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Nov 18, 2021 8:48 AM
#1
I have seen many times in MAL that many users deem subtle development as static/no development when it's simply wrong. For example, characters like Edward, Mikasa, Armin, etc(There's probably more but these characters were on the top of my head) are often deemed as having no developments or being very weak characters when it's simply not true. Elaboration for the characters mentioned above. Ed- I've seen the idea floating around that Ed's character didn't develop much or at all in FMAB or the manga. I think this is hugely inaccurate, so I'm about to make a text-based argument for how Ed's character develops massively over the course of this story. I've only read some of the manga, so manga readers please add nuance when I've missed something! Note: I'm currently rewatching, so I'll probably come back and edit this on and off. Summary: Ed's journey is one from selfishness to self-worth and self-knowledge, from pride in himself (and shame of his sins) to reliance on others, and from anger to acceptance. Underlying all of these is his core character trait of determination, which is sometimes threatened by his shame but ultimately survives everything, and allows him to turn his weaknesses into strengths. Episodes 1-10 Beginnings At the start of Ed's continuity, his most important traits are his selfishness, pride, anger, and determination. 1) His selfishness is what motivates him to perform the human transmutation. He wanted to "prove he could stand on his own," to symbolically replace his father by proving he could do better by their mother. His tool was inherited directly from his father--he uses his father's alchemy to do all his initial research. 2) His pride feeds into his selfishness nicely, as it's what lets him think it's acceptable for him to break the taboo and make the attempt in the first place. His response, on seeing what lies beyond the Gate for the first time, is to immediately demand Truth let him see more so he can do human transmutation again. And since pride and shame are closely linked, a lot of his pride quickly turns to shame. 3) His anger is most visible every time he imagines someone calls him short. This hits him right in his pride--he thinks of himself as the tallest man in the room, and being reminded in any way that he isn't makes him furious. Ed's determination is ultimately his core character trait, but the journey there takes a long time. Pinko highlights his destination and how far he is from it in the manga, saying that he is a strong person, and she wonders what will happen to a strong person when they hit an obstacle their strength can't overcome. Ed's journey to finding that enduring determination starts when he decides to become a state alchemist. He is buried in shame, but Mustang revives his pride enough for him to feel some sense of self-worth again, to have some hope. But the reason Ed becomes a state alchemist has nothing to do with the creed of, "be thou for the people," that is supposed to motivate alchemists. He explicitly links it to his selfishness--at one point in the manga, he explicitly says, "I don't care about my country." He is in this to get his brother his body back. Al is what saves him from being purely selfish here, although there's a layer of selfishness and pride embedded in that relationship too. Ed does obviously care deeply for his brother, and he feels intense guilt about Al's loss of his body. This guilt is partially justified--Ed's pride is what got them into this--but not to the degree he feels it. It becomes a part of his selfishness, that the loss of their bodies was all his and only his fault. Everything is about him. And there is a level in which Ed knows this--that's why what Shou Tucker said about them being the same gets to him. He wonders if what he did to Al was as much a violation, as much a sin, as the result of his human transmutation, or what Tucker did to Nina. We see his selfishness again when he and Al are defeated by Scar. Ed ignores Al telling him to run away or at least try to keep fighting, entirely ignores Al's feelings and opinions. Instead, he takes it all has to be about him, to the point that he demands Scar kill him as a sort of promise not to kill his brother. This is selfishness masquerading as self-sacrifice. This all starts to change when Al accuses Ed of lying to him and making him up with alchemy. Ed, for the first time in a long time, actually seems directly angry at his brother. This is part of Ed moving back into seeing Al in a way that isn't dominated by his guilt. It is around this time that Ed also starts to lean on other people. He draws on strength from his relationship with Al to survive the Fifth Laboratory. When he's beaten there, he doesn't give up, he gets up. When Maria berates him for cutting them out, Ed admits that she was right and he was wrong. He tells Hughes and Armstrong everything he knows. He also starts to see the limits of alchemy during these early episodes. His inability to save Nina isn't just because of the limits of his alchemy. It's because he was so focused on finding a bigger alchemical stick to fix himself and his brother's bodies--so focused on his research--that he didn't pick up on Tucker's plans until it was too late. Tucker literally made the plan to transmute Nina in front of the brothers, and they didn't notice a thing. Episodes 11-20: Beginning to Let Go of Pride and Shame This is when we see Ed's relationships really start to