Shadow Motif in The Animated Film The Last Unicorn: Visual Expression Administered in Metaphysical Directing Strategy shared

I have shared "Shadow Motif in The Animated Film The Last Unicorn: Visual Expression Administered in Metaphysical Directing Strategy" on Academia.

https://www.academia.edu/119604191/Shadow_Motif_in_The_Animated_Film_The_Last_Unicorn_Visual_Expression_Administered_in_Metaphysical_Directing_Strategy

This is the translation of the part 2 of the Study of the Animated film The Last Unicorn, published in the year 2012.
https://www.amazon.co.jp/%E7%A0%94%E7%A9%B6-%E3%82%A2%E3%83%8B%E3%83%A1%E3%83%BC%E3%82%B7%E3%83%A7%E3%83%B3-Last-Unicorn-%E9%BB%92%E7%94%B0/dp/443416399X

The Hypernatural and Supernatural in Madlax modified file shared

I have shared the modified Study of Madlax, afforded with more notes and references to relating articles of my writing.

https://www.academia.edu/119096414/The_Hypernatural_and_Supernatural_in_Madlax_Disrupted_Genre_Concepts_Manipulation_of_Perspectives_Intuition_Fictionality_and_Implicate_Order_in_Anime

A fictional work has the creative demand to be adopted as constructing a peculiar "fictional meaning" through a series of events that scientific world view might just dispose of as "mere coincidences". The claim of detecting the fundamental meaning that has been orchestrated in the contingency in fictional description, reversely suggests the existence of a comprehensive global solution formula to be accepted by introducing an unknown mechanism, that enables us to comprehend the organic continuum of the whole universe where matter and mind are inseparably linked.

The Hypernatural and Supernatural in Madlax -- Conclusion

Conclusion
In Madlax, the divided shards of a personality have not been united in the end, both the original self and separated shadows continue to exist being allowed to sustain each phase of substance. In many literary works created in the 19th century, the division of personality used to be deemed as disease or degeneration. It was the decisive opportunity for the sick soul to desperately acknowledge and accept the loathsome image as his own, which decision might only enable him the quality to be led to salvation. The failure to construct the vision of uniting divided selves to recover the original has been often described as a tragic incident experienced by the subject of consciousness. In Hans Christian Andersen’s “Shadow” (1847), the protagonist’s detached shadow had usurped the original figure and taken away everything a human existence had been granted. In both Nikolai Gogol’s “The Overcoat” (1842) and Feodor Dostoyevsky’s “The Double” (1846), a shadow had been generated while the protagonist was not aware, and plundered him of everything that had constructed the person’s individuality, entirely ruining the being. Shadow, or the double often called “Doppel Ganger”, was a new kind of evil spirit, which was revived in the modern age where people were suffering from the severe conflict between self and society. Division of personality was deemed as an obstacle to be overcome, and the process starting to gaze at one’s own shadow that one had been rejecting to see, definitely constructed the metaphysical frame of meanings, which should determine the perspective of a fictional work.

Culmination of the pursuits of these shadow motifs would be found in George MacDonald’s Phantastes (1858). The protagonist Anodos, the name meaning “who knows not his own way yet”, tries to carve a woman figure out of a mass of alabaster, believing it to be his ideal bride like as Pygmalion did, who obtained his eternal soul partner, Galatea. But as soon as the image had been completed and incarnated in the form of a living woman, the creature sneeringly escaped from her lord. Moreover, a shadow appears from a quite unexpected place, and possesses the protagonist, not only turning him into a most miserable creature but also transforming everything that touched the shadow into unbearably formidable shapes, to his uttermost dismay. The moral of the encounter with one’s own shadow is obvious; the rediscovery of the raw reality full of pollution in the prosperous Empire and in his own humble figure, at the opposite side of the ideal, that a gentleman of enthusiasm and reflective turn had to confront.

Following these serious literary works that bear the dark subject of shadow, after the turn of the century, James Matthew Barrie’s Peter and Wendy (1911) depicts a shadow cut away from its original form enacting comical scenes, and Peter Pan has his own shadow sewn to him with a needle and thread by Wendy, ignorantly having failed to stick it with a lump of soap he had found in the bathroom. On the other hand, cleverly camouflaged true theme of the philosophical work was represented in another shadow personified by Peter Pan himself. This fairytale is written focused on the shadow existence whose attribute is ignorance and childishness, materialized by the process of polarization generation out of austere Captain Hook, who lives a life of spiritual prisoner fettered by severe self-reflection, representative of modern intelligence. And the ruthless conclusion of the work is worked out by the shadow that does not understand even the identity of himself, and slaughters the original figure heartlessly. As all the lost boys return to the real world owing to the intervention of Wendy, Peter has to fly away from the mind of people together with Neverland, their soul paradise. The reality modern men have found out is not a strained spiritual realm anymore, where a cruel God had dominated. The actual circumstances of our world are a flaccid comedy space swung by the make-believes begot out of the fancy of a childish god who doesn’t even care to rule the world.

note:
The arguments on the twisted arrangement of the metaphysical subject in Peter and Wendy that introduces disguised shadow and the aftermath of the extermination of the original caused by the shadow, are developed in my fantasy literature study Fantasy as Antifantasy, Kindaibungei-sha (2005).


Though the reality recognition of the author of Peter and Wendy had been extremely stern and his attitude no less severe than any other examples that took up the shadow motif, and there was the prerequisite of lofty will burdened upon the awareness that has to survive hardships present world supplies, conspicuously portrayed in the tragic figure of Captain Hook, who had chosen to be a revel against the sovereign state; the childishness exhibited by Peter was precisely the negative of the prominent model of self-accomplishment. But in Japan from late 20th century to early 21st century, where “Otaku” culture has been flourishing, the existential problem of a man that had to be faced with serious determination has become no more than a sterile self-portrait of an obsolete hero. The sensation acutely felt by a noble soul in the base reality that strains for the spiritual has thoroughly disappeared. Early 21st century Japanese people have summoned up a Goddess out of their collective unconscious, in the appearance of a cute girl that makes people turn on. Haruhi Suzumiya is the outstanding example that has substituted the position that the symbolic figure of Peter Pan had once occupied. Though Haruhi had created the entire universe by her tremendous energy out of nothing as a closed space in her mind, she is quite unaware of the extraordinary performance. Her ability to live her everyday life with indefatigable gusto led by wild impulses is the accurate portrait of Peter Pan, with the sex transformed reflecting the age’s desire. Lost boys had been able to enjoy their everyday life full of wonder always supplied with new opportunities of adventure introduced by the whims of Peter Pan, though quite often perplexed by their leader’s selfishness. Peter Pan was a new god revived in the early 20th century Britain, who unceasingly contrived novel games and plays following his careless desire, instead of patronizingly meddling with his people as the God of Old Testament had used to. The deity 21st century Japan has found out is transformed in a shape of a cute girl, who is quite unconscious of her own superhuman ability, never exhaustible in her impulses or vitality, and extremely full of sexual charms besides. The idea of “sublime” that had reminded of the majestic creation has been substituted and accepted with its new phase of “Moe”, enfolded by the erotic attraction. The harsh reality does not exist anymore that should be denied as the infringement of the ideal, because we have learned how to accept the world and enjoy the pleasures it grants us. We have come to understand the world just as it is, actually not so cruel but satisfying enough in the course of our interaction with the deepest psyche, as long as we know how to play it as a game, even though full of contradictions and inconsistencies. Our collective consciousness “Otaku” mind that acknowledges no distinction between fictionality and reality, has developed an intriguing Neverland phase space in the overlying psychical area among many possible worlds through its activity of make-believe; while intellectuality oriented by austere reason had generated the particular phase space called “reality” crammed with strictly defined characteristics.

note:
The anime The Melancholia of Haruhi Suzumiya was aired in 2006, the same year as Madlax was, but the original novel of Haruhi series had started its publication in 2003. The interactive relationship of consciousness and phase space seems to have formed the common ground of Japanese post millennium subculture movement.


