I Don’t Think It’s Fair To Characterize Eren In Such A Way. It Should Be Noted That Eren’s Friends

The Heights by Quentin Stipp

What's the theme of Choujin X?

So I've been wondering for a while, what idea does this story revolve around? What's the main conflict of the story? What concept should we pay attention to when reading this story? I can't claim to be 100% right or sure, but now that the story seems to have officially started, I'm going to try to articulate my ideas on this topic. By the way my ideas concerning the topic are heavily inspired by Jung.

Most fundamental to understanding the theme of this story is what exactly a choujin is. We've been given two main definitions, a person who becomes the form they desire, and a person who overcomes the limits of their humanity to use their ability. But why do such a minority of people have the capacity to become them?

The answer lies in the possession of a complex. A complex is a pattern of emotions, behaviours, thoughts and ideas which recur around a particular concept or theme. It's an unconscious way of seeing the world that influences how we act. But the issue is precisely that it's unconscious. The conscious self who wills events isn't aware of the complex that has formed within them, and that's usually the result of repressing a part of you that you don't like, so this complex tends to dominate and negatively affect the psychological well being of people.

Without such a complex one cannot become a choujin. When we combine what we know, we have a choujin as a person with a particular unconscious(at first) way of seeing the world and who tends to act accordingly with such a complex, and is fixated enough on such a theme and desire that they sacrifice their humanity for it. They are people who are governed by and hyperfixate on an idea so much that it is manifested through their capacities and harms their wholeness as a human being. In fact, I think that's what's expressed in the opening words of the story.

So there doesn't seem to be a moral status to being a choujin, but there's definitely something negative enough about it to warrant it being compared to a disease. And I think that's the status of it being a manifestation of a complex. A complex exists in the personal unconscious and exerts influence usually unwanted upon our actions. When one is brought into contact with what Jung calls the autonomous complex(the Shadow) it can possess us. When a complex possesses us we lose sight of who we are and unconscious impulses are brought to light. We lose control. The danger inherent in becoming a choujin is becoming consumed by our complex. When we are consumed by the shadow of this complex our humanity is shed for the continuous growth of the thing within us, and we become monsters. That's the affliction, the constant need to maintain control and humanity because of the tendency of the complex to take hold of us.(Note: Freud's name for the unconscious was the Id which is gotten from the German "It". There's something "other" about it and it fits quite well with the opening words in reference to becoming a choujin and it's relationship to complexes.)

Now I don't think Choujin are condemned or are essentially damned by their transformation, in a way, being a choujin can help one come in contact with their complex and start the journey Jung called individuation to integrate it. Through the dream at the heart of each person, the promptings of the ideal Jung referred to as the Self, people can be called back from despair to reconcile elements of themselves as we saw with Shiozaki. (Note: Chapter 1 of the series is called "Behold the Man" which could very well be a reference to Nietzsche's book of the same title with the subtitle: How one becomes what one is. This fits well with Jung's notion of the Circumbulation of the Self. We gradually become our true selves over time, as we strive to the ideal of the Self.)

So on a general level I believe the theme of the story will center around the integration of the shadow as it is manifested in our complexes. It's awakened, and it could be repressed or it could take over you, but the call of the story will be to overcome and integrate the shadow by finding your purpose in life.

[“One of the very hardest things about preventing and ending violence is that most of our work isn’t really about getting someone to stop being violent. Most of the time, that’s not the heart of the thing. The even-more-rigorous struggle is to cultivate all of the awareness and skills that would have been necessary for the violence not to have happened in the first place.

Which is why, when we talk about violence, we always end up talking about everything: slavery, binary gender, the original disconnection of humans from the rest of life on this planet, and so on. Solving violence is rarely as much about the moment at hand as it is about everything else that preceded it.

Which is where shame comes in.

As a therapist who has spent the last decade working with movement folks who are survivors of intimate violence—as well as with many people who have caused harm—I see shame as one of the most pervasive, painful, and insidious barriers to our efforts to fulfill the aspirations of transformative justice.

In order to develop real responses to the myriad harms in our lives—or even the capacity to develop real responses—we need to understand shame and develop tools for working with it, individually and collectively.

(…) Shame is different than guilt. While guilt focuses on our behavior (“I did something bad”), shame creates an identity: “I am bad.” Shame keeps us stuck, isolated, and hiding. With no way to escape from the totality of our belief (“I just am wrong”), we may do some of the following:

hide what we feel is bad about ourselves and try hard to pass as “good.”

overcompensate in other parts of life through overwork, caretaking, or perfectionism to make up for whatever is “wrong” about us.

defend ourselves from any insinuation that we might have done wrong, attempt to rationalize, or justify our actions.

blame someone else, try to divert responsibility, or shift the focus onto another.

attack anyone who draws attention toward the source of our shame, try to have power by dominating or shaming others.

numb through self-harming use of alcohol, substances, food, sex, technology, and so on.

