Why Attack on Titan is Tortuous Satanic Garbage (Part 1) - Introduction to a Semi-Symbolical View
Years ago, I used to defend AOT - Time for a Great Reset
Attack on Titan or a Titan’s Attack?
Now attack on titan as an anime series has always been a little “off”. Something is not quite right. This sentiment is also expressed frequently in YouTube comments and elsewhere, that a new or unique possibility is here expressed - Generally understood as supremely benefic and taking Anime “higher” developmentally speaking. As one commenter pointed out poignantly on a YouTube video that really stood out to me, the name of this possibility is the willingness of the author to show in raw honesty what others would not. Of course, this is clearly nonsense, as we have long since been in the era of “unveiling”. AOT is not the progenitor but one of the malefic culminations of the aforesaid era. Even the “benign” manifestation of the “Bikini” in the modern era, of course, is also one such manifestation of the “unveiling” that is in fact deeply linked to this whole question of bizarre narratives that are seen to be champions of a new spirit that is taking shape and exciting the minds of men to new heights of delight and satisfaction. Game of Thrones is another good example.
Objective
An investigation into the very troubling satanic (Inverted Integrality) causes and consequences of the popular anime AOT. Semi-Symbolical in its approach.
Additional/Prior Reading
The Collapse of Atlantis as a Practice Manual for the Modern World
How things abide in their integrity, the consequence of a collapse of that integrality leading to betraying the original purpose (love). Semi-Symbolical in its approach.
Gatekeeping of Romantic Relationships v. the Sanctum Sanctorum
An investigation of how our Romantic/ Marriage conceptions have descended into pure reciprocal externality and the sight of its organizing principle or heart (Integrality) has been nearly completely lost. Semi-Symbolical in its approach.
Contents
Zig-Zag Dissolution
How Narrative can be Satanic
The Death of Christendom and Pure Serpent Worship
Inverted Hyper Masculinity or Sub-Masculinity (Sub-Humanity)
The Zig-Zag Dissolution - Game of Thrones and AOT
Without further explanation, I doubt anyone would want to associate AOT with GOT, even though they are essentially the very same phenomenon. It’s merely that, GOT takes things far enough and in a way so conspicuous that even sleeping clowns wake up and smell something fishy in the room. This is generally useless however in terms of a rectification unless one summons the energy to ask why a project as corrupt and malefic as GOT was first penned to paper by a “celebrated” author and then converted to the silver screen at great expense. So much energy put into not just a waste of time, but a seemingly deliberate waste, waiting to tell you, your time was spent watching a mindless subversion of meaning into intertwisted and disconnected sequences that one is better off ignoring altogether.
The fact that AOT shares the same DNA should become obvious when one considers that the author Hajime Isayama actually stated he originally wanted the series to have an even bleaker dire ending, one where everyone dies. Beginning to sound like GOT yet? The very hallmark of GOT was the ease with which characters would suddenly catch death like a cold. The strange cold comfort with death would creep in around any corner like a light breeze in the evening. This is not mere prose, this treatment of death is quite essential to figuring out why artistic narratives are beginning to torment rather than entertain their audience. Furthermore, even in the case of GOT, in the beginning, this new approach to main characters, namely that they were particularly expendable, breathed fresh air on the tired faces of the masses. Now, we thought, this is reality! Anybody drops dead anytime! just like real life! Narrative consistency and turns are largely irrelevant, any sequence can precede or succeed any other, one event does not logically arrange itself in a particular way, it can arrive randomly in a blitzkrieg. Of course to begin to really enjoy such a “series” (if it still deserves the name) already begins to expose the inner condition of contemporary man. All the more so because these jagged zig-zag narrative movements are sponsored under the general pretext of “raw reality”. Reality made utterly bare, not hidden behind made-up facades.
