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#i would actually argue that it obscures people's understanding of the show
thankskenpenders · 6 months
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Amy's fortune cards
The Sonic fandom has long been the kind of fandom that takes minor details very seriously, for better or worse. On the one hand, this means fans will really dig for the diamonds in the rough, latching onto fun character interactions, animations, bits of background worldbuilding, and more in pieces of Sonic media that many would write off as "the bad ones." But it also feels like every week another needlessly hostile debate over Sonic minutia erupts on Twitter, whether it's over individual lines of dialogue, fanart that makes Tails' shoes blue, or the ideal length and volume for Sonic's quills.
So it was probably inevitable that a fandom-wide debate would erupt upon seeing Amy's new gameplay style in the DLC for Sonic Frontiers, which takes the once-obscure fact that she enjoys reading tarot and shines a spotlight on it like never before.
I mean:
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The thing is, while I basically always try to tune out Sonic fandom bickering... for once, I kind of sympathize with the detractors? Don't get me wrong, I like Amy's tarot stuff, and people on all sides of the discussion are being overly nasty about their opinions, as usual. (Sonic Twitter remains my personal hell.) But when I set aside the hyperbole and zoom out, I do think I understand why some fans are put off by the sudden shift in focus for the character, even if I think it's cool.
It's complicated. Let me attempt to present the cases for and against Amy's fortune cards
For years, I was always one of those fans who thought it could be fun if they played with Amy's tarot reading, or even leaned into some kind of magic with her. Part of that is my own biases showing, but there's just something that makes sense there, especially when you look at Sonic, Tails, and Amy as a trio. (I would argue that's the real "Team Sonic" these days, especially in the comics where Knuckles is more likely to be stuck on Angel Island or otherwise doing his own thing.)
You could argue that Tails is all about logic, relying on science and technology and deductive reasoning to solve problems. But Amy is all about emotion. She wears her heart on her sleeve, is extremely empathetic, and is very prone to magical thinking - both figuratively and sometimes literally. Her origin story has always been that her tarot cards told her it was her destiny to meet Sonic on Little Planet. She's claimed to be able to "sense" peoples' presences - particularly Sonic's. She's the type to believe that The Power of Love is a literal magical force. So, on some level, it makes sense to mirror Tails's science by having Sonic's other best friend believe in magic. And then Sonic is somewhere in the middle, primarily following his own gut instincts but taking advice from both of them as needed. This isn't totally accurate to how their dynamics actually function in canon stories, but I think it's a mode that could work for them.
Going off of that, it's fun to lean all the way into Amy being a magical girl, or even a witch, using her fortune telling as a foundation. Take, for example, this version of Amy from Diana Skelly's old Sonic cast redesigns from before she freelanced for Archie and IDW. This is one of MANY such redesigns for Amy.
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Fast forward to the 2020s, and Amy's tarot cards are, in fact, finally getting brought up again in canon. Which is fun! I like seeing that. I like all of the individual stories involving Amy's fortune cards. This is a fun character trait for Amy, a fun nod to old lore, AND a fun storytelling device, all in one. It's really cool that the Sonic universe has its own thematically appropriate arcana, and that the cards are getting made as physical merch. And sure enough, the official card backs and borders were designed by none other than Diana Skelly, in yet another cool example of an ascendant fan leaving their mark on the series.
BUT... when you step back and look at the big picture, I get why some fans find this shift in focus jarring. At the moment, it's starting to feel like every new story about Amy involves her fortune cards to some degree.
The most recent mainline comic arc to feature Amy as the lead character, 2021's Trial by Fire arc, prominently features a sequence where she reads fortunes while camping with the girls. The Origins version of Sonic CD now bookends the game with scenes of Amy and her tarot cards. Sonic randomly mentioned it in a scene in Frontiers. And now, just this week, we got the (very cute, gorgeously illustrated) Amy's 30th Anniversary comic with a story revolving around Amy's tarot cards, followed the very next day by the Frontiers DLC in which she gets a brand new tarot-based moveset. Even her base melee attack now has her throwing tarot cards instead of swinging her hammer. Again, I like all of these individual things, but after years of it almost never coming up at all, it's VERY noticeable that Amy's tarot cards are suddenly everywhere.
To be fair, I'm looking at this from the perspective of a superfan who's actively following ALL Sonic media. Casual fans - especially kids - aren't necessarily going to be reading the comics every month, buying the thousandth rerelease of the Genesis games, or playing the ultra-hard new alternate ending DLC for a game that came out last year. Each of these stories is going to be someone's introduction to the idea that Amy can read tarot, and that's probably part of the idea behind this unified push.
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But to play devil's advocate, for my fellow superfans, I understand why it feels like a very minor footnote of Amy's character is suddenly becoming the entire focus of her personality. While Amy has always been said to enjoy fortune telling, that wasn't really a character trait in and of itself, but rather an example of her being a typical girl who hopes she'll be able to find true love one day. It's less that Amy can literally predict the future and more like her using a cootie catcher or going "he loves me, he loves me not" while picking the petals off of a flower. So I get not vibing with this stuff, or feeling like it's being pushed very hard out of nowhere.
What I don't agree with are comparisons like "it's like if they made Knuckles' moveset revolve around him liking grapes." Like, I get it. Ian Flynn loves shoehorning in his little winking references for us nerds, and mentions of Amy's tarot cards were previously on the same level as other random bullet points from old Japanese manuals. But a multifaceted hobby like fortune telling that opens up so many narrative and aesthetic possibilities is obviously very different from having a favorite food. It's ALWAYS been a part of her story, not just a random fact, and there's no reason why the fortune telling can't be elevated to something more.
And, hell, even if it wasn't an established character trait, there's nothing inherently wrong with injecting new ideas into a character. One of the best Amy stories in recent years, the Free Comic Book Day special "Amy's New Hobby" written by Gale Galligan, came up with the idea that Amy's secretly been drawing little comics about her and her friends. Is this based on Lore? No. But it's cute, and helps tell the story of a younger Amy who's still coming out of her shell as both a hero and a friend.
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Certain fans are also looking at Amy's Frontiers moveset and using it as evidence that once again the Vile American Contributors like Ian are CORRUPTING Sonic Team's perfect vision of Sonic with their misinterpretations. And like. Come on. Ian does not control the gameplay. He's a freelance writer. The tarot stuff is clearly something that Sonic Team likes if they made it the basis of Amy's new moveset - and, you know, if they keep approving comics and animations about Amy's fortune telling. None of this gets made without their blessing, and lord knows how much they can micromanage shit and shoot down ideas over the most minor of details.
Like, yeah, Amy's fortune telling was probably conceived less as a sign that she Knows Magic and more as a pretty mundane hobby for a lovesick young Japanese girl to have. But you're gonna sit there and tell me that using Amy's tarot cards for more than that could only be the result of a cultural misunderstanding? That nobody in Japan uses tarot card theming and aesthetics (or the general idea of magical cards) for the cool factor? Stardust Crusaders? Persona? The Astrologian class in FFXIV? Cardcaptor Sakura?? Hello??? Do you think Capcom put Gambit in Marvel vs. Capcom ironically because they thought using magic to throw cards at people was stupid? There's tons of precedent for this! It's nothing like Knuckles throwing grapes at people, be for real.
Giving Amy a very magical girl-esque moveset also just makes a lot of sense. For decades her hammer attacks have literally made sparkly heart shapes appear around her. Leaning into both that and her tarot cards in her new moveset makes a lot of sense to me.
But, admittedly... I do think it's very odd that her hammer is treated as a secondary element here, rather than having her primarily use her hammer and adding the cards for extra flair. If hitting the attack button made her swing her hammer instead of throwing cards, I'm not sure we'd even be having this discussion right now.
But the tarot-cycle and Amy riding her hammer like a witch's broom are fucking SICK and I will not concede on this point
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The thing is, this whole fortune card discourse is but a small piece of a bigger problem. Amy's been a character who needed some work for ages, but there's basically nothing you can do with her without pissing SOMEONE off.
Years of stories where Amy's crush was her primary motivator and Sonic went "Ew, cooties!" have lead many casual fans to believe that being Sonic's obsessive fangirl is Amy's entire personality. At best people might call her Sonic's Minnie Mouse. This isn't just a matter of Amy having haters within the fandom - venture outside of that bubble and you'll realize that this is how MOST video game playing people seem to see her to this day. I don't feel like this is a fair assessment of the character, but this idea didn't come from nowhere. No matter how much good deeply entrenched Sonic fans may see in their old dynamic where Amy perpetually chases Sonic, this is a very real problem that Sonic Team has to contend with for their leading girl. Of course all those games where the way-past-cool protagonist thought Amy was annoyingly clingy and tried to get away from her made people think less of her.
If new stories were to go back to emphasizing Amy's crush on Sonic a little more, they'd probably be taken as confirmation that Amy's just the girl with a crush on Sonic and that this is her entire personality. Conversely, when the crush is played down, you piss off the hardcore SonAmy fans who don't seem to understand that they're Charlie Brown and Sega is Lucy holding the football. You can't win.
And so here we are. In the absence of what was once her defining trait, now reduced to an occasional blush or wink in Sonic's direction, new stories are trying to mine Amy's past for additional material to work with. Having been a thing fans wanted to see for years, right now we're getting a lot of tarot, but we're also getting reminders of her compassionate nature and her desire to go out of her way to help the little guy. This is an ongoing process. I continue to hope that her bubbly, exuberant demeanor can shine more in future stories. Now, I also hope that the tarot stuff gets balanced out a little better with other traits of hers. But I don't want it to go away. I think it's fun.