shift. It's notable that Ed freaks out at Greed for saying almost exactly what Ed himself said in episode 9 about Al's body being great. His relationship with Izumi also shifts a lot, from one of a defensive student to an adult partnership. This is rooted in himself and Izumi recognizing their reflected selves in one another. Each realizes the other has broken the taboo because the other does hand transmutations. Ed never made this connection before, but his self-awareness is growing. Then, on their return to Central, the boys learn of the death of Hughes. Ed's reaction to this is immediate and intense self-centeredness and shame. "It's all my fault." He's returning to the old coping mechanism of taking all the responsibility on himself, producing shame (the reflection of pride). He seems baffled when Al insists that it wasn't just Ed who is responsible for Hughes's death. When he confesses to Gracia Hughes, he's clearly astonished at her reaction. He expects Gracia Hughes to hate him--but she doesn't. She knew her husband, and knew it was his choice to get involved--it wasn't just about Ed. This wasn't a one-sided relationship. Ed cared about Hughes, and Hughes cared about Ed. Ed's reaction to the Maria Ross incident is to, again, fall back on anger. This actively gets in the way. Not that Mustang was likely to tell him anything before he started howling, but after that he definitely wasn't. The result is that, in the desert, Ed manages to gain some real perspective. Once, he said that he didn't really care about anything but his quest. Now, he decides "I'll never let another person become a victim in this deadly game." It's not that he's going to lock everyone else out, and it's not that he's taking responsibility for everyone. It's focused on what kind of person he wants to be in the context of others. Then, he demonstrates his increased understanding of how his pride can distort his worldview: "I know it's a big promise...maybe it's just my ego talking...maybe I'm just an idiot." It's a pretty dramatic change from his earlier comparisons of himself to god and mythical heroes. This all sets him up well for his next test, meeting his father again. Hohenheim and Ed see all their flaws reflected in one another (Hohenheim's mistakes and their unintended consequences, Ed's desire to make up for his father's departure), and it doesn't go well. Hohenheim doesn't trust Ed with any information at all about what's really happening in Amestris. He either feels to guilty or too angry to tell Ed directly that his human transmutation wouldn't have brought back their mother. Ed, because he's Ed, overhears him talking to Pinako. But he doesn't fall back on his old coping mechanisms of selfishness (which would have caused him to dismiss what Hohenheim said) or anger (he doesn't storm in and demand a fuller explanation from Hohenheim). Instead, he decides to see for himself. Hohenheim accused him of running away, of refusing to deal with the reminder or consequences of his sin. He wasn't entirely correct--after Al, Al is a walking talking consequence--but he wasn't entirely incorrect. Ed's reaction to learning that he failed at human transmutation, that his pride and certainty were false, is pure relief. He knows that he was arrogant, that his pride hurt people--but he didn't hurt his mother more. He didn't fuck up quite as badly as he thought he had. He is not the same as Shou Tucker. The shame isn't as endlessly deep as he thought it was, and that gives him hope. Episodes 21-30 Self-knowledge and Endurance Here's something that's not mentioned often enough: Ed never checked to make sure that Al was definitely really Al until episode 21. Not even when Al was wondering about it. Ed's on a journey back from his pride-oriented worldview. Even Ed admitting that he's short--without falling back on anger, no shouts about shrimp--is part of this. Ed and Al also have a fantastic conversation in which Ed finally lets go of his selfishness-oriented view of the human transmutation. Al says straight out, this is something we did together. This is not all your fault. These are also the episodes in which Ed's selfishness begins to ebb as a key motivator. He becomes increasingly involved in the main plot, joining forces with people he'd previously been antagonistic towards (he didn't like Ling, understandably, and he and Mustang are much too alike to ever really like each other). As Ed's involvement deepens, so does the danger he's exposed to. This leads to him facing the peak of the challenge that Pinako foreshadowed in the manga: something so strong it overwhelms his own strength. The Truth. The gate. When Ed sees Al's body again and is dragged away, he is at the peak of his alchemic strength. He just used a philosopher's stone for the first time. Al's body is in front of him. This is literally exactly where he set out to be at the start of his quest. And there is absolutely nothing he can do against the portal's hands, no way he can help Al. It momentarily overwhelms him, as he closes his eyes rather than watch Al vanish. But he pulls it together. He finds something he can give Al after all: the strength of their bond, and a promise that it will endure. The endurance of Ed's determination in the face of overwhelming strength is the key conflict of the ensuing set of episodes. There's nothing Ed can do to help Ling. Father can take away his alchemy with careless ease. Wrath can baldly threaten Winry, and there's nothing Ed can do about it. This calls back deliberately