The Hypernatural and Supernatural in Madlax -- Episode 19

Episode 19: Essence and impulse, the red and blue moons

Targeted Book ~holy~: 獲本 (Ehon)

note:
The show demands the reading of the character string “Ehon” here. Japanese word “獲” (Eru) means “get”, and is usually read “Kaku” in character strings. So, the title of this episode “獲本” naturally should be read “Kakuhon”. But it is read “Ehon” here, bearing the association of (繪本), which means “picture book.”

Avant shows Margaret reunited with Vanessa together with Madlax. But Madlax seems to have some confusion at her contact with Margaret. Margaret speaks to her. “Are you okay?” Madlax mutters, “Who are you? Who? Who am I?” Madlax reveals a sign of perturbation at the existence of Margaret. Elinore is explaining Vanessa, “Mr. Badgis told us about the situation. And also about what you’re trying to do. …It appears the person who was fighting in the library before is after Miss Margaret’s book.” Vanessa replies, “Margaret’s book? You mean the one I found that bibliodetective for?” “Yeah. But it sounds Eric couldn’t find it.” “Enfant is looking for a book in this country…Margaret, just what is your book?” But Margaret refuses to show it to her. “You can’t.” “Why not?” “Because it seems like something would disappear, so it’s scary.” Madlax echoes, “Seems like something would disappear… so it’s scary.” Margaret appears to have some kind of conviction gained through her intuition. Madlax proposes, “We have a lead. A place I went to with Eric before.” Margaret expresses her wish to go with them. But Madlax will not approve of her company. “You can’t. It’s in a combat zone. We’ll be dodging bullets.” “I still want to go. No, I have to go.” Here, Madlax is speaking the words again, “You’ll die.” In this episode Margaret, who had appeared in the second episode is told these words by Madlax. It will make the audience’s deep concern Whether these words that have foretold the death of the people addressed to applies to Margaret also, making a kind of law in fictional perspective, or not. “Margaret continues, “Even so, I want to know the truth. Are you any different?” “Who knows…” Madlax won’t give a definite answer for some reason.”

It appears the story is beginning to take a definite shape with Madlax and Margaret joined. But it is still undecided how characters’ relationships are going to be organized in order to lead to any meaningful conclusion.

Background information that must construct the main axis of the fictional world has not disclosed its full scope yet. Though some details are exposed, there are still more doubts concerning the motif of this show, rather revealing more lack of information. Most interesting thing is that even at the ending scene of this anime, there seems to be many backgrounds information left unclarified. By confirming how relationships of characters are organized and lead to conclusion, one will discover unexpected judgement that opposes the customary convention of fiction making has been chosen at the end. It is expected to be the core motif of this fictional work how one should appreciate this decision as a peculiar subject, and also manners of expression adopted in the course of revealing it.

Quanzitta and Nakhl are talking together. “Margaret Burton and Carrossea Doon of Enfant… Two people with the Gift are heading for this land, aren’t they? …It’s almost thirteen years since the day the door was opened. The time is near. I feel it.” Nakhl asks, “Lady Quanzitta, there is someone I don’t understand. …She doesn’t have the Gift, and yet she carries a faint scent of it. I had never sensed such a thing from anyone before. …She is another seeker of the books.” Quanzitta seems to have some conviction. Many people are depicted acting in unwavering conviction following after their intuition without needing any inquiry for the basis of their judgement in this anime. The ability that enables one to acquire ultimate knowledge or essential comprehension that is gained surpassing the limit of spatial or temporal restraint, without resorting to logical inference based on intelligence objectively confirmed, has been understood by the philosophical term “intuition”, as some sort of psychical ability traditionally acknowledged in human existence. The spiritual power has been generally acknowledged in various culture areas through the act of divination and dousing.

After the discovery of quantum physics, the ability of intuition has attracted the concern of many researchers of physics, as the key topic in the reconsideration of the concept “consciousness”, that is supposed to unravel the mystery of the holarchical structure of the universe that is capable of connecting the subject of consciousness with all the world free from restriction of locality. Consciousness study that is expected to bring the clue for discovering the significant implication of “Universal Awareness” that causes qualia, forms the basic research subject not only in the field of psychology, but also in the field of physics, in its aim for the construction of integral cosmology. Many scientists who seek for a synthetic vision unifying the knowledge of science with philosophy and metaphysics such as James Beichler, Neil Theise, Federico Faggin, Jack Sarfatti and Dirk K F Meijer are trying to reorganize scientific understanding in order to unravel the mystery of consciousness.