This course correcting is far from exclusive to Amy. Knuckles is getting stories that remind us that he's a competent fighter, an experienced treasure hunter, and even a self-taught archaeologist after years of him being perceived as either the dumb one or just the guy who stands in front of the Master Emerald all day. And Tails has been getting some stories reminding folks that he's a capable hero in his own right and not just Sonic's timid kid sidekick.
But no supporting character will ever compete with the sheer number of new ideas Sega has tried with Sonic himself. Like Amy, his Frontiers moveset has also given him half a dozen new superpowers that he never had before, from the Cyloop to air-slicing projectile attacks to his own take on Shadow Clone Jutsu and beyond. He's also been a hoverboarder, a swordsman, a time traveler, an Olympic athlete, a racecar driver, cursed with a Flame of Judgment, imbued with alien power, a fucking Werehog with stretchy powers, and on and on and on.
If Sonic can do all that, Amy can try out using a tarot-cycle.
Anyway TL;DR the REAL problem with Amy's current characterization... is where the FUCK is Amy's bestie, Honey the Cat???????
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olderthannetfic · 6 months
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https://www.tumblr.com/olderthannetfic/729708592592306176/how-about-a-different-discourse-death-of-the
What this ask is missing, a bit, is that Death of the Author *does* mean that the author’s take on things is no more or less valid than anyone else’s. It’s about decentering authorial intent in analyses of media. Barthes is pretty clear and quite pointed about it in the original essay.
What bothers me about misuses of it and what I think this anon means to say is when people start decentering the actual *text*. The idea behind Death of the Author is also that the text stands alone. You don’t need to look at any extra shit to understand it. As you said, it was a response to a mode of analysis that obsessed over plumbing through author biographies.
The issue with what people do in fandom is they ignore the text. “I don’t like this element of canon, so it doesn’t exist.” (Which is different from arguing that it’s there but it sucks because of XYZ reasons, so I’m going to consciously ignore it in my fan works. This is when people just act like it isn’t there in the text in the first place.) “You have to take my bizarro world out-of-nowhere headcanon that is based on nothing except that I want it to be true, that I love this character and I wish they were XYZ therefore they are” and take it just as seriously as headcanons that actually engage with what’s in the show/video game/book/movie/whatever and use that as their basis (like building off something that is subtextual in the original work).
Granted we all do this to some degree, we all come to a text with our own biases and you can’t *always* easily separate those out, and that can affect, for instance, your interpretation of what the subtext is, but I think the irritating fandom behavior is when this kind of ignoring-the-text-to-substitute-your-own-reality is this very deliberate sort of laziness. The annoying thing in my current fandom is people who are fans of this one ship that they insist is the most progressive and other people just don’t see the scintillating “subtext” of because we are bigots or whatever, between two characters who don’t interact that much for two MCs and when they do it’s not at all shippy (but these characters both have very shippy subtext with different characters), but where these people think the ship *should* exist because of their identities. And their “evidence” for the ship is always gifsets taken way out of context and not including the dialogue that makes the non-shippy context for that scene very clear (including that it might actually be shippy for conflicting pairings). It’s like this bizarre version of “close reading” that strips out the largely context *deliberately* in order to make a particular conclusion seem more compelling than it actually is.
Anyway, all that ignoring-the-text stuff is STILL bad analysis per DOTA. Since the point of DOTA is to go based on the text, if you’re obscuring the text you’re kind of just installing yourself as a new author.
This is why DOTA doesn’t mean “anything goes.” It just means “authorial intent is just one interpretation that doesn’t have to matter.” It doesn’t mean other stuff we use in analysis doesn’t matter, and if anything the point is to make it even more text-centric than the older author-centric analyses were. People can still disagree about what the text says, of course, but they should both be going back to it in how they construct those arguments, and not, like those shippers, deliberately ignoring chunks of the text that weaken their arguments.
--
I don't think all of them are consciously throwing out actual canon, but they are often throwing out all context that would help evaluate subtext.
Like... if you're analyzing a Marvel movie, you might ignore what the director said in an interview, but you probably shouldn't entirely ignore the fact that it is a Marvel movie and apply assumptions that make sense for some arthouse film.
And, yes, if you're arguing for shippy subtext, even unintentional on the part of creators, "I like this ship because..." needs very little, but "This ship has more support than this other ship" requires going back to the actual text and looking at it in its totality.
There's a lot of faux-intellectualism around garbage like TJLC where people try to make themselves feel smart by using the language of close reading while having the media literacy of a bucket of rotting fish.
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hungwy · 2 years
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ON THE AI ART THING
i see three main points people are making, which i think are fair: first the supposition that the products of people's labor are being used somewhere in the process of art generation in an unfairly profitable way; second the supposition that the products of the artists' labor are being stolen before they can sell it; third that the other two result in a chain-reaction down the line where nobody's an artist any more because neural networks are adjective-er than humans.
for what its worth the way AIs combine images is just not the way you think AIs combine images. machine learning is complicated. neural networks are complicated. read up on GANs; watch a few Two Minute Papers videos (like this one, which is particularly relevant: https://www.youtube.com/watch?v=FCf8OA4GPvI). the way they combine im its not forgery (AI are not perfectly replicating your piece and selling it as it is for their own value; at some point it might involve copying/"looking" at it), its not stealing (you still have your art with you), its not even Youtube Poop remixing. generally the hypest way to do neural networks right now is to take a collection of items the AI knows to contain similar concepts and creates an understanding of that shared concept; a good dataset will be big enough to understand all the full variations of that concept, or accurately deduce the rest of the variations, all through the natural inconsistenties that a bunch of pictures of the same thing might produce. an AI knows how to do an oil painting style because it probably knows quite well the actual qualities of an oil painting. it also knows what the sun looks like, how cloth drapes at different weights, how holes in the ceiling of a building might imply shafts of light illuminating on the floor, and other incredible stuff. beats me how it does that, and you likely won't get it either. but the point is the way people are talking about AI on here seems solely informed by imagination.
for unfair and stealing bit, there's something to be said about how certain online communities, websites, people, blogs. etc are naturally private due to obscurity while also being technically completely public; like caves hidden in valleys that take quite a bit of looking to get to and see. in the past we just assumed they would stay hidden: the art on this blog will only be seen by its followers, or people i link the blog to, surely; ill teach you the way to my little cave. unfortunately the internet has been filled with extremely informed and skilled valley-treading and cave-finding robots, and unless you have big ol' signs that say "DO NOT FIND THIS CAVE!" (i remember for forums you could stop scrapers from coming to your website, i think on tumblr there is something like a "do not show in search results" button too), or somehow otherwise avoid their path using strange internet tricks or complete luck, they will totally find your little cave and rummage through it. what i mean to say is this: your art is already part of the publicly available data, and you're in a tough spot to do anything about it. i have no solutions.
the objectionable part is not in this collection of references for analysis, nor in how the AI is usually interpreting what objects are what, but the misuse of the AI to produce things you don't like (which is part of the point i wanted to make in my first post, besides arguing for the artistic integrity of what the AI is doing with its sources). and i see how it seems unfair -- someone smarter and more knowledgeable about art, labor, intellectual property, and value could articulate this more -- that a customer of a neural network could so freely replicate someone else's work with the original stylist having nothing to show for it. it wouldn't be any better if a sufficiently skilled person was requested to draw original pieces in your style. so in that way this is less about AI and more an objection against the violation of someone's intellectual property, if that exists.
for the second point on losing artists, i understand the reasoning as following: nobody wants to be a starving artist, and to avoid that in capitalism one needs money, and if someone is dead set on being an artist (or for some reason can be nothing else) they must sell their art to make money. if no one is going to give them money for art, they will certainly be a starving artist, which we don't want. the conclusion here is, if we want artists (starving, at the very least), we should restrict anything else that makes art which might compete with the artist's. okay, that might work: we could stop having AI make art. but what if, despite our best efforts, we can't fully restrict such a thing? what if AIs are here to stay? more importantly, what if artists are actually already partnering with AI to make art, and you've just been none the wiser? What if you yourself could adapt to new technology and use it to better your own art? The improvement of this tech is, as far as anyone can tell, inevitable. Like any tool, it will be applied in obvious and creative ways. It will displace some people, it will be used by others, and further it will be ignored by the rest.
naturally we would think at least some artists could no longer be paid for what they currently do. if companies can afford a concept artist they likely could better afford a subscription to DALL-E. If their work is no better than AI and they cost more it seems clear they're out. but im simply not jumping to the conclusion that companies specifically will be replacing ALL artists with AI, since most trained artists are in fact better than AI, and come with the human factor. some companies will certainly try the switch to AI for the novelty of it, two or three might succeed, most will probably find out negotiating with an artist or two for long term projects is much easier than talking to the team of computer science geeks to see if the damn art-generating program will churn out something slightly more [quality], more palatable to today's changing tastes -- all that, IF "AI generated images" is even the zeitgeist in whatever hypothetical time period in the future this is happening. maybe by the time the tech is developed people will think handmade stuff is popular and companies will follow suit, with all their logos or whatever being painted on glass panes.
i mean, who are we even talking about, considering artists? the fandom artists definitely aren't disappearing because of neural networks. all those millionaire furry artists simply won't lose business because people are going to Midjourney and entering in "shirtless anthropomorphic tiger, [famous furry artist]-style". people who want oil paintings want some physical oil paintings and usually not a digitally-generated oil painting printed on canvas. people want a human intermediary for basically everything, and if you've ever worked retail with an older customer base you'd know that's true. id certainly prefer human-made art to neural networks if i was gonna spend money (and i apologize to our future robot overlords for such a statement).
so who is really completely losing out here? many artists are, quite frankly, not big enough to get fried. concept artists for triple-AAA shooters might take a hit, i imagine; its decently easy to generate generic cities and alien landscapes with AI. but frankly, artificial intelligence is a tool, and not a scooch-along robot replacing your cubicle in the office. you still need people who know about art, and artists willing to put in the work, for it to produce anything of commercial value. even if it gets so good that the CEO of a business can log on to ARTIFICIAL-INTELLIGENCE-WEBSITE.com and type into the text box "I wuld like to buy a compny logo for $50 please", im sure there will always be more status in having that "human touch" to your designs, and less status in those robo-packs of ugly slightly mismatched placeholders. besides, artists are already using AI to help create their products in the first place; i refer to that Two Minute Papers video again (https://www.youtube.com/watch?v=FCf8OA4GPvI).
