13 April 2014

Ergo Proxy - Episode 21:The Place at the End of Time/Shampoo Planet



Ah, the final episodes. These episodes are full of content, both spoken and unspoken. There are a lot of answers finally given. And yes, Ergo Proxy really does give a lot of answers to a lot of questions that have been lingering since the beginning (unlike the Mosk events have implied). A lot of the themes are taken head-on in a satisfactory way. However, the content isn't terribly simple, and takes a bit of thought before it is understood. At least, that how it was for me. A lot of it is just flat out said directly, but for whatever reason I was still confused. I did not get the significance, the themes or many of the plot details revealed, let alone the more obscure stuff that can be surmised from combining the information given here, with hints throughout the rest of the episodes earlier.

A lot of the stuff I didn't notice, I've taken the liberty of already pointing out somewhat along the way, and a lot more I'll explain here. Where I had to do a little digging a few days later, looking up what was being said and why and what Proxies are and.... basically everything, hopefully you'll be able to read and understand without having to work it out alone. I'm not sure if it was because I was blind, or if it really is that hard to know what is going on. In either case, this is the beginning of the end. The next three episodes are continuous and closely linked, but I'll be discussing them piece-meal even though they really are one final episode in most respects. I'm doing this only to make it easier on me for management purposes.

Onward!

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The Place at the End of Time

The name "Shampoo Planet" is from a book about Generation Y and its lack of caring for other individuals while getting swept in by capitalist culture. At least that is my not-at-all-professional guess from skimming the wikipedia article. I don't see anything immediately interesting or relevant, so that's all I have to say on that.

It takes Pino about 12 seconds to say three numbers... about 4 seconds per number she says. Four seconds times 30,000 is about 33 hours worth of continuous counting. Which would be possible and consistent with the characters. Buuuuut I'm not sure that is what the authors were going for here. Curiously I couldn't find any significance of numbers in the 30,000 range. So I'm not really sure what to say other than Pino is an ood mix of child and autoreiv and has been drawing her tally marks all over the Centzon Totochtin.

So first Vincent returned to the city. Then Re-L finally followed him, despite the likelihood she would be put to death if she were discovered. Pino was told to wait behind, but follow third after waiting for a long time. This is a dangerous situation for all of them. They all have different reasons for being convicted of serious misconduct and probable termination verdicts.

The immigrants coming to Romdeau are an interesting reminder that now we know some of the lives they are emigrating from.

Pino's first encounter with the dome is very closely a mirror of the scene when they left. The same vent, the same rattling, the same wind and the same forbidding doorway. The vent is open and so she easily enters the dome. This is the first sign of difference. From here on many events will parallel with how Romdeau was in the episodes before they left.

It seems virtually all of the autoreivs have been infected with Cogito. But something is different. Rather than making them free to make choices, they seem to be paralyzed, breaking down, and repeating canned lines like "why am I who I am?" without actual drive to understand themselves. I don't fully understand this turn of events. I believe that the most likely case is that these autoreivs did not have a more stable mind to deal with their new freedoms like Pino did. Some go out of control when faced with an emotional dilemma like Iggy, but I think these autoreivs don't really have anything to live for, so they sort of just... shut down. Without someone else to give them a reason to live, they discover they don't really have a self-given reason to live and faced with this dilemma go into a series of errors that result in a coma of sorts. I think it is fair to say this is comparable to the citizens of the dome too. Some react to their new self-deterministic society with fear, paranoia, denial, violence, or other delusions. I don't see why the different autoreivs might also have a range of reactions to their own sudden free-will. It is also possible that Daedalus or some other part of the dome created an anti-cogito virus that attacks them when they show signs of cogito, or some other countermeasures that mess with the original virus's 'natural' course. This might not even be cogito, but another iteration of the virus designed to spread and kill the autoreivs.

Reminder: Re-L is extremely capable and can take care of herself in pretty much every situation.

I find the encounter with the Autoreiv Disposal Unit pretty funny. This location is the same office and this character is the same character that was Vincent's supervisor way back in the first episodes. No, really, that is the same silly mustache from back then too. Later on, in the Administrative Bureau rooms, the same fellow that was totally dependent on his autoreiv, is still totally dependent on her, even though she and the rest of the job has disappeared. Say what you will, at least in some instances, this series really pays attention to detail.
The interaction between Re-L and the Immigrant official is funny to me because he seems to be making fun of the audience a little, pointing out some of the theories of symbolism that could be going on here. "This whole problem has just about gone critical, we got to used to relying on Entourages" "...you're missing the entire point! We didn't actually need all these autoreivs in the first place! Wouldn't you agree with that, your Excellency?" He's right, in that the citizens relied too heavily on entourages. But it isn't just entourages, it is the system and more obviously, relying on authority. Hence it is a little tongue in cheek that he blames dependence on autoreivs, then turns to Re-L and calls her "your excellency" when it is dependence itself which is the problem. He even ends the conversation with a ploy to get himself "please, if you get a chance, put in a good word for us with the Regent, if you could."

Ergo Proxy starts to be remarkably direct in its exposition. A ton of information is thrown at the viewers and Re-L.
The Cogito has infected almost all the autoreivs. They are now being exterminated.
The bureaucratic system is falling apart in Romdeau.
Raul Creed is missing and presumably up to his own plans.
The launch of the Rapture was widely witnessed, and Re-L has it confirmed that it came from Romdeau.
"Nobody has told them anything." Here I think Re-L is referring to the need to recover a Proxy and the reality of what Cogito virus is, as evidenced by her experience with Iggy and Pino. Let alone the outside world recovering and the ability for them to leave with the correct medicine.
Vincent Law morphs into Ergo Proxy for days without returning and Re-L doesn't know if he will ever be Vincent again. "I should have... right then." She considers if she should have killed him as soon as he stopped being Vincent. Vincent is worth saving, Ergo Proxy is something else.

The killing of the autoreivs is a very interesting issue that the series brings up. Autoreivs are not humans, they are not even flesh and blood. The cogito virus is only a mechanical breaking of their pre-programming to follow directions. Yet the slaughter of all the entourages seems morally reprehensible. "Does cogito give them souls?" was a question early on. Is free will really what makes a soul? How can a parameter being removed, create a soul? And yet, that is exactly what seems to be the case. Pino and Iggy were real beings, just as much as the citizens of Romdeau. Here lies the most interesting comparison. Those citizens that give up their free will, who break down without having someone tell them how to live their lives - do they have souls? The parallels were explored early on in the series, and they return here. I would say that the citizens of Romdeau and the autoreivs are just as alive as the other. Maybe that means they are both alive, maybe that means they are both soulless. Maybe that means they are soulless until they decide to use their emotions and their free will. Whatever your opinion, I have to think that it is a mind that makes the difference, and not the material they are composed of.