Everything is the shadow of divided shadows that have been generated out of the primordial state through the process of various phase shifts between stages of force and matter transformation, according to the cooling down process caused by the loss of energy that the tremendous explosion of Big Bang brought forth, which had been caused essentially purposelessly and accidentally. Against this typically dysteleological cosmology model scientific worldview had advocated, the one Post Quantum Mechanics posits would be understood as working like the complementary system to the former, where the purpose of self-contemplation of Fundamental Awareness is presupposed in its teleological perspective of autonomous evolution. Both division and fragmentation are nothing other than direct result of the universal principle that rules everything on temporal dimension just in the same way as Entropy Increase law does. Modern cosmology has accepted everything as fragment severed from something. We don’t have the justifiable reason anymore to deny the reality on the basis of its being immature, warped or away from the ideal. We accept the self-portraits as shards of shadow, just as we accept the image of a creator as a cute girl like Haruhi Suzumiya, who is not aware of her profound creatorship. Life, whether interpreted as experience or idea, is nothing other than modes of phenomenon in fragmentation process revealed on the temporal dimension. The reflections of this reality recognition are also detectable in many self-reflective visual works such as the comic Nausicaa in the Valley of the Wind and the anime Ergo Proxy.

note:
The manga Nausicaa of the Valley of the Wind had been started its serialization in 1982 on the anime information magazine Animage, but it was not until 1994 that the story was completed after several intervals of break periods. The anime Nausicaa of the Valley of the Wind was produced in 1984, in an altered story from the one original spectacular manga had been conceived in.
Ergo Proxy was produced as an original anime series by studio manglobe, and aired in 2006. Concerning the subject of the speculation upon existence, phenomenon and personality pursued in this enterprising anime, please refer to the author’s study “Science, Science Fiction and Speculation: God, Man, and Self in Ergo Proxy”, included in Existence, Phenomenon and Personality: Individuality in Figurines, Anime and Game, Bokka-sha (2014).


Nausicaa finds out that she and her people are all clones manufactured in order to be the specimen to survive the destruction of natural environment just temporarily, but she decides to undertake the world as one of shadow existences, exterminating the original species that had been preserved in order to be the ruler of the world when it has recovered purification out of the global pollution. In Ergo Proxy, the man-made god or Proxy Ergo, who has been equipped with the ability to confer death like Thanatos unto the other immortal “proxies” after their missions are over, who have been burdened with the task of creating new worlds according to each propensity; decides to live a life of shadow as a created being reveling against his creator, following the lead of a human girl Re-l Mayor, who had been produced as a clone out of another man-made god named Monad. In accordance with the course these works have taken, Madlax (2004) has chosen a protagonist in the form of a young girl who is endowed with the function similar to the one Greek Deity Thanatos possessed, to develop its peculiar motif where the depiction of the actual world consisted of fragments is perpetrated through the directing strategy of taking up disguised imitation of typical fictional conventions, and ensuing annihilation of them, not only overthrowing the meaning configuration axis which must construct the metaphysical fictional subject of division and reintegration of personality, but also the convention of fiction-making to present a meaningful subject and to express a unifying perspective.

But in this utterly disrupted psychical mode where logical standard of division and reintegration has grown meaningless, and both self and consciousness has been completely disintegrated according to the judgment of reason; the possible potentiality intuition retains is suggested following Poe’s bipolar principle, that enables the mind to secure the psychical stage of ultimate self-realization in the phase-shift mode of emancipation where primordial ambiguity is liberated at the far end of evolution. Intuition allows the formation of qualia that contemplates all the universe in its every process and mode, with no distinction between self and others, not as a determined result of cause-and-effect procedure, but from the infinitely aloof standpoint that commands the synthesized view liberated from the restraint of temporality. What Madlax suggests is not the division and reintegration of personality, but the ultimate phase of event horizon where everything exists as a shadow after the annihilation of individuality. It is the exhaustive depiction of the combination of meanings and expressions, generated through the power of intuition as “the farthest sublime truth that unifies individuality and diversity on ‘the other side of terror and despair’, where dichotomy of reasoning and existential idea generated after its process retains meaning anymore”.

note:
Concerning the argument on the relation between Poe’s philosophical view on intuition and his actual practice following the drive of “the imp of perversity”, please refer to “Red Bull: The Shadow of Ignorance and Blindness” included in the author’s study, Fantasy as Antifantasy 2: A Study of The Last Unicorn, Bokka-sha (2012), where the consideration on the contrary identity unicorn and bicorn exhibit is developed. Above citation reflects the universal intuitional grasp of the fundamental cosmological principle, which seems to precisely apply to the argument on the relation between consciousness and unconscious depicted in Madlax.


The subject of consciousness has sometimes been able to perceive vaguely the projection of archetype, but fictionality only exhibits the function to describe the abundance of the primordial in the phenomenal world.

The Hypernatural and Supernatural in Madlax -- Episode 26

Episode 26: The world of separated shards of shadows

Broken Shards ~pupil~: 欠片 (Kakera)

Quanzitta says, “It’s a fork in the path of the destiny people weave together. The point where the era changes. The door of truth. Many people come to this place and try to open the ‘Door of the Era’ that’s hidden deep within the truth. Some people love battle. Some people are blinded by greed. And some people seek peace. My name is Quanzitta Marison. The onlooker who watches the eras. An existence only permitted to go on watching, and to hand down the story in the time to come”. The region of “Essence” Friday mentioned may suggest unrestricted energy lurching in the ambiguous domain full of inconsistencies, where any perspective can be set up to be grasped by an arbitrary convergence of concepts. It may be the primordial unconscious state of psyche Jung suggested, that is capable of materializing in the form of both Good and Evil.


