The Hypernatural and Supernatural in Madlax -- Episode 19

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

Targeted Book ~holy~: 獲本 (Ehon)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

The Hypernatural and Supernatural in Madlax -- Episode 17

Role casts configured in characters’ lines

Killing Moment ~reunion~: 刹那 (Setsuna)

note: 刹那
Japanese words string “刹那” means “moment”, but the character “刹” reminds of “殺”=kill. “殺那” (Satsuna) may mean “the killing moment”.

Avant shows Vanessa extremely agitated by the new experience having shot a person by her own hand. Madlax says to her, “You didn’t kill him. The man you shot isn’t dead.” Vanessa says answering her, “That’s not the point. The act of shooting someone is unforgivable.” Vanessa’s words function adding a new meaning axis that constructs the emotional norm of this anime. One of the new perspectives that is supposed to define the ethical meaning axis of the fiction is now introduced by Vanessa, who Madlax made friends for the first time after killing countless people in her life. Madlax says to Vanessa, “If you hadn’t shot him, I would have died. When people die, it’s because they’ve failed at being alive. When people fail at being alive, they die.” Madlax’s way of fighting and killing in order to survive without hatred, is going to be understood as a decisive element to configure the peculiar perspective of this anime at the end.

Madlax and Vanessa run into the forest fleeing from Enfant, where soldiers sighting their faces, identify them as murderers of their Royalty. Vanessa wonders. “Murderers of Royalty?” Madlax instantly understands what is going on. “This means that data was the real thing.” Enfant spread a false information in order to let the army search for them. Madlax shoots the soldiers without hesitation in front of Vanessa. Madlax mutters, “We’re being manipulated. You and I both”

Carrossea is receiving a report on Madlax from Limelda. “So a connection will be made between Vanessa Rene and Margaret Burton? It might be time for me to prepare for the worst.” He plays a rare role in this anime who affords the audience with explanatory monologues that describe the course of the story. There can be a particular character constructed out of other peculiarities than appearance and personality, according to the function in a directing strategy to propel the course of a story performed toward the audience. This is one of the most impressive instances of character making established out of keen awareness of the modality of fictional creation.

note:
As a peculiarly remarkable instance of a conceptualized make up of a personality, created by clever selection of the mode as a narrator of the story, we can point out the character enrolled as “author” introduced in the fantastic novel Peter and Wendy. Please refer to my paper “Fraudulent Narration: Deconstruction in Antifantasy” included in Fantasy as Antifantasy (2004), for the argument on the mode of this literary work as conceptual novel, accomplished by omnidirectionally utilizing the element of storytelling introduced in the story.

In Nafrece, Margaret and Elenore acquire the information of Vanessa and Madlax being put on the Wanted list as murderers of Royalty, watching TV broadcast. In Gazth-Sonika, Limelda is sighing in grief holding a gun. Margaret calls Badgis to halt who came to watch the situation of Vanessa’s room. “Who are you?” It seems this girl has sensed something below the threshold of consciousness, who is capable of acting following intuition free from the frame of logical inference.

Margaret’s ability to be able to share sensations with other beings manifested in several scenes in the previous episodes, has been usually understood by the words “empathy” and “telepathy”. But she was able to make a decision to invite him as one who will afford her an opportunity to determine her future actions, without knowing the relationship between Vanessa and the man she has happened to meet, following a conviction that can not be explained by perception or logical inference. This ability which supplies intuitional judgement without being aided by the power of intelligence can be explained applying the principle of the notion usually called “dowsing”.

It is a traditional technology adopted in working various kinds of divination by releasing the power of intuition that is gained out of the unconscious regions conjoining the primordial state where restrictions of time and space don’t exist, and freed from cause-and-effect chain limitation of phenomenality. Forked rod, pendulum, cards and chart, sometimes making use of Bible and small animals, everything is accommodated as medium in order to gain revelation to guide the course to be taken in the future out of unconscious region. This is a traditional technic intentionally aiming at the appearance of the occasion of “synchronicity”.

