The Hypernatural and Supernatural in Madlax -- Episode 24

Episode 24: Death flag and goddess of destiny

Devoted Heart ~hearts~: 献心 (Kenshin)

Avant starts with a recollection scene. Vanessa picks up Elenore on her way home from shopping. “Don’t you go out and have fun? With your friends.” Elenore answers, “My job is to take care of Miss Margaret.” Vanessa suggests, saying, “But it’s pretty tedious if that’s all you do, isn’t it? You need to let your hair down sometimes and…” Elenore replies to her, “It’s not tedious at all. Miss Margaret is… Miss Margaret is my…” Elinore’s line falters and the scene is taken over by the figure of Margaret standing in Friday Monday’s mansion.

Quanzitta’s voice is speaking. “Madlax is the one who possesses the page missing from Secondari. The girl with the same name as the man who stopped Friday Monday from gaining his wish when he opened the door twelve years ago. That was the beginning of the road to the end.” Madlax tells Elenore, “I’ll draw these enemies’ attention to me. …If I don’t come back within three hours, act alone.” Madlax adds her words, saying, “Look for Margaret Burton. I’ll leave her to you.” Elenore asks her, “Why are you going this far for her?” Madlax answers, “Because of a promise I made to a friend.” Madlax is seeking for the reason of her existence in the promise made with Vanessa, who is not living any more. Madlax appears in front of the enemy soldiers in the similar dress she had been wearing in episode 1.

A battle scene is developed in the jungle similar to the one witnessed in the episode 1. Shooting the soldiers without enmity, Madlax mutters, “So I’m sorry.” Both figures of Madlax dodging the bullets skillfully and her body pierced by the bullets are shown on the screen. The trajectories of the bullets are exhibited in various colors. The meaning of the strange scene Madlax displayed in the opening part is now disclosed. Though there is no direct mention of it, this seems to suggest the overlaying potential states advocated by quantum mechanics in its many worlds theory, supposing parallel worlds generated as forked universes as the result of observational effect caused by consciousness. Madlax annihilates the whole troop together with a tank. What she manipulates are only gun and some explosive, and no supernatural means is resorted. But these are always used most effectively and to the best result. Madlax has already sound conviction in her own psychic ability. “The woman who can’t die: that’s Madlax too.” She even faces the formation of helicopters undauntedly. “So come here, everybody. Good boys.” She utters those words as if she had transcended the human limits and reached to the status of a goddess, who is able to govern human lives. Maybe lack or separation of some element out of various qualities that constructs human being initiates the generation of a god.

In Oscar Wilde’s fairy tale “The Fisherman and His Soul”, a fisherman falls in love with a mermaid who is a pagan creature and has no soul, decides to sever his shadow off in order to be married with the mermaid, by the advice of a witch. The divided shadow was actually his own soul, and it tries to be united with the fisherman again following after him like an evil spirit, exercising various abilities and gathering knowledge that were not of the capacity of the fisherman, in order to fulfil its desire. When endowed with body, heart and soul he was just an ordinary human being, but after the soul, one of the three parts constructing his entity, has been separated from him, it becomes something like an evil spirit with supernatural power. This is one instance of the phase shift of psychic modality, in which a god is generated out of a man. As man and god had been separated in ancient mythology, a god can be constructed out of a man. This is an interesting metaphysical suggestion on the characteristics of psyche focused on the relationship between god and man pursued in the mode of fictionality. A fictional work is able to attempt to develop a speculation on the modality shifts between god and man, through its description of implicate possibilities the universe may contain.

One of the officers comes to Friday Monday and reports the situation of the battle. “Squad A and Squad C were completely wiped out.” “Oh, were they?” “By just one agent. And the wench was just a kid!” But Friday is not surprised at all. “Yeah, she can do that. For some one using the name ‘Madlax’, that’s child’s play.” Friday Monday shoots and kill the officer who will not accept the cold fact sticking to the prestige of a military man. Friday mutters satisfied, “I’ll become intoxicated with the sound of that girl’s singing and make my way toward that place. Along with the sound of Margaret Burton’s singing.”

Madlax notices an enemy following after her, and mutters, “Two hours and 35 minutes. I have to go. But I’m sorry. I’m going to be late, so go on ahead without me.” There, Limelda appears. Without words, Madlax and Limelda exchange their guns. Both of them seem to understand each other’s mind. Laetitia mutters, “By taking life, by throwing life away, they confirm one another’s existence. Humans are such tragic creatures. But I hold that quality beloved.”

Here, a recollection scene starts. Elenore is taking care of Margaret kindly. Elenore is saying to Margaret, “Because it’s my… my wish.” Elenore goes into the woods. Two soldiers call Elenore to halt. Though Elenore takes the gun away from one of the soldiers in a quick motion, she will not fire it. “Even if it means pulling this trigger, I want to see Miss Margaret. But… If I do things like this, Miss Margaret will… “Making some decision, Elenore starts running and comes to the edge of a cliff. From behind her, a gunshot sounds.

Madlax and Limelda are shooting each other in a close distance. Limelda inquires Madlax who will not hit her averring her aim, “Why? Kill me. Kill me!” Madlax answers her saying, “I have a request. Watch me to the end. I want you to remember the existence that is ‘me’. Don’t forget me. Please, Limelda Jorg. Let me be within you. Thank you.” Limelda calls her back, “Madlax?” “Goodbye.” Leaving Limelda, Madlax goes away. Limelda, left alone, mutters, “Sheesh, that girl… That was like a declaration of love.” The element of girls love that was insinuated between Vanessa and Madlax, is now to be confirmed between Madlax and Limelda. Madlax has chosen Limelda as an observer to confirm her existence, who had killed Vanessa by her own hand. It seems Madlax bears no enmity for the culprit who killed her friend, having killed countless people in order to survive.