Laetitia appears and says, “I can see the truth.” Quanzitta responds, “The era will change.” Laetitia and Quanzitta say alternately. “Even if as a result…” “Even if destruction awaits.” “Even if the existence that is ‘me’ were to disappear.” Madlax joins their dialogue. “Twelve years ago, dad heard you chant the mystic words from the books.” Friday joins too, “He certainly awakened to the truth.” Madlax says, “He tried to kill Margaret Burton, his own daughter. …in order to live, Margaret picked up a gun. And that moment came.” Margaret mutters, “No, I… I…” Madlax talks to her, “I know. You didn’t want to kill him, right? But you didn’t want to die, either. Even if you had to kill your father.” Margaret and Madlax alternately continue their words, “The desire not to die…” “I am Margaret Burton’s crime.” “The desire to live.” “I am Margaret Burton’s urges.” “You’re me.” “I’m a shard of Margaret Burton’s heart.” “A shard of my heart…” Laetitia takes over their words, “And I’m what was born in the moment you split into two, what stayed in that place. That’s Laetitia. The tie of truth that binds the two of you. Margaret Burton, this is the truth.”


Original personality that constructed Margaret had split into three, generating two other fragments that came to be Madlax and Laetitia. This is one of the many instances of the disintegration of the psyche, which is capable of producing various forms, that also applies to the case of Christian dogma “trinity”.


note:
In Oscar Wilde’s fairy tale “The Fisherman and His Soul” (1891), the psychical structure of the protagonist fisherman was divided in body, heart and soul; each of which represented Hellenistic freedom, modern existential mind and restrictions of Hebrew creed. There may be various forms of division of personality. For instance, John Ruskin, who had taught Wilde his doctrine of Aesthetics at Oxford University, conceived a spiritual model in which human existence is classified in three divided parts; body, soul and reason, in order to consider the function of “morality” which is supposed to contemplate “theoria”. As existence, phenomenon and personality are essentially inseparable notions closely linked in the same continuum, and being able to be converted to each other, still more processes and phases of fragmented modes are to be acknowledged, if the true nature of God and man is to be perceived out of the supreme viewpoint, freed from the restricted preoccupation in which everything had to be grasped as physical “existence”.
This idea has been applied into the argument of fictional existences such as figurines and game characters, exploring the possibility of phase shifts between existence, phenomenon and personality, in my study of meta-identity of fictional beings; Existence, Phenomenon and Personality: Individuality in Figurines, Anime and Game, Bokka-sha (2014).


The appearance of Laetitia, a derivative personality, can be understood as following the same process of the generation of a god, a sort of peculiar materialization of the latent element of archetype. Persuasive precedence may be found in the systematic structure of Greek mythology, where gods were identified as personification of abstract concepts such as death, anger, jealousy etc.… It must be some psychical field where god and man form a continuum and are capable of exchange description, which produces one of the characteristics of the “ordinary place.” The peculiarities of personality or spiritual phase of Madlax, Friday Monday and Carrossea are to be understood in this sort of metaphysical phase shifts in semantic application.


note:
Each of the ideas that describe the subject of the action, the object that receives the action, and the manner in which the action is produced as a phenomenon can likewise be grasped by applying the transformation description as each of the aspects of the inseparable unity. The sensation of looking back at the psychic aspect of beings as a continuum containing consciousness or concepts in relation to the totality of the universe is found in various mythological accounts. An impressive example of such a transcendental relationship between beings is discussed in the following essay by the author, “Red Bull: The Shadow of Ignorance and Blindness”, included in Fantasy as Antufantasy 2, which examines the relationship between the unicorn and the bicorn depicted in Peter S. Beagle’s The Last Unicorn:
According to the logical reasoning advocated by the Western tradition that rules the formation of contemporary worldview, the entity that is able to cause phenomenal influence must be presupposed, and the procedure of event generations is supposed to be practiced by each independent entity, working influence unto the other independent entity. Local chain of actions between the active and the passive, following one-way time order, is strictly ordained in event generations in the domain of scientific world-view. In contrast to this, in ancient worlds or in traditional Eastern belief, generation of phenomena has been understood as just some of the temporary phases of impression, that the universe affords to a subject of consciousness in its ever-shifting, ever-changing mode of holarchy. The distinction between the persecutor and the sufferer had not been entertained in the ideas that serve the thought of overall wholeness.


Friday talks to Margaret, “Congratulations, Margaret Burton. The consciousnesses you yourself cut away have appeared in front of you once more. The time has come for you to become one again. Once you’ve become one, you’ll be even closer to the Essence…” But Madlax shoots him; saying severely, “Don’t interfere.” Friday’s body is dragged out of the door. Madlax says, “This is the crime on my conscience. The act that can never be forgiven. I’m a killer.” Margaret cries, “Madlax.” Madlax says, handing her gun to Margaret, “Decide, Margaret. Decide whether to accept me or erase me. Laetitia too, of course.” Margaret asks back, “Erase? What will happen when we go back to being one?” Laetitia answers saying, “You’re the one who will open the Door of the Era.” “The ‘Door of the Era’?” Margaret asks back. Laetitia answers, “If you open the Door, what you desire will come to pass.” “What I desire?” “Decide, Margaret.” “But this is too sudden.” “Decide.” “I don’t want to. I’m scared. I mean, if we become one, I’ll go back to being the me who killed Father. What kind of girl will I become?” These are very human like utterances, filled with mean selfish egotism, that were rather rare to be expressed by this character. Margaret is now betraying ruthlessly the sordid ways of humankind’s actual behavior, even though she has been depicted as possessing an aloof type of personality who does not have any fetters to restrain or control the feelings. What makes human are hypocrisy that tries to justify oneself, and thoughtless anger against anything that threatens it. Laetitia talks to Margaret, “It’s because you’re frozen in place like that without deciding anything that I’ve had to stay in this place for twelve whole years. Even Poupee isn’t here anymore. I don’t want to be alone anymore.” Madlax cuts in, “Margaret, if you’re scared then shoot me. Erase me. It’s fine, I won’t mind.” Margaret asks, “Why?” Madlax answers, “Because my friend, Vanessa Rene, wanted it. And Elenore Baker did, too. It’s okay, you can run from the truth. It’s fine.” A glimpse of Madlax’s kindness Margaret had mentioned is manifested here. The specific quality of the one, who kills not out of hatred but in order to survive, is neither ruthless nor relentless. Madlax, the shadow generated from the division of personality, never have tried to threaten the original unlike the precedences of shadow literature. Margaret asks once again, “But you’ll disappear, you know. You’ll die!” Madlax answers saying, “I don’t mind. Because I can still exist even then. Because I have people who care about me.” Hearing that, Limelda cries unintentionally, “Madlax!” Madlax continues, “I exist within her. She’ll keep on watching me. So I’m okay with disappearing.”