The genocide of the autoreivs seems a reasonable turn of events. The people of Romdeau are in distress, and they are sheltered, undeveloped, and immature. They probably don't have the maturity to think of the wrongness of concepts like death and killing and sentience or equality. They were only concerned with their lives and their jobs and their corner of the perfect city. They want their old lives back and they want the problem to go away. They don't think of the future, of government, of resource scarcity or of social turmoil. They see things in black and white. Someone is either sick and broke the rules so they must be removed, or they are healthy and sane and following the rules. The idea of something going wrong in paradise was difficult for them to deal with in the first place, so once the problem is solved, of course things will return to normal in their minds. Progress and change don't happen. That doesn't even exist as a concept. They probably don't even know how much their actions resemble a revolution, "For Romdeau!" and Molotov cocktails being thrown. Nevertheless, they have been introduced to brutality. The killing, the beating, and the destruction won't fade until those citizens have died and taken the memory with them. There is no way for them to know that. On some level, they know what they are doing. "Diiiiie!" they scream, beating in the autoreivs. Something has to be alive for it to die. "Get him!" Something has to be gendered (and usually intelligent or adored) for it to no longer be an "it."

More little details: The blimp that flies by when Re-L walks through the main city of Romdeau, is later perched on by Ergo Proxy, who then crashes it. In a following scene the immigrants are shown under the wreckage, and it shows up one more time when Pino is seen under the wreckage of the same blimp.

The chief of the Administrative Bureau seems to change the topic when Re-L mentions that the citizens are dying, but in reality he isn't. The Aus der Wickel, or the ADW project "it's an absolute failure. Mortality rates are sitting at around 90%." "This is all the data the Health and Welfare Bureau have compiled on the short-term side effects of the ADW project."
"This is our first experiment with martial law provisions. The Security Bureau loves to talk themselves up, but well..." I don't want to say more. You figure out what is going on. (I certainly didn't until the third time going through or so. It was skimmed over and wasn't central to the plot.)
Later Daedalus explains. After all, he headed the project.
"The Wombsys has shut down... so Raul came up with the idea that we should try and change ourselves into something that wouldn't need the Proxy. That's how the ADW project was born. A grand attempt to reconfigure the human body. Not that it was ever going to work."

(But before we move on, back to the Chief at the Administrative Bureau)
"Honestly I don't know why they thought we needed to change everything in the first place. (gasp by Re-L) If our Fellow Citizens had just kept order withing the dome, everything would be fine. It's how we've always survived. We should have just stuck to what we knew worked."
I didn't realize until now the reason that Re-L gasps here. It's because he is one of the top officials, and he doesn't even know why everyone is dying around him. He thinks it is just an expensive experiment, not that the dome's source of life has been lost. Or anything else that has led up to the events now.

Incidentally, his entourage is still lying, dead, in his office beside him from when the citizens stormed in and killed her.

Vincent Law visits Monad's chambers. Interestingly Vincent Law accuses Donov Mayer of doing terrible things to Monad. (rather than Daedalus) It seems to imply that Donov did this out of more than just a need for a Proxy to supply power, but also out of some kind of anger or revenge. He realizes that he has her pendant, and that she is Proxy number 13. (XIII is thirteen in Roman Numerals in case you don't know that) He also has the pendant for Proxy number 1. (Remember, this is out of 500 or so proxies) Ergo Proxy has been pretty good about providing flashbacks instead of making you do the remembering yourself (or leaving you in the dust). Vincent Law seems to be regaining his memories, and then is interrupted. Perhaps because of his memories returning, he reacts and adopts the persona of Ergo Proxy, but falls back into a mix of Vincent Law and Ergo shortly after. Something about the way he leers and then says, "why aren't you afraid of me?" seems like he isn't naturally cruel, but has adopted it, perhaps in a psychological protection mechanism. I say this because people who are cruel or rude or angry often or otherwise hurt others, are doing it because they themselves do not want to be hurt. Not always, and Ergo Proxy up until now has seemed to just be brutal by nature. This really is the first time that there's any indication that there even could be any alternative reasons.

"I know how you feel. I loved her too." Wait, but this is the little replacement for Re-L that Daedalus created. Is her love from his own raison d'etre being transferred, or is there some kind of other mystical connection here? She also knows who Vincent is? Things are getting weird again.

Meanwhile, Re-L is coming face to face with how cracked Daedalus has become. He mistakes her for his second Re-L until she demands to know about why people are dying and the ADW project. It still takes him awhile to accept that the original Re-L has returned, and then he only acknowledges her as "the traitor." Presumably not for failing at her mission, but for leaving him for so long. He gave up on her, and started to blame her for his losing her.
"Let me tell you something interesting. Raul was not the one that ordered the attack on you. I think this is your floor. Now why don't you talk to the man in charge."
"Grandfather. It was grandfather that did all this."
I'm not sure how much Re-L is clued in that Daedalus is more or less trying to send her to her death. The details about Donov Mayer being the one to try and kill Re-L with Cogito were revealed back in episode 10, when Raul confronts Daedalus the first time.

Interestingly the immigrant hunting autoreivs is the same one that tried to hunt Vincent that Pino overheard, back when she first was accused of being infected with Cogito. The lines used are similar to when she overhears them hunting Vincent.
"He's not just another autoreiv." "This could be my chance for a big promotion!" versus
"Boys, I think we just got a promotion! All it takes is something like this to get yourself noticed!"

Ergo Proxy appears. The collective "greets" him.