Though severely injured, Elenore somehow reaches to the flower garden where Margaret is. Elenore calls to her, “Miss.” Margaret turns around hearing Elenore’s call. But something is amiss in her attitude. “Who are you?” It seems Margaret is not able to recognize Elenore. Elenore says, “I’m Elenore Baker. I’m Elenore, the maid who’s been serving you for a long time.” Margaret at last answers, “Elenore? …Oh, Elenore. But why are you here?” There is no information afforded about what is happening in Margaret’s mind. Elenore talks to her, “I came to get you, Miss.” Elenore continues, having decided something in her mind, “For a long time I’ve wanted to get your memories back. But it’s all right if your memories don’t come back. The most important thing is that you’re yourself.” Margaret asks back with unexpected words. What good do things like that do? That’s just being alive. It’s the same as being dead. I don’t want that.” Exceedingly cruel words are spoken by the girl who has been both Elenore’s mistress and friend. There, Friday Monday appears. Elenore asks him, “Who are you? What do you mean to do with Miss Margaret?” Friday answers, saying, “I’m going to give her what she desires. That’s my wish.” Elenore says, “Please give Miss Margaret back. Please give her back.” Friday seems to have full grasp about what is happening to Margaret. “That’s something her essence will decide.” Elenore points on Friday with her gun. Friday, without hesitating, tells Margaret, “Margaret, give her a present as a tribute to the conviction that brought her all the way here.” “The words of awakening?” “Yes. The words of awakening.” “Elda taluta.” “The words of the Essence.” “Sarks sark.” “The words of truth.” “Ark arks.” Friday speaks. “So, what’s the urge that sleeps within her? Liberation from her constrained life? Or hatred towards you?” It seems Friday discerns the essence hidden deepest in people’s mind. Elenore gets affected by the words and points the gun to Margaret. Friday says, “Well, well. It looks like she’s hated you. This isn’t rational. It’s an impulsive act.” The implication of this line was just what Elenore suggested in her own conjecture about the inexplicable motive of the murder case of Piederica Morrey, committed by his own daughter, answering the question raised by Vanessa, when they were watching the TV news in the episode 4. Margaret speaks to Elenore. “Do you want to kill me? Is that what you desire? It’s okay, you can shoot. …Tears…” But Elenore succeeds in gathering herself. Elenore points her gun on Friday again. “Let Miss Margaret go. Get your filthy hand off Miss Margaret.” Astonished, Friday mutters, “Her essence demonstrates love?” Margaret also talks to Elenore as if she recollected something. “Elenore…” Elenore responds, “Miss.” Margaret also cries, “Elenore!” “Margaret. You’re… my… my… family.” But Elenore falls down on the ground.

Past scenes are displayed. Margaret is talking to Elenore. “Elenore, will you stay with me forever?” Elenore answers, “Of course. Because that’s… my wish.” Laetitia talks to Elenore, “I’m sorry.” “Don’t be.” Elenore holds her in her arms and draws her to her chest. It seems Elenore has come to the “ordinary place” where Laetitia exists. Margaret sits down beside Elenore lying in the flower garden. There, Madlax appears. Madlax mutters, “Why did she go that far?” Margaret says, mournfully, “She died. Elenore died.”

As Madlax spared the life of Limelda in her battle with her, she had Vanessa killed by Limelda. And this time, as she was engaged with the useless battle with Limelda, she has left Elenore killed by the soldiers. How is she going to treat Limelda who murdered Vanessa she made friends for the first time, and who caused the death of Elenore, most intimate friend of Margaret. It is expected that some core factor that determines the fictional perspective of this show will be indicated there.

The Hypernatural and Supernatural in Madlax -- Episode 23

Episode 23: Enticement, choice and killing intention

Lost Hearts ~doubt~: 迷心 (Meishin)

Avant shows the scenery of ruins in the moon. A girl is screaming. “I missed you, Father! Stop! Why are you doing this?” There are figures of little Madlax holding a gun and little Margaret in tattered clothes. Margaret’s doll is lying on the ground. Laetitia mutters, “Yes, that’s me. …Hurry here.”

Friday Monday holds Margaret gently, covering her in his coat. Madlax is lying under the cliff, consciousless.

Friday is muttering in his mansion. “To think those who discern the era would get in my way. But she will come here. If she is Madlax, she will. As long as Margaret Burton is here, she will.” Besides him, Margaret is lying on a table with her eyes closed.

Madlax regains consciousness under the cliff. “I’m not injured. Was that a dream after all?” Nakhl talks to her. “No, it’s reality. I think you know why you’re healed.” Madlax understands. “Yes, you are right.”

Madlax has recovered from the injury caused by Margaret as she had done from the gun shot given by Limelda. Nakhl asks her, “Margaret Burton tried to kill you. Why?” Madlax answers, “Because I committed a crime. It’s only what I deserve.” Nakhl asks again. “Are you seeking death?” Madlax answers. “I’m just bad at living. That’s why I lost even my only friend. Maybe it’s okay for me to just disappear now.” Nakhl talks to her. “If that’s what you want, you can go ahead. However, living people have things they need to do.” Hearing this, Madlax asks. “Where’s that girl? Where’s Margaret?” Nakhl answers, saying, “She’s gone. Along with the masked man.” Friday is nestling close to Margaret lying in a bed.

Nakhl says, “Yes. He’s probably trying to open the door using Margaret Burton. No, the door may already be open.” But Madlax takes out a piece of paper. “No, it can’t be. Because this is here.” Nakhl asks. “What’s that?” Madlax answers her, “Now I understand. This is a page of the book Margaret Had. The truth of twelve years ago. And me myself. …I’m going. Not to kill people, but to do what I have to do.” Seeing Madlax off, Nakhl mutters, “I am sorry, Lady Quanzitta. I’ve done something that I shouldn’t have done as a discerner. However, I have no regrets. I just can’t help but be drawn to her. Madlax…” These words spoken by Nakhl functions as one of peculiar perspectives affording the meaning of the existence of Madlax and confirming the directing strategy of this anime. There are some people who advocate in their own ways the meaning of Madlax’s existence who has been declared to have “no Gift” and sentenced to be different. Madlax is talking to deceased Vanessa. “Vanessa. I’ll keep my promise to you. I will keep it. So I’ll say my goodbyes after that.” Laetitia is muttering somewhere. “They’re getting closer and closer to the truth. Soon, I’ll return to myself.”

Margaret is walking in a flower garden. “This flower… A yellow flower… Father!” “A helianthus, eh?” Friday tells Margaret. “Do you know what the helianthus means in the language of flowers? …It means ‘enticement’.” Margaret understands. “Oh. So this flower is luring someone here, huh?” “Yes. It’s enticing you here, Madlax. By your coming here, my twelve-year loss of time will be made good. Soon I’ll have what I desire.” It appears that the meaning of the flower helianthus, which was described in the episode 4 where Piederica Morey was killed by his own daughter, is going to be disclosed in this episode 23. This is one of the instances of fictional meaning configuration that has similar mechanism to the principle of synchronicity. These crossings of meaning axes come to determine the qualia peculiar to a fictional work. Just as each perception constructs qualia, a story endowed with particular perspectives is to be acknowledged as one of many modalities of intelligence corroborated by the mechanism of synesthesia for a subject of consciousness. Though Margaret is calling Friday Monday “father” lovingly, the reason is not given to the audience. This is one of the most peculiar hyper natural descriptions adopted in this anime.

By Nakhl’s guidance, Madlax and Elenore comes near the vicinity Margaret is now located. “This is Kalistale. The area of the most violent warfare in all of Gazth-Sonika.” Nakhl explains the cause that started the civil war. “By using the three books twelve years ago. …Margaret Burton, who has the Gift, makes that possible.” Madlax says, “Leave the rest of this to me.” Elenore insists, “No, I’m coming too.” Madlax answers, “No, you’d die.” This time, Madlax’s words that foretell the death of the addressed ones are told to Elenore, who has been both an obedient maid and efficient guardian and sometimes like a stalker have persistently followed Margaret.