The occurrence was detected in episode 2, presumably following the similar principle, at the scene Margaret unconsciously started the computer in Vanessa’s office room and let it display the information of Gazth-Sonica. All these suggest the hidden connection between the subject of consciousness and whole body of the universe. This ability each individual is supposed to be provided with has been traditionally discussed by the word “intuition”, but after the inception of quantum physics, it is gathering attention in the argument of the holarchy of the universe, signifying the relationship between non-local structure of cosmos and “fundamental awareness” that is supposed to have given the first cause to primordial creation of everything. It is the latent core subject ruling all the storyline of Madlax hidden behind the hyper-natural directing method.

note:
The idea now discussed as the relationship between the interrelated structure of the universe and the supposed existence of all-pervading consciousness called “Fundamental Awareness”, is studied by scholars such as Dirk K F Meijer, Hans Geesink and Franco Ivaldi and others, focused on the cosmological argument on fractal system structure and pilot wave theory. The implicit premise adopted in anime Madlax is deeply related to the notions focused on these Post Quantum Mechanics arguments. Some instances are shown below.

Scale-Invariant Geometry of Consciousness: from Projection at the Planck Level to Cosmic Manifestation as a Bidirectional "Stairway to Heaven"
https://www.academia.edu/117029655/Scale_Invariant_Geometry_of_Consciousness_from_Projection_at_the_Planck_Level_to_Cosmic_Manifestation_as_a_Bidirectional_Stairway_to_Heaven_

Universal Intelligence and New Frontiers of Physics
https://www.academia.edu/102631440/Universal_Intelligence_and_New_Frontiers_of_Physics

Badgis explains, invited into Margaret’s apartment room. “Information is being deliberately manipulated. …Vanessa was trying to expose wrongdoings within her company. I helped her with that too.” Elenore asks, “In other words, Miss Vanessa was framed as a murderer by a criminal organization called Enfant?” While Carrossea takes the part of explaining the proceedings of the story, this maid undertakes the role to arrange the story actions and conceptualize them not only for Margaret to understand but also for the audience. Just as the case of Carrossea, this is an instance of a characteristic personality making, particular to a fictional world. Badgis guesses, “Probably. But she’s still alive. The fact that she’s been put on the Wanted list is the best possible proof. And there’s the other woman who’s being labeled as her accomplice. If we have her help… Most likely, she’s the agent Vanessa hired. Her bodyguard.” Badgis is referring to Madlax managing keen discernment as Madlax did. Margaret again marshals the mysterious power of her intuition. “Madlax… That woman’s name is Madlax.” Margaret declares, “I’m going to Gazth-Sonica. …I want to see her.”

Vanessa mutters, “When people fail at being alive, they die…” Driving the car, Madlax says to Vanessa, “Yes, so don’t die. Don’t die, Vanessa Rene.” This is a varied instance of her peculiar lines hitherto uttered in the words, “You’ll die.” When they return to Madlax’s room, it is already occupied by the enemy. There is a telephone call from SSS. Madlax asks, “You sold information, didn’t you?” SSS answers, “I’d prefer to stay alive, after all.” Madlax replies, “Me too.” Both of them are fully aware of their mode of living, every minute at stake of their lives. It has nothing to do with anger or hatred, in their achievement of their task. It is a judgement of sound conviction quite different from the principle that rules Vanessa’s actions. Madlax kills the minion of Enfant hiding in her room with her gun shot. Madlax and Vanessa leave the room where security is no more trusted, taking the identification tag and the piece of paper that had been pinned on the wall.

Margaret manages to fly to the dangerous conflict country with the help of Carrossea. Carrossea is riding the same airplane as Margaret has boarded. Carrossea mutters to himself. “We’re converging on one point. No… Is it that we’re being lured there?” He seems to have sensed some hidden power like destiny conjoining incidental events that have occurred by chance into some meaningful consequence. The wave convergence of perspectives establishing definite meaning may be regarded as the revelation of synchronicity for the subject of consciousness, establishing particular configuration of discrete qualia.