Edit: Considering Two Minute Papers, we do see that VFX artists and simulation scientists are trying to find ways to realistically simulate liquid, gases, fire, etc. with AI. This likely will have consequences for whatever hand-simulated stuff VFX artists have been doing.
your art is publicly available and you really don't have much control over what happens to it. unless little intranets for families and towns and cities and such become more popular, unless you start password protecting websites like forums used to do, your shits getting collected. its not a good reality and im definitely an advocate for internet privacy. for many artists the internet is unfortunately the only place they know how to get their stuff out there. its not a good situation for artists to begin with. the thing is, what's happening with modern AI art generation isn't... really that bad. unless some specific human wants to make it bad. if from this moment on we decide to push for legal-social-whatever punishments for not compensating the artists whom AI was trained on, okay, i guess. companies developing these AI probably have too much startup money anyway and most artists make far too little for the years of wrist pain. but i would say the customers requesting your art style or whatever are certainly at more moral fault, because it almost certainly wouldn't just pop out a given art style unless your prompt guided it to.
i will stand by the fact that the art of modern neural networks is more complicated, less hurtful, and way cooler than ripped off collage nonsense, and it will be exciting and scary to see where we go from an AI winning an art tournament -- for the moment you can be scared if you want, i guess, but if you didn't already lose your job to a guy utilizing a neural network then you're probably already safe. (and you might as well get on the train before you're left behind.)
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diasdelfuego · 1 year
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so the way i see it right now, louis' portrayal of lestat during episodes s01e02 and s01e03 presents him as shallow, willfully ignorant, disconnected from humanity, too enamored with the art of killing. in the pilot we get the last two glimpses of lestat the way humans perceive him: as a shadow in the night when he attacks the lamplighter, as a fearsome monster as the massacres those priests. but this "more nuanced portrait" that louis paints in these two episodes, before we switch to claudia's point of view, obscures the savagery and cruelty somewhat. the tenor's death is clean, beautiful. lestat keeps his killing away from louis' eyes. what louis takes issue at this point in his story with is the fact that lestat doesn't share his moral qualms about murder, that he insists on being unaware of how racism affects their experiences, the infidelity. failures as a romantic partner, political conflict, issues which take up all the space in the story and distract from the true nature of lestat's monstrosity. s01e02 and s01e03 might just as well be the good wife.
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"she burn quick?" okay, moral guy who feels so bad about killing. and lestat is so funny for "the pleasures of the flesh, the pleasures of the kill for me... the pleasures of a good book by the fire for you." like girl. you are delusional!
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the sequence of "done alright? sign me up for done alright!" [louis looks at lestat with antoinette up on the balcony] [louis looks back to jonah] "you ever think about those old days, when we were kids?" of course suggests that louis is doing this as retaliation, and it's probably what lestat understands since his response is the whole 'military men are your type, right?' bit.
the whole scene sets up this dichotomy between the white straight couple who gets to be out in the open, black gay couple who can't. i'm pretty sure jacob said that he wouldn't have gone with just anyone, but jonah being 'an old love' was the push he needed. so to me it's clear that this ties back to louis' inability to let go of his human attachments; but also the fact that he can't be free from human social constrains in the same ways that lestat can.
i love how this sequence reinforces the point of the episode —the cost that louis has paid for this life he always wanted, the illusion shattering, his aspirations as a businessman and his existence as a vampire and his love for lestat all imperfect, all complicated, none of them enough. he's still hungry, he's still guilty, he's still unsatisfied. so he turns to nostalgia for an idealized past, a life he can never get back, those old days that must seem almost idyllic in contrast.
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i actually think that lestat mind-controlling all those soldiers is soooo interesting and i really want to look for anything the actors or writers have said about it because the implications are crazy. like, this is
1. an insane display of power, i would argue more power than anything lestat's shown louis so far, and definitely a power that louis doesn't have, in the middle of a confrontation. is it a reminder of how much stronger he is?
2. an evident expenditure of energy that leaves lestat visibly exhausted and weakened. is it a show of deference? look how much effort i am willing to do to follow your requests, dear? intentional vulnerability? see how faint and drained i am, don't you feel sorry to have brought me to this?
louis doesn't appear to be intimidated nor particularly moved, but given everything else...
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back to what i was saying about s01e02, i am obsessed with how louis obviously enjoys, and feels no guilt about murdering people who have wronged him. like, of course that he is iconic for murdering, disemboweling and staking that bitch —as stupid as his every choice this episode is— but i just love that his morality completely crumbles when confronted with his pride.
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somebody said something in the lines of "i could not save the azalea. i could not save storyville. i could not save the aunt." leaves unsaid "i could not save paul. i could not save my relationship with grace." and i'm literally nauseous about it.
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"a rooming house. now a fire trap." given how much these writers love circularity, i need to say that if they have claudia die by fire in this version i will sue amc. @ rolin jones, you have been warned.
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digital-survivor · 2 years
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Watching Digimon Survive's ending credits for the third time, something that I've always noticed from the first time I finished the game but haven't talked much about is the fact that Kakudou is being credited as the sound director (音響監督) for the game. If you don't know what the role entails, this blog post provides very detailed but also succinct points on the position in the process of anime/game production. But if you find that to be TL;DR, basically sound directors in Japanese media work very closely with the voice actors and music producers, but especially voice actors. And for that I'd like to talk more about the voice acting in Survive.
The voicework in Survive is something that doesn't get talked much about by the English-speaking fans of the game, understandably because most players don't understand Japanese and would actually prefer to have an English dub option. However, I personally think more appreciation is due for the Japanese voicework--after all, it does the heavy lifting in selling the emotional scenes in Survive alongside the music and the writing itself, considering that VNs are generally more limited in expressing themselves visually compared to other visual media. In my opinion, as someone who closely follows Japanese voice acting industry (being a VA nerd myself), it's one of the best voiceworks to come out of a Japanese media in recent years.
Admittedly I may be biased because Survive has some of my favorite newcomers, but even among these newcomers' relatively small number of roles, their voicework in Survive really outshines their other works. This may have to do with Survive having a heavy story, and by virtue of that it allows the voice actors to explore the extent of their skills otherwise not much utilized in other works that lean on the safer side, if you get what I mean.
Aside from the emotions put into the acting itself, there's also a contrast between the humans' more """realistic""" voice acting vs. the Digimon's more cartoonish/goofy voice acting. In particular, I really love the way the voice actors for the Digimon partners use different vocal modulations for different evolution forms. Take for example Shimoji as Floramon and their evolution forms--you can hear her always changing her voice to match each form, albeit sometimes the difference is subtle. I know this is somewhat a staple in Digimon, but making it work well with a relatively new and obscure VA who never had similar roles prior to Survive is a feat on its own.
Now that I think more about it, it's amazing how--aside from veterans like Sakamoto, Yamaji, and Yamaguchi, among others--Survive's main voice cast mostly consists of either newcomers (by the time of the recording, which I believe should be around 2018 judging from some of the voice cast's tweets) or obscure VAs (or both at the same time) and still has a very top notch voicework. Voicework is a work of synergy, but the synergy can't work out without a good direction, and finally knowing who's responsible for the voice direction in the game, I can understand why the end product is really good and I'd like to especially thank Kakudou for that.
Note: wrt Survive mostly consisting of obscure VAs--sure, you can argue that Amasaki Kouhei, Hondo Kaede, and Abe Atsushi are at least more "mainstream" than the rest of the main cast (I've also heard that Oozora has a sizable amount of fanboys, but cmiiw), but they aren't exactly extremely popular A-list VAs that appear as major roles in big name shows like Kimetsu no Yaiba or Jujutsu Kaisen, for example. They're also less recognizable than big names like Sakurai Takahiro or Sawashiro Miyuki--or if you want people from their generation, Hanae Natsuki or Enoki Junya.
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forabeatofadrum · 1 year
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aap noot mies (1/14)
Summary: Blaine Anderson is just your average New Yorker. One day, he spots an ad by Kurt Hummel, seeking a Dutch language tutor and he decides to go for it. After all, being an actual alien that knows every single language in the universe has to be good for something, right?
Notes: Welcome to my contribution to the @klaine-word-scramble! I am super late to the party, but better late than never! I came up with this idea in 2018 (!) and it felt great to have a reason to revisit it.
This fic is still a WIP, but I hope to update every Wednesday and Saturday.
Also, a huge thanks to @cerriddwenluna for coming up with the summary and for answering to my erratic DMs about the title. The title translates to monkey nut mies, with Mies being a Dutch name. aap noot mies are the first words of het Leesplankje van Hoogeveen, a plaque that was used to teach children how to pronounce Dutch words accurately.
I hope you enjoy.
AO3 | S&C
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WARN - 7 points
There are a few things Blaine should clarify.