Margaret is talking to Friday in his mansion. “Say, Father, shouldn’t we go? I want to go with you.” Friday answers, “I’m sorry, but will you give me a little more time? I’m waiting for the girl with the same name as my old friend. Yes, for Madlax.” Though this seems to be a very important information that tells about the relationship between Friday and Margaret’s father, it is a limited disclosure leaving too many voids in its content. Hearing the name, Margaret utters surprising words. “I hate that girl. So it’s okay for me to kill her, right?” Margaret is now assuming something like an expression of evil will that has been foreign to this girl. Friday answers her quite complacently, “Yes, quite all right. You can do whatever you’d like, Margaret.” Margaret asks, “If that girl dies, will you be happy too?” Friday answers, “Of course.” Margaret’s lines seem to indicate not only some special psychical phase between Her and Madlax but also universal quality that is commonly discoverable in human mind. “I’ll kill her, then, I’m going to erase her existence.” Friday seems to be much pleased with her words. “You’re magnificent, Margaret. Even without opening the door, you’re infinitely close to the human Essence. It’s almost as if I can hear that place’s melody.” This is a peculiarly interesting conversation that seems to explain the word “Essence” Friday has told repeatedly. But the reason is not given why Margaret was calling Friday “father”.

Elenore asks Madlax. “Is Madlax your real name?” Madlax answers her, saying, “No. I didn’t have any memories of my past, and I only remembered the word ‘Madlax’. So I made that word my code name.” Elenore tells her. “Miss Margaret was the same. She’d lost all her memories except for the word ‘Madlax’. Please tell me. What’s the relationship between you and Miss Margaret?” Elenore is telling the secret of her mistress to Madlax, like as she did to Carrossea, who visited Margaret for the first time in the episode 13. It is supposed she had intended to gather information about the mystery Margaret had been involved. This is another instance of hyper natural directing method indicating the chain of latent meanings with occasional emergence of fragmented pieces of information. Madlax answers her, saying, “I’m not sure. But she and I are connected. …Yes. That I can tell. So I’m going to her. To know who I really am. To find out the truth. And to keep a promise with my friend.”

Madlax and Elenore goes together into the woods where most fierce battles are engaged. Madlax readily meet the enemy. But one of the soldiers points his gun to Elenore and prompts Madlax to throw her gun away. Elenore urges her to keep fighting ignoring her condition. Madlax doesn’t seem to succumb to the order of the soldier. She unhesitatingly shoots down the bullet fired aiming at Elenore. It seems Madlax has got sound conviction of the psychical relationship between her and Margaret, and also of her ability that comes close to supernatural domain. Her peculiar faculty enacted in battle scenes may be some sort of revelation of the power Margaret exhibits in the choice of her destiny, in limited condition of gun fight.

Laetitia’s voice is saying somewhere. “You are affection within madness. A kind killer.” Against the blue moon hanging in the sky, Madlax answers, saying, “Yes, that’s Madlax. I have something I have to do. That’s the truth I chose of my own free will.” “Truth” determines personality as particular “meaning” generated by the subject of consciousness through the act of choice by free will.

The Hypernatural and Supernatural in Madlax -- Episode 22

Episode 22: Essence, impulse, ordinary place and perception of existence

Violent Feelings ~rage~: 撃情(Gekijo)

note: “激情”
This is a coined set of words string. The reading reminds of other Japanese homonym “激情” = violent feeling. “撃” means “gunshot” and “情”means “feeling”.

In the avant, Friday Monday is speaking, “Firstari. Secondari. Thirstari. They are the human Essence. The thing which demonstrates that people are people, which wakes up even the urges that sleep within the depths of instinct.” Laetitia appears there, and speaks to Friday, “Do you mean to do that all again?” Friday looks back, saying, “A residual fragrance, eh?” “Do you like it that much when people kill each other? Everybody will vanish again.” Friday answers to her, “All people are seeking that! They just don’t realize it. I’m trying to lead the people to a place where they won’t be ruled by that thing called consciousness.” “That place is…” “It’s paradise. I will save the human race. Using this book…” “But I’m alone.” “What?” “Look.” Laetitia shows Friday Margaret’s picture book. Friday is astonished to see it. “What is this? There’s a page missing. Why?!” Laetitia says answering Friday, “You can’t find it. Because the truth is on the other side.” Friday Monday replies to her saying, “In that case…” Then, Margaret sits up on the table where she has been lying.

Madlax wakes up in her bed at dawn, and inspects the wound Limelda gave her. The trace of the injuries is disappeared. Madlax mutters to herself, “Even if I want to become normal, it’s impossible. Yeah, I thought I’d known that all along, but…” It seems the same phenomenon has occurred to Madlax as Friday Monday revived from the shot given by Carrossea in the episode 20. It seems as if they have followed to some preordained results, they are not capable of altering. That may have been fatal lack of choice to lose their lives. This reminds of the strange scene at the beginning of episode 1, where Madlax fell into the jungle with her parachute malfunctioning.

Quanzitta tells Nakhl saying, “Nakhl, Margaret Burton refused to open the door. As the one who discerns the era, I can feel it.” “Why did she do that?” “I do not know. But it’s also our job to continue watching events unfold.” Nakhl mutters to herself, “Something is making Margaret Burton refuse. The thing inside her that’s holding her back is probably… Madlax.” Nakhl is guessing the truth that lies between Margaret and Madlax following her internal conviction.

Rising up out of the table in Friday’s room, Margaret steps outside of the mansion following Friday’s direction. “I have to find out… I… That person…”

Madlax is telling Vanessa. “I feel it… Her presence. Margaret Burton’s presence.” Elenore asks her, “Really?” Madlax answers her, “On the other side of those mountains.” Vanessa inquires her, “How can you tell?” Madlax answers her, saying, “Probably because I’m the same as her.” Margaret is wandering in the woods. Madlax and other two girls go into the woods seeking Margaret and run into the battle zone. Vanessa says, “This is dangerous, Madlax. Let’s take the long way around.” “I’m sure I’ll be fine.” Answering her, Madlax runs into the two opposite forces battling. In an instance she annihilates both armies.

Margaret is recollecting the scene Madlax killed her father. “Why? Why did you… Madlax… Why? Why?” There, a soldier appears and calls Margaret to halt. “What are you doing? You aren’t from this country, are you? Why are you here? What are you doing here?” Margaret cries, “I don’t know. …Who are you? …Am I going to die?” The soldier pushes Margaret down violently. “That hurt.” Margaret cries. The screen shows Margaret’s face with an expression of murderous intent. Then follows a scream of the soldier resounding in the woods. It appears at this scene, previously suggested hidden power of Margaret in the episode 6 at the scenes of a butterfly caught in a spider’s web and delinquent youth Maurice Lopez trying to exert violation to her, at last manifested itself. But the concrete effects of her latent ability seem to be hindered to be confirmed by the audience, though Carrossea acknowledged its overwhelming superiority to his and even Nakhl was not able to overcome it. At any rate, Margaret seems to have made some choice here. This is one of the typical instances of the hyper real description adopted in this show where core axes of the fictional setting are intentionally hidden to the audience. Margaret’s peculiar ability and its concrete effect are not directly shown to the audience here. This is the peculiar directing strategy suggesting the existence of hidden perspectives and emphasizing the incompleteness of the fictional world presented as a show, leaving its void even after the basic structure is shown in its full scope, completely different from those concepts accepted with the words such as underplot or metaphor.