Madlax and Vanessa goes fleeing in a car from the enemy without any destination. But Madlax is grasping some notion on the meaning of her existence. “We’ve been targeted by the kingdom army, Enfant, and probably Galza too. But there is one thing we now know: Enfant is looking for a book. …It was a book I’d never seen before… But we have a clue. The cover of the book Friday had was exactly like the letters written here.” These lines Madlax has uttered seem to suggest the possibility of discoveries of a hidden relationship between self and universe, in a way similar to the mechanism of riddle solving presented in the form of tacit assumption manipulated in the fictional genre called mystery.

Madlax and Vanessa are caught in a surprise attack on the road. Madlax is not able to fight as usual, with Vanessa who is not used to fighting and confiscated by the enemy. But by the aid of Limelda, who suddenly came up on the scene, Madlax is able to escape from the danger.

“This isn’t like you.” Limelda says to Madlax. “Why did you do that?” Madlax asks. Limelda answers, “Because I’m going to be the one to kill you. Having someone like this dragging down doesn’t suit you.” Limelda’s lines, contrary to Carrossea’s, are charged with concrete peculiarity dismissing any explanatory element toward the audience, even making it difficult to guess the exact sentiment of the speaker. Most impressive lines in this anime are told by this person. Madlax answers, saying, “She’s not your opponent. This country’s civil war was set up. By Enfant. …You can see the truth too. Because you are that kind of person.” Madlax also, following Margaret’s example, has a mysterious conviction on the essence of the personality of Limelda.

Carrossea, not only having shared the same airplane as Margaret boarded, but also accompanies to the hotel she had reserved. Limelda is immersed in deep thought in a car with the disk handed to her by Madlax. Vanessa makes a decision having heard the words spoken by Limelda. “Madlax. …Teach me how to shoot.” “Are you sure?” Vanessa answers, “I can’t keep doing nothing but running away.” Here, this episode is going to add a perspective which defines a new axis which is able to construct another genre. Vanessa has chosen to accept battle and murder as her own actions to be taken, though they have been positive objects of her avoidance, not only as means for survival but also as proof for her affirmation of Madlax’s way of living, whom she had made friends in a foreign country. Here, this anime begins to reveal the mode of friendship achievement between girls, against the background of ethical problem concerning the act of murder.

Just then the car Margaret and Elenore are riding crosses on the other traffic line of the road where Madlax and Vanessa are riding. Though the actions of Madlax and Margaret have been depicted each juxtaposed in cutback presentations up to the episode 17, their direct contact has not been accomplished yet. Here, they have come very close to their actual encounter, but it is not gained yet. Laetitia mutters somewhere. “Don’t die. …Live.”

The Hypernatural and Supernatural in Madlax -- Episode 16

Episode 16: War zone and gunfight in a stage set

"Gun Rhyme ~moment~": 銃韻 (Juin)

note: "銃韻"
This is a coined set of words string. “銃”=gun, and “韻”=rhyme.

In avant, Vanessa is talking about the content of the data displayed on the monitor. “Enfant is supplying weapons not only to Gazth-Sonika’s kingdom army, but also to the Galza armed resistance group. They are deliberately perpetuating the war.” Madlax responds. “People whose business is death often do that.” Vanessa corrects. “That’s not it. According to the data, Enfant is mass-purchasing weapons from the military industries, and then providing them to both sides free of charge.” Against the scenes of sanguinary warfare, the conversation between Vanessa and Madlax continues. “That’s not all. The leading bigwigs in the kingdom army and in Galza have all been put in power by Enfant. Why do you think they’ve gone to the trouble, of providing arms and personnel for free in order to prolong this war?” “There’s no meaning behind it.” “I don’t think that’s true. I don’t know what it is, but there’s a reason Enfant is making this war continue.” “There really isn’t any, I don’t think. What I’ve been doing….” Madlax is recalling of Pete, Guen McNichol and Eric Gillain she had hitherto made acquaintance with.