Most of us use all of these strategies in different moments. Overaccountability and underaccountability are two sides of the same coin: “I can’t stand how bad I feel and can’t imagine making it right (overaccountability) so I’m going to hide that it (whatever it is) even happened, or lie about it or blame someone else (underaccountability).”]

Nathan Shara, Facing Shame: From Saying Sorry to Doing Sorry, from Beyond Survival: Strategies and Stories From The Transformative Justice Movement

he’s already great because he was born into this world.

Mikasa au Interview

Translated by plain-dude and fuku-shuu

______________________________

She sits upright in a chair as I visit her at the barracks of the Scouting Legion. She gives a small nod when she notices me, but our eyes never meet. She is Mikasa Ackerman, an unprecedented talent in humanity’s history.

“Nice to meet you”, I say. She answers “Ok,” and the interview begins.

Keep reading

SnK Interviews: Isayama Hajime’s Q&A from Febri Vol. 42 (July 2017 Issue)

Translations by @suniuz & @fuku-shuu - Please give credit/link back if used!

- What is your most essential drawing tool? 9mm 2B pencil lead. As it’s both thick yet soft, it’s easy to erase cleanly, so I enjoy using it the most. I don’t really understand the differences between all the manufacturers, so as long as the lead is this exact type, I’m fine with whichever.

- What do you do when you’re not working? I play video games. My nephews have been visiting me recently, so I have them bring their controllers and play Splatoon with them.

- Who is your favorite character in Shingeki no Kyojin? Reiner. As time progresses, my favorite character keeps shifting. My favorite is Reiner at the moment - I want to draw more and more of Reiner.

- Favorite music as of late? Kiyoshi Ryuuji. Even though my all-time favorite is Shinsei Kamattechan, who sang the SnK S2 ED, my favorites as of late are Creepy Nuts and Kiyoshi Ryuuji. For Kiyoshi, every single one of his songs has been a hit - even those he produced for others - which is an incredible success rate. I feel like he’s like Hyadain-san (T/N: Famous Japanese composer and lyricist), only he can also sing and dance.

- Favorite manga as of late? Boku-tachi ga Yarimashita (T/N: We Did It). The author, Kaneshiro Muneyuki (T/N: The artist for the title is Araki Hikaru), is my contemporary at Bessatsu Shonen. It’s just such an incredible piece of work. Initially I already had good feelings toward him because we started out together, and when I reached the middle of the story I suddenly went, “Eh? This manga is a masterpiece…?” I even got goosebumps. He created an unbelievable story, so I’m thrilled as his contemporary.

- Favorite video game as of late? Wii U’s Splatoon. Even though the game has been on sale for two years already, I’m still playing it consistently. It has been a long while since I started, but I still feel like I’m terrible at the game. Nonetheless, through my personal efforts, I experienced what it means to “achieve” different degrees of success for the first time. I can’t get enough of it!

- When did you start drawing manga? 2nd year of high school (T/N: That’s equivalent to junior year). But if you count just single illustrations, I already started when I was in daycare. But I remember that it wasn’t until 2nd year of high school when I actually organized drafts and began to create manga.

- How much do you sleep on average? About 8 hours. When I first started serialization, I had a little less sleep. But lately if I don’t get enough sleep I can’t do anything else.

- Recent interests? Watching foreign drama series. I’m currently anticipating the 7th season of Game of Thrones, which will start in July. Other than that, I’m hesitating on whether or not I should watch House of Cards (T/N: YES YOU SHOULD). When I watch something exciting, the amount of energy I use up is similar to if I read all of One Piece in just a week. Hence, I’m actually becoming a little scared about doing this (T/N: Committing to another show) [Laughs].

- If you lived within the Walls? I would be a farmer. Because I want to avoid all responsibilities [Laughs], so I want to live on the border and just plant crops. Though I can imagine that this kind of lifestyle has its own hardships, I would never be a soldier.

- What’s the best thing about being a mangaka? Everything. If I didn’t become a mangaka, I feel like I would’ve descended into poor health - to the extent where I couldn’t even go to the convenience store. I am totally serious [Laughs].

- Favorite movie as of late? It Follows. It was probably my first time watching such a scary film. Of course, the storyline is exciting, but on top of that, the actual elements of horror were fantastic. Because this movie describes something that happens at your own household, I felt jumpy and scared in my apartment for two weeks after I watched it.