"Why have you returned? Now you show yourself, now that it is much too late. What do you plan on doing now? Time has already run out, Creator."
"The Regent loved you. The Creator built Romdeau. Brought us into being. Provided us with autoreivs. Helped produce offspring." Ergo Proxy isn't only a power source, but a literal God. He really did create Romdeau. The series is really going full speed ahead with answering a lot of the questions the series has put off until... well, now.
"The Regent hated you. Why do we exist? Who can ease our lonliness? Why did you abandon us? Why didn't you love us?" I find it interesting that the anger is all expressed in anguished questions.
"The Regent searched. He searched not for the creator, but the one who'd stolen his heart. The Monad proxy. The creator returned to Romdeau unbeknownst to us. Disguised as an immigrant from Mosk. The creator stole Monad, and left us again." All of this could have been figured out earlier from all of the statements and intimations and hints dropped along the way. No, you probably wouldn't have realized or even understood what Monad is if you just watched the series without analyzing every line. Or maybe I just am bad at realizing things and thinking about them. Experience has taught me its the latter, despite my own expectations of myself...
"The creator thinks, therefore we are. No matter how we may think. The creator is already not." This seems to imply that the collective and Romdeau either have decided to reject the creator, or else have grown out of needing such a role in their life. "And now he has returned to us once again. Our wish. All worlds are the thoughts of the creator. We are that which is thought. We think, therefore we are. Our raison d'etre." This is double or triple speak for many ideas and themes. The Collective wished for the creator to return. (Why did you abandon us?) But they discovered some ideas. Worlds are thoughts of the creator... and we are that which is thought. (A creator creates by thinking, and we can think) We think, therefore we are. Our raison d'etre. (Decartes famous finding: To prove we exist, we need only acknowledge that we think. The collective has created their own reason for being, and the need nothing else other than to think to have it. They are free from needing a God and free in terms of free will.)

The song Pino hears is the same that she was playing back in episode 17 on the piano she finds.

Re-L witnesses Ergo Proxy killing her grandfather, and yet she can't seem to shoot him. And she still loved her Grandfather, despite all he did. Destroying the dome, hunting Vincent, and attempting to kill Re-L. She doesn't (and we don't) understand why Ergo Proxy is acting like this. It doesn't make any sense for Vincent Law, and we still don't really know who or what Ergo Proxy is besides dangerous and powerful. Re-L still doesn't shoot and Ergo seems on the verge of .... something? And then Raul appears and shoots Ergo Proxy, using an FP shell.

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As Pino leaves the ship we see a strange crack in the cliff in the shape of a cross.
The cross symbol has been used in several other situations. I think it is sprinkled about as a reminder of the religious themes and perhaps just as a cool and mysterious "other culture symbol" addition. Which was apparently the case in Neon Genesis Evangelion. Who knew? Thinking about it, this also happens in Death Note a little. (I looked up a little of Serial Experiments Lain, Wolf's Rain, and those don't seem to include any advertently western religious elements. There are, however, a lot of shows that use the "angels and demons" theme with crucifixes adorning everything)
Instances of the cross symbol in Ergo Proxy:
This crevice they hid the Centzon behind. Episode 21
The pillar in the center of the city holding up the dome. (Shown when Re-L calls it a "boring paradise") in Episode 1, and Episode 22.
The Regent's room layout itself (I noticed it in Episode 3 when writing this guide. It's subtle, but I think there)
The book in Hoody's library with a snake and cross Episode 6. (probably just ancient art thrown in to show his real-or-pretend knowledge)
Maybe that crevice is supposed to more closely resemble the necklace Vincent has. I'm not really sure.

The immigrants are probably able to deal with the autoreiv problem best since they aren't born and bred within the Romdeau system. Being recently involved in the study of nature and evolution, I can't help but notice that this is exactly why diversity and suboptimal mutations or sexual reproduction takes place. The immigrants which were at a disadvantage because they didn't have pre-determined roles to fit into, are now at a unique advantage because they can deal with those roles disappearing or changing. Traits that aren't good, are still important to persist for awhile in case they become beneficial. Then those traits can be spread into a population that could use it. That is why sexual reproduction is superior to asexual reproduction. This is almost relevant because of the wombsys being a form of asexual reproduction, except not at all because that is consciously directed and not based on the population that came before and okay I'm way off topic, sorry.

"Fellow c-ci-citizens. Stay in your homes. A curfew is in eff-fffect. We ask that you wait to receive instrrructions from the Citizens Intelligence Bureau -Bureau -Bur-eau. Anyone caught breaking curfew without permission will be pu-pu-punished." I'm pretty sure this is entirely unintentional and unrelated, but (https://www.youtube.com/watch?v=5iZMD_eCpEo, https://www.youtube.com/watch?v=wQtZPNjc2gY)

Note: Sorry, I seem to have discovered that it actually is spelled Romdeau, and my switch to Romdo was incorrect. Mosk is still Mosk and not Mosque or Mosc though. Bleh. I will have to fix this. ----7/7/15: fixed---- And while we are talking about names: Donov Mayer is the Regent is Grandfather is His Excellency is the Head of the Administrative Bureau (not to be confused with the chief of said bureau). His entourages are The Collective, the Administrative Bureau, Entourages, the statues. Too many names!)

06 April 2014

Ergo Proxy - 20:Sacred Eye of the Void/Goodbye, Vincent


The Sacred Eye of the Void

A couple of things immediately hint that something is wrong with what is going on.

The necklace on Re-L is shown, first in the mirror in the opening scene, then when she wakes up during the night and looks at it.

What is more noticeable as odd is the Administrative Bureau treating Raul normally and Raul being submissive again. The dreamlike portrayal of eyes and necklace hint at a dream sequence. It makes sense to be suspicious of the following scenes, and it also make sense that Vincent would not have cause to believe that something is wrong. (He wouldn't know about Raul's changes in personality... which makes it odd that the Administrative Bureau chides him at all...? What about Daedalus, how does he know Daedalus except by stories from Re-L?) What Vincent should notice is Re-L's change in personality. She is much much more docile and pleasant. Vincent probably doesn't notice because this is his imagined or created version of her. And perhaps there is some element of "dream-logic" going on making everything "make sense" to Vincent more than it really does. As Vincent's dream (induced/manipulated/controlled by Swan) it should be an imperfect representation, with some elements of Vincent's own thought style and desires. (in everyone, in Re-L, in Daedalus. Everyone is more calm, laidback, and polite than they actually are. All of the submissive qualitative speech patterns, "sorry, I just, I hope, maybe, I get that feeling, I was wondering, there's nothing I can do" self depreciating, second guessing, are native to Vincent and suddenly acquired traits by everyone else.)