Madlax is talking to SSS on a telephone. “Did you know this country’s civil war was orchestrated by Enfant?” Tremendously large, mysterious power rules over everything. This is the eerie sensation felt as if one is looking into the abyss that Commander Guen McNichol had harbored who requested his own assassination to Madlax in the episode 3. Here, this anime is going to disclose a new phase loaded with the elements of a metaphysical fiction where absurdity and ominous presentiment pervades the psychical world, shifting the central axis from the one in which pursuit for a socialistic motif constructed meanings in the connection between human obligation and political affair. The element of psycho horror that had dominated the episode 4 in which detective Marini was faced with the purposeless murder case seems to be emerging again.

In Nafrece, Margaret has called up Carrossea to have a talk with him. Carrossea asks, “I never even imagined that you would contact me.” Margaret answers, “I’m sorry I called you away from things. …I have dreams. …When I sleep with the picture book under my pillow, I sometimes have strange dreams. …That place …the place in my dream is full of junk, … and it’s like it’s in ruins. I’m all alone there … And I’m really, really lonely.” Carrossea says, “Margaret. You’ve lost your memories of your past. …Perhaps that dream is your past. …I’d like to see your dream too. With you.” Margaret answers, “Then let’s meet in our dreams.” It seems Carrossea has something to do with the vision of the ruins Margaret had shared with Madlax.

There, Elenore jumps up over them riding a helicopter from under the cliff, in search for Margaret who has gone out alone. This astonishing behavior of the maid furnishes an interesting instance showing her abnormal trait like a sort of a stalker. It is one of hyper-realistic depictions testifying the girl’s deviant behavior straying away from the norm of a faithful maid, that cannot be easily classified as a gag expression usually introduced in many anime works. It forms an innovative conceptual perspective utilized peculiarly in manga and anime, that novel has abandoned as not fitting for the fictional standard based on the description of natural laws that novel is supposed to observe as the genre’s definition as scientific production. Carrossea mutters to himself, left alone with Margaret taken away in Elenore’s helicopter. “If I suppose that her dream is the influence of Secondary…She is infinitely closer to that place than I am.”

Vanessa and Madlax are consulting about the measures to be dealt with the data. Vanessa says, “If I go public with these fact, Gazth-Sonika’s civil war will…” “Madlax answers, “Not possible. You’re up against Enfant. They control all the information channels. But there is a way. I talked to SSS and asked him to fix it so we could contact Nafrece’s intelligent service.” Vanessa accepts her proposal. “We’re going to hand this data over to them, then?”

A man is waiting for them at the meeting spot. “Let’s have the goods.” Vanessa gives the disk that contains the data to the man, saying, “What do you intend to do with this data? If you won’t tell us, I won’t tell you the password to open it.” But the man casts it away in the gutter. The contact with the intelligence agency was a trap set by Enfant. Both Madlax and Vanessa are arrested by them.

Nakhl is reporting to Quanzitta. “I’ve received a report that Enfant’s operatives are making a move in Gazth-Sonika.” Quanzitta answers, “Is that so? ---He’s still seeking it as well.” It seems that this woman possesses some knowledge as to the identity of the mysterious man, but ample information is not to be disclosed to the audience yet.