For instance, James Beichler, who proposes a revision of unified theory by introducing a new kind of field theory called “Single Field Theory”, talks about the relation between consciousness and the universe as follows.

Since consciousness can collapse the wave function to determine physical reality as well as play a pivotal role in the emergence/evolution of the material universe, consciousness and the single field theory together form a branch of science that should henceforth be called Neurocosmology.

While acknowledgement of consciousness’ intervention in the form of “observational effect” at the generation of existence/phenomenon presents a problematic notion that suggests the existence of transcendent worldview deviating from scientific norm, the peculiarity of consciousness Beichler points out rests in the fact that a subject of consciousness is principally able to construct various speculations and delusions, free from mechanical domination restricted in the workings of objective physical existences as science advocated as its systematic basis. The power of speculative thinking that is able not only to reconstruct information of perceptions and emotions gained through physical experience and disposing them in a series of events in a similar manner to the description of one’s recollection, but also to envision possible worlds surpassing the limits of phenomenality after the guidance of imagination inspired by free will, must be linked with the essential modality of the universe at the metaphysical plane. Beichler asserts that consciousness is able to exercise its indeterministic functions free from deterministic restraints of mechanical cause-and-effect chain enacted by particles as mass points.

Indeterminism, as a characteristic of the ‘absolute elsewhere’, allows consciousness to abstract ideas and concepts whether they are historically real (follow along the events time-line) or not. So consciousness allows us to think beyond the limits on the brain/mind and associated sensations that are restricted by our experiences which are material reality oriented within what we perceive and have perceived in our personal light cones. This is an important feature of consciousness often associated with imagination, abstraction, thought, intuition and other ‘qualia’ which are all important facets of consciousness.

note:
James Beichler: “The Emergence of Neurocosmology”, (2016).
https://www.academia.edu/27662437/The_Emergence_of_Neurocosmology_Evolution_physics_consciousness_physical_reality_and_our_experiential_universe

Cosmology must be considered as a subject of metaphysics focusing on the function of consciousness following after the instance Beichler has presented in the form of an attempt for innovative unification theory. The ability of fiction making consciousness exerts unrestricted within the mode of faithful description of the phenomenal world, stipulates metaphysical reconsideration of the implication of fictionality in its cosmological perspective. If free will is admitted and intuition fulfills its function in our grasp of the intrinsic principles for the generation of phenomena in the universe, teleological implication of fictionality must be asserted as trials of original world making performed by consciousness through secondary creation of worldview. Metaphysical speculation has nothing that differs from fictional description in its principle, in the working process of setting up hypotheses and attempting secondary construction of possible worlds based on them. And if it is the ultimate purpose of the autonomous evolution of the fundamental awareness to contemplate on its own latent, phenomenal and possible modes, endeavoring minute and multiple formation of viewpoints, fictional creation must be acknowledged as the most proper mode of its activity adequately fulfilling the purpose. Reevaluation of the implications of “meaning” and “time” in the course of universe’s generation and development should be considered as indispensable subjects for the speculation on the ultimate truth of everything. The motif is going to be developed through redefinition of the principle that rules every mode of disintegration and unification; and reexamination of its specific traits as data processing, will finally contribute to constructing the central axis of the show.

Driving a car heading for their destination, Vanessa asks, “Say, Margaret, where did you get that book?” Margaret answers, “When you gave me the red shoes as a present, I sort of remembered…” Madlax reacts, “Red shoes?” Margaret continues, “…that this book I’d stored away for so long was a present from Father. …If I find out about this book, I might find out about Father. And my memories, too.” Madlax asks, “Memories? …How long ago did you lose your memories?” Margaret answers, “I don’t remember anything from before twelve years ago.” At last, at this scene, Madlax and Margaret have gained some clue for the mystery that connects them.