That is, of course, an “Unveiling”. What is most interesting about this kind of unveiling, is that although on the surface it pretends to introduce the random and raw essence of things into their supposedly lifeless and feigned former facades, in truth it delivers something that is quite patterned. Ned starks head falling off in GOT after he caves into the demands of the executioner, is the first hint of what this “new” movement is all about. It is not merely showing you how things are, it deliberately betrays normative expectations and then tells you that this is how things just are. It really doesn’t matter what you do, if the king wants you dead he will do it even after you give him what he wants. He is not doing this merely because he is a sadist (although he is) but because it is wrong to expect things to go the “normal” way, now that he caved in. That is, the narrative ark you were expecting? yup, time you realize your ability to perceive the landscape of meaning is an evil imposition on the “raw reality” of the world. Of course, this reality then manifests not as pure randomness or pure directionless movement. but primarily as ongoing education in dedicated inversive subversion of normative expectations. People undergoing this education, generally tend to experience an elevation of spirit and a feeling of “liberation”.
Now all things are possible. The audience supplies the feeling of what ought to happen (Memory of the world that supposedly was, “history”) and the entertainment aggressively subverts it. Of course, you are supposed to jump in joy having received this “effect”. In other words, this is entertainment for clowns who are convinced the basic unit of meaning itself or the world, is inherently an outward façade, empty inside. If you are convinced things inherently are in their basic condition a sum total of pure deception i.e. all things are fake and the more real or authoritative, the more fake it must be, now you expect an “unveiling” to not unveil the hidden darkness (among other things) but the thing itself as darkness. That is, not what the thing is hiding (potentially), but that the thing itself is hiding and has to come out or be brought out in the open. One will notice, this narrative is inversely concomitant with the “Coming out” of all things supposedly previously considered monstrous or perverse. This refers to the alphabet soup (LGBTQ and the rest of the series) but also in the widest possible terms to whatever calls itself ‘marginal”. This is to say, the “unveiling” has two sides, the exposure of the whole thing as darkness (referring primarily to the world itself or cosmos) and the unveiling of the purely “monstrous” (or whatever is deemed to once have been considered “Dark” in its pure essence as detached from pure being) as pure light.
How Narrative can be Satanic
In the context of AOT, the entire sequence of malefic satanization of narrative is visible from the very beginning. The reason for this not being understood commonly (or only poorly hinted at or conjectured) is the very vaunted “Plot Twists” for which the series is known (anyone remembers the plot twists of “lost”?). In the first place, the very popularity of the plot twist owes its origin to Christendom properly so-called. At this point, one may be tempted to roll their eyes as this may seem quite random or far-fetched, but nothing could be further from the truth. The whole idea of the plot not only being upended but by a precise twist, this “twist” sharing mysteriously in the nature of the plot’s problem itself, is inherently Christian. Outside of Christianity, there are hints of twists and hints of the whole plot having something seriously off about it from the beginning but rarely if ever both in precise mythological Synthesis (the true “Unveiling”).
It will help to recall that most mythologies have no real concept of “salvation” or “redemption” whatsoever. In the imagination of post-Christian clowns, some strange remnant of this theological notion has been effectively democratized such that it is now supposed that all world religions and cultures speak of or concern themselves with a “salvation”. Nope. Not even close. It is even true to say that any such idea would actually be a heresy in many religions. This is so because, in most ways of looking at the world as cosmic narrative, there is rarely if ever, the whole cosmos understood as total tragedy or catastrophe that is not amenable to healing as it were on its own or through supreme human effort in a particular direction. There might be said to be Lower or higher realms in the cosmos and you might be expected to move in the direction of either, but rarely does this amount to a “Salvation” of the being with reference to its Personal author. Rather one might expect only an improvement or a decrement in proportion to excellence or error.