The second shot of Swan shows the chain of her Proxy necklace, which glints. There are a lot of glints in this episode, trying to provide hints at the necklace and other-ness of Swan. The sight of the necklace at the end of the episode seems to tip Vincent off that Swan is a proxy. It may be coincidence and he is realizing it from all of the events clarifying and becoming obvious they were constructed. Just something to keep in mind.

Another quick note: the Administrative Bureau says that now Re-L has returned, the city is saved. They are referring to her retrieving a proxy to power the city, though that hasn't been revealed yet.

Some of the strangeness is explained away by Swan's rationalization: Re-L is more docile because of Vincent's influence as an alternate personality. It is funny, because Re-l is more docile because she is in Vincent's mind, not he in hers.

Some plot points are furthered in this episode as well: Re-l's relationship with her grandfather is spoken of: Donov's one role is to manage the city of Romdeau, and his raison d'etre supersedes his cares for other things, such as his adopted granddaughter. Re-l in real life has a different reaction to his behavior, but the series doesn't pass up this opportunity to reintroduce the conflict and theme.

I'm a bit confused why Pino is shown to be so very emotionally volatile than normal in her first scene. My guess is that she is representing Vincent's ego a little. She is a symbol of his valuing himself (for himself), and is furiously struggling to validate him, but is also a very repressed part of his personality. I'm not sure.

It doesn't sit well with me that Vincent wants to see his other life in Romdeau. I care more about mind than body, so it seems to me that he would not be interest or worried so much about his physical body. If anything, it would be disturbing to see myself outside myself. I would react with "that isn't me" and repulsion rather than desire to find out what happened to "me" and care about that other body/person.... that's my initial reaction anyway. After being stuck for months I'd probably be more used to it and feel differently. Maybe.

Well. Things are making sense plot-wise until Re-L drops her mug and cuts herself. It is difficult for the artists to show the split-personalities and to explain in a few words what is going on. They attempt to do so with the flashes between Re-L and Vincent, trying to show it is still Re-l's body, but Vincent is controlling it temporarily. There is also a lot of repetition of scenes and phrases, illustrating the cyclical, winding, and doubling back that dreams take. After Re-L cuts herself, it all stops being a story that can be told linearly, or being a believable or sensible series of events without being a dream or a hallucination by Swan. I think what happens is that Vincent falls completely for the control of Swan, and so starts to succumb to her spell. He believes he isn't real, and asks her to tell him how to eliminate himself. He disregards that they are drifting between locations and that Swan is easily teleporting around him. I think this is not portraying a realistic dream anymore, but illustrating the state of mind Vincent is in, and the full control Swan now has, rather than trying to be a realistic series of events. That was more an opening plausible construct to get Vincent to this point. (To make things more confusing, this may be a more realistic portrayal of what is actually happening, with the fight between Proxies in a dream reality) Swan wants to see Vincent's desires to control him even further. To the point of being able to kill him.

Vincent's desired past reveals a lot about his hopes. He doesn't want to be a Proxy at all. He does want power, though maybe that is less important and more convenience than anything. (why not be rich, if you could have it with no detriments?) He focuses more on being adored than commanding. He wants so much to get along with everyone. Re-L, Daedalus, Raul, ... and he wants everyone to get along with everyone else too. He wants Daedalus to be Re-l's brother.... that is too convenient, Daedalus is still making her happy, but the competition isn't there to make Vincent uncomfortable or challenged to win Re-l's attention....

Swan betrays herself a little by telling Vincent to imagine a past he desires, and then telling him its his fault Re-L is confusing his desires with her past. Vincent started dreaming because Swan asked him to, and now it's his fault things have gotten worse?

The dreaminess continues. They have a lot of fun with the looping back and forth, and confusion with the direction of time. If we pretend that Vincent is still controlling Re-L, then the series of events of Pino releasing Ergo Proxy, reflect the supposed "real events" that took place earlier. (Vincent (Ergo Proxy) was released by an infected autoreiv, "You let him go" accusation by Swan, "He's going to kill me!" shout by Re-L)

When Vincent pulls out the pendant from nowhere, it shows that he is knowing it is a dream and lucid controlling it.

"You've lost sense of your own sense of place, that is why you'll never find a place to belong."
I don't know why Swan is talking about this, or if Vincent really is totally dependent on being liked by other people. I know he has been struggling with that, but regardless, it is an interesting theme. People have to find worth in themselves, and not rely on the world's recognition of them. Simply put that is because the world won't know them, won't always validate them, and that it isn't a reason by itself. Everyone has to create their own meaning, and after that, they can turn to achieving additional meaning from serving the world's interests. It is a matter of foundation.

There is a William Swann, whom deals with the psychology of how others see oneself. Things related to self identification and self verification, which seems in line with the themes in Ergo Proxy and this episode.

I can't figure out Swan. I think she is trying to kill Vincent. (her method is to get him to reject all hope, making him have nothing to live for and become suicidal, or at least so lost in pain and loss she can take advantage and kill him. This same conflict was used by Ophelia Proxy back in episode 14.) But she also seems to say some things indicating she is pursuing him romantically. (I can't stand men who have the stink of other women.) She also seems to want to help him reject his Proxy side and face himself. ("just take off the pendant," her later smile when he 'wins,' "Take care") As a psychiatrist, maybe she has made it her goal to help the other proxies achieve peace and face their mental problems? Or maybe she really is just crazy and out to kill like the rest.

The end of the dream is more mixing of earlier parts of the dream. Vincent still is a mind inside Re-L. He kills Ergo Proxy, whom he released (using Re-L's body the entire time?). Pino runs up, I don't know what her position (symbolism?) here is.

Vincent's behavior throughout the episode (and series) continues to reinforce that Vincent cares deeply for Re-L. Earlier in the series it was a blind crush. Later it became a solidified instinct. Now he knows her, and sometimes it is just a need, other times it is a strong desire borne of his relationship with her. After the dream is over, they touch each other and voice their concern, while trading roles on the ship like partners. Re-l too. She shows her vulnerable side to him, the fears she has. I suspect her request for the pendant is from a little push by Swan, and not really her personality to do so.

"I think, therefore, you are. Is that it?" This is a line from Anamnesis, episode 11. It is said by Ergo Proxy, speaking about the self in relation to the external world. It may also have something to do with Proxies, but I don't think that is how it is being used. I would, in a little tinfoil-hat-esque-way, suggest it is playing with the way couples rely and need each other, and become different people because of the other.