to Hughes--Ed and Al appear to be calling Winry in episode 29 from the same phone booth Hughes died in. Relationships make people vulnerable, they just do, and as Hughes died in part because Envy pretended to look like his wife, so now Ed and Al are restricted because of their relationship with Winry. But that relationship is not one sided. And, as the last line of the third opening song puts it, "What is it I don't want to let go of?" The answer is... Episodes 31-40 Relationships These are the episodes in which Ed's relationships really start to grow. His selfishness and pride are no longer so dominant, and he has developed stronger and stronger ties to people. He is horrified at Mustang's and Hawkeye's suicide plan. In the manga, he openly says, "self-sacrifice is just self-gratification." He doesn't like Mustang enough to say what he does to Hawkeye (he yells at Hawkeye she deserves to be happy too, not just live for other people to be happy, he's such a sweetheart), but he makes it clear he is not okay with Mustang's suicide plan. Once, he probably wouldn't have cared much either way. He also manages to recognize that Gen. Armstrong is definitely someone he should not antagonize, not matter how openly provocative she is. This is a good survival instinct. But not only does he do that, he manages to turn Armstrong into a key ally. Then Winry comes. This challenges Ed in a whole host of ways. First, there's the fact that all his previous coping mechanisms--pride, selfishness, and anger--are completely useless in the face of Kimblee's smug grin and Winry's vulnerability. Plus, he feels extra vulnerable himself because of what Hawkeye said about him loving Winry. To get through this, Ed relies on Al. He has to trust that Al understands him when Kimblee is listening to them. Ed and Al also make the decision in this episode that, even knowing Al's body is waiting at the gate, the priority has to be saving the country and everyone in it. Their bodies have to wait. This is a huge act of self-denial, and kind of a big character development deal. Ed also comes closer to accepting Winry as an equal partner in their relationship. Early on, he deliberately cut her off, refused to share information with her, and generally tried to keep her from knowing too much about what he and Al were going through. At Briggs, he insists to Kimblee that Winry be given as complete an understanding as possible in the circumstances--because, he sees, when she is directly involved she has the right to know. Then, Ed is forced to accept Winry's decision to go off on her own, join the fight, and put herself in the incredibly vulnerable position of depending entirely on Scar. This is something that previous versions of Ed would have found entirely intolerable, and he's still not happy about it. It is, in fact, an inversion of his response to Hughes's death. Then, his reaction was to take all the responsibility for Hughes's own actions on himself. Now, he has matured enough to see that a relationship is two-sided, and that he owes it to Winry to accept that she has responsibility for her own actions and reactions. So he accepts her decisions. And when Al goes out in a blizzard alone, he accepts that too. Episodes 41-50 Learning Not to be the Protagonist All the Time This is Ed dealing with having to be more reactive or passive. His relationships have grown to the point where he has no choice but to do this. He does so by leaning on his determination and starting to trust himself in different ways. Allowing others to share his responsibility means he has had to sacrifice his pride, which in turn means he has less shame, which again in turn lowers his anger. So, what do I mean by, "trusting himself in different ways?" I mean the scene when Kimblee sends him into the rubble and he gets run through. Firstly, he's only able to survive that in the first place because of the chimeras. He intervened to protect the chimeras from his own allies repeatedly, because of his core belief in the worth of human life. This linked up with his determination and the chimeras survived, later saving practically every major character. Secondly, he draws the strength to get up after collapsing from his relationship with Winry, a relationship with more depth than ever before. Finally, he is able to rely on himself doing some experimental alchemy for the first time since his huge mistaken human transmutation. It's kind of a big deal that this doesn't blow up. He doesn't do it from a place of pride, though--he does it to compensate for his lack of knowledge of healing alchemy, and he knows the price beforehand. Then, there's the scene when he allows the chimeras to pretend he's their hostage. Old Ed wouldn't have accepted this, and Ed now isn't too happy about it. But his anger doesn't get the better of him, as it once would have. He's still angry--he did take out both of the soldiers sent to get them himself after one called him short--but that anger is more directed. He really has fully recovered. Next, there's Ed's meeting with Greedling. He agrees to become Greed's follower. This is literally him agreeing not to be the protagonist anymore. It actually directly inverts a scene in the manga in which, after Ed and Al fought Lanfan and Fu, Ling asked Ed to become his servant. Ed screamed at him to come back where he came from. But the way Ed talks to Greed, it really doesn't bother him anymore. His pride no longer makes him think he always knows best. Ed's conversation with Winry, when she demands he