- If you weren’t drawing manga? I would become an average member of society. But if possible, I would probably become a craftsman. Before when I worked at an internet cafe, no matter how dirty the cubicles became, I always bet my entire life on making it spotless again. It was almost like Nietzsche’s “Sublimation” psychology [Laughs]. Thinking back, I guess that could just be part of an artisan’s personality, too.

- What do you do when you experience writer’s block? I dive into other creative works. Basically other films, drama series, and manga - and I search for elements I enjoy. But because this world is filled with so many incredible works that I’ll never fully experience - even if I spend my entire life trying - as long as I commit to the ones I enjoy the most, my life can progress with inspiration. Sometimes, I almost feel like there is no actual need for me to draw manga [Laughs].

- The best thing about your hometown (Oita prefecture)? Delicious plum wine. When I think of what’s most appealing about my hometown, plum wine immediately comes to mind. My family back home are plum farmers, so even though I sound like I’m self-promoting my relatives’ business, please do give our Yumehibiki plum wine a taste! [Laughs]

- Your first impression of Tokyo? Surprisingly warm/familiar. At the railroad crossing of Egota, my head somehow got knocked by the crossing gate there, and I thought, “So Tokyo isn’t just all about tall buildings…” My memory contains moments of calm like this [Laughs].

We’re working on the highlights/new information from the main interview between Isayama and editor Kawakubo as well - stay tuned!

Humankind cannot bear very much reality.

T.S. Eliot, from Four Quartets; Burnt Norton. (via xshayarsha)

random manga colourings

Ohhhhh!!!

Source: https://www.marinabaysands.com/museum/exhibitions/attack-on-titan.html

“They were just there wherever I looked from the day I was born. Those miserable walls.”

I think this is the most important line we need for understanding Eren. From the moment he was born Eren felt caged no matter what he did and he longed for release.

This desire was unconscious at first, but seeing Armin dream so passionately brought about the realization that Armin was seeing and believing in something that Eren couldn’t, and this brings about the realization in him that he’s restrained/caged from doing something.

He initially believes that this indignation from a sense of being caged is because of the Titans or oppressors but as time goes on and the circumstances change, Eren realises that this is something internal and the fact that it’s something that no one else experiences is one of the sources of his tragedy: he can’t communicate/share this desire.

(There’s probably some symbolism in the fact that Eren confessed his truest desires to a child that didn’t speak the same language)

At first, Eren associated release with the “sight” of the things in Armin’s book. He believed that seeing those things will give him the release and liberty he’s been longing for, though it should be noted that Eren says he doesn’t care what the particular sights *are* just that he sees them so I think he cares much more about the feeling of liberation that those things stand for than the sights themselves.

So I think that even though Eren might say that he’s disappointed that the world wasn’t what was in Armin’s book I think what he’s really sad about is that he didn’t feel liberated by the world beyond the walls, but because he associated those feelings with the sights in Armin’s book he uses them interchangeably(I think this is supported by the fact that Eren still feels caged and empty when actually seeing those sights in 139).

The reason Eren slaughters humanity beyond the walls is because from his perspective, *they* are walls/barriers obstructing his freedom. “That Scenery” is one of the most important motifs with Eren, it’s the liberty that comes with transcending or breaking a wall, but one of the ironies in 131 is that Eren is deluding himself to think that it’s freedom. Eren’s very nature demands that he cannot see beyond the “walls” and this is testified to by Eren looking unfulfilled immediately after the freedom panel and the fact that he still needs Armin’s approval. Besides Isayama deliberately contrasts Eren and Armin by saying that Armin still believes in a world beyond the walls, with a panel of Eren’s eyes closed.

Eren’s tragedy is that of a man born with the inability to look past the repression of life(or you could say he was born with the ability to see restraints everywhere). I think this solves all the contradictions I thought I saw in Eren’s character and addresses the “Problem of being a Slave” that Isayama once brought up.

Before I go there’s one last thing I have to say about the final chapter and this motif, Eren can’t see the dream Armin enjoys and he can’t see the future that lies ahead, but his love for his friend(s) let’s him transcend that nature by putting his hopes in them at the end. He won’t ever be able to see beyond the walls, that’s just how he is, but he can be at peace with the fact that his friends will.

Edit: I made this post mainly because I was tired of people rooting Eren’s actions in trauma or an ideological mistake or lack of development. Eren has developed enough as a protagonist, especially by chapter 100, his “mistakes” in the Final Arc are a result of his nature, I think that’s what Isayama wanted to convey.