Yes, aliens exist. Blaine should know, since he happens to be one.
No, aliens aren’t green and they don’t have many weird knobs. Blaine looks human, or better said, humans look alien.
Yes, aliens have weird superpowers. After all, Blaine has one.
And no, aliens are not going to take over the world using those superpowers. Blaine doesn’t really know how him being able to speak all languages of the universe would help him dominate Earth, but not that he’s interested.
Being a polyglot, which is the human term that best describes Blaine’s superpower, does have its non-world-threatening perks, especially in a multicultural city like New York.
He loves visiting all kinds of areas of the city, to talk with the locals who have immigrated from all over the world. He enjoys being able to fully understand Broadway shows that use different languages, including the ones with sign language. It’s very cathartic to help clueless tourist with finding their way.
And it leads to some extra cash.
That’s what’s on Blaine’s mind when he sees an ad on Craigslist from a certain Kurt Hummel, who is in a dire need of a Dutch tutor.
This isn’t the first time Blaine was someone’s tutor. It’s a great thing, since some languages are so obscure that some people are willing to pay a lot, which Blaine in turn donates to research on lost languages (because that’s the only limitation to his superpower: he cannot speak languages that are lost). Blaine reads through Kurt’s ad, and Kurt writes that he’s sorry that he can’t offer a lot of money, but for some reason Blaine feels compelled to react.
He checks Kurt’s profile. There’s no photo, which is something Blaine’s friends warn him for. Blaine always argues back that even if someone has a photo of a face, you don’t know for sure that it’s real.
Blaine’s made up his mind.
He’s going to react to Kurt’s ad!
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This Kurt lives all the way in Bushwick. Blaine takes the train and the moment he gets squished against a metal pole, he’s jealous of Wes, whose superpower is teleportation.
Or when he’s finding his way to this ‘loft’ and he fails. Then he’s jealous of David’s navigation power.
Look, being a polyglot is definitely useful, but there are even more useful powers out there! New York’s crowdedness is great for Blaine’s power, but it leads to Blaine being lost more often than he’d like to admit. Maybe he should get over his grudge against technology (it’s an alien thing!) and download something like Google Maps.
Blaine’s ten minutes late, but once he finds the right building, he lets out a relieved sigh. He takes the elevator to the right floor. Kurt had written him that it looks shady and that there’s no doorbell, so when Blaine’s at the door he knocks loudly.
The door slides (slides!) open and Blaine is greeted by a man so handsome that despite his linguistics skills, Blaine’s rendered speechless.
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academic rival's au, but picture two people arguing (debating, flirting, whatever works-) very heatedly and nobody knows what tf they are talking about. They are geniuses in their field but to everyone else it is way too obscure or niche and specific for the general public to even be aware of, so the entirety of the school body is just convinced that these two weirdo's are perfect for each other actually. What ship first came to mind?
KakaBaki because in my Collage professor’s au they’re both history professor’s and one of their favorite pass time’s is arguing about how their paper’s/information is wrong XD
But also i can see this working for a few
KakaObi with a literature focus. Kakashi loves romances, Obito loves drama’s, and those two cross over each other often so there are arguments about the meaning/understanding of certain books (or sometimes shows XD)
RinShiz they’re both doctor’s with niche smills (shizune with poison’s, rin with surgery) so you bet there would be some conversations
GaiKisa. I think they’d both have a lot of knowledge about sports and physical therapy and it would lead to a lot of arguments because they simply don’t agree. Like they watch a football* game together and end up arguing over a yellow card call because Kisame thinks it wasn’t actually ‘unsporting behaviour’ but Gai fully agree’s with the ref and think’s it might even go to red card if the player keeps arguing and that’s justified in his opinion.
*football =soccer. I was raised by a spanish man and lived in england/cyprus for years. I say football now
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mdhwrites · 1 year
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I have two things. For your point of whether Amity and Willow’s friendship was important, I would argue that it is portrayed as important for two reasons. One- Amity loses her first and only real friend (since she just ignores Boscha and Skara as being worth her time, sad hours.) so she wouldn’t be able to just move on to another friend, since she cant. Two – Amity would be constantly reminded of the moment as she has to face Willow for years after and would constantly be reminded of her reason for leaving Willow. I might be being too generous to be fair… and I do still think Amity was way too sadistic in teenage abomination, so it certainly appears like she doesn’t give a shit about Willow anymore.
 As a side note, since you mentioned Wing It, I found it understandable but irritating that they made Luz’s team nearly win in Wing it. Irritating because it showed Luz and Willow being impossibly incompetent not five minutes earlier and the fact that grudgeby was dropped so quickly despite EVERYONE, from the students to Bump frothing over it. But understandable since it was a one-off episode that was just a stand in for ‘Amity’s grand and NoBlE 180’. I just cant help but feel bad for Boscha’s competence and character, even though I know her importance is (arguably correctly and rightfully) in the negatives :/. Maybe I should start liking the fan faves instead of the fan revolted…
So the first point is actually why even in my blog I admit to it working in the show. It's a powerful thing losing your closest friend, let alone the one who might have been your only friend. Really, the whole argument to that blog is a lot more about how I wish they'd been like 8 years old when they'd had to separate because to the two as children, I'm literally uncertain as to how important the relationship was to them. Because they were five so they didn't have much time to actually be together and they probably changed a lot in 9 years. It's a nitpick, not a problem and I try to be fair to when what I am saying is one of those things. Not that you can't still learn from such a thing but it's also not one of those that's a real complaint about the show. Unlike, you know, them not doing anything with it which IS a problem with the show. Your second point though is honestly where the concept of it being a problem does come into play. Even if we say Teenage Abomination wasn't showing us how she normally treats Willow, a concept that would be frustrating from an analytical standpoint, she still bullied the girl into obscurity. There's not really any reason except for Amity's bullying that Willow should be an outcast with only one friend but the bullying to Willow is so severe that EVERYONE knows that you'll get caught in the splash damage being close to her. At least in theory. This is the only reason why in Winging it, she's popular now. I mean, she's been a part of the plant track since Teenage Abomination's ending so why are people only now going "Wow, your plant magic is so good" (besides that as a concept in the school being honestly dumb)? The only that has changed is that she's no longer Amity's enemy. It's safe to like her now. And that is a SEVERE level of bullying to be able to control an entire school to be passively against you because of your opinion of the person. So... Yeah, while Amity constantly had reminders, and that's actually a really interesting way to go with why Amity did the bullying... She also did it for up to nine years. I feel like at that point, you stopped regretting your actions LONG ago. Now you're just inflicting pain. And if the show cared more about Willow, or any connection Amity made besides Luz, that might have been explored. But come S2 we'd see how little both were actual characters and how much they were just meant for specific narrative purposes. *sigh* As for the last thing: The power of a montage is a fun excuse for them getting the power to compete because it's absolutely a trope and they have good fun with it. I also feel like Amity could be said as not only coordinating them but also having inflicted SEVERE mental damage on the enemy team. Boscha isn't playing like she should be. No one there is. They all just lost a friend after all but they were all told you can't look sad. Can't look weak. I wonder who of their friends might have taught them such lessons. Couldn't possibly be the girl who always seemed to lead them or that they looked up to... And then you get the Golden Snitch bullshit which... Read another fantasy series. I've read plenty and only fucking Harry Potter has that "This thing actually is the goal" bullshit. You're not being clever mocking it and it honestly only feels like it exists to shit on Boscha harder for no reason. It's a fine episode for S1 because S1 still has the tone and fun to let things like this slide. In retrospect, knowing where all of those elements it was setting up go, or the elements sacrificed even in that episode pay off for... That's what makes it painful to reminisce. The Owl House has made the ends of so many journeys so bad that it harms the overall trip. And I'm really curious if they'll actually manage to at least make the final ending they have to tell land. I'll have to see what other people think because I still haven't gotten myself to watch any of S3 and I don't think it's happening too soon unfortunately.
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bao3bei4 · 3 years
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fan language: the victorian imaginary and cnovel fandom
there’s this pinterest image i’ve seen circulating a lot in the past year i’ve been on fandom social media. it’s a drawn infographic of a, i guess, asian-looking woman holding a fan in different places relative to her face to show what the graphic helpfully calls “the language of the fan.”
people like sharing it. they like thinking about what nefarious ancient chinese hanky code shenanigans their favorite fan-toting character might get up to⁠—accidentally or on purpose. and what’s the problem with that?
the problem is that fan language isn’t chinese. it’s victorian. and even then, it’s not really quite victorian at all. 
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fans served a primarily utilitarian purpose throughout chinese history. of course, most of the surviving fans we see⁠—and the types of fans we tend to care about⁠—are closer to art pieces. but realistically speaking, the majority of fans were made of cheaper material for more mundane purposes. in china, just like all around the world, people fanned themselves. it got hot!
so here’s a big tipoff. it would be very difficult to use a fan if you had an elaborate language centered around fanning yourself.
you might argue that fine, everyday working people didn’t have a fan language. but wealthy people might have had one. the problem we encounter here is that fans weren’t really gendered. (caveat here that certain types of fans were more popular with women. however, those tended to be the round silk fans, ones that bear no resemblance to the folding fans in the graphic). no disrespect to the gnc old man fuckers in the crowd, but this language isn’t quite masc enough for a tool that someone’s dad might regularly use.
folding fans, we know, reached europe in the 17th century and gained immense popularity in the 18th. it was there that fans began to take on a gendered quality. ariel beaujot describes in their 2012 victorian fashion accessories how middle class women, in the midst of a top shortage, found themselves clutching fans in hopes of securing a husband.
she quotes an article from the illustrated london news, suggesting “women ‘not only’ used fans to ‘move the air and cool themselves but also to express their sentiments.’” general wisdom was that the movement of the fan was sufficiently expressive that it augmented a woman’s displays of emotion. and of course, the more english audiences became aware that it might do so, the more they might use their fans purposefully in that way.
notice, however, that this is no more codified than body language in general is. it turns out that “the language of the fan” was actually created by fan manufacturers at the turn of the 20th century⁠—hundreds of years after their arrival⁠ in europe—to sell more fans. i’m not even kidding right now. the story goes that it was louis duvelleroy of the maison duvelleroy who decided to include pamphlets on the language with each fan sold.
interestingly enough, beaujot suggests that it didn’t really matter what each particular fan sign meant. gentlemen could tell when they were being flirted with. as it happens, meaningful eye contact and a light flutter near the face may be a lingua franca.
so it seems then, the language of the fan is merely part of this victorian imaginary we collectively have today, which in turn itself was itself captivated by china.