An innovative principle concerning the judgment on the identity of individuality according to the relationship of consciousness and phases of psyche is suggested here, not defined by coordinated points and mass of matter that are supposed to cause dynamic action; but perceived as something constructed in the interaction between other subjects of consciousness, following the mechanism of meaning construction of pure conceptualization. Together with the phenomenon Laetitia embodies as an independent personification of one of the abstract concepts that depict the relationship of existential property of others, we have to reconsider the relationship of mutual dependency between existence, phenomenon and personality.


note:
In Jun Mochizuki’s manga Pandora Hearts (2006-2015), a purely abstract being is personified out of a conceptual phase of human existence endowed with a shape and materialized body, in the similar manner as Laetitia had been personified in Madlax. But the first season anime series of Pandora Hearts have not completed the description the story of the original manga, up to the point this meaningful subject is introduced. It is expected that second series of the anime should be produced following the completion of the original manga, in 2015.
The anime Aquarion Evol (2012), a sequel to Aquarion Genesis (2005), introduces a set characters of a brother and a sister, which has been generated as the reincarnation of the original character divided in two sexes and each gaining independent personality, 12,000 years after the primordial phase of psyche was revealed in the prequel story. In similar manner, the protagonists in Sola (2007), planned by Jikki Hanada and directed by Tomoki Kobayashi, reveal their true nature as artificially created pseudo personality. This peculiar theme is also detected in Chaos; Head (2008), produced as collaboration project with a video game, by 5pb. and Nitro Plus. The subject of a personality constructed with non-human elements is also shared by the video game Fate/stay night. In the magical mechanism adopted in this visual novel, fictional beings attain their personae as human existences, demanding the expansion of our concepts concerning the nature of individuality and personality.
William Blake’s speculative poem Four Zoas will be referred to, as one of the original enterprises that explored the design of the metaphysical speculation on the stages of transitional modes between god and man, that depicted the division of the primordial being in which no distinction between god and man had been detected, and the farther psychical phases the split pieces assumed in various attitudes. Concerning the relationships of psychical phases personality may exhibit as conceptual existence, I have explored the metaphysical motif in the argument on the individuality of fictional characters, in “Identity of Summoned Heroes: Aspects of Psyche and Phases of Persona in Fate/stay night”, which forms the chapter 3 in my study of fictional existences; Existence, Phenomenon and Personality: Individuality in Figurines, Anime and Game, Bokka-sha, (2014).


After the quantum physics’ discovery of “observational effect”, which presupposes the event generation being caused by subjects of consciousness, interactive function performed by consciousness is not to be ignored any more in the generation and acknowledgement of a personality.


“Madlax,” Margaret steps forward to Madlax, and takes hold of her hand covering the gun with her hands. “Please become part of me.” Madlax asks, “Why?” Margaret answers, “Because you’re Madlax.” Madlax questions, “If I become part of you, you’ll end up suffering forever. You’ll live with a crime on your conscience.” Margaret answers saying, “I don’t want to run away. Because I ran away from the truth, Vanessa and Elenore… So I don’t want to run away anymore.” Madlax says, “I’m a killer, you know.” Margaret answers, “But that’s another part of me.” “I might eat at your heart.” “I don’t want to make you bear that sorrow by yourself.” Margaret’s decision does not waver. “Please give me the truth that is Madlax.” Margaret offers her hand to Laetitia, too. “I’m sorry. I’m sorry all I did was run away. I’m sorry for passing off all the things I didn’t like onto you. Will you become one with me?” Laetitia answers, “If that’s really what you desire.” Laetitia takes hold of the hand of Margaret. Quanzitta says, “Now the Door of the Era will open.” Margaret draws Madlax and Laetitia on both sides of her with her hands. Margaret kneels down in front of the door. She is wearing the same dress as Madlax had worn. This scene seems to depict the integration of selves Jung posited as the process of discovering one’s own truth by choosing the process of unification with the shadow. But it is the peculiar characteristic of the anime Madlax, which will not adopt the conclusion with the attainment of self-integration, in order to converge the perspectives that have constructed the fictional world.


Friday once again appears then. The mask on his right eye is missing. “Wonderful! Magnificent! Are you awake, Margaret Burton? How does it feel to have returned to your true self?” It seems he has revived, following the same process as he did from Carrossea’s bullet. “Like a great work of art, you’ve taken back yourself and your essence.” But Margaret answers, “The truth is, I knew. Father tried to kill me that day. So I pulled the trigger.” “You haven’t done anything wrong. What’s wrong is this warped world. And that’s the reason your father was warped too. People just don’t realize it, that’s all. …Let’s tell that to the world, shall we? There’s no need to raise your voice. You can just tell them softly, as if you’re whispering.” Friday speaks gently like a kind adviser who knew everything. “It’s not that they don’t understand. It’s just that they don’t realize.” Margaret says determinedly, “Then I have to help that realization along. Right, Laetitia?” Friday says following her, “That’s right. That’s good. Oh now is the time when my wish will come true! Margaret Burton, you killed your own father?” “Yes, I killed him. Because I wanted to live. That’s okay, right? It’s something everybody’s doing. You can kill someone without a thing like this. That’s right you can kill them easily even just words or letters.” Now Margaret is aware of her peculiar ability that can affect the principle of event generation at the base of the world. It is the power of conviction, which generates meanings by forming qualia or mental images overcoming the physical restrictions of phenomenal world. It was by this power that she was able to overcome Carrossea and even Nakhl, and realized her purpose without even fighting. On the other hand, Madlax had been exerting this kind of ability in the restricted situation of gun fighting.


This mechanism that causes events generation conforms to the understanding of Post Quantum Mechanics, which enterprises the explanation of the first cause of the universe, that had been once described as God’s stroke, because there had been no other means to describe the event horizon of the tremendous energy generation that caused the Big Bang; introducing the metaphysical notion of “universal consciousness”, and depicting the process of the universe as autonomous evolution of it. Many physicists are now trying to assert the existence of original consciousness called “Fundamental Awareness”, as the necessary factor, which allows the construction of the unified theory that is able to describe the holarchy of universe where time and space are all united. This hypothesis that bears some similarity to “universal life force”, embraced by ancient Chinese philosopher Mencius, seems to be a significant enterprise to be able to integrate ancient wisdom and scientific attainments, in its design to depict the development of the universe as an autonomous evolution of the ubiquitous consciousness or “panpsyche”. After the superstring theory has come to the dead end in its attempt to set up an integral theory that would be able to unify the description of four strengths of nature, the research of awareness often called as “consciousness study”, is now taking over the rank occupied by that theory as most promising hypothesis. Representative one of these theories is Neurocosmology, posited by James Beichler in his paper “The Emergence of Neurocosmology” (2016) and other series of research documents. Jack Sarfatti and Federico Faggin and others are similarly attempting to promote the reconstruction of new cosmology through the philosophical study of intuition and qualia. These Physicists’ attitude interestingly overlaps the metaphysical contemplation Romantic philosophers had adopted, endeavoring to describe the essential truth of the universe through the notion of a nerve extending into space. The fact that many of the ancient philosophers such as Lao Tzu and Parmenides were able to develop cosmological ideas long ago that share the similar insight to the ones modern post quantum physicists have discovered, espouses the basis of the metaphysical design that demands reexamination of the relationship between the holarchy of the universe and the peculiar function of consciousness, which is supposed to be able to grasp the meaning of everything through the ability of intuition.