Madlax turns around in order to hold off the enemy coming after them, and finds Limelda who has followed her. Madlax mutters, “Limelda…” Limelda says, “Madlax, I’m going to kill you.” Madlax answers, “That’s impossible.” Both of them point their guns to each other.

Friday Monday appears in front of Vanessa. Friday calls to her, saying, “Vanessa Rene.” Vanessa asks him, “Who are you?” Friday talks to her in a complacent attitude. “Someone without the Gift can’t accomplish anything even if they are here. Or what? You’re not still hung up on what happened to your parents twelve years ago, are you?” “How do you know about that?” “Right now there’s something I want. If you tell me about it, I don’t mind answering your questions for you. There was a single page missing from Secondari, the book Margaret Burton had. I want to know where it is.” Vanessa recalls the words Madlax had spoken. She was saying, “The cover of the book Friday had was exactly like the letters written here.” Friday Monday continues, saying, “What I desire is to create a pure humanity. …This country’s civil war, too, is something the purity of humans brought about. …It wasn’t because of religious conflict or for the interests of the nation. It was the Essence of the people living in this country… That pure urge sought war. That’s a very natural act.” Vanessa inquires, “What about my parents?” Friday answers to her, “They tried to resist that urge. That’s foolish. When all’s said and done, dishonest morals can’t win against unclouded purity.” Vanessa interrogates, “My father tried to stop the war and you pinned the crime of triggering it on him? You killed him, don’t you?” “People sought that, and people made it real.” Friday is persistently confident of the meaning of his doings. “But you are the main culprit!” Vanessa points her gun on Friday. But Friday does not even flinch. “Oh, your bloodthirst is so strong it’s beautiful.” What urges Friday seems to be neither greed nor warped malevolence. But this anime will not tell explicitly for the audience what kind of impulse is moving Friday. We have to guess his feelings and idea he advocates through his own words as testimony. But it may not be so difficult a task. We will be able to discover similar instances to his creed out of historical events and depictions in literary works. It is an exceedingly human-like decision to cope with all the inconsistency generated in the universe by oneself, and furthermore to overcome it. But Friday Monday’s desperate will for consummation reminiscent of the protagonist of Sade’s novel, Prosperity of Vice is none other than a desolate manifestation of animus insisting for power orientated man principle.

Madlax is continuing fierce gun fight against Limelda. Madlax is dodging Limelda’s bullets gracefully as if she were dancing. Limelda asks Madlax astonished, “How… why can you do that in this fog?” Madlax answers her, saying, “Because I’ve perceived my existence. …I’ve figured out who I am.” Perception determines events generation through its process of observational effect constructing peculiar qualia. Limelda says, “I won’t accept that. You’re just like me. Someone who has nothing! …Don’t leave me behind, Madlax!” Limelda had been once a guard officer who performed missions cold-heartedly, but after she had killed the chief officer of the guard and run away into the city, kept pursuing after Madlax as if she were possessed and enacted battles without any practical purpose. But now she is beseechingly asking her opponent for something. These hyper natural lines spoken by Limelda have the effect of annihilating existing fictional perspectives and constructing innovative ones that have been unacknowledged before. Forming striking contrast with Elenore who has been following after her mistress Margaret, Limelda is now running after Madlax like a stalker. And Madlax is also fighting with her not for her survival.

Friday tells Vanessa, “This is no good. There’s still something holding you back. Awaken, then. Elda Taluta.” Friday sends Vanessa the words of awakening. Vanessa mutters as if she were deluded, “I… the truth…” Friday calls to her, “That’s right. You’re seeking the truth. Now, obey the Essence inside you.”

Limelda is at last shot her gun down by Madlax. But Limelda has an ecstatic expression on her face as if she were welcoming a death shot from Madlax. Madlax speaks to her, “I won’t kill you.” Limelda calls to Madlax astonished, “Madlax…”

Friday talks to Vanessa who has fell in an abnormal mind state. “That’s right Look at your truth. Don’t aver your eyes from the sight of your true self.” There, Madlax comes in front of them. Friday says, noticing Madlax. “‘Madlax,’ eh? Are you saying that’s your name? How about it? I don’t suppose you’d give me the page of Secondari that you have?” Madlax replies to him vehemently, “Will you keep leading people astray like that?” Friday is full of confidence in spite of her accusation. “That’s what people are seeking. It was the same way back then too.” Madlax announces her confirmed decision to him. “I’ll kill you.” At that time, Vanessa notices Limelda who was aiming at Madlax from behind her. Vanessa’s shot has glazed Limelda’s arm, and Limelda falls down the cliff. But Vanessa also was injured by Limelda’s shot.

Madlax talks to Vanessa lying on the ground. “Liar.” Vanessa answers to her, “I’m sorry.” “You were too reckless.” “You’re right. I wanted to clear my father and mother’s names. That’s all that entered my field of vision. But you see, I wanted to protect my friends just as much.” Madlax repeats her words, “Friends…” Vanessa continues, “Margaret, Elenore… And you. Don’t die, okay? I’m leaving Margaret to you.” “That’s irresponsible.” “That’s all right, we’re friends.” “Vanessa…” Madlax is shedding tears at the death of her friend. Just then Margaret comes at the scene and exclaims, “You killed her. Yes, and Father too!” Margaret aims at Madlax with her gun. “Sarks Sark.” Margaret speaks the Elies words of essence like an incantation. Madlax falls down the cliff shot by Margaret’s bullet. “Ark Arks.” Margaret recites the words of truth as if she were giving Madlax a fatal blow. Margaret has released her killing intention at Madlax mistaking her for the murderer of her closest friend Vanessa. It will make a peculiarly interesting subject to conjecture the mode of perspective that determines the emotional implication of this anime, through examination of Madlax’s contrasted response toward Limelda who has killed Vanessa, close friend of both Margaret and Madlax.

The Hypernatural and Supernatural in Madlax -- Episode 21

Episode 21:　 The other side of the door and the incident 12 years ago

Cruel Confession ~guilty~: 告薄 (Kokuhaku)

note:
This is a coined set of words string. The reading reminds of other Japanese homonym “告白”=confession. “告” (Koku) means “Tell”, and “白” means “White” or “Immaculate”. “薄” (Haku) means “scanty” or “thin”.

In the avant, young boy Carrossea is asking to himself, “Why… Why? Why am I here? What have I been doing up until now?” He is asking Friday, “Please tell me. Who am I?” A grown-up youth Carrossea mutters, “I’m Carrossea Doon, member of Enfant. A false name, and a false job title. False information. A false life.” Present Carrossea says, “Please tell me, Margaret Burton. Tell me who I really am. Tell me what the truth is.”