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victorian references come up perhaps unexpectedly often in cnovel fandom, most often with regards to modesty.
it’s a bit of an awkward reference considering that chinese traditional fashion⁠—and the ambiguous time periods in which these novels are set⁠—far predate victorian england. it is even more awkward considering that victoria and her covered ankles did um. imperialize china.
but nonetheless, it is common. and to make a point about how ubiquitous it is, here is a link to the twitter search for “sqq victorian.” sqq is the fandom abbreviation for shen qingqiu, the main character of the scum villain’s self-saving system, by the way.
this is an awful lot of results for a search involving a chinese man who spends the entire novel in either real modern-day china or fantasy ancient china. that’s all i’m going to say on the matter, without referencing any specific tweet.
i think people are aware of the anachronism. and i think they don’t mind. even the most cursory research reveals that fan language is european and a revisionist fantasy. wikipedia can tell us this⁠—i checked!
but it doesn’t matter to me whether people are trying to make an internally consistent canon compliant claim, or whether they’re just free associating between fan facts they know. it is, instead, more interesting to me that people consistently refer to this particular bit of history. and that’s what i want to talk about today⁠—the relationship of fandom today to this two hundred odd year span of time in england (roughly stuart to victorian times) and england in that time period to its contemporaneous china.
things will slip a little here. victorian has expanded in timeframe, if only because random guys posting online do not care overly much for respect for the intricacies of british history. china has expanded in geographic location, if only because the english of the time themselves conflated china with all of asia.
in addition, note that i am critiquing a certain perspective on the topic. this is why i write about fan as white here⁠—not because all fans are white⁠—but because the tendencies i’m examining have a clear historical antecedent in whiteness that shapes how white fans encounter these novels.
i’m sure some fans of color participate in these practices. however i don’t really care about that. they are not its main perpetrators nor its main beneficiaries. so personally i am minding my own business on that front.
it’s instead important to me to illuminate the linkage between white as subject and chinese as object in history and in the present that i do argue that fannish products today are built upon.
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it’s not radical, or even new at all, for white audiences to consume⁠—or create their own versions of⁠—chinese art en masse. in many ways the white creators who appear to owe their whole style and aesthetic to their asian peers in turn are just the new chinoiserie.
this is not to say that white people can’t create asian-inspired art. but rather, i am asking you to sit with the discomfort that you may not like the artistic company you keep in the broader view of history, and to consider together what is to be done about that.
now, when i say the new chinoiserie, i first want to establish what the original one is. chinoiserie was a european artistic movement that appeared coincident with the rise in popularity of folding fans that i described above. this is not by coincidence; the european demand for asian imports and the eventual production of lookalikes is the movement itself. so: when we talk about fans, when we talk about china (porcelain), when we talk about tea in england⁠—we are talking about the legacy of chinoiserie.
there are a couple things i want to note here. while english people as a whole had a very tenuous knowledge of what china might be, their appetites for chinoiserie were roughly coincident with national relations with china. as the relationship between england and china moved from trade to out-and-out wars, chinoiserie declined in popularity until china had been safely subjugated once more by the end of the 19th century.
the second thing i want to note on the subject that contrary to what one might think at first, the appeal of chinoiserie was not that it was foreign. eugenia zuroski’s 2013 taste for china examines 18th century english literature and its descriptions of the according material culture with the lens that chinese imports might be formative to english identity, rather than antithetical to it.
beyond that bare thesis, i think it’s also worthwhile to extend her insight that material objects become animated by the literary viewpoints on them. this is true, both in a limited general sense as well as in the sense that english thinkers of the time self-consciously articulated this viewpoint. consider the quote from the illustrated london news above⁠—your fan, that object, says something about you. and not only that, but the objects you surround yourself with ought to.
it’s a bit circular, the idea that written material says that you should allow written material to shape your understanding of physical objects. but it’s both 1) what happened, and 2) integral, i think, to integrating a fannish perspective into the topic.
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japanning is the name for the popular imitative lacquering that english craftspeople developed in domestic response to the demand for lacquerware imports. in the eighteenth century, japanning became an artform especially suited for young women. manuals were published on the subject, urging young women to learn how to paint furniture and other surfaces, encouraging them to rework the designs provided in the text.
it was considered a beneficial activity for them; zuroski describes how it was “associated with commerce and connoisseurship, practical skill and aesthetic judgment.” a skillful japanner, rather than simply obscuring what lay underneath the lacquer, displayed their superior judgment in how they chose to arrange these new canonical figures and effects in a tasteful way to bring out the best qualities of them.
zuroski quotes the first english-language manual on the subject, written in 1688, which explains how japanning allows one to:
alter and correct, take out a piece from one, add a fragment to the next, and make an entire garment compleat in all its parts, though tis wrought out of never so many disagreeing patterns.
this language evokes a very different, very modern practice. it is this english reworking of an asian artform that i think the parallels are most obvious.
white people, through their artistic investment in chinese material objects and aesthetics, integrated them into their own subjectivity. these practices came to say something about the people who participated in them, in a way that had little to do with the country itself. their relationship changed from being a “consumer” of chinese objects to becoming the proprietor of these new aesthetic signifiers.
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i want to talk about this through a few pairs of tensions on the subject that i think characterize common attitudes then and now.
first, consider the relationship between the self and the other: the chinese object as something that is very familiar to you, speaking to something about your own self vs. the chinese object as something that is fundamentally different from you and unknowable to you. 
consider: [insert character name] is just like me. he would no doubt like the same things i like, consume the same cultural products. we are the same in some meaningful way vs. the fast standard fic disclaimer that “i tried my best when writing this fic, but i’m a english-speaking westerner, and i’m just writing this for fun so...... [excuses and alterations the person has chosen to make in this light],” going hand-in-hand with a preoccupation with authenticity or even overreliance on the unpaid labor of chinese friends and acquaintances. 
consider: hugh honour when he quotes a man from the 1640s claiming “chinoiserie of this even more hybrid kind had become so far removed from genuine Chinese tradition that it was exported from India to China as a novelty to the Chinese themselves” 
these tensions coexist, and look how they have been resolved.
second, consider what we vest in objects themselves: beaujot explains how the fan became a sexualized, coquettish object in the hands of a british woman, but was used to great effect in gilbert and sullivan’s 1885 mikado to demonstrate the docility of asian women. 
consider: these characters became expressions of your sexual desires and fetishes, even as their 5’10 actors themselves are emasculated.
what is liberating for one necessitates the subjugation and fetishization of the other. 
third, consider reactions to the practice: enjoyment of chinese objects as a sign of your cosmopolitan palate vs “so what’s the hype about those ancient chinese gays” pop culture explainers that addressed the unconvinced mainstream.
consider: zuroski describes how both english consumers purchased china in droves, and contemporary publications reported on them. how: 
It was in the pages of these papers that the growing popularity of Chinese things in the early eighteenth century acquired the reputation of a “craze”; they portrayed china fanatics as flawed, fragile, and unreliable characters, and frequently cast chinoiserie itself in the same light.
referenda on fannish behavior serve as referenda on the objects of their devotion, and vice versa. as the difference between identity and fetish collapses, they come to be treated as one and the same by not just participants but their observers. 
at what point does mxtx fic cease to be chinese? 
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finally, it seems readily apparent that attitudes towards chinese objects may in fact have something to do with attitudes about china as a country. i do not want to suggest that these literary concerns are primarily motivated and begot by forces entirely divorced from the real mechanics of power. 
here, i want to bring in edward said, and his 1993 culture and imperialism. there, he explains how power and legitimacy go hand in hand. one is direct, and one is purely cultural. he originally wrote this in response to the outsize impact that british novelists have had in the maintenance of empire and throughout decolonization. literature, he argues, gives rise to powerful narratives that constrain our ability to think outside of them.
there’s a little bit of an inversion at play here. these are chinese novels, actually. but they’re being transformed by white narratives and artists. and just as i think the form of the novel is important to said’s critique, i think there’s something to be said about the form that fic takes and how it legitimates itself.
bound up in fandom is the idea that you have a right to create and transform as you please. it is a nice idea, but it is one that is directed towards a certain kind of asymmetry. that is, one where the author has all the power. this is the narrative we hear a lot in the history of fandom⁠—litigious authors and plucky fans, fanspaces always under attack from corporate sanitization.
meanwhile, said builds upon raymond schwab’s narrative of cultural exchange between european writers and cultural products outside the imperial core. said explains that fundamental to these two great borrowings (from greek classics and, in the so-called “oriental renaissance” of the late 18th, early 19th centuries from “india, china, japan, persia, and islam”) is asymmetry. 