Friday says, “Tell everyone that for me, Margaret.” Confusion devastates both the cities and forests. Margaret answers, “That’s right, I have to tell. I have to tell about how this world is warped. And about living in it.” Margaret takes hold of the gun, and aims at Friday. “Yes, I want to tell that to Madlax.” Friday asks, “So you point a gun at me? Is that your essence?” Margaret answers, saying “Yes. This is Margaret Burton.” Friday interrogates, “Do you desire to kill me? Or do you hate humanity itself? Either way, that action is close to the Essence. This is the way I should desire you to be.” But Margaret cries, “It’s not like that. ...I’d realized that this world was warped. And that people had malice inside of them. I think everybody else probably realizes too. There’s no need to go out of your way to tell them. But there’s just one person who doesn’t get it. So I want to let Madlax know... Let her know that she doesn’t have to be so kind. Right now, what I can do for her is to kill you, out of the malice inside me. To have a crime on my conscience.” Friday responds, “A crime? What’s criminal about it? The very word “crime” is an illusion created by human morality. You mustn’t be led astray by this warped world. You’re all right just as you are.” Margaret responds, “Mother and Father, and Vanessa, and Elenore... A lot of people have died. So I hate you. Wanting to kill you is my crime.” Friday cries, “I’m not seeking that kind of way of thinking or that kind of world! Don’t aver your gaze because of insincere kindness or antiquated conscience! Look only at the Essence!” There is something like the severity of an ethical explorer in Friday’s attitude, where he will not permit any humane compromise in the judgment and the choice of deal against the actuality of the real world. It is a lofty will, denying any mode of spiritual degradation, never surrendering to any emotion caused by resentment. Margaret stands up. Her posture is that of Madlax pointing a gun. “I am looking at it.” “No, You’re not!” Friday fires the gun. But the bullets don’t hit Margaret. “What I couldn’t do twelve years ago, what I ran away from... I can do it now. And that’s to kill someone out of malice. To kill someone with her kindness. I’m a bad girl.” Margaret shoots Friday. Friday bends back receiving the bullet in his chest. Margaret kills Friday out of her own malice, the man who sought for the place beyond the boundary of good and evil trying to overcome human frailty; and it was also in order to protect the kindness of Madlax, who is her own shadow. This is one of the phenomenal instances of the subversion of animus performed by anima Jungian psychology advocates.


Friday is now removed to his mansion. Friday has revived again out of the gun shoot caused by Margaret just as he did out of Carrossea’s and Madlax’s attacks. This procedure makes accurate repetition with the revival Madlax performed from Margaret’s gun shoot in the 23rd episode. Friday mutters, “Why? The girl who was so close to my ideal... Why did she do that? Did that woman change her? The same existence...” Friday is here expressing doubt, in spite of his conviction on the workings of the Essence on the phases of psyche. Then, the doors of the mansion are flung open, revealing the figure of Madlax. Friday falls into panic for the first time, “Why? There’s no way you should exist in this world. Why are you here?” Now a new information is being told by Friday, though limited, that makes it possible to understand the difference of the phase space between the headquarter of Enfant and the place in front of the door, where those who were endowed with true quality had gathered. Madlax says, “I told you I was going to kill you, didn’t I?” Friday asks, “That’s incomprehensible. You should have been assimilated into Margaret Burton.” “But I’m here. That alone is the truth. And I’m going to erase your existence in this reality.” Madlax here has appeared for herself, not as a separated shadow which attempts to be reorganized with her original self. Now Madlax is proclaiming her intension to kill Friday following her natural character as a shadow in this real world, which is far different from the space of “Essence”.


Following the order of Friday, subordinates of Enfant start attacking Madlax. But Madlax, dodging skillfully the bullets, continues shooting down her enemies. Friday ejaculates, “Madlax, you are so... You are just so...” Here Madlax utters some mysterious words, “Don’t be cruel. In the end, your existence is the same as mine. Isn’t it?” These words indicate there are still more undisclosed secrets hiding behind the story, corresponding to the words Friday uttered just before, at the end of the last episode where everything had seemed to be explained away. The mechanism that should consistently explain both their revival from their death, and the existential relationship between Madlax and Friday Monday is not allowed to be extracted from the course of the story. Again, one bears the impression that it is some restricted results of accidental occurrences caused by each descriptive trial only, which is arbitrarily given unto the audience. It is the peculiarly hypernatural directing method that characterizes the creative concept of this anime.


note:
In anime works true tears and glass lip, directed by Junji Nishimura and produced by P. A. Works, similar directing method to the one adopted in Madlax is pointed out, sharing the peculiarity that basic perspective of the work is concealed so as to dislocate the meaning axes that will determine the work’s comprehension, derivative detailed descriptions being given priority in the story telling of the work, where as a result, most effective “hypernatural” presentation is accomplished. Also in Canaan, series composition undertaken by Mari Okada and produced by P. A. Works, a revolutionary presentation of fictional reality is accomplished by the introduction of many-axes perspectives filled with abounding contaminants. But the intentional directing method where “dislocated” perspectives are juxtaposed in order to attain the definite impression that no axis would function as the integrating center is the one peculiar to Madlax.


Madlax destroys Friday’s computer with her gun shoot. “I love Margaret Burton.” Friday asks crying. “The woman who cut you out and threw you away?” The bullet Friday fired hits Madlax. Like as Limelda did previously, Friday seems to have been able to injure Madlax. Bleeding from between the lips, Madlax says, “I’m Madlax. That’s the pain of when we touched truth.” Friday asks back, “This is the Essence? What I desired? That’s the truth?” “No, this is reality.” Madlax seems to have chosen neither truth nor Essence but the reality in front of her, affirming its meaning. Madlax shoots Friday. A moon, neither blue nor red is hanging in the sky. Friday is lying on the floor. “What I was seeking was... My... Right there, right in front of you there are lies... There’s falsity, and yet... Why? Why can’t you see? Why don’t you try to learn the truth? When it’s right here...” Here, Friday Monday at last expires. Madlax has destroyed Friday who had sought for the ultimate truth in the act of recursion to Essence, which lies beyond the limit of human beings; and she has chosen reality that is filled with inconsistencies and contaminants.


Qwanzitta says, “Friday Monday. I have been watching existences like yours, as have my predecessors. Existences that disappear into history. There will be a new era soon. I predict Margaret Burton will open the Door of the Era of her own will. Please let me watch over you just a little longer, Margaret Burton.” Margaret is standing on the ruins and walks towards the door. “The Door of the Era. What I desire… What I desire from the era… That’s a given.” According to the words told by Qwanzitta, who is the one to watch over the eras, existences like Friday have several times appeared in the history. Margaret presses the Door of the Era, in order to open the gate and start the revolution of the world.