Remember Hoody's tall tales? What were they?
"You think proxies are monsters? You don't know much about anything." They are power sources and "godlike" immortals.
"They have the power to change their appearance into any form they choose" The Ophelia dome proxy.
"They can disappear with ease, leaving no trace that they were ever there." Most proxies have a habit of disappearing...
"They can also enter human beings and take control of their mind and body." This happens in this episode, or at least dreams.
"They can summon lightening bolts and scorch the earth with their power." The lightening between their eyes when in a death-lock.
"They can even conjure up flaming planets from the sky!" Well, this might be a slight exaggeration.
"Simply step into the wilderness and you'll find them crawling all over the place." They've encountered something like nine proxies now? Monad, Ergo, Senex, Kazkis, hideout, Ophelia, QQQ, Will B Good, and Swan. (The City Lights bookstore owner was probably just a figment of Vincent's.)


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If you can't explain to a child, if you can't break it down to the actual fundamentals of why and how, then you are the one who doesn't understand. I think that is basically true for most all things, both technical and emotional. This is why forcing to explain to someone else, to translate by breaking it down to something that can be translated to another, often clears things up for oneself as well. (speaking broadly) This is why children are perceptive. They deal in things stripped of the extra (sort of superficial) layers that bury all the actual reasons and causes.
I assume it is very plainly wrong that Vincent is doing what he is doing when he can't explain to Pino. Pino going along to kill Re-L is only an emphasis, not the cause of that certainty.
"I have to kill her to save her" This is an interesting phrase to me. That sensation of having to do something wrong to do something good.... It usually is the evidence that it is totally false, no matter the "good" that may come of that "something bad". I think if you have to do something bad, either that "bad" isn't really bad, and then it is all good. Or else that something is actually bad, and then it doesn't matter, the wrong outweighs the right.

I'm not very fond of this episode. I think it does a lot more jumping around than is necessary or helpful. However I do appreciate the attempt to portray something very difficult to portray. They didn't really pull it off, but I admire that they tried. I just don't think it's my taste in a premise. To many mind games, not enough reason or substance behind it happening in the first place. Too fuzzy and non-solid rules, yet treated in a cold and factual sort of way that implies it is supposed to make sense. It doesn't add anything and instead detracts from something that could be strongly a mood piece. Things just sort of happen because "dreams." I can appreciate that as a reason when it is an artistic portrayal of feelings. I am thinking of some movies I have seen. Studio Ghibli (Miyazaki) I think does dreams right. A more serious version of dream-like-ness as storytelling method would be something more like Tree of Life, Black Swan, 2001, or Rivers and Tides about Andy Goldsworthy. In all of those I appreciate it, and enjoy it. (even if that is the exception for me)


28 March 2014

Ergo Proxy - 19:The Girl with a Smile/Eternal Smile



The Girl with the Smile

I hate this episode. I hate this episode. It's not as bad as it used to be, but it still sucks.

Two things:
Will B. Good and Smileland are Walt Disney and Disneyland. Eastern animation, western animation. Stuff.
Utilitarianism good or bad? Happiness, whether there can be different kinds of happiness.

There. That's it. That's the episode.

whooooooooooo.


Pino learns some stuff and matures and learns to care a bit more. Vincent and Re-L trust her some more.

A proxy that seems to not be insane is found. A proxy is not fought by avoiding contact. He runs the Smileland dome as director. (*cough* dictator *cough*)

They flirt with the concepts of purpose and unused ideas and artists and creators trying to control their creations.

Pino can't cry, so raindrops.





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This episode still sucks.
(I might go back and add some more thoughts, but honestly, I'd like to leave this as is.)

Ergo Proxy - 18: Sign of the End/Life After God


Sign of the End

A silhouette of Ergo Proxy is seen dancing at the blaze destroying the city.

I forget if I've mentioned before, but they use the surface of the moon as texture for the ground the Rabbit flies over.

Well. Okay. I took a long time waffling over this episode because I was trying to put together a timeline of events, and I can't seem to figure out some of the order of things nor reasons for them taking place. It's a damn shame, because the narrative I want to tell seems to be fatally incomplete without at least a theory on it. But since I can't seem to find any evidence one way or the other, I'm loathe to randomly assign a sequence and an explanation, leaving one gap in an otherwise mostly continuous sequence. It's been irking me every time I come back to write again, and after trying again to figure it out, I keep just walking away in exasperation. But I'm getting nowhere and I have the nagging feeling that I'll figure it all out a couple more episode guides from now, and be temporarily incapacitated by how things so easily slide into place with hindsight. OH WELL. HERE WE GO DESPITE EVERYTHING.
....
oooooooh.
I think I've figured it out this time.

And it does seem to slide into place painfully easily for the most part.

----------


"I can't believe they pushed it this far. Romdeau completely destroyed the city of Mosk. I wonder what Vincent would do if he knew."
Okay, I really have been away for awhile. I had to dig this back up, but remember way back in episode 7? Of course you do! /sarcasm. Daedalus informs Re-L the following lines: "But before that I'd better tell you everything. Right from the very beginning. We called it the Monad proxy. It was plundered from the Mosk dome."
Tadaa! That's how Re-L knows that Mosk suffered damages, and that it was at the hands of Romdeau. (sometime before Deadalus's birth, since he was created in some capacity to look after Monad.) The clip is played later in the episode, as they ascend to the central chamber of the Mosk dome.

"No, this place looks like it's been this way for quite awhile."
I'm not sure why Re-L informs Vincent of her clues that Mosk wasn't destroyed only by the recent attack from Romdeau. Maybe she is refraining from keeping most secrets from him. (but not all, as she doesn't tell about Romdeau and Monad's unsavory relationship.... I wonder.... is it because it is a shared bond with Daedalus that she won't betray? "Our little secret"? It's not the same secret, but they do keep their confidences.)

"Grandfather must have sent the light. But why now? Is he trying to catch another Proxy?"
Iiiiiii'm not sure why she thinks "the light" came from the Regent. I guess she just traced the flight path from Romdeau's location? If she knew of the Rapture missile, surely she would have called it that, rather than "the light."

Vincent doesn't seem to recognize anything about Mosk. Re-l makes a joke, which is pretty harsh, that he "doesn't even recognize his own city center." (maybe citizens don't normally visit the city centers, so maybe it's a little less harsh. I'm guessing that she just is a bit mean-spirited and regretted a couple moments later speaking before processing her words. *cough* I know I've done that.) Vincent knows her pretty well to already know Re-L means it as a joke. They have grown together surprisingly closely.