he had argued prior, in orientalism, that any “cultural exchange” between “partners conscious of inequality” always results in the suffering of the people. and here, he describes how “texts by dead people were read, appreciated, and appropriated” without the presence of any actual living people in that tradition. 
i will not understate that there is a certain economic dynamic complicating this particular fannish asymmetry. mxtx has profited materially from the success of her works, most fans will not. also secondly, mxtx is um. not dead. LMAO.
but first, the international dynamic of extraction that said described is still present. i do not want to get overly into white attitudes towards china in this post, because i am already thoroughly derailed, but i do believe that they structure how white cnovel fandom encounters this texts.
at any rate, any profit she receives is overwhelmingly due to her domestic popularity, not her international popularity. (i say this because many of her international fans have never given her a cent. in fact, most of them have no real way to.) and moreover, as we talk about the structure of english-language fandom, what does it mean to create chinese cultural products without chinese people? 
as white people take ownership over their versions of stories, do we lose something? what narratives about engagement with cnovels might exist outside of the form of classic fandom?
i think a lot of people get the relationship between ideas (the superstructure) and production (the base) confused. oftentimes they will lob in response to criticism, that look! this fic, this fandom, these people are so niche, and so underrepresented in mainstream culture, that their effects are marginal. i am not arguing that anyone’s cql fic causes imperialism. (unless you’re really annoying. then it’s anyone’s game) 
i’m instead arguing something a little bit different. i think, given similar inputs, you tend to get similar outputs. i think we live in the world that imperialism built, and we have clear historical predecessors in terms of white appetites for creating, consuming, and transforming chinese objects. 
we have already seen, in the case of the fan language meme that began this post, that sometimes we even prefer this white chinoiserie. after all, isn’t it beautiful, too? 
i want to bring discomfort to this topic. i want to reject the paradigm of white subject and chinese object; in fact, here in this essay, i have tried to reverse it.
if you are taken aback by the comparisons i make here, how can you make meaningful changes to your fannish practice to address it? 
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some concluding thoughts on the matter, because i don’t like being misunderstood! 
i am not claiming white fans cannot create fanworks of cnovels or be inspired by asian art or artists. this essay is meant to elaborate on the historical connection between victorian england and cnovel characters and fandom that others have already popularized.
i don’t think people who make victorian jokes are inherently bad or racist. i am encouraging people to think about why we might make them and/or share them
the connections here are meant to be more provocative than strictly literal. (e.g. i don’t literally think writing fanfic is a 1-1 descendant of japanning). these connections are instead meant to 1) make visible the baggage that fans of color often approach fandom with and 2) recontextualize and defamiliarize fannish practice for the purposes of honest critique
please don’t turn this post into being about other different kinds of discourse, or into something that only one “kind” of fan does. please take my words at face value and consider them in good faith. i would really appreciate that.
please feel free to ask me to clarify any statements or supply more in-depth sources :) 
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mishasminions · 3 years
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The Last Time I’ll Write a Long Post About Supernatural (15x18-15x20)
15 YEARS OF WATCHING THIS SHOW. 11 YEARS OF RUNNING A BLOG ABOUT IT. IT’S BEEN QUITE A RIDE.
[15x20 Speculation + evidence at the bottom]
First off, I just wanna come clean and say, after all these years, I still think they should’ve ended at Season 5.
If you’re going to come at me with “Then why’d you stick around to watch it if you didn’t like it?”, your question is immature, and the answer is simple: I just want to know what happens next (I also love the main characters and their actors too). You can watch a show and still think it’s shit.
Call me a clown, but despite all the disappointment and trust issues that this show has given me, I would still look forward to the day where it might just turn itself around and bring back the quality it once had, or realize the potential of each story it was trying to tell, or at the very least, do justice by my favorite ship.
Never happened.
They’ve had a few good episodes here and there. I can’t imagine the SPN Universe without The Man Who Would Be King, The French Mistake, and Scoobynatural. Seasons 6-10 were enjoyable at times. I blocked out most of 7 & 11-15. 
If you’ve been following this blog since its heydays in 2010-2014, you’d know I’d try my best to defend Destiel and this show’s decisions regarding it no matter what.
Because you know what, as a CONCEPT, this show is good. If you take a look at all the worlds its storylines have birthed in fanfiction/fanworks, you’d see how much Supernatural has wasted its own story arcs. The writing got shittier as each season progressed, and they’ve obviously given up in production as well because the quality in the execution has noticeably gone down too, but if you take a step back and take a look at the bigger picture, you’ll see that this show still tries to make sense of itself.
[If you’re still following this post, please bear with me, I know this is long, but I just want you to understand how jaded and pessimistic I am with regards to this show, so maybe you can buy into whatever hopeful thing I’m about to say later on.]
SO LET’S TALK ABOUT DESTIEL
Never in my wildest dreams did I think that they would give us Castiel’s “I love you” speech. To the point where, if I weren’t so desperate for it, I would argue that it was completely out of character for him to word vomit the way he did (but I’m not gonna diss on that right now because I’ll take what I can get).
I’ve valued every meaningful and obscure exchange that Dean and Cas have had in the earlier seasons, and I was willing to accept their relationship as just that--undefined, without any clear boundaries as to what they really are. And I think that was beautiful on its own.
But now, they’ve chosen to define it.
After they’ve driven every possible wedge between Dean and Castiel in seasons 11-15, to try to explain away their feelings as something they offer to a collective.
Dean can’t mourn and pray for JUST Cas, he has to mourn and pray for EVERYBODY--even Crowley, even some chick he just met, because god forbid he cries about just the guy who has given up everything for him--that would be “too homo”.
They’ve even set Cas on a path to abrupt fatherhood just so he can care about something other than Dean. Make it seem as if Dean wasn’t his purpose through and through.
And after all these years of this stupid show trying to deny it, they choose to acknowledge it at the worst possible circumstance, at a time where they’ve been so far apart, that it seems so foreign for them to suddenly come together.
But here we are. And they’ve chosen to tell us.
Chosen to tell us that everything that Castiel has done leading up to his death, he has done it because he was IN LOVE WITH DEAN WINCHESTER.
Chosen to tell us that the ONE THING THAT WOULD MAKE CAS HAPPY IS DEAN WINCHESTER.
Chosen to tell us that BEING WITH DEAN WINCHESTER is something that CAS WANTS BUT KNOWS HE CAN’T HAVE.
And they’ve also chosen to tell us nothing about how Dean feels.
Sure, finding out your angel made a deal, the stipulations of said deal, his newfound happiness philosophy, his long-winded monologue of why he loves you and why you’re worthy of his love, and to top it all off he tells you that being in love with you is enough to make him happy while he subtly hints that he’s always wanted to be WITH you romantically, was a lot to process in the 5 minutes after you’ve just had an existential crisis.
It’s whatever, right? Let’s culminate 11 years worth of tension and feelings in 5 minutes. Let’s waste the entire episode with cringey expository dialogue, and irrelevant sequences. The whole season was a waste anyway.
You know what Supernatural? FUCK YOU FOR THAT. They deserved better. WE deserve better.
And I would love nothing more than to hurl every possible insult your way,
But for the last time, I’m going to HOPE that you’re finally going to try to make it better for the fans that stuck by you all these years.
No more baiting new viewers, no more placating casual viewers, no more excuses. 15 years. Bring it home for the people who have actually been around.
SO HERE’S HOW I THINK 15x20 IS GONNA GO
There’s two ways this series is gonna end. Horribly or Spectacularly.
First let’s all take into consideration what Andrew Dabb says about it:
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So, let’s start with
ENDING HORRIBLY
In this scenario, Misha is telling the truth about his last day of filming being 15x18. His “camping trip” during the last few days of filming 15x20, was actually a camping trip. He doesn’t go to Vancouver to shoot.
Jensen wasn’t “being careful” during the zoom interviews that it was just him and Jared quarantining for the shoot, it really was just him and Jared (althought most of these were done pre 15x19) Supernatural isn’t smart enough to do misleading PR, and they’re once again oblivious to the potential of their own story.
Misha hasn’t posted a “Goodbye Castiel” tweet because he’s probably saving it for last episode or he forgot because it was overshadowed by the Destiel trend that night.
So what we get is:
Sam and Dean are on the road again, up against the monster of the week. Only their world no longer has actual Supernatural beings anymore, so the monsters they’re fighting are humans.
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Humans end up killing the Winchesters (despite having gone up against literally every powerful being imaginable INCLUDING God himself). Dean and Sam end up in heaven and relive their greatest hits.
Meanwhile, Castiel rots in The Empty because he died after realizing that he was happy and gay. Jack doesn’t bother rescuing him—his surrogate dad, the guy who made this specific deal to spare him—even though it was so easy for him get Cas in and out of The Empty when he had a fraction of the power that he has now.
Dean never speaks of Castiel’s confession because despite all the hints of a profound bond in the earlier seasons, and the fact that Dean has never cared for anyone (who isn’t his actual brother) as immensely as he does Cas, Supernatural just can’t have its main macho character be “suddenly bisexual” because that would hurt the male ego or some shit.
His heaven would probably be living happily ever after with his family. “Family” meaning Mary and John Winchester--two of the shittiest parents ever (but they’re not going to include them in this episode like they were supposed to because of Covid) and Sam.
Sam also gets a dog. As usual.
I wouldn’t put it past Supernatural to do this. After everything they’ve pulled, this would be right up their alley. I actually expect this ending.
