The Most Beautiful Scene… Their Smiles Made My Heart Skip A Beat

Zeke and Armin’s conversation was planned since 2011

In 2011, Isayama wrote this on his blog:

http://blog.livedoor.jp/isayamahazime/archives/5193783.html

人が本当にやりたいことっていうのは、お金を稼ぐことだったり

将来役に立つ事だったりといった、生きるのに必要な蓄えを増やす事じゃない

（たぶんそれらは「やらなきゃいけないこと」だから）

人が本当にやりたいことには、意味がないことだったり何の役にもたたないこと、

儲からないし何の見返りもないけど、でもやるんだよと言って飲まず食わず寝ず

誰からも褒められずにやってしまうこと、それが本当にやりたい事だ」と

ただ、生きるのに必要以上にお金を稼ごうとする行為は「やらなきゃいけないこと」ではないので

それは「やりたいこと」かもしれませんね、

必要ないことをやるという行為には、反生物的な美意識を感じます、

それは生命維持や種の繁殖といった全生物に組み込まれた命令に背く行為だからです、

これに逆らうことで自分が有機物で作られた機械ではないことを証明し、

自分の中にある魂というものの存在が確認できるのだと思います、

What humans truly want to do is not increasing one’s savings, things that are essential for life or useful for one’s future (the reason we don’t want to do these things is precisely because they are things we have to do).

What humans truly want to do are meaningless things that aren’t useful at all. Things that aren’t profitable with no reward, but we do them anyway. Not drinking or eating or sleeping. Things we truly want to do, we do without being praised.

However making more money than is necessary to live is not essential for life either, so in a way, it’s also something humans want to do.

When humans do these meaningless things, I feel like it’s a beautiful act of going against our biology. Because it violates our genetic code - the commands built into all living things that order us to survive and propagate. When we fight against it, we’re proving that we’re not just machines built from organic matter. It allows us to see within us the existence of our soul.

—end of translation

This was essentially the meaning of Zeke and Armin’s conversation in 137. Armin agreed with Zeke that life is meaningless and humans are constantly struggling to survive and propagate for no reason. But he reminded him that meaningless moments like running to a tree or playing catch allows us to see the human soul within us - that we’re not just machines mindlessly reproducing.

Isayama has had these beliefs since 2011, finally publishing them 10 years later in ch 137!

Ladies of Fullmetal Alchemist: Brotherhood + Windswept hair shots

What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind.

T.S. Eliot, from section I of “Burnt Norton,” Four Quartets (Mariner Books, 1968)

Analyzing Eren`s view of freedom

Concepts, ideas and philosophies are abstract phenomena which do not technically have any physical form. However people like to depict these ideas in different ways. For example the idea of justice is depicted by a goddess, who holds a scale and is blindfolded. The reason why I bring this up, is because AoT volume 33 visualizes the idea of freedom. In a beautiful yet haunting spread panel, the reader sees a young Eren high up in the sky. The sky, clouds and overall horizon seems to stretch into eternity, and at this high viewpoint there is nothing that binds Eren. In one hand this vision is Eren`s dream, the outside world that Eren dreamed about all those years ago. It is this dream among his loved one`s that Eren wishes to retain/pursue, by using the Rumbling. However since Eren describes the view as “freedom” and the person who has seen it as “the freest person in the world”, I think it encapsulates what Eren thinks freedom is. In this post I`d like to examine what this possibly means.

One mention has to be made. I have read up till volume 33 and so I do not know how the story ends. Because of this I cannot comment on some possible revelations that happen after this point. I will start the post by dissecting Eren`s vision into different elements. Then in the final portion I will go over what problems this vision has. The structure will be the following one:

- Limitless horizon and the state of nature

- Chasing a mysterious and unknown horizon

- The vision of a child – Problems with Eren`s view of freedom

- Conclusion

Limitless horizon and the state of nature

Eren`s vision of freedom is constructed from several building blocks, some more complex than others. In its basic form when one thinks about the society and world where Eren was born in, this vision is a stark contrast to that. The place Eren was born in was small, cramped and binding. As he himself tells in volume 33, from the day Eren was born those massive walls were always there. The walls obscured the horizon and made it hard to see what was past them.

They were a constant reminder of Eren`s nature as a caged being. Because of this Eren`s dream and idea of freedom has to be different from a visual perspective. Here there are no physical boundaries obscuring the horizon, and the sky stretches as far as the eye can see. The outside world is an expansive place, something that must be ten times bigger than Paradis. At this high position it is as if Eren has become the bird or obtained the wings, that have always been depicted to symbolize freedom. He can go where-ever he wants and only sky is the limit.    