Enfant’s henchmen shoves Madlax and Vanessa into a car and carries them somewhere. Inspecting Madlax’s gun, the leader of Enfant’s soldiers asks. “Looks like you’ve been using it a long time. How many people have you killed?” Madlax answers, “I don’t keep count.” Those were the nearest people to Madlax in their way of living. Madlax is forced to lose her consciousness and recover it in a place like a spot in ruins. The insert song “I’m here” is running behind the background of the eerie space. “Where am I?” Madlax sees the girl who called herself Laetitia running with her doll in her arms. Laetitia speaks to Madlax, “You’re different.” Madlax is now wearing a dress. Her hair is also dressed in a different shape from before. “A red shoe.” There is the red book that was lying on the ground of the battle zone. “This is … This book.” A small girl appears in the scene with a gun in her hand. She mutters, “Dad.”

Laetitia mutters, “Eluda Taluta.” There is a man speaking to Madlax from behind. “That way of feeling…You’re the real thing. I’m glad to meet you, Madlax. It’s been a full twelve years since I last uttered the word.” Madlax asks, “Who are you?” “Friday Monday.” “What is this place?” “The place you used to be.” “That’s right. I was here, wasn’t I? What… what did I do here?” The man who calls himself Friday answers, “You touched the essence here. The essence of yourself as a person. Yes, you’re seeing it.” “Elda Taluta… That scene is from my past.” Madlax has recalled something out of the past. “If you want to know the truth, you have to remember. You heard the words of awakening. But that alone is not enough. You need even more words. You know. You know where another book is. You know where secondary is. …What a good way of feeling you have. You’re getting close to my domain.” Friday knows something that Madlax doesn’t know. And with some unfathomable intention he is trying to retrieve her memory. The word “essence” he had uttered in several scenes seems to have deep connection with the secret Madlax is laden. But Madlax answers, “I don’t know. I wanted to be normal.” It is supposed that those words “essence” and “normal”, each of them spoken by Friday and Madlax respectively, may indicate some complimentary idea, forming a peculiar perspective on both sides of an axis in the fictional phase space.

Madlax continues, saying, “I wanted to be normal. I just wanted to be normal, and you, you stole it. You stole my existence.” Friday says, as if these words were unexpected to hear. “You renounced it? Why?” Madlax asks him. “Why do you continue a meaningless war?” Friday answers, “I’m disappointed in you, Madlax. I see, so you desire a day-to-day life with no value? You are nowhere near my idea. That’s why you were different.” “I’m different?” “You’re different!” Madlax’s existence has been completely denied not only by Laetitia but also by Friday. Friday goes away leaving Madlax alone. Then, Vanessa comes to the spot. “Is this a set? Madlax, who was that man who was just here?” Everything was a disguise prepared for the recovery of Madlax’s memory. Madlax answers, “The man who orchestrated this war”. There, the leader of Enfant soldiers appears. “It looks like he didn’t take a fancy to you.” This man intends to kill Madlax. But Madlax has already regained her composure. “Hide, Vanessa.” “But…” “I’m fine. Things are very normal right now.” It seems her “normal” state means a battlefield where survival for the present is staked for her.

Together with the insert song “nowhere”, with its impressive refrain “yammani”, Madlax’s battle scene commences. Madlax snatches a gun away from one of the soldiers, and effortlessly overcomes the enemy force. But the commander of the group succeeds in hitting the gun off Madlax’s hand. Madlax is unable to move behind the coverage. Just then, Vanessa picks up a gun on the ground and shoots the man who was aiming at Madlax. The man gets the bullet and collapses.

The scene shifts. Margaret wakes up in her bedroom. Though an exciting fighting scene was introduced in this episode, Madlax was forced to enact an absurd puppet play, and was sentenced the decision utterly denying her existence. And what finally concluded the action scene was a gun shoot performed by Vanessa who was supposed to have been outside of the battle. This anime seems to set its core axis in the manipulation of these trivial incidents that have been given detailed depiction abandoning the norm of typical anime expression.