Caught in ambush attack, they all jump out of the car. Getting bombardment close to her, Margaret says, recalling the scene of ruins, “This is familiar…” This line is another instance showing the tactful technic of hypernatural directing method. Emotion evocative dramatic directions introduced in many films in past Hollywood movies sometimes had made the audience get bored, but depiction of detailed fictional reality quite different from the imitation of real world is able to exert persuasive effects unto thorny intelligence, because it produces keys to gain insight into the phenomenal world and also into possible worlds concealed behind it.

Just then, Carrossea has annihilated the subordinates of Enfant and destroyed their trace by setting fire on the building. Madlax and her friends have run into the woods. Madlax decides to meet the enemy by herself. Margaret asks, “Does that girl kill people?” Vanessa says answering her, “No. She fights in order to live. To live…” Vanessa is speaking the words told by Madlax in place of her. Margaret asks back, “Killing people to live?” This line proves to be an ironical utterance, when her hidden relationship with Madlax has been revealed afterward. There are countless underplots hidden in the background. When Madlax looks up, there is a blue moon hanging in the sky. “It looks like I’m going to have another reason I can’t die. Another one…” Madlax continues to kill her enemies one by one. “It’s over now? Why?” Limelda has aided her, killing the rest of the soldiers. There is a red moon hanging in the sky behind her. Limelda mutters, “I won’t let anyone interfere. That girl is mine.” Insert song “I’m here” is running in the background.

One of the soldiers approaches Margaret. Margaret utters a strange cry in front of her enemy, and the soldier hesitates to give her an attack for an instance. But the scene that might have been enacted there has not been materialized in front of audience’s view. Though a similar scene now is repeated as the one introduced in episode 6 when Maurice Ropez tried to violate Margaret, the story goes back again to the underplot mode. It is the ingenious tactics this show has chosen not to arrange its storyline into a definite form representing directly conceivable idea, but to construct hyper-real complication through meandering courses. It was Nakhl that killed the soldier who has come from the village Dwaiho to see Margaret. “That was close, Margaret Burton.” Nakhl takes Margaret to Quanzitta.

Carrossea breaks into the room of Friday Monday. Friday asks, “Carrossea Doon. I don’t recall asking you to come here. Why did you?” Carrossea answers, “Because I, not you, am the one most suited to possess the book.”

Reunited, Quanzitta behaves as if she knew Madlax’s name, though Madlax didn’t tell her name to her at their first meeting in the village of Dwaiho, in episode 8. Quanzitta says, “Yes, I remember you, Madlax. My name is Quanzitta Marison.” In the case of Eric Gillain, he was able to discern Madlax’s name which he had had no means to attain information of, by the contact with the supernatural power of the “ordinary place”, that gave him the opportunity to regain his memory. As for Quanzitta’s case, though Nakhl and others may have reported Madlax’s doings, it may not have been necessarily through scientific technologies used for communication. This undisclosed background information is supposed to function to construct the basic rules of the mechanism concerning the relationship between Madlax and Margaret. It suggests some kind of idea through which one is able to gain integral understanding of the deep nature of consciousness with which one may be able to explain the hidden law ruling the mechanism of shared sensation and manifestation of synchronicity. Behind many disrupted camouflaged subjects, there is a concealed formation laid in the form of cleverly wrought ambush. Margaret asks, “Please tell me about this book, ma’am.” Quanzitta answers, “That book is called ‘Secondari.’ Your book is the second of three.”

Friday is telling Carrossea, “Carrossea, you can’t wield Firstari. And these books have no meaning unless all three are brought together.” At the same time, Quanzitta is telling about Margaret’s book. “Even I don’t know who wrote the books, or when. However…”

Manipulating cut back directing method, each pair of Friday and Carroussea, Quanzitta and Margaret is shown leading the audience to the core notion of the story weaving the line of their conversations. This is the instance of a splendid development of calculated effect as a fictional work wrought up through presentational device of matter-of-fact reality description attained in a possible world. The viewpoint of audience integrates these into the perspective of a particular fictional work establishing peculiar observer’s viewpoint which generates special implications only fictional presentation is capable of producing. The accomplishment can be understood as higher mode of manifestation of a qualia. Carrossea says, “If you bring all three books together, you can open the door.” And Friday answers, “Yes. You can get to the door that leads to that place.” Laetitia mutters, “You can come here.” Margaret is asking, “What would happen if I opened that ‘door’?” Quanzitta answers, “You would know true kindness and true warmth. Yes, you could know the self that you were meant to be.” Carrossea mutters, “Human essence.” Friday tells, “Yes. The melody called ‘urge’ that sleeps within the depth of the human soul is playing in that place. It’s a sublime and primitive thing. A beautiful melody that will destroy this false world of ‘morals.’ I want to hear it.”