Anyway, onto the next possible ending
ENDING SPECTACULARLY
In this scenario, Supernatural tries to stick the landing, and Jensen’s whole “It didn’t sit well with me at first, but then I took a step back after talking to Kripke, and realized that I had to view it from an audience perspective, I am now really excited about it” (DC Con 2019) anecdote about his thoughts on the final episodes, were actually about Dean potentially ending up with Cas. (Which would totally make sense because Jensen at first didn’t see Dean as anything but hetero, but as of late, he has been throwing in Destiel jokes of his own, so he seems to have warmed up to the idea)
Backed with Misha’s tidbit (DLConline 2020) that he and Jensen had conversations about Destiel, and that they wouldn’t have gone through with it if Jensen wasn’t onboard with it, but Jensen didn’t push back at all. (Why would they need to check with Jensen if it was just Cas going all in?)
Robert Berens (writer of 15x18) also wrote the script at the beginning of Season 15, but made Misha privy to the concept a year prior (Season 14), so they went into this season knowing about Destiel going canon.
This one’s a reach, but this scenario also supposes that Misha was lying about his whereabouts during the filming of the final episode, and him saying that 15x18 was his last episode is part of the diversion to avoid taking away from the weight of Castiel’s death.
And that Supernatural is actually self-aware of its own material (similar to how they have wrapped things up in the past—lots of expository dialogue, poor execution, but fulfills the story arc)
Since Season 15 is basically a Meta Season (Chuck/God as a writer, pretentiously calling out how he created the worlds, its characters, and basically invalidating the past 14 seasons), and 15x19 is supposedly the finale for Season 15, written by two of the worst Supernatural writers, Brad Buckner and Eugenie Ross-Leming (Bob Singer’s wife), then we can assume that 15x19 is where the shitty writers kill themselves--as Chuck, of course.
So we get a badly written episode that produces a bad ending, or as Becky put it, “All action, and no Cas”
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So we get the bad writers season ending at 15x19.
And 15x20 is where Sam and Dean write their own stories, and where the cast had a hand in pitching ideas for it.
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Dabb has mentioned that 15x20 (Act Two) is a SERIES finale, where they try to resolve the characters’ journeys.
Because as everyone has acknowledged, Supernatural isn’t about the story, it’s about the characters.
So here’s what we can get out of it:
With no more Supernatural beings left to fight, Sam and Dean are in a stalemate. They’ve resigned themselves to fighting to the bitter end, but the “end” has passed, and they’re still standing.
So they try to figure out who they are now, and what they want out of the life they still have.
Sam still wants a normal apple pie life. Before Dean dragged him out of college to go hunting with him, he had a whole life planned out for him. Become a lawyer, settle down with a nice girl, and get a dog. He gave all that up because they had work to do, but now the work is finished, he can finally go back to wanting that for himself again.
Dean finally realizes his self-worth after Cas saves him again. His prayer to Cas in purgatory may have helped him come to terms with his anger, but the whole “you’ve done everything you did for love” speech finally put him in his place, and he learns not to hate himself anymore.
But of course, he cannot fully reconcile with himself if he doesn’t get Cas back, and tell him how he feels.
Because Dean actually wants something for himself this time. Something he knows he can finally have if he can just salvage it.
So maybe this time around, with the help of Jack (off-screen), Dean saves Cas. Grips him tight and raises him from perdition.
They bypass The Empty deal by turning Cas human, and he lives the rest of his days with Dean.
Dean and Cas know they deserve to be saved, and they know that they deserve to be happy.
(Wishful thinking, maybe they kiss a little)
Anyway...
I’m just saying, there’s NO WAY that they’d have Cas go through that whole rushed speech, if they weren’t going to do anything about it later on.
But again, after 10 years of disappointment, I wouldn’t put it past Supernatural to pat themselves on the back and say, “Okay, we sort of gave them what they wanted. We’re good now”
If that’s the case, Supernatural, I’m sorry I wasted my time on you.
Here’s to hoping 🤡
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adamworu · 3 years
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The Subtle Horror of Evangelion
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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
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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
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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.
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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. 
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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.
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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
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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
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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.
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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
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VII. The Infamous Elevator Scene
VIII. Naoko + Casper
IX. The Other End of Existential Horror
VII. The Infamous Elevator Scene
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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.
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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.
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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.
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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
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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.
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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.
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  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.
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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
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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.
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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.
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 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….
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The Dummy Controlled Unit-01 springs back and we’re treated to a close-up of Unit-03/Bardi3l being strangled. 
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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. 
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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.
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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.
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Episode 19 has no problems on treating us to front-row tickets to terror.
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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. 
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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
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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?
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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.
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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.
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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
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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.)
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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.
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The JSSDF scene partway through End of Evangelion in which NERV personnel are summarily annihilated.
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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.
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“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. 
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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.
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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
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“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!
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thegrantwater · 3 years
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how the team handled reid's addiction/recovery
//tw for mentions of drug abuse, addiction, overdose, recovery; gonna be a bit of a long one//
~ reid knew that gideon, no matter how much he cared for him, would never do anything to help him. everything with frank was haunting his mind, and he was far too distracted to really notice how much reid was struggling, but gideon knew that he was using
~ after about 2 weeks from his abduction, he'd been using steadily every day, and hotch was the first member of the team to notice him slipping to the bathroom more than usual during the day.
~ that night after the rest of the team had left, hotch went to gideon and asked if reid had said anything about the abduction, to which gideon gave a noncommittal grunt of "he's stressed, he just died. cut the kid a break"
~ so hotch kept an eye out, off-handedly mentioned that he was there for reid if he ever needed anything
~ 3 weeks and 4 days after he spoke to gideon, he was woken up at 2 am to a frantic call from reid, saying hankel was in his house and was going to hurt his mom. he can't remember the last time he drove that fast, but when he got to reid's apartment he saw the other man shaking and crying on the floor of his bathroom, the tourniquet still tied around his arm and a near-empty bottle of dilaudid next to him. he immediately went into dad-hotch mode, got him a glass of water and just sat with him while he cried.
~ reid wrapped himself around hotch and sobbed, begging him not to report this to anyone because "you guys are my family, i can't lose you, you're all i have" and hotch just lets him, petting his hair and promising him that he won't say anything
~ from then on hotch became the person reid called if it ever got too bad, because he was the only one who he was certain wouldn't judge him. he knew the others would be more than willing to help, but it scared him to be so open with even hotch, let alone the entire team.
~ and hotch keeps his word, he never says anything outright to anyone else on the team. but he does mention to them, on a day reid called in sick, that he's struggling right now and they all need to be there for him. gideon knows, but he never speaks up.
~ penelope and derek were the first after hotch to step up and see what they could do. penelope was the one to finally realize he was using, and when she proposed the theory to derek it took everything in him not to go up and grip reid by the shoulders, shake some sense into him and beg for a way to help him get better, because he just couldn't stand seeing his best friend so hurt.
~ so instead of being overly dramatic about it, they decide that they'll invite him to their weekly movie night and snuggle up on penelope's couch and watch shitty comedies that derek rented from blockbuster until 1 am. spencer falls asleep between them and sleeps soundly for the first time in months, his hand still in the popcorn bowl.
~ after them was emily, who knew all too well what a drug-addled young man looked like. she saw traces of matthew in reid, and was determined to make sure that he didn't turn out the same, because this time she would do something.
~ she started to bring him coffee and danishes in the morning, knowing that he likely wasn't eating nearly as much as he should've been. it was more casual at first, only once a week or so saying "they made extra at the coffeeshop" and placing it on his desk before he could argue. but before long, they were eating breakfast together every morning, and some days even meeting up at a cafe or diner to talk about an obscure french novel they'd both read.
~ jj was the last one to notice something was off about reid, struggling with her own trauma from hankel. she was still blaming herself for him even getting taken, so despite her best efforts to look out for him she barely even noticed when he got bad. after hotch said something to them at the roundtable, she kept a closer eye out for him.
~ she wasn't even sure that she completely understood what was really going on with reid, she just knew that her friend was struggling and that she needed to help him in any way she could. so she started letting him ramble on whatever topic his brain focused on that day, and she did her best to try and understand what he was talking about. she even asked penelope to look up some of the science theories he was talking about so that she could talk about them with him too. seeing how he lit up when someone actually listened made her heart burst.
~ spencer had a feeling, deep down, that they all knew what was going on with him. he also knew that hotch never said anything, just that the people he worked with were incredibly talented profilers and no matter his best efforts to hide from them they'd always know what was going on with him.
~ in fact, hotch never said anything outright to him either, after that first night. but he'd come and stay with reid on the really bad nights, and was the one to set him up at NA meetings, to get him a sponsor. he never made a big deal out of anything, but spencer knew that he probably cared the most out of anyone else on the team
~ and once he got better, started the recovery process, he slowly repaid the team for their kindness. he started paying for breakfast with emily, and hosted movie nights at his house every few weeks. he even watched a soccer match with jj, since that was something she cared about. he never had to do anything for hotch, because he just knew that nothing would ever be enough to show his gratitude. but he'd watch jack so he and haley could go on date nights, and picked up extra paperwork at the office. and it was enough.