"You have spent your existence seeking a God who betrayed you. I am free of your illusions. I seek no God and ask for no salvation. I only wish to destroy."
Raul's switch to destruction as a goal doesn't seem clear to me. He had reasons to desire destruction before, but somehow he went from specific reasons to praising destruction itself. Only that isn't completely true either. He doesn't seek destruction for destruction's sake, but as a method to escape fate, it would seem. "You seek to deny destiny by hastening destruction." (This is in contrast to Kazkis) But this too seems problematic. How and why is destruction a method of escape from destiny? My guess is that Raul prefers it to construction merely because of its speed and scope. Raul is overly attached to destruction, but I think what he is motivated by is freedom and escape, rather than destruction itself. Destruction is just a way of breaking out, being uncontrollable and unpredictable. It is a way to move out of the realm of status quo (Which he started out dedicating his life to maintaining) and strike out in new directions beyond the demons of fate that chase him. He is such a tragic figure, knowing his own weaknesses and failures, but trying to fight on despite how screwed up everything, including himself, is. "I ask for no salvation." He only asks the chance to keep fighting.

"Even if our ultimate downfall is inevitable, Romdeau will not perish as long as we are willing to fight."
Raul has swing completely to the other side of a system of values. When once he put great faith in the system and procedure, now he puts great value on the individual and the will.

"And yet we must evolve! We have no choice! We must all learn to do without God from now on. I will not despair."
"Resist for Romdeau, is that it?"
Raul seeks to destroy the old ways for the sake of protecting the city. He thinks that the best way for Romdeau is to improve, and the best way to improve is to rewrite from a better foundation. He thinks the old ways are no longer good enough. It is a little ironic that he says "they have no choice" but to try and defy fate.

"You hope I'll share in your suffering."
"Raul. Soon you will know. The greatest death. The crushing failure. That which is our despair."
The collective seems to believe, that even taking such new and drastic measures, even fighting as hard as possible to survive against fate, that fate will still prevail and destroy everyone.

"Without a past, can I even prove I exist?"
Fun fact: even with a past, can you prove the past is real? It's an old philosophic conundrum. What if all your memories were invented a second ago? How could you tell?

"Why can't we live without a Proxy? Why did Romdeau have to steal a Proxy from someone else?"
These are important questions. The domes need a Proxy to maintain power. Proxies are like gods in this way. But they also are like a god in their insane strengths and supernatural powers. Proxies were created and released... it's still unclear in many ways how the pieces fit together.

"Maybe forgetting was the only way his mind could protect itself.... but if his memory holds the truth...."
It is a basic dilemma. If you could forget something, even a very unpleasant something, you lose all that you learn from it. "Those who cannot remember the past are condemned to repeat it" - George Santayana. However, is every truth worth knowing? This same question is asked back with Kazkis, "The truth is like that too. Someday your eyes will be burnt by the light of truth and you will know eternal darkness."

Pino is developing quickly. She keeps being herself, both autoreiv and child. She can see inhumanly far. She reads children's stories and thinks of them as real. She calls the place "scary" and tells Re-L she is "sorry." Then she is reminded she has an infinite memory and batteries. She detects power automatically and memorizes the screens that flicker on in an instant.

"If I were a simple machine, all of this would be so much easier."
This is a huuuuuge theme. I'll skim over here and talk about it more in depth in later episodes, but a central question of Ergo Proxy is "why can't we be lesser?" It's a neat twist on the often more demanded "why aren't we better? Why aren't we naturally more thoughtful, more intelligent, more perfect, more capable, more powerful?" Instead, autoreivs wish they didn't think or feel. Humans wish they didn't think or feel. They insinuate that they could be happier serving mindlessly instead of "asking these questions." That being said, it's pretty sad that Amnesia was loaded with the task of carrying the memories that Ergo sought refuge from, but even so, he was created for the job. However, he notes: "Conscious entities will sometimes amputate their memories to save a failing sense of sanity. Dementia or amnesia, take your pick. Thank god we met before it ever came to that." And Amnesia, in giving the definition and reason for amnesia implies that he too forgot something in order to protect himself....
("How you met her" must be Monad.)

"I want you to make this your top priority."
"Do I put this ahead of reviving the Proxy?"
"The last thing we need is another God"
Unknown project. Is Raul seeking to destroy Romdeau further by not caring about God and the damage the loss of it is causing the city?
"You're a very odd man... going to such ridiculous lengths."
"I just want a revolution. Will you help usher man in the sublime state we were meant to hold?"
"Alright."
Raul is intentionally written darkly here. He shown as very volatile, dangerous, radical, and nearly evil. We don't know his plan. He does have the attitude of a revolutionary, which is by necessity harsh and to some extent "the ends justify the means." They intentionally avoid telling his plan so you are faced with how he seems versus how he is. It is interesting to ask whether his arrogance is really arrogance. He wants to play God ("how unnatural"), and the series is asking, "is that wrong?"
"I just don't think getting rid of God will change anything."
"Exactly. It doesn't change anything. We need to manifest change down to the cellular level."
He wants to leave the old ways. Since the wombsys isn't operating, they need some way to live without God.... you figure it out. The last episode isn't a coincidence it seems. (It is a little crazy how our own prejudices for "natural" play into how we judge Raul. It would be a common reaction to go from condemning to praising him on this reason alone. I'm not even sure it can be qualified as a reason at all.)

Red Yarn. "He's beginning to crack." Never show that smile.
The red yarn I would be loathe to ascribe meaning too, except yarn takes place in a myth involving the figure Daedalus. Daedalus gives a ball of yarn to the man going into the Labyrinth, so that he can rescue his beloved from the Minotaur and escape the maze safely. It's not clear if the yarn in replacement Re-L's hands is supposed to be helping Deadalus, Raul, or Replacement Re-L herself. Since this is yarn and fate is a theme in this episode, it may also have to do with the Fates whom spun, measure, and cut the threads that guided everyone's lives in Greek myths. They are called the Moirai.
Daedalus has lost both Re-L and Monad, and so his raison d'etre is crumbling. It is a little more than just that. Daedalus is stronger than just his predetermined raison d'etre, but he isn't strong enough to face that and have loved and lost Re-L. He did care for her. And it seems romantically, as he (even more creepily) raises the replacement Re-L to "never show that smile to another man."