Vanessa is watching Madlax lying in her bed, deeply injured. Nakhl tells Elenore, “Margaret Burton obtained the three books, and now with Lady Quanzitta’s guidance she is trying to open the door.” Quanzitta calls to Margaret, “Margaret Burton. Those eyes of yours will discern the era. Now, invoke the mystic words that will open the door. The mystic words of awakening”. Margaret, answering her, invokes the words, “Eluda Taluta.” “The mystic words of the Essence.” “Sarks Sark.” “The mystic words of truth.” “Ark Arks.”

Elenore enquires Quanzitta, “Where is Miss Margaret?” Quanzitta answers, saying, “On the other side of the door of truth.” Black sun is hanging in the sky. Quanzitta murmurs, “The time is coming.” The screen is depicting a mythical phase of the universe surpassing the norm of physical laws or even the limits of supernatural occurrences.

Elenore is telling Vanessa, “I’m told she opened the door of truth. …Miss Margaret left. She went to somewhere we don’t know.” Carrossea talks to Margaret, “Margaret, I want to know my past. The truth of twelve years ago. You and I met twelve years ago. That’s how we were able to get the Gift to open the door. Yes. The past you seek is in the place that I’m seeking. So please guide me, Margaret Burton. Guide me to the door of past and truth.” Margaret answers him, saying, “Yes, I want to know my true self too.” Then, Laetitia utters her words of warning, “You mustn’t come here. Because you can’t get to the truth yet.” As if Laetitia’s words reached to her, Margaret holds back Carrossea, saying, “You mustn’t. …You mustn’t open that door! …Because I heard someone’s voice telling us to stop.”

Carrossea will not listen to her warning. “I have to go. …Yes. What I’m seeking is truth. Unalterable fact!” Carrossea unhesitatingly looks into the door. The scene inside of an airplane is shown there. A boy is having a talk with his mother. He says to his mother, “That person told me…” His mother asks back to him, “What did he tell you, Chris?” This boy seems to be Chris Krana who appeared in the episode 5 and mysteriously vanished in the mansion of Friday Monday. The details of the accident that had happened twelve years ago in the airplane is going to be reenacted now. A fair-haired boy and a girl holding a doll in her hands get acquainted with in the airplane. They seem to be Poupee and little Margaret.

Next scene shows the crushed airplane on the ground. Among the ruins of the airplane and injured people, there are the figures of Poupee and little Margaret, who had miraculously survived the accident. The scene shifts, showing people in battle and Friday Monday, laughing loudly. Margaret says, refusing the packs of candy handed by Poupee. “Because it’s going to rain.” These out of place words, several times spoken by Margaret in this show earlier, were first spoken at this time. Embracing Margaret in his arms, Poupee mutters, “I’ll live. I’ll live through this. I swear it. I swear it!” Seeing this, present Carrossea mutters. “I’ll live through this, I swear it. Yes, that’s me. That boy is me.” Carrossea is looking at his own figure lost in the memory twelve years ago.

A man in military uniform comes flying in a helicopter and investigates the site of accident. There is a crested badge on his chest. This man and other in a long coat face each other among the ruins. The man in long coat says, “You should understand, Colonel Burton. Or should I say, ‘Madlax’?” Colonel Burton answers, “Friday Monday…” Friday continues, saying, “You should understand that this is, THIS is what humanity really is.” Colonel Burton abruptly shoots Friday in the face. Friday yells pressing his hand to his right eye, “Madlax!” At his word, little Margaret dashes forward. “Madlax?” She runs in front of the two men. Poupee runs in front of Margaret, trying to hold her back dashing into danger. Next scene shows blood dripping on the pages of a book.

In front of Carrossea, the door is closed again. Carrossea mutters, “This is… This is the truth. This is what happened to me.” Laetitia speaks to him. “You mustn’t open it. You mustn’t open it. If you open that door, your existence will disappear.” Carrossea mutters answering her, “Even if it does, I…” Carrossea opens the door again. “I see… That’s Madlax.” Laetitia is shedding tears. Beside her, Poupee’s figure loses its outline and disappears. “Thank you, Margaret Burton. Because I found out the truth, I was able to realize my own feelings. I wanted to protect you, even if it cost me my life. And I… Since before I became myself, I… I… loved.” It seems both Chris Krana and Carrossea shared the same phase of existentiality.

Friday Monday is speaking, “Carrossea Doon, your existence was nothing more than your will to live, which you made incarnate using the power of that place. If you find out the truth, that existence disappears. Thanks to you, the book has come into my hands. And the girl who opens the door, as well.” Margaret mutters, “Is this my dream?” Madlax says, answering to her, “No, it’s the truth.” Margaret inquires Madlax, saying, “If it’s the truth, then I met with Father in that place. Dad was there. But by you, Father was…” “I…” “You…” “I…” Colonel Burton is lying on the ground, and little Madlax is standing beside him with a gun in her hand still smoking. Laetitia mutters, “Yes, that is the truth.”

Carrossea’s being was generated selecting one alternative out of many possibilities that might have occurred to the fair-haired boy Poupee. By choosing one world axis out of many possible world lines, an independent phenomenality has been determined to exist. Madlax’s peculiar ability to be able to survive in her gun fight may be based on the same principle as Margaret’s, determining the course of destiny by their will. Though many-worlds interpretation theory asserted by Hugh Everette, that proposes phenomenality is determined by the function of consciousness through the act of observation out of latent possibilities in the primordial mode and branches off into many parallel worlds, was regarded as a ridiculous theory at the time when it was publicized, is now adopted as the indispensable idea in order to understand the mechanism of world formation in quantum physics. Many anime works are trying to develop similar speculative attempts in the mode of fictional description, reflecting the contemporary current of collective consciousness.

The Hypernatural and Supernatural in Madlax -- Episode 20

Episode 20: Internal conviction and battle

True War ~wish~: 真争 (Shinso)

note: "真争"
This is a coined set of words string. “真”=true, and “争”=battle. But the reading “Sinso” naturally reminds of another homonym words string “真相”=truth.

In the avant, Laetitia is muttering, “What opens when the three books are brought together is a door. What is on the other side of it is the human Essence.”

Vanessa says to Quanzitta, “This country’s war started because the books were brought together.” Quanzitta answers, “Yes. The door was opened once, twelve years ago. Someone obtained the three books and opened the door. That person was Enfant’s leader, Friday Monday.” Margaret is saying elsewhere, “The books will be brought together soon. …I can tell. It’s almost here.” Madlax hears Limelda’s voice in her mind muttering, “Great instincts, Madlax. That’s what makes you you. And that’s why I’ll…”

Vanessa mutters, “The human essence… The true self.” Elenore asks her, “What do you suppose that means, exactly?” Vanessa answers, “To be honest, I have no idea. But I’m sure Enfant knows. They know what’s on the other side of this ‘door.’ And they are trying to get the books, by any means necessary.” Elenore replies, “We need to know the truth in order to get back Miss Margaret’s memories as well. …For Miss Margaret’s sake, I could even become invincible.” Each one of the characters are joining in the story line following after their own particular motive. They are each representing original fictional reality in their own ways quite different from ones played by stereotype puppets applied into the patterns of usual fictional work like a cogwheel.