This is where the (post) modern tendency to cast salvific characters in satanic garb becomes so seductive, it is easy to think that a plot twist has value on its own. It’s not just enjoyable, it always lends the hope of revealing a truth. This is precisely what is noted as particularly excellent about AOT. Of course, this quality attaches also to inception and indeed many works of art which stand out in the 21st century. Isayama in fact charted out in advance where and when a particular truth will be unveiled. So for the modern consumer, the idea of the twist is inherently linked to revelation and unveiling. In other words, it’s not a meaningless turning, it actually turns the plot itself and the expectation is that turning is both benefic and euphoric in the height of narrative insight to which it can elevate the viewer.
This also allows for the plot twist to go way out of hand and become purpose unto itself, far in excess of the original twist itself. Of course, the original twist is the suffering messiah, Jesus Christ, who shocks the apostles by telling them he must suffer and die on the cross before he enters into his glory. This scandal totally perplexed the apostles who had no notion of the Divine son of god entering into death through the cross in his redemptive work. Now here you see the full purpose of the twist, as the orthodox chant, christ trampled on death by death. That is abolished death by death. He used the serpent of maleficence against it and thereby showed what the purpose of the tragic entry of death in the created order of the world is or to what end death can be put as we suffer and await our own death as human beings.
The Death of Christendom and Pure Serpent Worship
As Christendom dies, now narratives accelerate in pushing the notion of the plot twist to new heights of corruption. The plot twist itself appears as the whole point of the world, which is to say, not the plot twist applied to the world, but the world applied to displaying proudly, the various insane, incongruent, and crazymaking twists that can be made out of it. All sorts of experiments are here necessary, but above all, the satanic tour de force, the tragi-comedy of the murder-suicide. So it is in AOT that the world Savior from the very beginning has the destiny not of saving the world, but of becoming the demon that haunts it. That is, to become the thing that he swore to destroy.
Now you might say, isn’t that what always happens? isn’t that why AOT is so brilliant, well yes, if you ignore that this fear is the precise reason why Aragorn in the LOTR both runs from but also towards the broken sword, the crown, and his destiny. In AOT through a sleight of hand and the obscene over-emphasis on cyclical plot twists for their own sakes, the enemies of Erren simply disappear into thin air, they just never were there all along! And through a stroke of sheer luck, he turns out to be the enemy all along as the one orchestrating everything after having obtained the power of the world tree or the titan king, in a true circular fashion, he finds out he is to become the thing he was hunting. This is after we find out, there was precisely no point at all to the original conception of the paradis island, or to the original conception of Marley, or really do anything at all.
Consider Zeke, the vulnerable suffering genocidal maniac. History’s first energetic depressed mass murder. He was supposed to be the Thanos of AOT, bitterly self-affirming to the last. The snake who deceives both Paradis and Marley, secretly plotting to destroy the whole world. Like the set of Gods of Egypt or the actual Thanos of Marvel. Instead, we get first a confident and infernal Zeke, with objects hidden and strength unlimited. A worthy opponent to Erwin and Levi. Then after the conclusion of a satisfying arc, we see Eren suddenly launch an offensive against the Marley and turn against the Survey Corps. You see here a possibility of playing Survey Corps and Marley against one another in sophisticated ways to outwit Zeke his true opponent who has intentions of his own. But no, he is collaborating with Zeke himself and first forcing the Survey Corps then discarding the Corp himself, then discarding his own revolution as though there will be no consequence, then discarding Zeke himself after a long period of cooperation.
Now above I said, Zeke was to be the Thanos, which is entirely true, which is why it is entirely absurd that the vulnerable Thanos of Nihilism who successfully played both sides, actually succumbs to the promise of all people, Erren Yeager as regards the sterilization plan. In the first place, this entire notion is even barely conceivable (although not truly) because Zeke is a self-contradictory victim genocider who doesn’t proceed supposedly from a place of grandiose narcissism. If he was appropriately constituted, the whole question of joining forces with Erren would never even occur as a possibility, Thanos usually only recruits or annihilates. Thanos does not share the glory, nor does he bargain like Dr. Strange at his own cost. Senator Armstrong is trying continually to corrupt and recruits Raiden to his own antichrist cause precisely to remove the last and most potent impediment in which he foresees his own death. At no point, will the senator actually strike a bargain where the entire plan hinges on the final act and will of Raiden himself. Zeke, the dedicated destroyer of the whole world, the serpent of dual deception, gives his whole plan away voluntarily to Erren. That is to say, Thanos steals all the stones and desperately invites Iron man to come take the stones and use them according to the vision and desire of Thanos from all the ages.