//god this one hurt but it needed to be done, idk why but the only way reids recovery makes sense is if the team knew but just kept it on the dl for him and helped him in small ways, ways to make sure he knew they cared//
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diasdelfuego · 1 year
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logistically idg how the mindwipe theory works without also calling into question every louis remembers too cause if armand can wipe whole years and people off daniel's mind, there's no reason why he wouldn't do that to louis (like he's literally already killed the stepchild, probably lying about his role in it still and mind-controlled louis to make madeline) and esp cause when louis asks daniel if he remembers their meeting, etc he sounds genuine so if daniel got fully swiped, louis doesn't even know the extent of it?? . i guess that is a direction the show COULD go but then im just wondering why i'm even watching if everything's fake news
there’s a lot to this question, so i’m going to try and answer it in parts. 
let me start with armand, louis, and claudia’s death: 
first of all, armand immediately admits to pushing louis into turning madeline, even though louis doesn’t seem to even suspect it. he admits it, says he thought he was doing louis a favor, “freeing him” from claudia, and swears that he will never tamper with louis’ mind again. given how the rest of the story unfolds, we have no reason to believe he ever does. 
next, while armand doesn’t outright admit that he orchestrated lestat’s testimony and the trial, one of the first things he says when reunited with louis after louis burns down the theater is that he understands that louis would hate him for his role in claudia’s death. he’s obscuring the exact nature of his role, but he does recognize he’s responsible, and louis knows he is, and still chooses to stay with him. further, armand is the one who tells louis that lestat is alive, apparently hoping that lestat will tell louis about everything armand did in paris. but louis’ reaction is numbness, he basically says so what? do you expect me to be surprised that you pushed claudia into that courtyard with your own hands? do you expect me to believe that you are sorry? that’s what’s so interesting and devastating for me, that louis is fully aware that armand got claudia killed and doesn’t regret it, and that he can choose to stay with him anyway. 
sure, later, in the vampire armand, armand denies some of these things, instead arguing that he actually wanted to help claudia, but really all that statement adds is the confession that he tortured claudia before her death, and that she would have been executed anyway. but, armand’s doctor frankenstein moment aside, louis always knows about armand’s role in claudia’s death and loves him anyway. what’s so tragic and compelling is that they can choose to love each other despite such evil, that louis chooses armand’s ruthless love because he feels it’s what he deserves, and armand chooses louis’ resentful love because it’s real.
because that’s the thing. louis’ love for armand after claudia’s death is a rotten love. a hateful love. but it’s real. 
now, we know what happens in the book. obviously, this is a different story. but these are, at their core, the same characters. one common thread of armand’s character is that, despite his practically limitless mind-power, despite the fact that he might very well be capable of mind-gifting anyone into doing anything he wants, he never uses his power to be loved. lestat rejects him over and over again. daniel spends half of their relationship leaving him. from what we know of armand’s power, he might very well be able to forcibly change these things. but armand wants to be chosen. freely chosen. he demands love, he begs for love, he waits endlessly for love, but he wants that love to be willingly given to him. mind-controlling louis into loving him, or radically rewriting the story of their relationship so that louis can love him believing him to be a completely different person, would go against this core characterization. armand is terrified that he’s fundamentally unlovable, so having to mind-gift his companion into loving him would only make this fear worse. 
so, as to the question of “why wouldn't he do that to louis” my answer is twofold: because he manipulated louis’ mind once and swore he wouldn’t do it again, and because it would ultimately prove right armand’s worst fears about himself. 
just as i was writing this, i got a different but related message, so i’m leaving my conjecturing as to why and how daniel could have gotten eternal sunshine’d for a separate answer. you can find that reply here.
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septembriseur · 3 years
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I want to come back to this article, which I reblogged a post from (after seeing it reblogged by loads of people on my dash). I recommend reading the article if you haven’t done so. Its central argument revolves around the idea that “modern liberal democracy presents itself as non-ideological beyond ideology,” and that ideology itself is always presented in literature/media as unacceptably violent— villainous. (I would argue that, in fact, any sort of cultural “accretion,” in the sense that culture is perceived as "on top of” and obscuring universalized western ideology,  is tolerated only insofar as it is not really taken specifically or seriously. That’s why even characters who are presented as deeply religious (think of Matt Murdock or Rogue One’s Baze and Chirrut) are portrayed as religious in a way that is broad, universal, flexible, and vague. 
One issue that the article doesn’t really delve into is that supposedly “ideologue” villains are actually profoundly anideological, except insofar as their ideology is, like, anti- modern liberal democracy’s lack of ideology. A really interesting example of this is in Iron Man: Tony Stark gets held hostage by a group of extremists whose extreme belief is... well... even the MCU wiki seems unable to provide any detail on this beyond “destroying world peace.” The film employs a weird move where it obviously relies on the Afghan setting of the villainous Ten Rings to suggest associations with radical Islamism, yet also provides evidence that the Ten Rings are not Islamists. On the one hand, it provides a sort of generic Western specter of radical Islamists— brown men speaking foreign languages and living in Afghan caves— and on the other hand it coyly removes all potential religious, political, or cultural motivation for their actions. These guys aren’t impoverished tribesmen who’ve been subject to tumultuous centuries of imperial warfare, and they’re not religious extremists living out masculine power fantasies. They’re just a group of dudes who kind of look vaguely Middle Eastern and kind of sound vaguely Middle Eastern (since Arabic and Persian are the languages we hear the most). 
Of course, there’s a real-world explanation for this: Marvel wants to be able to tap into that specter of radical Islamism without offending Muslim consumers. But the textual effect is to create a picture of the world in which terrorism in Afghanistan is evacuated of all meaning. Don’t get me wrong: terrorism in Afghanistan is unbelievably destructive and to a large extent nihilistic, in that it benefits no one and spreads only despair and suffering. But at the same time, it arises out of a historical, political, economic, and religious-cultural context, and if you refuse to understand this context, then you will fail to understand why people make the choice to become terrorists (or how to stop them).
That’s the real problem here: the creation of a world in which the only rational choice is modern liberal democracy, and all other choices are nonsensical. 
Marvel is a great site at which to explore this, simply because there’s so much of it. (You could also easily look at Star Wars, as MacQuarrie does in that article— why does the First Order want power? New extended universe writers have fleshed this out more in their web of liminally canonical texts, but on screen the answer seems to be, in the words of the also-manifestly-guilty-of-this-and-guilty-in-other-ways Joss Whedon’s Dr. Horrible: “the world is a mess, and I just need to rule it.”) 
The Falcon and the Winter Soldier is a wildly characteristic example of this. It has the thankless task of trying to engage with the effects of the canonically almost effect-free (cf Spider-man: Far From Home) blip, and pieces together a weirdly nonsensical storyline in which the blip enable border-free mass migration, which was revoked when the other half of the world’s population reappeared. The plot revolves around a group of super soldier refugees/displaced persons who want to stop borders from being reimposed on the world. Sam Wilson refers to the refugees as “people who have been welcomed into countries that previously kept them out with barb wire,” and indeed it's hard to imagine any version of this narrative in which the “migration” we’re talking about is the migration of Global South nationals to the Global North. There’s a really plausible specter here: the Global North does source its manual and domestic labor from the Global South while, whenever possible, keeping Global South nationals out with barbed wire. It does make sense that the Global North would import laborers and then attempt to deport them when their presence was no longer convenient. That is, in fact, literally what has happened/is happening in the UK to foreign healthcare workers during the pandemic.
However, as in Iron Man, Marvel wants to mobilize a specter while also evacuating it of all meaning. None of the displaced people we see in TFATWS bear any resemblance to real-world displaced persons. In spite of their United Colors of Benetton racial diversity, they display no marks of culture, religion, nationality, or indeed poverty. They even have British and American accents. They are completely neutral in every way.
This matters for several reasons. First of all, it allows the viewer to differentiate between the migrants on-screen— Western-looking, English-speaking, non-religious— with migrants off-screen: [perceived to be] too religious, non-English-speaking, culturally and racially “other.” Secondly (again as with Iron Man), it removes all context from the act of migration. Why did these people become migrants? Uh... because of the blip, I guess? Beyond some vague references to suffering, it’s never addressed. This allows the viewer to completely detach the question of migrants/displacement from any of its structural context. Why do people migrate in the real world? Because their countries have been completely devastated by warfare, often proxy warfare carried out by imperial states. Because climate change has completely devastated the regions where they live, with or without triggering devastating warfare. Because they belong to ethnic, political, and/or religious groups that are being systematically destroyed by state governments. Because colonialism and neoliberal capitalism have completely devastated the economies of the regions where they live. This is why the stakes of migration are high. 
If, as the show suggests, people just migrate for various personal reasons that really aren’t that important, then the stakes are not high, and we don’t have to feel bad about the behavior of our governments. This is a huge problem at a time when Denmark is shipping Syrian asylum-seekers back to Syria because it’s apparently fine now, Joe Biden is failing to make good on campaign promises about increasing refugee quotas, the UK is housing asylum seekers in situations that violate human rights law, migrant drownings in the Mediterranean Sea have become a regular feature, and the United States has systematically resisted fulfilling its promises to Iraqis and Afghans who risked their lives working for US forces in exchange for visas.
But, like, above and beyond the specific political issue of migration: what is the Flag Smasher ideology? “One world, one people.” I accept that there might be some viewers (mostly those with no knowledge or experience of immigration) who oppose this on principle, but it seems pretty obviously... good. So the bad part is... that they’re fighting for it? (According to people in my notes, this is Bad.) It’s possible to read this as another example of what the MacQuarrie article discusses: personal violence good, ideological violence bad. However, once again we have an example of an ideology that is not ideological, an ideology that is a specter cleaned out of any possible substance. The nonsensical choice here (the one beside which modern liberal democratic norms are obvious) is the choice to commit violence when there is no urgency that justifies this— none of the urgency that, in fact, exists in the real world, and explains why people regularly sacrifice their lives in desperate attempts to escape their homes. 
This is a really good example of how capitalism— a force with no real agency or subject, no evil committee planning its deeds— ends up enacting a project that systematically enforces its ideology. Attempts to render narratives apolitical are themselves profoundly political, even when justified in terms of appeal to the consumer. This is one of the most dangerous aspects of media, IMHO. 
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