Limelda is muttering bathing in a lake, “When this moon disappears… Yes. By my hand…” Madlax is lost in doubt. “I want to know about myself. But…” Madlax says to Margaret who just came to join her, “… I took people’s lives to save Vanessa. …But if I don’t shoot, I’ll die. So I shoot.” Margaret is shedding tears in her right eye. “I feel sorry for you.” Madlax answers, “I’m used to it at this point. …Don’t try to get inside my head.” But Margaret talks to her, “I like you. Because You’re a kind person.” Madlax answers saying, “Kind people don’t kill other people.” Margaret says answering her words, “A kind person… You’re a kind killer.” The real aspect of Madlax’s kindness Margaret sensed here by her intuition is not revealed yet. It will be around the end of this show that the audience is furnished with full understanding of its implication.

Madlax visits Quanzitta, who has Thirstari at her place. Nakhl gives warning to her, “What are you doing?” Madlax answers, “I have business with Quanzitta Marison. The scary person is coming. So before that, I want to see her book.” Nakhl answers, “Only those with the gift can obtain Thirstari.” Madlax asks, “I’m not qualified? Am I different?” There, Quanzitta appears. “I’ve wanted to have a leisurely conversation with you too. …Madlax, you do not have the Gift. …But you’ve been caught up in the incident that occurred twelve years ago. I believe you have seen that place.” Madlax answers, “Elda Taluta. I was in a war zone I’d never seen before….” Madlax recalls the occasion when she saw Laetitia, and the conversation between them comes back. “Where are we?” “This is a very normal place.” “Normal? This place is?” “The truth is here. Things that aren’t false are here.” Madlax asks Quanzitta shedding tears in her right eye, “That girl said, ‘The truth is here.’ She said, ‘Things that aren’t false are here.’ Is it okay for me to know the truth? …Tell me.” Quanzitta hands over her Thirstari to Madlax, saying, “If that is what you desire.”

Carrossea has also come to the vicinity of the village Dwaiho. “This is a glimpse of the world Friday Monday desires. Yes, my own existence too, is…” Margaret mutters, “A red moon…” Madlax looks up in the sky with Thirstari in her hand, saying, “A blue moon.” Margaret mutters, “My past is inside this book.” Madlax mutters at the same time elsewhere, “My truth is inside this book.”

Both Madlax and Margaret open their books at the same time in different places. Memories of ruins, a man in military uniform, red shoes and a pistol come back. Recollection of a gun shoot and the vision of identification card with a hole in it follows. A girl is standing with a pistol in her hand, there is also another girl opposite to her. Margaret mutters, “Madlax, Madlax!” Madlax also cries, “Margaret Burton!” Laetitia mutters somewhere, “I am a moment. A thought left behind. That’s the truth.” Quanzitta asks to Madlax, “Were you able to see the truth?” Madlax asks to her, “Who will prove to me that what I saw is the truth?! Nakhl speaks to Madlax, “That’s a given. You yourself. Your internal convictions decide what is or isn’t truth. I want you to tell us. Who are you?” Madlax answers to her, “I’m the one who wants to know that most. Because…”

The words Nakhl said to Madlax are supposed to suggest the principal doctrine of their faith. The details of the creed they follow are not told except that it has been inherited in a quite different culture area other than any of the four ancient civilizations. We have to guess what the belief and worldview Nakhl and Quanzitta harbor are, applying both our scientific and religious understandings. Though this anime doesn’t try to make any reference to particular philosophical theory or religious doctrine, nearest answer gained from the extent of our knowledge will be discovered in the ideas presented by Jungian depth psychology and post quantum mechanics. It is developed on the basis of the overlaying field of quantum physics’ scientific information and traditional knowledge of magic practice, inherited from ancient thoughts represented in alchemy; in the form of attempts for reevaluation of the implications of consciousness and intuition, in relation to the mechanism of event generation in the holarchical structure of the universe. According to the opinion, individual consciousness’ conviction generates meaning and also determines psychical implication of any existence, phenomenon and persona assumed whether in the form of matter, man or god. Thus, the universe goes constructing its overall structure in order to be meaningful for the subject of consciousness. The mechanism may reversely suggest the teleological description of the universe in its evolutional development.

note: holarchy
This term is adopted by Neil Theise in his study of consciousness in view of the wholeness of the universe. An instance of his argument is to be afforded later.

For instance, Marsilio Ficino, Neo-Platonism philosopher of Renaissance period, attempted to understand the evolution of universe as a process of autonomous contemplation on itself undertaken by primordial intelligence. This interpretation interestingly applies to many physical and metaphysical subjects relating to the big bang theory, now accepted as the main explanatory theory of modern cosmology. While James Beichler tried to grasp the mechanism of cosmic development through the idea of autonomous evolution undertaken by universal consciousness in terms of physics, Renaissance philosopher Francesco Patrizi speculated the metaphysical principle of the universe as self-division process of intelligence attempting its own dissimilation and assimilation in order for contemplation on itself from religious perspective. As for the surprising relationship between the shared idea of contemporary Japanese subculture and Patrizi’s concept on the mechanism of division and reintegration undertaken by intelligence in the process of its own autonomous evolution, I have applied the subject on the argument of the psychical mechanism ruling the phase shift between god and man, depicted in the anime Ergo Proxy, in my study "Science, Science Fiction and Speculation: God, Man and self".

note:
This anime study forms the last chapter of my study of fictional existence and meta-identity of individuality, arguing the relationship of the concepts between existence, phenomenon and identity, published under the title of Existence, Phenomenon and Personality: Individuality in Figurines, Anime and Game, Bokka-sha (2014).

This cosmological vision is supposed to have started from the pre-Socratic Eleatic philosopher Parmenides’ idea of “emanationism” developed in his speculation on the mechanism of world creation, long preceding Platonic idealism. Nineteenth century American heretical thinker Edgar Allan Poe attempted to gain integral cosmological view in his speculative poem Eureka, comprising extensions both out of space-time and mind-matter limits, focusing on the powers of attraction and repulsion in the phases of diffusion and conglomeration encompassing all conceivable expanses. His speculative view interestingly foretold the ideas of both big bang and big crunch suggested in modern cosmology. As Poe asserts for himself, intuition gave him this conviction in the deepest part of his mind, without depending on the result of integration out of discreet information accumulated from experiments and observations, or the conclusion of deduction processed from axioms. It is the concluding assertion of the theories such as “Fundamental Awareness” and “panpsychism” Post Quantum Mechanics proposes, represented in this typical instance of big bang cosmology; that the mysterious coincidence ancient philosophers seem to have gained in their essential comprehension of the deepest aspects of the universe long before the time of Poe or contemporary physics study, without resorting to the knowledge quantum physics has attained based on the achievements modern science has elucidated through many experiments and observations, can be understood as the result of interactive working between mind and all-pervading space-time continuum field, through the spiritual faculty of intuition.

note: "Panpsyche"
Several researchers have adopted this term in order to depict the consciousness’ function of the universe, some of them have even introduced the term “microvita” representing the unit of consciousness that is supposed to be the basic grain of the universe. Richard Gautier is one of the researchers who sets special importance on this idea.
Ref. https://www.academia.edu/84200970/Will_Microvita_Science_Overthrow_Materialism


Following these thinkers’ visions presupposing the existence of universal awareness as the first cause of creation, many clues are to be proposed to solve the hard problems of philosophy concerning qualia generation and free-will’s ability of constructing speculation, on the extension of perspectives conforming to physics methodology.