Interestingly, Quanzitta and Friday are talking quite opposite things about the effect that is caused by the power of the other side of the door. Polysemy or ambiguity is the important property that lies in the region of unconscious, or archetype. The transcendent essence of the primordial archetype often manifests its form in quite different appearances when materialized in the phenomenal world. According to Marie=Louize von Frantz, who made great contribution in developing Jung’s philosophical ideas at C. G. Jung Institute at Los Angeles, “shadow”, being materialized out of subconscious, sometimes assumes a satanic hostile figure and sometimes reveals itself in a very friendly and favorable appearance as if bringing some sort of graceful revelation. This suggests the inversion principle similar to the principle of “coincidentia oppositorum,” Nicolaus Cusanus asserted. The same inverse doctrine is found in the Chinese philosophy of Lao‐tse and Chuang‐tse which forms the spiritual basis of many Eastern cultures including Japan.

As an example of conspicuous reality recognition reflecting the ambiguity of archetype before the discovery of the idea posited by Jung, we can point out the transcendental motif of finding eternal truth surpassing the standard of ethics, pursued by the Victorian poet, Robert Browning. In his collection of poetry Men and Women, Browning tried to depict scenes of happiness gained in crime and beauty manifested in agony repeatedly, as contradictory instances of ultimate truth manifested in the world’s phenomenality. Intuition seems to reveal primordial images in various modes in human mind beyond spatial and temporal distances. These are peculiar examples of fictionality constructing divers viewpoints in front of observers, who are able to organize discrete values through contrasts among countless events generated in possible worlds, which principally bear no connection by themselves. Manipulation of meaning axes that are produced through descriptions of fictionality confers, suggests possible insight for latent perspectives superposed as innumerable possible worlds. Consciousness not only plays positive function in the course of generating phenomena into actuality, but also in the manner of contemplation on latent possible worlds by means of speculation gained by appreciation of fictionality.

Madlax mutters, “Know the self you are meant to be…” Margaret asks, “So does that mean that if I bring the books together, my memories will come back? And I’ll find out where Father is?” Quanzitta answers saying, “That depends on you, Margaret Burton.” Carrossea declares, “Then I suppose I’ll try listening to that ‘melody’ as well.” Friday answers, “You can’t go to that place.” Carrossea says, “Even if that’s true, there’s someone who will guide me.” Margaret is asking, “Where are the other books?” Quanzitta answers, “Enfant has the first book, Firstari. I am in possession of the third book, Thirstari.” Friday is asking back, “Guide you, you say?” Carrossea answers, “What if I know the one who possesses Secondari?” Quanzitta says, “Margaret Burton, obtain the other book. When you do that, I will give you Thirstari and lead you to the door.” Carrossea announces, “I will get Firstari from you and go to that place with the one who possesses Secondari.” Laetitia mutters, “They’re coming here.” Margaret also says, “I want to go.” But Madlax hesitates, “No.” Carrossea continues, “I’m going.” Madlax is resisting, “No.” Margaret says, “I have to go.” Carrossea gives Friday his final notice, “I’ll return to myself!” Shooting down Friday Monday, Carrossea mutters, “Now, I’ll have you lead me there, Margaret Burton.” Margaret also is saying, “I…, I want to know myself. So I’m going.” Only Madlax is refusing, “I’m… I… No. I don’t want to go.” Laetitia mutters, “No, you will come. To find out who you are.” There are red and blue moons hanging in the sky over Laetitia and Poupee. Laetitia’s view commands both spaces where Madlax and Margaret occupy and where Carrossea and Friday are located, and audience’s view commands both adding the higher phase space Laetitia is situated at the same time. Audience’s viewpoint watching the anime Madlax is set at the all-encompassing phase space where every possibility of the primordial can be observed in parallel sequences. Among various modes intelligence is able to assume, ones gained through speculation on fictionality are only able to form a bunch of multi-layered integrated qualia surpassing any awareness gained through actual experience as perception.