Shuumatsu no Izetta Episode 6 “On a Quiet Day…”: 7/10
Each episode of Shuumatsu no Izetta we’ve seen thus far has been pretty small in scope, the thematic writing restricted by development of the plot: an entire episode may only develop on one aspect of the power dynamic amongst the princess, witch, and strategist, or concern itself exclusively with the contrast between projected appearances and reality. This episode, however, is a grand attempt at hammering home the duality of war that the show has established. On the one hand, strategy, subversion, and tactics give Eylstadt its best chance at survival; on the other hand, a moralistic, personal desire to protect the homeland and its people drives the witch and the princess forward. This coupling of cold strategy versus personal, moral motivation is at the core of this narrative, and it shines through more than ever in this most recent installment.
In the previous episode, the Battle at Veile Pass explored the idea of Izetta’s dual identity: the strategists have constructed for her a false, larger than life public image as the White Witch, but within she is simply a girl with immense power who wishes to protect the people of the princess she loves. This dual nature corresponds to the conflict between strategy and morality. Strategically, Izetta’s adherence to the White Witch’s legendary figure is optimal, because it amplifies the perceived military power of fragile Eylstadt. But it is also a lie; Izetta is no legendary magical weapon, but a woman motivated by her love to protect the innocent. As a consequence, Izetta has a hard time slipping into the monstrous shoes of the White Witch. This incongruity is flaunted in the opening of Episode 6, in a disastrous, fanservice-ridden sequence of household chores and dancing lessons. Presumably in an attempt to combine comic relief with Izetta’s struggle to understand her new role as a figure of timeless legend, this sequence presents us with little more than graphically described too-tight outfits and clumsy dancing. There’s certainly nothing wrong with a bit of comic relief, but when it results in your steadfast, serious princess of a protagonist comparing the battle for her homeland with the size of her breasts, the comic relief has gone miles too far. More than anything, the opening scenes of this episode felt like a missed opportunity; using palace life to accentuate how Izetta feels out of place is clever, but the execution was far off the mark.
The truly unfortunate thing about the failure of this opening sequence is that it aims to provide some sorely needed character advancement. This kind of implicit attempt at characterisation surfaces again, when Finé laments the discontinuation of her favorite local pie. The pie metaphor is not a bad one - reserves of sugar are rationed due to pressure from the Germanians, meaning the insidious influence of the war spreads throughout all aspects of Eylstadtian life - but the writing is surprisingly weak here, and undermines the strong personality built around Finé’s character. Bizarrely, Finé forgets the rationing of resources she commanded; this isn’t terrible in and of itself, but is a strange detail to include about a character developed as an attentive and committed leader. Furthermore, the princess describes the pies with inexplicable passion, and this exaggerated writing transforms the viewer’s perception of the pie from a lovable detail of Eylstadtian lifestyle to a hyperbolic joke. These unexpected characteristics of the writing aren’t just a break from the development of Finé’s character - they also spoil what could have been a powerful metaphor. Despite all this, the speech delivered by the princess to the assembled public in the pie shop is a powerful reiteration of the moral principles that drive our two main characters. Faced by war-driven scarcity and suffering, the princess rejects defeat and promises to restore idyllic life for the sake of the people she so loves.
How is this public exhibition of love and determination perceived by the strategists? In a defining moment, Sieg explains that “it’s not a bad thing” that the princess has retained her “beloved tomboy image.” This is an excellent piece of writing, because it so elegantly encapsulates the stark differences between the war the Eylstadtian tacticians are waging and the war the princess and witch are waging. When Finé explains to her people why she is willing to fight - in order to restore the lifestyle of her beloved nation - Sieg evaluates her actions on how strategically effective they might prove. For the purposes of this cold and calculated warfare, Finé’s speech is no personal statement but instead an enhancement of her public image. This clear divide between the perceptions of the battle is the same as the divide between the figure of the White Witch and the morally motivated, human Izetta. The elegant development of this dual war is very compelling, and builds on top of the elaborate power structure and nuanced personal motivations set up by earlier episodes to indicate that this narrative has mighty goals.
One final scene truly drives this point home, however, and it’s Sieg’s discovery of Jonas and the Germanian spy. In an attempt to soften Jonas up, the sergeant makes an appeal to sameness: We’re both part of the same platoon, and therefore you ought to trust me. The irony of this tactic isn’t exactly clear until the conclusion of the scene, where Sieg shoots and kills Jonas (after asking if he is willing to sacrifice anything for his country). Despite the presence of actual espionage, the betrayal comes from someone directly linked to the Eylstadtian war effort. Finally, Izetta and the princess are pictured flying away on the rifle. Izetta makes one final promise to use her power to protect the people of Eylstadt, no matter what.
Everything about this juxtaposition is beautiful. The narrative elements that made it possible are beautiful, the technical elements of its execution are beautiful, and how elegantly it hammers home the duality of warfare is beautiful. Side by side, the strategic and moral approaches to war are drawn in clear contrast; the strategist murders his countryman in cold blood for the greater good, while the witch promises to use her full power for each and every citizen. Indeed, both make sacrifices - Sieg forced to kill an allied soldier and Izetta sacrificing the secrecy of the last witch she swore to as a child - but the sacrifices take place on a fundamentally different basis. Sieg is interested only in calculated advantage, while Izetta is bound to her personal, moral obligations. Both are forced to kill, but the people in front of Sieg’s gun fall there because they are convenient to slaughter, while the people in front of Izetta’s threaten the well-being of her sworn protectorate. Through repeated, elaborate, and elegantly assembled juxtapositions like these, Shuumatsu no Izetta makes a powerful argument about the nature of war, whether it be executed in cold calculation or moral dedication. It’s just our job to see how it ends.
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