This insanity is generally praised by viewers because they haven’t asked in many years, why anybody is doing anything at all anymore? Every character is an inside-out version of themselves, striking inside-out bargains, in clever plot twists, but why? what’s the twist? why is the world bizarre and upside down? just to be upside down? Zeke just happens to be an impossible Machiavelli who strikes the least Machiavellian deal possible whilst still trying his best to fool Levi like the serpent he really is? Erren decides long ago to revolt against quite literally everything and of course it actually all goes his way. Suffice to say, in reality, total rebellion fails and does not succeed. The actual Erren seen correctly, would like senator Armstrong, fail to achieve his objective. In the infernal nonsense that is AOT, much like GOT, he actually revolts his way to becoming the Titan King.
This of course immediately produces an intense self-contradiction, because by this point, all enemies have been plot twisted away to nullity, and all allies were revolted against to gain the crown of the world tree. So he just becomes the combined enemy of mankind….why? In other words, the final vision of Erren is to see that to screw everyone over on purpose and to help them combine against him and to get himself killed is the whole point of the salvific freedom he might bring to mankind. This is what I meant by murder-suicide above. This is what is already prefigured in the arc where he “saves” Mikasa. Of course he never actually saves her, neither does he ask her to flee when he is caught. He literally gives her a talk no Jutsu initiation into combat.
This strange dialogue is once again, the direct combination of two contradictions smashed together - he reminds her the real world is kill or be killed and to stop being a naive moron. This leads to mikasa awakening to manly potential and turning into sniper ghost warrior 2. Most people can barely detect the nonsense that went on here. Firstly, awakening out of a fool’s paradise is not necessarily a bad idea, this however is hardly related to direct physical combat in the case of a little girl, think of todoroki in my hero academia, who rejects his own fire because that would be giving in to his tyrannical father, but midoriya forces it out of him anyway to “save” him. Here you have Erren giving Mikasa a literal initiation into muscular lightning (or the power symbolized by thunder) as a method of awakening out of the (supposed) inherent fool’s paradise that is the normal life of a non-princess little girl.
This is to say, women are rejecting their inherent capacity to awaken to all the adventures of sniper ghost warrior 2 and need to stop missing out (and isn’t that the narrative of the day, female fighter pilots anyone?) or at least realize its time to chop chop. In reality, the hint to her actual power or the influence of the feminine is the very idea that bandits would want to abduct her at great cost and eventually the kiss of resurrection itself (of course AOT butchers feminine symbolism to Timbuktu and back). This also, is precisely what happens at the end, the perfect parody of salvation itself. Subverted again and again driving the audience either to disappointment or I imagine what must be the condition of the Joker himself (which is to say, in order to fully enjoy AOT you must by now take on aspects of the Joker) it concludes when the final act of Erren is to realize he is pointless, he has no enemy, he has become for no reason the enemy to mankind - the bizarre “temptation” Sasuke perennially has, the same exact delirium, that you, of course, could steal total authority or kingship whenever you wanted without consequence and even by becoming the ultimate serpent yourself, you just shoudnt’t do it out of moral obligation and Ashura’s (Ashuras being the original demons in Hindu Mythology) love for the people (same idea floated even in the original star wars trilogy) - as this new enemy, his final task is to die at the hands of the initiated i.e. Mikasa.