According to Patrizi’s intuitional assertion, each phenomenon generated in the universe as well as each qualia a subject of consciousness constructs out of its gained bunch of perception is a precious process of self-contemplation “universal consciousness” attains as its ultimate goal, in which personal delusions and wanton emotions are also deemed to be furnished with positive importance.

note:
Ancient Chinese philosopher Mencius (孟子)proposed the philosophical concept of immanent spirit (浩然の気), that established the basis of animism spirituality of Eastern thought and also well applies to Neil Theise’s idea of holarchical structure in universal consciousness.


Fictional creation which highly evolved consciousness may construct as quasi experience or derivative world view also may be evaluated no less than these spiritual activities as noble process of self-contemplation. Furthermore, fictionality exerts its ability to intensify its function consolidating the density of the experience, through interaction with various phenomena supplied in actual world. The primary modality state lying behind either temporal or spatial phase is usually discussed with the appellation “Fundamental Awareness.”

note:
As for the metaphysical function of consciousness that enables the synthesis of fiction and reality, the author’s discussion of the metaphysical significance of magic in his study of The Last Unicorn is described as follows, pointing out the metaphysical connection between "synesthesia" and Poe's rhetoric, taking the instance of Kenji Miyazawa’s philosophy and practice as an artist.

Thus, for an aspiring spirit which contemplates the search for eternal truth, it is not satisfiable to live in a restricted cosmos like a besieged citadel, that is confined within a small region inside of chaos and barely maintained by the power of faith as a realm of divine dominion. Instead, a new world-building principle must be adopted on a base which does not have any barriers, and could be developed in all directions. The foundation must be oscillating chaos, where future prospects will be sighted in twisted perspectives, universal in the original sense, as it must include everything possible and imaginable. As a result, for example, by converting historical philosophy into existential philosophy, or by translating musical pieces into paintings, the anaphora of all things must be detected by irradiating latent similarities, commonalities, or contrasts at the interface of diverging dimensions, and it will become possible for the first time to overcome the breach of contradicting meanings in the phenomenal world. It is like desperately holding up in a castle, to try to extract mathematical formulae as dynamics or wave functions, focusing only on numerical values quantified as mass points or waves, ignoring semantic relationships. We must focus on qualia, the correlated subjective semantic units created by each consciousness, and attempt to describe the exhaustive relationships of meaning, especially on their modes of interconversion.
So, the interchangeability of qualia must be urgently explored, for example, in the trial of describing sight replaced by hearing or other senses, such as touch, smell and taste. The intertwined description between visual and auditory senses, which the avant-garde Romantic poet Edgar Allan Poe impressively perpetrated in his poetry making, is not just a rhetorical technique introduced as literary expression but a manifestation of the pivotal principle of cosmology, relating to the fundamental totality of the universe and the function of consciousness in grasping its implication, and even revelation of the meaning. By applying an algorithm that can thus reconcile all discords, contradictions and differences through, as it were, a functionalization of meaning, not only to the mathematical operations but to the formulae themselves, a means can be discovered that embody not only the miraculous transformation (metamorphosis) of actual existences (materia), but also the metamorphosis of the pleroma meaning field itself.


According to Neil D. Theise, adopting the notion of Fundamental Awareness, in order to describe the original cause that started the creation of the universe, one is able to gain full grasp of the relationship of the three intellectual means called science, philosophy and metaphysics. Similar attempts for integration of divided intellectual fields are found in the Romanticism Philosopher Samuel Taylor Coleridge’s design for the integration of science and philosophy, and also in Kenji Miyazawa, the modern Japanese successor of Romantic philosophy who attempted for his goal of unifying poetry, science and religion, through his spiritual activities of integrating fictionality and reality. According to Theise, “Fundamental Awareness, or primordial existence, is something that is neither constructed with other elements nor is to be divided into others, lies at the base of all phenomenal existences. As such, the universe is non-material, self-organizing throughout, a holarchy of complementary, process driven, recursive interactions. The universe is both its own first observer and subject. Considering the world to be non-material and comprised, a priori, of ‘Awareness’ is to privilege information over materiality, action over agency and to understand that qualia are not a ‘hard problem,’ but the foundational elements of all existence.

note:
Ref. Neil D. Theise; “Fundamental Awareness: A framework for integrating science, philosophy and metaphysics”.

These views fully reflect mainstream Western philosophical traditions, insights from culturally diverse contemplative and mystical traditions, and are in keeping with current scientific thinking, expressible mathematically. This is an impressive instance of monistic cosmology providing persuasive solution on the mysterious relationship between consciousness and the universe.

It is a very significant fact that Peter S. Beagle’s fantasy novel The Last Unicorn introduced the motif of magic as the universe’s implicate operating factor that causes actual phenomena. Magic that comes to and goes away from men’s domain, ruling men’s activities unrestricted by the mechanistic rule of cause-and-effect law, was a latent power sometimes revealed the occasions of synchronicity and sometimes gave men internal conviction as daimonion had afforded to the mind of Socrates. This mental function may be understood as a core subject of cosmology suggesting some kind of hidden variable that prompts the overall evolution of the universe that may include such notions as David Bohm’s “implicate order” and Bergson’s “elan vital”.

note:
In my study of fictionality focused on a derivative work produced as animated film, Unacknowledged Virtue of “The Last Unicorn”, I have considered the function of consciousness that intuits the fictional archetype and contemplates the primordial modality of the universe pervading many possible worlds, through inspection of various production data of the animated film The Last Unicorn, such as scenario and storyboards etc… In the course of argument, I have introduced several Post Quantum Mechanics researcher’s theories and pointed out the relationship with the significant subject of magic of fantasy literature. The magic principle depicted in Peter S. Beagle’s masterpiece fantasy proved to be a metaphysically converted formula of implicate order.
Ref. https://www.academia.edu/95494303/Cosmological_Implication_of_Fictionality_and_Consciousness

A bullet is shot into the room, then. Madlax mutters, “She came to kill me. Me, whose sins are so great.” Limelda has caught sight of Madlax in her gun scope, saying, “Notice me.” Madlax is shedding tears in her right eye. Limelda says, “Tears? I… That’s right… I love you, Madlax.” Words that suggest the element of “Yuri” (girls love) is now spoken by Limelda. Limelda’s actions always suggest independent autonomy that seem to lead the storyline of the fictional work selecting peculiar perspectives, utterly different from those habitual ones conforming to stereotype examples. Limelda sets her finger on the trigger. But Nakhl jumps in, and rescues Madlax from Limelda’s gun shoot. Nakhl is asking to herself in wonder, “Why? Why did I save this woman? It’s not as if she has the gift. I wasn’t under orders from Lady Quanzitta to do it, either. And yet…” Madlax’s expression on her face, lying on the ground, is the testimony of a deliberately wrought achievement of visual expression which is difficult to describe in words.