Vincent seems to have some kind of subconscious guiding him, even way back at the start when he defied Re-L and kept the pendant.

"So, you're still here. I was sure I'd finally killed you. But you're just a symbol of what I'm fighting aren't you? That's fine. I will destroy you regardless. Because I am not afraid of you."
Vincent and Raul. Their relationship changes here. Now Vincent is fate and the mindlessness of the dome, when once before he was trouble and defiance of the dome's predetermined fate. Raul lives for the truths he has found. Things like freedom and will and survival. Before he followed protocol and authority. Raul is fighting his earlier self, in this sense. And he accepts that. He decides he will live for the future, rather than the past, though the past is what haunts and drives him. (I admire his relationship with symbols and values.)

Sorry, the awakening message might be just as lame as it seems. The same message in both cities, indicates the truth is in Romdeau, not Mosk. At least as a plot point. As a term itself, Awakening is still a mystery. Why are the proxies triggered by each other, leading to all these terrible fates?

"Vincent Law. What are you? Another pendant. What was another pendant doing here? That which is divided must become one. Is that supposed to be Vincent and Ergo? And if it is. Then whoever broke the autoreiv and stole the memories was..." It cuts to a startled stare at Vincent (before or after?) he interrupts her. The awakening message, is Vincent telling himself where to go? It doesn't make much sense.

"We've encountered many proxies, but none of them were the one we're looking for.
Monad was responsible for everything. The message, like a thread linking the two pendants.
The connection between Monad, Vincent, and the Proxy. The answer lies there, I know it."
These lines have double meanings. Don't take them at immediate face value, but do know they point towards knowledge unrevealed.



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"We'd go crazy if we had to remember everything."
I'm tired of hearing this stated in science fiction. Why is this considered true? At least with "eternal life is awful" there are some reasons to think that. But perfect memory doesn't seem to have real drawbacks. The only claim I've heard is a tenuous: "then we'd spend our days reliving the past" which is pretty bogus logic to me.

"You set aside an ancient thermonuclear device for who-knows-what-foolishness. Then you gave it the criminally ridiculous nickname 'Rapture.' ... I'm amazed it took this long for something to go wrong."
Raul, you might be my favorite character.

27 March 2014

Presently (as you measure)


A mind
with, but not of

/////

Progressing down streets
Mind always on dirt roads out of sight
Mind boxed by concrete
(Eyes fixed on the sky)
(Love in my pocket)
(Love brushing my cheek)
Hurt between my shoulder blades
Don't look side to side, I hear
and I cover my ears
and close my eyes
and bow my head and hurry on.

Feeling love grasp at my shirt
I'm torn... I want
I can't my understanding says ; stern dwindling and miserable
I can my hope says "but" ; howling cutting and infantile
I turn around, covering my face, and feel love envelop me
I melt, I draw hope in swallows, I want to try again again


I was born of hope.
...really
I came, made of fierce brightness and blazing serenity
I lived, quiet smiles and depthless darkness of
                                hope, passion, clarity, mystery, certainty, love of all, life
Then it condensed. and now it's encased in a. loaf of stone
A starcoal that never extinguished
My precious heart
Safe but sealed away
Mine, but not free
I can let it out, but I am entombed it
ironic

                ("trapped in absolute uncertain freedom"?)

Growth all slow expansion
That's how cracks happen

/////

The world spinning with wonder
sharp cold as I plunge
water droplets, hot
Because I breath
Because I know
Because I see Because I live
Because I truly love
And for every burn I bleed
Showing that inside it is intensity barely contained
                by skin
                by normalcy
                by expectation
                by cautiousness and fear of
                                societyfuturestraightandnarrow
                                what I've been told
                                cardboard worlds that are supposed to be approximations

                                Other whispers it isn't so
                                cardboard walls have openness behind
                                world is wider, vaster
                                brighter, bursting, I fill in, imagine

Pull back
"maybe"
always cagey

/////

eyes down, hidden hope
cupped hand holding dreams
sitting alone
whispers wrapped around me
We are both cold and warm, alternating
We are both light and dark, alternating

05 March 2014

A-path

All I want is to love and be loved.

It's not much. I mean "love" in the most abject sense... It's all it takes to be content. The smallest, simplest, basest caring about the world and the good things in it. A simple knowledge that somehow the world also cares about me, even if it is merely knowing than I make the smallest difference to some small corner of it.

And somehow I lose sight of these things. I don't know how. I don't know where they go.
But sometimes they're gone.

And what is there left? I sort of stumble around, sometimes cursing everything, sometimes melancholy, sometimes just weary of it all. And the same questions swirl around recurring to me over and over. Why is it like this. What have I done, that makes me like this. What can I do, to escape, to help myself, to solve it plaguing me?

I have some half answers now. I just am like this. It just happens sometimes. It's alright, it passes, it is true that I am lost, but it isn't permanently true. It is okay to let go and be moody for awhile. These answers let me deal with the practical sides of it better, and let it pass a little faster and a little less laboriously. But they aren't much in the way of actual answers. Or solutions for how to avoid or face this.

While I'm like this.... I'm like this.

Hurt, abandoned, wanting to lash out against anything, including myself.
Withdrawn, listless, and even my favorite things are joyless, with no turning point in sight.
I've tried several kinds of help, but there doesn't seem to be any one kind of answer. I'm consoled that time does seem to slowly sweep it by.

But here I am again. Here it is again. It returns all too often, and all too inscrutably.

I'll figure out better ways and better understanding. For now I guess I just... bear it.


(yes, I am aware how melodramatic and self centered I feel. No, it doesn't make any sense or match my character. Yes, I feel free to express it how it feel, uncensored and unmoderated, even if it makes no sense in a practical or realistic sense.,.. because I can't for the life of me make sense of it.... I love so much, I care so much, and yet... it just vanishes......completely..... for no reason.... for days at a time. And I can't even make the least bit of sense of it. I don't know why, I don't know how to deal with it, I don't understand myself and I question and question and question myself naturally already. And I can't even make slow progress. It just ... is... I just... do.... I just.... I.... I'm just lost again.

That's the only "answer" I have.)

