And we can't see his eyes either.

And...

Thank you, 104th for existing.

Because...

After how much shit they have gone through and after how much the fandom, not just the Eren stans, have mocked them. Like the fandom has been the biggest asshole to the the Alliance while they were the ones who were able to survive through the sentence " Genocide is wrong!" that so many people seems to find to be so hard to say.

I will root for them until the bitter end, I don't care. They are the one who are fighting. You can call Cringevengers all you want but I am glad they are winning.

They all suffered like Eren but they didn't prioritize their own and only feelings above everything else and they stood by for the values they fought for since they joined the Survey Corps. Even if I have to admit they have, for most of them, conflicted feelings with what they were doing and have done things like trying to talk to Eren while it's obvious he wasn't going to talk and that in a situation like this I don't think someone would try to stop Eren by just talking.

Levi, and it would be foolish to not recognize it, is being consumed by his promise but he is restraining it and still is able to think about the bigger picture.

There's one thing I really like about this is Armin asking Eren:

"Eren... I'll ask you one last time... "What part of you is free" after we rip you out from there... "

Hehe... yes... what part of you is free ?

To be honest, there's many things I don't want for the ending.

A Lelouch Ending, it was all Eren's plan. Literally wouldn't make sense. No one would be questionning his free will and he wouldn't have these weird shits happening to him.

A Code Geass ending, why would Mikasa have to kill Eren, what does that add to her as a character ? More tragedy ? No she doesn't have the scarf, it's pretty telling what place she's at right now.

Eren being the daddy. NO, JUST NO.

Everyone dies, genocide is the right thing. You know all the worst shit that can happen.

But most of all I want important plot points to be explored and moved over because ever since the timeskip, there has been no important plot points out the way. Eren's behavior, Ackertalk, Bertolttalk, Historia's Condition, Paths stuffs, answers!

Whatever... Trust me Peace is not something I take for granted. Being proud of myself and having a life with the least conflict and problem is something you fight for. Having rights, being recognized as a human.

Never lose that, fight for it. But never with injustice, be smarter and stronger. Cause at the end what unites us is not only what we have in common but what the perspective of what we have not in common can make a bigger picture of what we are as humans. We all are different and have a different story with similarities but in the end, we are human and born into this world. And in that, we must move forward. In the present, because of the past and for the future.

We all wish for the problems to go away but if it's for the solutions to be rigged with injustice, it will not work. No one has acheived with genocide and never will.

It's kinda sad that this long of a post has to say this. Did y'all see that ? Pretty inspiring what I wrote. Oh well you know what ? If they can be bigoted why can't I myself.

Here's a song I wrote:

(Fuck everyone and you.

We hate women

There are only 2 genders, the breeder and the breeded.

Everything is degenerate.

We hate brown, Arab and Muslim people.

Genocide is cool

And Hitler was too.)

I know but you know what, at least if they want a spy for Nazi Germany someday. They'll know not to give it to me because I'd laugh at the stupidity of the people just like you and I are doing with the rest of world cause for all the shits it gives us, it's entertaining.

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