Of course, if you pay attention, you will notice most modern anime put the MC in the business of giving the female warrior a certain initiation into sniper ghost warrior 2, Asuna in SAO, etc. The reason this becomes the capstone to satanic storytelling is that it is the perfect inversion of the saving act. Jesus never invites or actually wants to be struck down. He simply knows that he will be. He doesn’t want Judas to betray him, because the betrayal itself will result eventually, in the eternal damnation of the betrayer. Unlike the satanic hero Erren, Jesus even warns the betrayer that he would wish he was never born. Of course, Erren here pontificates that it might have been better had he not been born. The Mikasa he created (which is really a symbol of the people as a whole or the earth to the titan king) finally slays the demon that he has become. So in other words, the final subversion is for the demon serpent of total deception to actually create his own murderer and be struck down for the good of the people.
This is essentially the belief that Senator Arm Strong really wanted to create what he was talking about and it wasn’t a ploy to gain the whole world for himself. It is like thinking that the usurper of the throne in the Arthurian legends really will not use it to terrorize the people and try to end the world itself in a meaningless self-destruction or that killmonger really just wanted to be a beneficent king. If all of this is confusing, the simple idea is this, a good guy will not deceive or maneuver the world into a pretentious peace (though he can seem to under the strict precondition that he doesn’t actually). The very idea that he would is the very deception of the furthest thing from the good guy. So good guy Erren adopts the means of the devil himself and then actually gets killed, which is to say, the contrary term of the constitution of the world, or the contrary power actually strikes down the power he has concentrated in himself for that purpose. This is to say, that he gives out the masculine initiation into the democratic peoples as it were, and takes on the deformity of the flesh, which is supposedly not who he is, but for our sakes, he is willing to deceive everyone and pretend to be the enemy of the world and in getting struck down, the power he took on itself gets destroyed but the power he left behind will presumably remain.
This Post-Christian parody of Christ’s sacrifice manages to imitate the idea of self-sacrifice - that is to say, by becoming the beginning and the end of all things and appearing as a monster he is supposed to solve the problem for good. But unlike Christ who abolishes death and causes the devil to stumble by his own devices, here Erren actually becomes death and by actually dying takes death with him to the grave. In other words, christ defeats the monster whilst appearing to be the monster (to use the monster against itself), Erren literally actually becomes the monster he wanted to defeat so he can be defeated, and by relation to what he had become, so can the monster be. The story of Erren inaugurated a kind of human sacrifice whereby the great soul and benefactor of mankind actually converts human life into the titan king, so that other humans may be permitted to kill it. This is the same nonsense that transpired at the end of Bioshock infinite and needless to say, unlike the popular sentiment concerning that retarded game, I did not enjoy the ending for the very same reason, plot twist obsession for the very sake of it is none other than offering praise and sacrifices to the serpentine possibilities and thinking doing this converts those possibilities into holy self-sacrifice. It doesn’t, it’s merely satanic self-aggrandizement and circular storytelling. Getting back to AOT, there is another meaning to being struck down by Mikasa, which is of course the final graduation of Sniper Ghost Warrior 2 into the land without the savior in the first place.
Inverted Hyper Masculinity or Sub Masculinity (Sub Humanity)
In other words, taking away the first birth of the idea of the male itself, and a kind of initiatory transition to containing the essence of the heavenly power in mankind (and Mikasa) by participating in the ritual sacrifice of the designated titan - now all who participate in this Nihilistic murder all are cleansed of the Titanic forever merely by having fully killed it in a dualistic form, that is to say, having fully become strange to it by separating and removing it from themselves by an act of final violence. Compare this, to Christ’s Sacrifice (which these Plot Twists ape) where to participate in salvation, is not to kill him but to repent for having killed him (of course some protestants do graduate to the malefic idea of “making use” of his death and sacrifice as one’s own). This is the significance of Christ (like Seth) as the Golden Serpent on the cross - Raising the problem of dualism and dualistic violence for all to see and repent not to encourage or provide the final outlet for orgiastic pagan violence. Lastly, the arc that unfolds after the war is equally disturbing. But I will have to get to that another time.
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