Margaret is recalling of her past memory, “I thought it. Back then, I thought it. ‘Die,’ I thought. Why did I…” There, Carrossea appears saying to her, “This place is dangerous. You should get away from here.”

Madlax asks Nakhl, “Why did you save me?” Nakhl answers, “I don’t know.” “That’s a lie.” “You’re right, it’s a lie.” Nakhl applies the implication of her own words she had told to Madlax, to herself this time. She answers, “You’re right, it’s a lie. I acted according to my internal conviction.” “Tell me.” Nakhl put her hand on Madlax’s face, saying, “You already know yourself. So there’s a reason for you to exist here. I was convinced of that.” Nakhl is acting following after the internal conviction that is neither reason nor instinctive urge. Madlax now understands the implicate order of the universe hidden in herself.

note: "implicate order"
This concept was first raised by David Bohm introducing the term “Pilot wave”, in order to solve the logically ununderstandable result of “double slit experiment” reasonably, making it conform to existing terms of physics, but later, several researchers of consciousness have discovered the function called “retro causality” in the argument of this element, developing the idea Bohm had started. One of the leading scientists who advocate this theory is Bohm’s disciple Jack Sarffatti, who tries to explain Bohm’s “destiny wave” as the effect caused from the future, extending the idea of “oneness” to the temporal dimension of the universe.

“A reason to exist. A reason for me to exist… That’s right. I can’t die. Because I made a promise. Right now, just because of that promise…” The conversation between Nakhl and Madlax seems to suggest the principle of establishing self-identity this anime asserts through its background proposition. It may be considered as some kind of destiny wave affecting both the function of consciousness and the spatio-temporal structure of the universe, as well as guaranteeing the existential ability of fictionality that is a purely idealistic method of description of possible worlds, and also is the result of the ability of free will that is the source of its generation. Federico Faggin, presenting the idea of “Fundamental Awareness”, states concerning the essence of “awareness” as below.

Loosely speaking, awareness is the inherent capacity of the primordial energy to observe and know itself and to direct its evolution as it transforms into space, time, matter and consciousness of ever-increasing complexity to know itself. Awareness is then an irreducible, self-reflecting property of the primordial energy, where self- reflection contains the germs of observation, identity, perception, feelings, memory, experience, knowing, learning, understanding, imagining, deciding, acting, willing, intending, creating, and many other higher aspects, all co-evolving together with the material forms.

Though Faggin is a scientist who designed the IBM computer and triggered the enthusiasm in young Steve Jobs and Bill Gates for their innovative accomplishments, his conceptual basis interestingly seems to conform to the Eastern philosophy’s idea of “天”(Providence). Remarkable difference is that the principle of “co-evolution” has substituted the existing principle of all-ruling destiny. Many researchers of Post Quantum Mechanics share the idea that what triggers this co-evolution is understood as the incentive exerted from the future to the past, going backward the course of time arrow.

Margaret asks Carrossea, “How did you know I was here?” Carrossea answers, “Because I’m a member of Enfant. …However, I had a different goal than Enfant’s. Yes… I want to get them back. The memories and truths that I lost twelve years ago.” “What’s that?” “The first book, ‘Firstari’. The one you have is the second book, ‘Secondari’. Now that we have these, the door will open. We can go to that place. Margaret, I’ll entrust this book to you. And then I’d like you to guide me. To the one and only truth.” One of the servants of Quanzitta is hearing their conversation. Quanzitta tells Nakhl, “It seems the time has come.”

Now Madlax is facing Limelda in a short distance. Madlax asks Limelda, saying, “Did you look at the data?” Limelda answers, “Yes, I did. My life up until now has been false. I was living inside a fabrication created by Enfant.” “Now that you know that, why are you hunting me?” “Because I have a reason to. What about you? Why do you fight, here in this false world?” “For a promise I made. And for my own existence…” “We’re the same then. I want to give the existence to the person called ‘me’. I’ll forgive my own existence by killing you.” It was the battle fought against Madlax that Limelda chose as her own raison d’etre, who had abandoned not only her commanded mission but also the organization she had belonged. Limelda is now willingly making a choice to afford peculiar meaning unto both the world and her own existence. But she is depending on Madlax for constructing the meaning of her existence. But Madlax’s answer was an unexpected one. “We might have been able to become friends. We might have been able to embrace each other.” Limelda answers Madlax, “If that’s so, then kill me.” Exceedingly hypernatural line was told by Madlax, as had been told by Limelda. And Limelda’s answer also reflects the existence of a particular motive that affects the destiny in the development of the phenomenal world. There seems to be some kind of deep psychical relationship that is difficult to understand by ordinary judgement beyond the reach of reasoning. The conversation of these two girls may be constructing a new phase of myth that does not belong to any existing mythological scenes.

Vanessa appears there. Limelda runs away shooting Madlax. Vanessa notices Madlax is injured. “Madlax, are you okay?” Madlax answers, saying, “I’m fine. This pain tells me that I’m myself.” Madlax, who had been always invulnerable to any attack in fierce battles, was injured by Limelda in the episode 12, whom Madlax called “scary person”. And now Madlax is again wounded by Limelda. It seems to be a heavy damage this time. Limelda is muttering, running away, “Vanessa Rene… What a nuisance that woman is! If only that woman hadn’t been there, I could’ve kept dancing with her!” Limelda’s line makes a singular instance of hypernatural peculiarity that goes beyond the limits of stereotype description, and it seems to suggest some unknown psychical connection that can be entertained only between them.

Quanzitta tells Margaret, “Firstari and Secondari. I’ve checked both of them, Margaret Burton. Now I will give you the Thirstari I possess. …Margaret Burton, will you journey to the door immediately?” Urged by Carrossea, Margaret decides to go to the door. But Nakhl mutters after they have gone out, “I have a strange feel of unease. But there’s no way that Lady Quanzitta wouldn’t notice that. Something is up. There is still something…” Laetitia is muttering somewhere, “They are getting closer to the truth… But they can’t get to it yet. They can’t find it yet. Hurry here, to this place.”

Madlax comes back to the Quanzitta’s mansion aided by Vanessa. Just then, Friday Monday, who had been killed by Carrossea rises up again, muttering, “Ah, I can hear a beautiful melody!” The reason for his recovery from death is not given to the audience by logical explanation as before. It seems the show demands the audience to multiply more observations reexamining similar instances, in order to fix the mode of psychical principle that is supposed to construct the fictional perspective of this anime.