The Hypernatural and Supernatural in Madlax -- Episode 18

Episode 18: Multi focus structure directing method
Two Separated ~duo~: 双離 (Sori)

Avant shows Limelda deeply immersed in thought in her room. She is recollecting every action hitherto taken in her way of living. The monitor of her computer is showing the classified data of the Bookwald company handed by Madlax. Limelda mutters, “What an illusion…”

Vanessa is learning how to shoot a gun from Madlax. Carrossea is watching Charles Winston inquiring after Vanessa in Gazth-Sonica together with Margaret and Elenore, but he doesn’t show an indication for interfering them for some undisclosed reason.

Limelda is utterly depressed in anguish in her room. This woman guard officer first came up in the story as if she were playing a minor role, but afterward acted as a strong rival of Madlax, and later suddenly started to play the role of a rescuer of Madlax, and in this episode, she seems to be enacting the part of one of the main characters who may decide the core axis of meaning configuration in this anime. Still later, she is ordained to play the most important function in the show.

Cut back camera work shows Vanessa exercising her gun lesson after the guidance Madlax has given her. Madlax has sneaked into the library and looking into the documents that record the history of Gazth-Sonica, when Nakhl senses something. “Lady Quanzitta.” The priestess answers replying her call, “Nakhl, the wind is about to blow. It will be quite a pleasant wind. And then I have only to entrust myself to it.” Nakhl replies, “The time has come to do our duty, hasn’t it?” “Yes, very soon. … very soon...” “Very well, My Lady.” Vanessa continues exercising gun shoot.

Limelda shows up in front of the commander of the guard. He has his arm supported in a sling that had been shot by Vanessa’s bullet. Limelda hands him over the printed data of the disk Madlax entrusted to her. “What kind of joke is this supposed to be? Furnishing weapons not just to us but to Galza too? That’s impossible.” Limelda judges instantly. “So you did know, then.” It is not shown how Limelda gained this judgement. It makes one more instance of the hyper-natural directing method, reflecting the second lieutenant’s judgement who discovered the ambush of the Government soldiers in episode 1, and the estimation on Limelda’s gun handling ability Madlax performed in episode 3.

note:
The “hyperreal” presentation, in which the entire picture of the information is not afforded in a consistent manner using conceptual explanations, and the viewer has to proactively examine the description of the fictional world while being aware of the lack of background information, has been effectively introduced in several manga works such as Sakurai Gamon's Ajin, Kodansha (2012) and Hajime Isayama’s Attack on Titans, Kodansha (2009). Both of which are well accepted as instances of impressive directing technique.
On the other hand, in the anime works true tears (2008) and glass lip (2014) , directed by Junji Nishimura, produced by P. A. Works, hypernatural descriptions are not limited to the scope of the directing method in individual scenes and episodes, but unparalleled presentation of a fictional world that does not have a unique central axis has been accomplished, by suggesting that there is confidential information that is not disclosed until the end in the fundamental part that must form the core of the fictional world.
On the other hand, in the case of Madlax, the hypernatural creative philosophy can be considered to have been more thoroughly carried out as a metafictional core subject in that the manipulation of depicting an amorphous picture of the work world is applied to the extreme, and does not bring about any convergence to any genre characteristics.

The commander replies, “And what if I said that I did?” “I’d shoot you.” The commander tries to persuade her. “If you just accept this fact, you won’t lose your rank or honor as a member of the elite guard.” Limelda’s decision doesn’t waver. “I’m not shrewd enough to live my life in a false war.” Limelda shoots the commander without hesitation. Madlax’s intuition seems to have been right. Limelda mutters. “I wonder why it is… That girl’s face is the only thing that’s coming to mind… Just that girl…”