Margaret raises Madlax in her hands, who is lying on the ground. “Madlax. When we became one, I understood. It’s not true that you’ve been killing people without thinking anything of it. All along, every time you killed a person you wailed with pain. You kept on suffering. Your pain is your own kindness. You’re a kind killer. There’s no need for us to become one. I mean, the time that you lived as Madlax was unmistakably your time and no one else’s. I’m fine with staying this way. Knowing the truth, and feeling my crime… Staying that way is something I’m okay with. Yes, this world is definitely warped. Just like there’s both good will and bad will inside me… But I want to try living in this warped world.” Margaret once again declares that Madlax’s true nature is kindness, here at the closing scene of this anime. That is unmistakably her own characteristic trait as a human being, though a shadow of someone else’s, who has had no “qualification”. She has both destructive quality and compassion, not alike Friday Monday’s case. The new phase of the world Margaret has chosen to begin is an era where fragments of a personality keep living, maintaining the quality of shadow just as they are.


Madlax asks, “You feel your crime?” “Yeah.” “Aren’t you sad?” “Thank you. I’m sorry.” Noticing Laetitia, Margaret talks to her, “Want to go with me?” “Me?” “Will you be my little sister?” “Can I? I mean, I’m…” “That’s what I want.” “Yeah, I will!” The human existence that had been Margaret had to be divided in three in order to survive, generating the shadow existence Madlax, and as a derivative phase that should record the moment of their split memories, Laetitia had been produced. But in Madlax, the fictional perspectives will not be converged with the psychical integration of these three characters. Like Gaea in Greek mythology, or the Goddess Amaterasu in Japanese Shinto myth, Margaret is going to fulfill the role of the creator of a new world, by choosing each three of the split personalities go on living separately. It seems to mean that this psychical process has accomplished the phase shift from god to humans.


The ending scene of this anime shows the figure of Margaret by the river, together with Laetitia now grown to be a human girl. Laetitia is standing close by Margaret, as an independent existence without being assimilated into Margaret. On the other side of the river, a car is running. Limelda talks to Madlax, driving the car. “I’m going to keep on watching you.” “You’re stupid.” “Am I?” “Yes, you’re stupid.” “What do you mean to do from now on?” “I don’t really know exactly. But for right now…” “For right now, what?” “For right now, I’d like pasta. Yes, pasta.” There, a call from SSS comes. “Madlax, I’ll going to get right to the point. I want to contract you for job.” “We haven’t spoken in so long, and you jump right into the business talk?” “Was there ever more of a connection between us than that?” Madlax answers saying, “There is one… I’m sure of it. Because there’s a me inside of you.” There are blue and red moons hanging in the sky.

The Hypernatural and Supernatural in Madlax -- Episode 25

Episode 25: Protoplasm and Polarization Generation
Sacred Blood ~saint~: 聖血 (Seiketsu)


Coming to herself, Margaret starts to lament the death of her faithful servant and most intimate friend, Elenore. “Why… why did Elenore have to die? They are not here. Not Vanessa, and Elenore. I’m alone.” It is not explained what sort of psychic effect has caused Margaret’s sudden change of mind, who had not been even able to acknowledge the identity of her closest friend just before. This is the typical part that reveals the fictional peculiarity of the anime, implemented in the practice of partial description of the limited phase of events, cleverly concealing background information. Friday talks to Madlax, as if he expected her appearance, “Welcome, Madlax. Did you bring the page from Secondary for me?” Madlax says, “You cause sorrow. Because of you, more and more precious things are stolen.” Madlax is accusing Friday, acknowledging him as the cause of Elenore’s death, even though he did not kill her directly by his own hand. This is a very interesting attitude assumed by this girl, compared with her generous manner toward Limelda, who had killed Vanessa by her own hand. Friday answers, “Interesting. I didn’t expect to hear something like that from you, a killer. You are contradictory. That’s because this world is warped. It’s enshrouded in an invisible veil.” It seems Friday has full understanding of the nature and identity of Madlax. Moreover, he seems to have sound conviction in the profound truth of the world. But Madlax also has her own belief in the meaning of her existence. “I know.” “It can’t see the essence.” “What’s wrong with that?” “Do you mean to live in a world of lies?” “There’s truth even there. The truth of Margaret Burton: that’s Madlax.” These lines uttered by Madlax are expected to construct the final perspective, which accomplishes the function to converge many meaning axes that have composed this fictional work. But that is rather a flaccid judgment, which allows the existence of contradictions in the basic condition of meaning construction, denying settling any unified norm, which should confirm unwavering meaning.


Just then, Margaret takes hold of the gun, and knocks the gun off Madlax’s hand. “Don’t kill him. Don’t kill Father! Are you going to kill Father again? I won’t allow that.” Margaret recognizes Friday as her father. But no detail is offered concerning the reason for her mysterious judgment as before. As for the ambiguous identity of Friday, who has been playing the typical role of a villain in the course of the story, it seems to reflect the peculiar directing tactics of this anime through which a special schematic presentation is accomplished that will leave some important background information undisclosed.


Margaret shoots Madlax. “Die!” Madlax collapses receiving several bullets in her body, and Friday Monday gets hold of the leaf Madlax had held in her hand. “Now everything has been brought together.” Friday mutters satisfied. “Come, Margaret, let’s go.” Friday and Margaret go away leaving Madlax and Elenore lying on the ground. Limelda is watching the scene from a spot far away. Just before she tries to step forward, Nakhl calls her back. “Don’t get involved. That place is holy now. Only those with the gift are allowed to enter it. All we can do is watch it to the end.” Limelda cries. “Is this… Is this what you wanted, Madlax?” But Nakhl says answering her question, “This is not the end. It’s just beginning now. So we’ll watch it to the end.” Red and blue moons are hanging in the sky. Soldiers are agitated and run into confusion looking up the strange moons over the buildings. The screen is displaying a mythic scenery that reflects the ambiguous structure of the mindscape filled with inconsistencies.


Qwanzitta says, “I will watch this through to the end. The changing of the eras.” Laetitia asks hearing her utterance, “You will watch my moment to the end?” “Yes.” Qwanzitta and Laetitia intone alternately. “The truth is pain.” “Pain is sorrow.” “Sorrow is a spiral.” “The spiral is the human fate.” They seem to identify human fate and the essence of qualia, in the spiral form that is gained out of oscillating movement on the axis of symmetry, adding other two vertical axes. Laetitia ends the dialogue with this last line, “Margaret Burton’s fate. Madlax’s fate. And my fate. That door will be opened.”


Friday Monday now tries to open the door with the three books he has gathered. “The door of truth! We’ll return to 12 years ago. We’re returning. Time is rewinding. The era was supposed to change then. You thwarted my desires, Madlax. When I was shot then, I lost the eye to open the door. There certainly is such thing as ‘fate.’ Our lives are connected like a spiral. Isn’t that right, Madlax? After all, your daughter is going to give me what I desire. Now, show me, Margaret. Your past so true it approaches the human Essence. Your crime. That melody.” Friday is also attesting the cosmological principle of psyche in the spiral structure. It seems that he has an unwavering conviction unrestricted by mankind’s ethical standards, through which he aspires for the realization of his purpose beyond the boundary of worldly interests. But the details of the quality he said his eye was endowed with, that enabled him to open the door, and the process he had learned to possess it, are still out of reach of the audience’s understanding.