Keep reading

Yeager Brothers at the same age

It still feels like a dream

Eren and his Id: Some Further Observations

Since publishing my meta on the idea of the ‘id’ in SNK, I’ve noticed some more examples of it manifesting throughout the series.

Mikasa

What Eren attributes to Ackerman mind control is really just the nature of Mikasa’s id. She acts without seeming to realise she does so, with vacant eyes in the first panel and confusion in the last. This is just like Eren’s experience in defending Ramzi: not being mentally present in the moment, his id takes over his body like an alien and controlling force.

Keep reading

Destruction versus change

The world of AoT is entrapped within a vicious, bloody conflict. What began as a violence committed by monster with no reason behind it, has been revealed to be something much more complex and difficult. The world and its characters have been imprisoned inside a cycle of hate. This hate generates revenge and thus by the attacked person striking back, the cycle is continued into the end of eternity. The origin point of this hate that generates revenge, can be found from a bloodstained history. What makes this especially dangerous is that within this context, hate has a wide range. A painful memory or an event can be from something that happened 3 years ago, or a terrifying time period, which occurred during an almost mythological past. People draw from this past and thus are unable, or simply unwilling to forgive and look ahead.

What can the characters then do? Are they forever trapped within this bloody cycle, or is there a way for them to break free? The series presents two solutions to this problem, one shown by Eren and one shown by the Allied forces of the Survey Corps and Marley. In this post I`d like to inspect these two methods and ponder what they mean. Eren`s solution could be viewed as destruction, and the Allied forces method is change. I will start by focusing on Eren`s solution as the first section, and then in the second section inspecting the one proposed by the Allied forces. 

Two quick side notes are in order before we dive into the heart of the analysis. I am aware that the manga has concluded, but I am still behind two volumes/9 chapters. I do not know how the story ends. This post has been made with the information, that has been revealed up to chapter 130/volume 32. I would also like to thank @aspoonofsugar​​ for giving me feedback and helping with the post! 

Keep reading

a sweet scene (ॢ˘⌣˘ ॢ)

SnK News: Isayama Hajime Interview/Feature in Illustrate Note Magazine No. 43 (Part 1 | Part 2 | Part 3)

Writer: masaco Translation: @suniuz & @fuku-shuu Please credit and/or link back to this post if anything is used!

(T/N: Due to the extensive amount of information/pages, this interview has been divided into multiple parts)

INTRODUCTION (Image 2) Having served as sustenance for Titans, the humans living under 50-meter walls experienced a false sense of peace and security for the first time - in exchange for their freedom. This is the popular, impactful storyline of shounen manga Shingeki no Kyojin. On the one hand, the appeal of this series of course rests in the story’s originality, but it also stems from the richness of its characters. Those who appear within are not flawless males and females - rather, each person endures their own mental struggles and invests their entire being into battle. Here, author Isayama Hajime exposes the strategies behind SnK’s character designs, as well as what personal ideas he has invested into them.

ISAYAMA HAJIME & QUESTION 01 (Image 3)

SHINGEKI NO KYOJIN – Creating Unparalleled Characters

The setting is an unknown time and an unknown location. Within the fictitious world where humanity is an endangered species, a variety of characters emerge, each possessing charisma that increases the depth of the series. Regarding Shingeki no Kyojin’s character designs, we approached creator Isayama Hajime with inquiries from three directions: “Conceptualization,” “Unique Features,” “Growth.”

CAPTION: Protagonist Eren (Right). His mother was eaten by the Titans, and he is a young soldier who possesses intense anger as well as a desire for freedom. Colossal Titan (Left), designed as 60-meters tall. His black, round eyes are attention-grabbing and don’t match his rather grotesque posture.

CAPTION: Eren’s childhood friend Mikasa. Black hair, black eyes, positioned as the last of the Eastern Sea people.

CAPTION: Eren’s fellow cadets. From background to personality and unique physical traits, the ten individuals were all drawn very differently.

Question 01. How were the characters conceptualized?

– Please tell us your process in coming up with these very distinctive characters. The gist of Shingeki no Kyojin’s ending was already decided at the series’ start. The story was born first, and within the key characters many were created for the sake of expanding the plot, Eren especially. He bears the responsibility of carrying the story and wants to confront each and every obstacle straight on. If we view him from our more dominant position, Eren’s never-changing fighting spirit is what sets the foundation for his character.