Madlax finds out the same image in a book as the one she had in her room, after searching in the library. “This is… It’s the same. Why? …The Elies script. A writing system made by a different civilization than any of the world’s four great ancient civilizations.” Nakhl appears there somehow detecting the actions of Madlax. “Why? Why are you after that book, Madlax?” Madlax answers, “Before you ask me questions, how about at least introducing yourself?” Nakhl answers, “Nakhl. My name is Nakhl. Why are you after that book. Answer me.” “I’m just searching. That’s all.” “What’s your purpose?” “I’d prefer to stay alive. Are you with Enfant?” “No.” “Then will you please leave me be?” It seems Nakhl has decided something. “You’re someone who seeks a Book.” “Yes.” “In that case, I will test you.” Nakhl draws near Madlax and seems to have discovered something in her. But following the previous directing strategy, this anime will not disclose the source to the audience, how she has been able to acquire her conviction. The audience is again reminded of the vast void that lies behind the show at this scene. Nakhl says, “So that’s how it is. You were looking for someone who could read Elies back then as well.” “I’m looking for my own sake this time. So that I can go on being myself.” But Nakhl declares to her, “Different. You are different. …You are not worthy of having the Book.” Nakhl also gives Madlax the same words denying her existence as the masked man and Laetitia had done. Madlax says beseechingly to Nakhl, “Don’t… Don’t deny it. Don’t deny my existence!”

A battle ensues between Madlax and Nakhl in the library. Nakhl is getting the better of Madlax. But Nakhl mutters, “This power…” Nakhl also seems to have acknowledged something in Madlax through their fight.

Limelda has visited Carrossea this time. “I found out the truth about this country. …To me, her words are infinitely close to the truth. Why are you making this civil war continue?” Limelda points her gun at Carrossea. “…I don’t want to be manipulated more than I already have. Not by this country, and not by you.” Her gun is fired aiming at Carrossea, and there are two holes on the wall. But Limelda has not shot Carrossea. Carrossea mutters left alone, “To think she still has feelings for me…” This scene shows Limelda’s specific character and propensity that can’t be easily included in a stereotype depiction. In this anime, each of the individual person is endowed with multi-layer background and characteristics so as that it is very difficult to distinguish main person from other minor roles, establishing a multi-focus structure of directing method. This is one of the peculiar instances of hyper-natural description of the work.

Margaret is wandering in the town with Elenore in search of Vanessa. Limelda also is prowling in the night town. “Everything looks fake to me. The city, the people… She is the only thing that’s real.” Nightscapes depicted through Limelda’s eyes are extremely impressive.

Madlax is continuing battle against Nakhl in the library. “I can’t even sense her presence.” Nakhl is overpowering Madlax. “You really were the one to die. …The time is approaching.” Nakhl says, pointing her dagger at Madlax. “But you’re someone on the outside. …These without the gift must not become involved with the books. …You have a little of it in you. But that’s all.”

Just then, Margaret senses something in the street of the foreign city. Margaret sneaks into the library lead by intuition, and appears in front of the battle of Madlax and Nakhl. Margaret notices the two in battle. “You’re?” Nakhl cries in astonishment, “Margaret Burton. Why are you here?” Madlax is saved by this unexpected interference. Nakhl goes away from them. Elenore is astonished at identifying Madlax. “This is the woman on the Wanted Criminals list….” Margaret calls to the girl by her name, “Madlax.” “Who are you?” Elenore explains their situation to Madlax who has no clue to their appearance. “Please wait! We’re acquaintances of Miss Vanessa Rene.” Margaret says, following Elenore. “I’m Margaret. Margaret Burton.” Madlax and Margaret at last have got the direct encounter, face to face. Laetitia is saying, “You are one who does not know the truth. You are one who knows only a false truth. The truth is me. So please… Hurry here, okay? Hurry…” Both red and blue moons are hanging above the ruins Laetitia and Poupee are standing. Both blue and red shadows are cast on the ground. Laetitia mutters. “So you can touch the truth in this false land.” Laetitia’s feet are both naked.

In this episode, we have been able to view the battle fought between Madlax and Nakhl. Judging after the results of the previous conflicts between the characters, Nakhl had the better of Carrossea and also overpowered Madlax. But Margaret was able to exert her power overwhelming the one of Nakhl, even though she was asleep. It seems the strongest person is Margaret in these four. Predominance of existence as the power of transcendence in deciding the course of fate is depicted through special perspectives peculiar to fictionality, indifferent of physical or technical abilities such as choices of weapons or adoption of battle tactics.