Margaret witnesses the scene that had been enacted in the airplane 12 years ago, evoked by Friday’s words. There is a girl who dropped her doll on the floor, and has it handed by a boy who picked it up. “That’s me?” The small girl who was Margaret is asking her mother. “Mother, when will we get to see father?” She is also talking to her doll in her arms. “We’ll get to see Father soon. Isn’t that great, Laetitia?” After that, there are ruins of the airplane on the ground shown. Margaret mutters. “Mother died here, without saying anything. And I…” Small Margaret finds her father facing Friday Monday under the red moon. Friday is talking to her father. “You should understand, Colonel Burton. Or should I say ‘Madlax’. You should understand that this, THIS is what humanity really is.” Colonel Burton replies, “Friday Monday, You’re in the grip of madness. The people are not seeking your ideal.” Friday does not waver. “That thought itself is something made in this false world.” Colonel Burton answers saying, “I’ll protect my daughter!” Friday says provokingly, “Does your essence desire that, I wonder.” In answer for his words, Colonel Burton shoots Friday Monday in the face. Friday cries bending back, “Madlax!” Reacting to this word, small Margaret dashes towards her father. This has been the scene several times repeated in this anime, showing Friday Monday and Colonel Burton standing face to face, from various different angles such as Madlax’s visions and Margaret’s dreams. Now, Margaret is witnessing the actual figure of herself she assumed 12 years ago, on the other side of the door. The director Mashimo has effectively introduced the image sequence like refrain in musical pieces, presenting similar scenes repeatedly a little shifting their phases.


Poupee runs after Margaret trying to hold her back, gets shot, and collapses on the ground. The pages on the Secondary are stained with blood. A red shoe comes off Margaret’s foot, and tumbles over the ground. Colonel Burton catches his daughter and lifts her in his arms. Just then, Friday Monday takes hold of the book, reciting the words of awakening. “Elda taluta! Sarks sark. Ark arks.” Affected by the soul of language, Colonel Burton’s attitude changes. He points his daughter with his gun. Margaret cries out, “Father, what’s wrong?” Margaret is watching the details of what she experienced 12 years ago.


“Father?” Small Margaret grasps the gun on the ground. “Stop. Why are you doing this?” Colonel Burton approaches towards Margaret still in affected state. The soul of language must have caused the liberation of unconsciousness in Colonel Burton’s mind. Every emotion lurching in archetypal mode, out of which everything generates, is allowed to exude in its original nature. Margaret cries, “Don’t come any closer. I don’t want to die. I don’t want to die! If I don’t shoot Dad, I’ll die. But I can’t shoot Father.” The mysterious lines muttered by the girl named Laetitia holding a doll in her arms in the ruins in episode 3, are now echoed by the words uttered by small Margaret 12 years ago.


Margaret and Colonel Burton are facing each other with guns in their hands. Then, the screen shows something like an image of primordial psyche splitting apart. That reminds of the illustration drawn on the pages of the picture book written in Elies letters. It seems to be a symbolical figure of protoplasm dividing itself into opposite halves, in contrast of blue and red colors. The gun is fired, and there appears the figure of a small girl who is Madlax surrounded in red color. At the same time, small Margaret’s figure is shown surrounded in blue. Madlax, who has always been looking up the blue moon, is encircled by the contrasting color, red; and Margaret, who has always been looking up the red moon, is encircled by the contrasting color, blue.


It seems to suggest the principle of polarization generation, always appearing in contrasted forms centered by an axis of symmetry, which has been grasped by the word “enantiodromia” in the system of alchemical science, that may correspond with the idea of Entropy Increasing Law advocated by physics, which rules the change of the universe as a psychical law in its unity. The influence of the idea is discoverable in various phases of speculation adopted by science, philosophy and religion. Edgar Allan Poe, who introduced German Romanticism in 19th century America, in his speculative experiment in Eureka, which attempted to expand the meditation on “the Physical, Metaphysical and Mathematical -- of the Material and Spiritual Universe; of its Essence, its Origin, its Creation, its Present Condition, and its Destiny”, planned to establish a metaphysical core principle, which may rule both spiritual and material phenomena, through the mechanism of antagonistic forces of attraction and repulsion. Poe presupposed the ability of intuition, which is able to grasp the eternal truth transcending the limits of logical procedures of induction and reduction. The fundamental principle has been almost universally acknowledged through various cultural spheres by the power of intuition.


One red shoe is worn in Madlax’s right foot, and the other is worn in Margaret’s left foot. It was the pair of red shoes that Vanessa presented Margaret, which triggered the recovery of Margaret’s lost memory and lead to the discovery of the picture book out of the shed.


Laetitia emerges out of the fallen doll. There is the identification tag of Colonel Burton on the ground, with a hole on it. It was small Madlax who shot Colonel Burton from behind. Small Margaret and small Madlax are facing each other across the corpse of Colonel Burton. Quanzitta and Laetitia are watching all the procedure. Laetitia says, “I’m Laetitia. Your beloved doll. Margaret Burton, this is the truth.” “The truth?” “I’, a doll. The urge of a moment. The point where you two parted ways. And the truth that will never disappear.” Friday Monday talks to Margaret by her side, “So your reason, the part of you that didn’t want to kill your father, and the urge that was your desire to survive received power from this place and physically separated? ... You killed your own father, but you sealed off those memories and you’ve been living life wanting for nothing. You’ve believed you were normal. Normal, eh? There’s no such thing anywhere in this world. People seek fame and fortune, and protect their own meager self-esteem by ridiculing others. They’ve lived twelve full years of false time, believing that half-assed state was normal. You’ve seen what kind of situation that’s brought about. Haven’t you?” Friday Monday seeks for the attainment of a mind that overcomes the petty restraints of humanity, which has been buried in the fraudulency of society looking away from truth. It is Friday Monday’s desired creed to deny fundamentally the “normal” that Laetitia and Margaret were talking. His aim for the construction of detached ego based on the man principle seems to indicate the phase of psyche, as the appearance of the archetype of animus.


Margaret collapses on the ground recalling of the tragic ends of Vanessa and Elenore. Friday speaks to her bending closely, “You mustn’t run from the truth. And you mustn’t deny your own actions, either. That’s because you aren’t special. Everyman is the same as you. They’re aware of the contradiction that is their existence, but they can’t find its essence, that’s all. Now, let’s show it to them, Margaret Burton. We’ll show all living creatures the Essence. Living within the Essence… That’s the normal world that I seek. I can hear it. I can hear the melody. Margaret Burton is seeking the Essence of human nature. This… She’s been seeking this!” The meaning of the word “essence”, which has been told several times by the man, is now being clarified. In the English version of the disk, “essence” is adopted for the translation of the word, but the original Japanese “本性” (honsei) might be translated as “true nature” or “original quality” as well. “Ordinary place”, the words Laetitia used, may signify the same psychical phase. But the ultimate truth Friday seeks for must be attained somewhere beyond the border of Good and Evil, where reason will not maintain its function anymore. His ultimate ideal must be found in the state of self-realization where every potential vitality is released in its intact status, without being restricted by any false dogma impelled by outer authority. This man aspires for the attainment of aloof noble purpose, following the manner Nietzsche tried to exercise in his Philosophy of Super Man, in order to transcend the vulnerable limits of human beings.