The ruins were all no other than a stage set built by Friday in order to induce Madlax regain her past memory. But what is especially interesting is that there was not any explanation given, concerning the appearance of Laetitia, Madlax happened to detect there. As this episode comes to its end affording no explanation whether she was brought here by Friday’s working or it was an accidental occurrence, there is utter vacancy of information left. The audience is expected to judge what sort of consideration the peculiar manipulation of perspectives adopted in this anime demands, on the nature of the meaning axis that forms the fictional background setting revealed in the encounter of Madlax and Laetitia, after Laetitia’s true identity has been disclosed.

The Hypernatural and Supernatural in Madlax -- Episode 15

Episode 15: Data disk, trap and synesthesia

"False War ~camouflage~": 偽争 (Gisou)

note: "偽争"
This is a coined set of words string. “偽”=false, and “争”=fight, but the Japanese reading reminds of the homonym “偽装”=disguise.

Avant starts showing Vanessa and Madlax returned to their room. Vanessa asks Madlax, “Do you really not remember what happened before?” “Nope.” “Nothing at all?” “Nope.” “Not a thing?” “Nope.” “I can’t believe it.” “But the fact that I fell into Enfant’s trap, and the fact that you came after me when I lost my senses… I believe I understand those things. So… Thank you. What?” “Say it again.” “No way.”

Madlax seems to have regained her normal condition, but she appears to be assuming a very confidential attitude toward Vanessa now. Vanessa also indicates a deeply affectionate manner, as if they have stepped over the barrier between strangers. The flirting manner of their conversation reminds of peculiar affectionate companionship between girls. Here, this anime suggests the addition of a new perspective indicating a peculiar genre defining element called “Yuri” (girls love). Madlax says to Vanessa. “Enfant may have found out who you really are.” Vanessa asks. “Say, Madlax. …There’s something I want to ask you.”

Juxtaposed multi-axes story starts here again, using a cut back camera work. Quanzitta talks to Nakhl who has returned to the village Dwaiho. “Welcome back, Nakhl. It appears you were able to meet her.” Nakhl answers, “Yes. I found the girl who possesses Secondari. She’s still quite a young girl.” “What’s her name?” “Margaret. Her name is Margaret Burton.” Nakhl continues saying, “I also met one other person who had the Gift. …His name is Carrossea Doon. He is with Enfant.”

Screen shows another story axis where Carrossea is receiving a call from Limelda. “What is it, so late at night? What? You say you saw Madlax?” “…She was certainly acting differently, just like you said she would. But that was her. That was the Madlax I know.” “Does that mean she overcame it?!” Carrossea can’t help wondering at Madlax’s recovery from the trap launched by Enfant. Limelda continues her report. “Also, Madlax had a cohort. I sent you a composite picture.” Carrossea understands his camouflage has been overthrown. “She may be too capable. That’s something to think about.” There, a telephone call from Friday Monday comes to Carrossea. “It’s been a while. I want to see you, Carrossea.”

The screen is again showing Madlax and Vanessa. “You don’t have any memories?” Madlax says answering Vanessa’s question, “I don’t have any memories from before I was five or six. …When I realized where I was, I was wearing tattered clothes and wandering around right in the middle of the war. …I don’t even know who I am. All I remember is an image of my father and the word ‘Madlax’. That’s why I’m Madlax. Just ‘Madlax’.” Madlax continues. “To me, things are very normal now.” Madlax is repeating the word “normal” which had been told by Laeticia in episode 4. Together with the word “gift”, which Nakhl adopted acknowledging peculiar ability both in Margaret and Carrossea, the word “normal” must form a peculiar perspective in the meaning axes that construct the fictional world.

Carrossea visits the mansion of Friday Monday. “According to your report, the person who tried to hack into the nerve center of our organization was an agent in Gazth-Sonika called Madlax, isn’t that right?” Friday had obtained the composite image data made by Limelda. “This is a pretty well-done composite. …This woman belongs to the same company you do. Bookwald. Her name is Vanessa Rene. …But that’s of no consequence. My interest is elsewhere. The one who received the baptism of Firstari and overcame it. Yes. Madlax knows. She knows where Secondari is.” Contrary to Carrossea’s expectation, it was Madlax that attracted the attention of Friday, whom Carrossea had reported exchanging for Vanessa in order to disguise her true identity. It seems the secret of Madlax’s existence is going to be disclosed by Friday.