– How did you visualize the personalities? Most of the time I had some actual references. Compared to me needing to think from scratch, I consider it more practical to absorb outside influences. For example, Mikasa was modeled after a customer whom I met while working part-time at a net cafe. Back then I constantly wondered, “How would I fabricate this character?” And the moment I saw that customer I thought, “Just like that!” I immediately grabbed a receipt next to me and sketched some ideas on the back. The concept for the Eastern Sea tribe, and even including how Mikasa wore her scarf, was via the details I gathered back then. Moreover, even though I would use athletes, friends from my hometown, etc. as inspiration, what I look for isn’t a well-portioned, beautiful face，but rather a strong, eye-catching face.

– How do you manage this many characters in a long-running series? I always save the original drafts from my early deliberations on a character and use them as a starting point, even if the drafts were mere scribbles that I somehow magically came up with. As this is a long-running series, the more you draw, the more your idealized version of the concept evolves. If I feel like my drawings have turned odd, I’ll refer to the original drafts again, and then attempt a return to the right track.

– At the same time, your acute illustrations of the Titans have become their own topic. The Colossal Titan’s debut in chapter one can be deemed as the symbol for the entire series - a skinless, gargantuan monster. However, his eyes remain that of a “spineless youth” - I gave him very thick double eyelids and whale-like eyeballs. The rest of his physique is frightening and artificial, but as long as there exists a dissonance, the Colossal Titan naturally becomes more realistic. Eight years ago, when I first achieved serialization, I understood very well that “No one will pay attention to a newbie’s manga, so discontinuation is inevitable.” Under such a realization, I considered the idea that, “Whenever someone mentions ‘Shingeki no Kyojin’ - they should think of THAT thing.” Thus, I decided to create an icon for the series first - and that’s how Colossal Titan came to be. To me, a shounen manga cannot survive without these more commercialized elements.

MAKING: (Image 4) A Levi Pencil Sketch Tutorial from Isayama Hajime

Levi’s appearance in pencil. “I start by drawing a cross within the facial contour. Levi always seems like he 'hasn’t slept for three days,’ but because he’s calm and collected, I’ve never drawn on him the sweatdrop motif that often appears in manga.” Isayama states. The base lining is done with a 2B 0.9mm mechanical pencil. In the actual manuscript, after penciling comes a Zebra G Pen for inking.

QUESTION 02 (Image 5)

CAPTION: Eren’s good friend, Armin. His appearance isn’t that of a soldier in order to showcase that while he isn’t well-versed in fighting, he excels in terms of intellect and brain power.

CAPTION: The soldier with arms crossed, Levi. He is conceptaulized to be 160cm tall and weighs 65KG. He is always “looking up” (T/N: As in literally) to his comrades.

Question 02. How do you apply unique traits to a character?

– What is your trick to enriching a character with distinct features? If you are referring to the characters in the manga - you don’t have to make sure every part of him or her needs to be appealing/attractive. Rather, you should draw them in a way that causes people to become preoccupied with their physiques, because this is how the reader will feel more intimacy with them. For example, Eren’s good friend Armin. Even if he has western features, I gave him a more rounded nose that inspires extra affection towards him. Levi is Humanity’s Strongest Soldier, but he has an unexpected disposition that is almost disappointing - to be frank, he is short (A chibi). However, this special attribute is just like that of Astro Boy and Ushiwakamaru, where there is a “David can defeat Goliath” type of implication. (T/N: Isayama doesn’t actually say the names David/Goliath in his answer - just the idea of a smaller figure being victorious). For Eren, I previously had him set as having eyebrows that weren’t so dense, because he is often angry and widens his eyes. However, I wasn’t able to achieve this look because my drawing skills were subpar back then (Laughs). (T/N: For the record, we aren’t sure how anger directly influences eyebrow density, either, but we think this means Isayama didn’t know how to express a character’s fury without giving him/her severe eyebrows)

– What are you especially careful about when adding unique traits? Consider the 3DMG worn by the soldiers in order to battle in the air, where they hold two swords when engaging with Titans. No matter the soldier, they use the exact same strategy to fight. In many action-based shounen manga, there are usually special skills or insta-kill moves for a key character, so I also thought that this might increase the commercial value of a series. But in Shingeki no Kyojin, I didn’t establish these elements for two reasons: first, I personally would not be interested in such ideas as a reader, and secondly, if I add these details as I’m progressing the story, there would’ve been even more information that require explanation. If an author stuffed every detail he wanted to showcase within a work, it will become less interesting overall. For SnK, I intentionally reduced some aspects that would’ve stretched out the story development too much.

– Even the supporting characters that emerge as villains are very complex. Even though various villains appear, I personally feel that being “evil” for no reason is lackluster. Even while illustrating a villain, you should portray his or her timidity and confusion, as well as the ambition only he or she possesses. You have to do your best to make others feel like, “This kind of person exists within me also.” As an artist, I think this is something you must be attentive towards.

More from this interview: Part 2 | Part 3