Intuition suggests that the purpose of existence and the meaning of generation of everything in the cosmos should be discovered in the mode of self-expansion where all properties psyche shrouds are liberated. Instances of this self-realization model may be posited as the achievement of Super Man freed from the fetters of resentment or as the realization of “self” through reorganization of one’s own hidden shadows. The theological cosmology that the Renaissance philosopher Marsilio Ficino conceived may be considered as another example, with which he tried to comprehend every generation and development in the universe as the process of self-contemplation undertaken by the fundamental awareness. Each of these can be understood as an example of reflective phase of the same archetypal insight grasped through the ability of intuition. Oscar Wilde’s hedonism that he found in John Ruskin’s pious aestheticism and embodied in his own life as a pleasure seeker may be understood as one of the sincerest applications of these serious attempts, in its aim for the ultimate raison d’etre, where subject of consciousness should perceive and experience every sensation in its myriad phases.


Friday’s idea of transcendence surpassing the limits of self was embraced by various thinkers in modern European culture, as the lofty target of free will, that should be embraced by an individual. Typical example is the radical existentialistic conception harbored in Marquis de Sade, who lived the revolutionary period of 18th century France, and vehemently tried to transcend the restrictions of ethics in his two sensational novels The History of Juliette, or the Prosperity of Vice and Justine, or the Misfortunes of Virtue. Another example is Dostoevsky, who also lived the revolutionary period of 19th century Russia, and depicted a noble-minded hero who tried to surmount the notion of “crime” as the obstacle a genius should transcend, in Crime and Punishment (1866). R. L. Stevenson, the Victorian period novelist of Great Britain, took up a scientist as a protagonist who pursued the scientific aim of objective assessment of each Good and Evil in his “Dr. Jekyll and Mr. Hyde” (1886). These were the peculiarly important subjects directly concerned with the possibility and limit of individual being, who faced the disintegration of traditional values and courageously decided to choose the freedom as an independent person who is not confined in the fetters of sterile standard existing community imposes. But even the daring existentialist precursor who proclaimed that “God has died”, seems to have been under the restriction of traditional creed as a preacher’s son, that would not free him from the patrimonial influence of Christianity. According to the ideas of Alchemy, which stands aloof out of the man principle of the religion, this kind of excessively self-conscious mode of psyche may be regarded as one assuming the typical persona of rigid animus.


Under the red and blue moons, everything falls into confusion. At the sight of the catastrophe, Limelda collapses on the ground. “This is… This feeling is…” Nakhl says, “So the change has begun?” Friday laughs. “Time is beginning to move. My time, which has been frozen for twelve years, has finally begun to move.” Kneeling in front of the door, Margaret utters, “I’m sorry. I’m sorry. Because I was running away from the truth, I…” Just then, a bullet shoots down the mask of Friday. It is Madlax that appeared there. Friday says, “That’s right… Someone using that name would get in my way. Just like it happened twelve years ago. Madlax!” Margaret mutters, “Madlax. The other me…” Madlax answers. “Yes. I am Margaret Burton’s crime. An existence born at the far reaches of sorrow.” Margaret and Laetitia say alternately. “You’re…” “Pandora’s jewels.” “You’re…” “A kind killer.” Madlax joins their exchange of recitations. “Yes. That’s Madlax. …I am the pain of when we touched truth.”


In the next week notice, Margaret’s voice is heard muttering. “I am the victim within consciousness.” Madlax’s voice follows, “I am the perpetrator within the unconscious.” This is the truth of the existence of Madlax, revealed in this episode at last. Several possible phases which either consciousness or unconscious may materialize, construct the main subject of this anime. Plural axes structure that is not possibly contained in a linear story line, and expressible only through repetitive reciprocation, has been presented by ambiguous visual presentations that will not allow any fixed conceptualization. It will make another perspective of the work; how far one might be able to accept this method of expression as the condition to construct a possible world, or whether one might be able to advocate the principle to generate a phenomenon and produce different phases of a personality.

note:
The metaphysical notion “psyche”, which Jung presupposed as the protoplasmic phase where the distinction of mind and matter is not yet made, was deemed as a dangerous thought that would overthrow the basic premise of science, by the strict advocates of the dogma who would admit no other process than local dynamic effects caused on matter units in the event generation. As vehement oppressions have been detected in the movement against the anti-scientific tradition such as magic and alchemy, remarkably in the attitudes of Vienna school that lead the hard positivism doctrine, Jung’s ex-mentor Freud also directed the organization of Anti-Jung alignment. Ruri Freire Lucas has made quite appropriate a summary on the ideological problem that lies in the basis of the mind of these refuters of Jungian psychology, in his discussion in “The Quantum Unconscious and the Observant Consciousness” (Psychology, 2016, 7, 836-863). It seems we have to reassess the characteristics of our age’s interim logic by which everything is being judged. Because unconscious bias towards the perspectives that compose a fictional work often affects the judgment on their value. Both audience and readers are affected by them in the course of interactive creation of their own possible worlds, as they generate quale through the act of determining wave packets.


In order to reexamine the proposition, it seems we have to reaffirm the basic premises of existence, phenomenon and personality, which are supposed to have affected our thought. Friday recognized the persona of the girl, which means “madness” and “lax”, as the opposing principle to his idea, which drives him to seek for the “essence”.

note:
“Psyche,” postulated by Jung as an archetypal phase that has no distinction between spirit and matter, was a dangerous idea that fundamentally overturned the premise of the standpoint of strict scientific thought, which recognizes the formation of phenomena only by local effects of material existence units. The suppression on anti-scientific ideas, such as magic and alchemy, is evident in the movement of the Wiener Schule, which led the doctrine of hardline “positivism,” and in the formation of the “Anti-Jungian League” directed by Jung’s former teacher Freud. The ideological issues underlying these fierce opposition to Jungian psychology are aptly summarized by Ruri Freire Lucas in “The Quantum Unconscious and the Observant Consciousness” (Psychology, 2016, 7, 836-863). It will be necessary to re-examine the nature of the provisional logic that forms the basis of our judgments. This is because the evaluation of a fictional work is largely influenced by the unconscious bias of the perspective of the conscious subject, who, as a spectator or reader, contributes to its interactive embodiment.
As a concrete example obtained for re-examination of this issue, one is able to cite the fact that the mention on James Beichler’s Neurocosmology and related metaphysical arguments on the premise of the fundamental awareness assumed by several researchers, was deemed inappropriate and was refused to be published, when submitted for a 2017 Bulletin of Wayo Women’s University, based on the judgment of the reviewers.