“…I felt like someone was calling me. I wonder who?” Margaret is agitated reacting to something. At the same time in Gaths-Sonika, Madlax is trying to start the computer which conceals Enfant’s trap. Madlax’s eyes betray the weird effect on them again. It seems the influence is reflected on Margaret in Nafrece. Elenore talks to Margaret anxiously. “Is something the matter, Miss?” But Margaret collapses in the sofa, uttering “Who? Who are you?”

Madlax is wandering among destroyed buildings. “Where am I?” Madlax detects the figure of Laetitia running through the ruins. There’s also a back view of a military man. “Dad!” Madlax calls to him. “Wait! Don’t go! Why do you disappear?” Madlax wonders to herself, “What am I doing here?” Laetitia’s figure shows up in front of her.

Laetitia asks Madlax. “Who are you? Who?” Madlax answers. “Madlax.” “I’m Laetitia.” “Where are we?” Laetitia answers to her question, saying. “This is a very normal place. …The truth is here. Things that aren’t false, are here.” Madlax asks again “If that’s true, then why don’t you know who I am?” “Because you’re different. You’re different.” Laetitia answers. “You’re false, like this little one here. And so is the war zone you’re in.” It seems “this child” is told addressing the doll she is holding in her hands. Though Nakhl acknowledged the gift in both Margaret and Carrossea, Madlax has been decidedly declared to have false existence by this girl. There may be some difference in existential phases between the word “normal” spoken by Laetitia and the expression “normal” Madlax uttered.

“Miss, Miss! Please snap out of it, Miss” Elenore takes hold of Margaret collapsed into the sofa. Margaret says recovering her consciousness. “Elenore, why am I… I saw a doll. A very important doll.” Madlax and Margaret seem to share each other’s sensation even though they are separated by a long distance. Madlax is going to open the file a trap is launched. Vanessa cries trying to stop her. “Madlax, that was a really reckless thing to do!” Madlax mutters. “False. A false war zone.” “Snap out of it. Snap out of it, Madlax. …This is…” Vanessa looks into the display. The computer is showing the data with the password cleared. Laetitia mutters. “Yes. Everything is false.” Madlax asks Vanessa. “What happened to me?” “Are you okay?” Vanessa tells her the result. “The data started displaying.”

Vanessa reads out the displayed information. “The kingdom army and the Galza armed resistance group that are waging civil war in Gazth-Sonika. The balance of power between them is being controlled by Enfant. No, not just that; they even control this country’s economy and government. …And Enfant has been continuing a meaningless civil war for 12 years in a place that’s basically their own country.” Madlax mutters answering Vanessa, “A false war zone…” It seems the civil war fought in Gazth-Sonika is deeply connected with the mystery concerning the existence of Madlax. But the clue seems to be far away still now. Though the existence of some kind of dark plot began to be detected, it is not clear whether this anime is going to disclose its fictional perspectives disposing the meaning axis as a social activity in the form of indictment of international malpractice, or some other subject is still hidden to be excavated in the course of the story. Most impressive thing is that it was indicated in a concrete instance that Madlax and Margaret are sharing some sensation between them in this episode. Similar phenomenon to the ability Margaret manifested has occurred in episode 6, sharing emotion experienced by other being. But Margaret’s mysterious ability that has been usually understood with these words “sharing similar perceptions with others”, is going to be shown in quite different a description shifting the basic perspective axis, in the course of its development with new accumulation of background information afforded. That suggests a metaphysical cosmology conjoining the arguments on the function of consciousness, deeply concerned with the mechanism of meaning construction and qualia generation, and further with the idea of autonomous evolution of universe, explaining the cause of creation and its intrinsic purpose.