22 September 2013

Ergo Proxy - 17: Never-Ending Battle/Terra Incognita


Never-Ending Battle

Yet another episode that used to be one that I thought was mostly bland and now it is one of my favorites. There is a great deal of setup for the further episodes, a great deal of character development within all the characters, and a great deal of puzzling scenes that I've finally unraveled, and a great deal of allusions and consideration of the series's stronger themes.

I'm not going to spare much comment on the short-term plot that unfolds within the episode as you have already seen that, but I will note that I am pleased at how Raul drops his ID card at the very beginning. His haggard expression and bitter commentary made me believe that it was him doing it suicidal-ly and symbolically, and not at all because he was craftily leaving a trail which would be my first guess. Of course, later, it becomes obvious that that is exactly what he was doing. I'm happy to be fooled.

From the last episode, Re-L has indeed transformed. She is still the same person, with all of her cruelty and biting remarks, but she has become more. She now has another side to her. Her compassion shows when she compliments Pino and again when she says that she believes that she should do all she can to reunite with Pino merely because Pino has shown herself to be devoted. She would never have made such remarks before, or held such values before.

Vincent too, seems to have grown a bit. He treats his lost memory directly and without crippling fears. In fact, he resolutely puts forth an ultimatum. "If I can't be me anymore, I'd rather it end. You understand? I'll need you to kill me." I am somewhat of the same mind as Vincent.

It's no coincidence that this statement is made (commenting on Pino).
"The actions of Cogito infected autoreivs are governed by their emotions; their souls."
and then it cuts to Raul Creed. You think it is Pino for a second, seeing the robotic-like eyescan.
Raul Creed. Cogito. Emotions. Souls. Pino.
These are all one and the same story.
If you doubt this is intentional, I will humbly point you to the end of the episode, where Raul Creed and Pino play the piano.
"I can no longer resist the feelings that drive me to destroy. It was always him. He stole the light from this great civilization. He stole the destruction my despair hungered for. He stole everything from me. Pino."
Cut to Re-L, Vincent, Pino:
"You really like to play." "Yeah, I love it."
(mother of god. Just typing that out and realizing.... realizing the comparison. It rends my soul.)
Raul Creed gained his soul through despair. Pino gained hers through love. They both gained their souls through their attachment to one another. Once again, it is love that makes them whole. Without one another they would just be a madman and an infantile girl.

I have searched long and hard, and seen that a few others have done as I have, but for the life of me, I cannot find what piece of piano music Pino plays. I must therefore conclude that it is original, and intended to reference Mozart.

Update!

Thanks to "Thought Criminal" I think that Pino is playing a simplified version of Mozart's 1st movement of Eine Kleine Nachtmusik. Here is a piano version duet that shows some of the resemblance. And to add on to that, ThoughtCriminal noted that this plays in Alien, and the aliens here in Ergo Proxy bear resemblance in a few ways.

It is somewhat cute that Pino still makes the same mistake she made back in episode 6. "with Quinn she says, "You're like my Papa!" And Quinn says, "Hey, you mean I'm like your Mama, right?" And Pino responds cheerfully, "Oh, I don't know."" This time she calls the pregnant creature "daddy" and Vincent says "oh, not again!"

I do not want to say what conclusions you should come to, but I will list the facts.
The alien looking creatures are quadrupedal and bipedal.
They have a piano.
They do not recognize the language of Re-L and Vincent.
They are not proxies.
They have cave paintings of birth.
They can become pregnant.
They are dying of toxicity within their home.
The outside air is poisonous to them.

Most interesting, of course, is that they reproduce naturally. Re-L draws the connection between the cave paintings and the mother, but she can only think, "it can't be..." at the implications. Again, Re-L has only know and imagined reproduction through a dome city running a WombSys. In fact, all the civilizations so far have been produced by WombSys or been proxies. No wonder the idea is rather impossible for her to accept.

I am not sure at the way the air mixture is. "Strange, the poison should be thinning the farther out we go" suggests that it doesn't. My best guess is that it only changes at the mouth of the cave, where the dead creatures are, and that the toxic air is being artificially generated to keep them alive by the glowing blue machinery. I don't know why it is toxic, other than maybe that is the only compromise they can arrive at. Perhaps it has become a part of their biology, while still weakening them. I cannot say.

Back in Romdeau, the WombSys has fallen silent. The effects of the lost proxy are being felt, and all the accusations against the Administrative Bureau appears to have been well earned. Without shock Daedalus observes, "[He said] the usual. He said to ignore it and we'll deal with it later."
"I told you before, this sort of power would have significant implications."
The proxy is responsible for the WombSys's production. And the significant implications are not just potential ultimate power within the city if you control it, but also the very life of the city and the doom it faces without such power to sustain it. It isn't a crazy rant of Raul to be bent on revenge against the Proxy. The Proxy really did destroy the entirety of Romdeau. It really did steal "the light from this great civilization."

Humans have projected escape routes too. Raul is one step ahead of them however, as he looked at his own before delivering his speech.
In his last moment Raul Creed retraces the place he lost it all. The mall where his wife died. He even takes the heart shaped balloon Pino had on that fatal day.

Terra Incognita translates to "parts unknown" or "unmapped territory." It is also a reference to a short story in which the narrator hallucinates and slowly dies.

"Protocol must always be maintained." ... "And Chief, please accept my admiration of your conduct as a fellow citizen." That was Raul Creed's entire life. Now he is a fugitive. Why? His only crime was performing his role too well. Because he comes to realize that he has been set up since the beginning. His role was always that of a figurehead. He only served by keeping the people blindfolded and gagged. They are the supposed inheritors of the earth, merely waiting to repopulate. Except, that is not how they are being treated. No moves are being made to colonize or treat the outside illnesses. Instead they are held captive in their safe haven. He knows the truth.
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My only thoughts on Re-L and Vincent's adventure are about how resigned the creatures are. They are so weak, both in body and in spirit. I can only guess at what a civilization would be like if it knew it were doomed to an unstoppable decay over hundreds of years. How, from birth to death, the atmosphere would be one of utter despair, resignation, gloom, and morbidity. What would it be like, to live your entire life that way? Save for one or two youths that briefly challenge their fate before giving up because there are no resources, nothing to do, and no hope. (Speculation: They may even be dying from slowly suffocating themselves by using up the oxygen. Dying from their very act of living.) What would it be like, to bear children in a society like that, knowing that they too will merely be part of the inevitable slow death?

Walking corpse from a clockwork womb.... what imagery.