tell her he'll win, also builds on this. Ed wanted her to go because he was scared she'd get hurt. That was what he needed--it was selfish. But he chooses to prioritize her needs, to reassure her when she asks. The next day, he meets Hohenheim again. This results in Hohenheim finally telling him everything, and in Ed telling him their mother's last words. It's when Ed's relationship with Hohenheim starts to shift, as he sees his father cry. He's a human in pain, not a monster from Ed's childhood, the real reason Ed broke the taboo. Finally, there's Ed accepting Al's decision to sit out the fight to stop Pride. This is, again, something that he absolutely does not want to do. But he an Al are now in an equal relationship, and sometimes one does something at risk to themselves that the other doesn't like. It can't all be Ed all the time. Episodes 51-60 Support Role Ed is one cog in a grand mechanism in these episodes, and he knows it. His job isn't even to do anything on the Promised Day: he's in a pure support role. He needs to keep Mustang from going nuts (a confrontation that, had it taken place at an earlier time, would absolutely have escalated). He has to help Scar get to the center to do his fancy alchemy. He has to run interference for May Chang and back Hohenheim up. He and Mustang bicker a bit, but otherwise he consistently comes through for people, even people he actively dislikes like Hohenheim. Episodes 60-61 Weakness into Strength Something that comes up in the fight with Pride, and started back when Ed escaped with the chimeras, is that Ed no longer gets angry about being short. He's accepted it--in fact, he's turning it into a strength. He lets the chimeras pretend he's a kid to get away. When he breaks into Warehouse 3, he straight up plays a "helpless child," card to trick the guards. And he straight up says he wins the fight with Pride because, "I've always been a runt." Ed repeatedly either refuses to let his weaknesses slow him, or turns them into strengths during these episodes. Crucially, he now understands his weaknesses. His selfishness has transformed into self-knowledge, and self-worth. He knows his own strengths and his weaknesses. This is a continuation of something that started way, way back in the Leor incident, when he used his metal arms to win a fight with the first chimera. He was always capable of this, he just didn't understand or know it. Now he does, and it makes all the difference The previous time he turned himself into a philosopher's stone, it was a last, desperate resort. This time, he does it to completely blindside Pride. And rather than using that as a chance to destroy his enemy, he puts his very soul on the line to give his enemy a second chance. This is emphasized by his using his own coat with the Flamel symbol (the symbol of his own quest for a second chance) as a cushion for Pride. Then he goes upstairs and fights Father tooth and nail. In the course of this fight, his arm is shattered. The last time his arm shattered during a fight (with Scar, way back at the beginning), Ed immediately gave up. He was consumed by helplessness, shame, and fear. This time, he goes back in to try to kick Father in the head. Now we come to when Ed is pinned and Al saves him by sacrificing his own broken body. Ed's and Al's roles come full circle here, quite literally. Once, the only way Ed could find to save Al was by sacrificing his right arm. Now, the only way Al can find to save Ed is by giving it back. Where Al was once helpless, Ed is now helpless. But both rely on each other, and both walk away. Ed now reflects Scar a few episodes back. One arm is a consequence of his brother's sacrifice, one is his own. Ed's connection to others is literally a part of his flesh, which enables his later realization. And Ed honors his brother's sacrifice by continuing to fight until Father is gone. Now, we come to Ed's moment of truth. No, not when he meets Truth--he already knows 'the truth,' at that point. Ed is standing by what's left of his brother, and he feels as helpless as he did before when the transmutation first went wrong. He falls back into those old habits of thinking, too: "What alchemy can I do? I'm such a great alchemist! I have to keep thinking, I'll find a solution!" Then his father comes up to him. He offers Ed his genuine, heartfelt sorrow. And he reminds Ed that Ed and Al aren't the only ones in this. Hohenheim loves them. He is in this with them, both their suffering and their responsibility. And Ed calls him father for the first time. Ed looks around at all the other people who share his pain. He looks at his hands, one from his brother and one from himself. And his perspective on who he is and what he offers the world and the people he loves shifts, his perspective on what he can do, on the bounds of the possible, changes. His pride finally fades, and he relies on others completely. It's not truly new. There's a reason he reaches all the way back to Nina when speaking to Truth. It's the fairy tale trope of, "the power was in you all along." Ed was never really in this alone, there was always Al, Winry, Pinako, and even his absent father. But his ability to see this, trust it, and use it to do the impossible and bring his brother home is the final point of his character development. The whole thing is a massive trust fall. He trusts himself to get by without alchemy. His pride in his alchemic abilities is gone, replaced by genuine self-worth and self-trust. What really matter is others, not his alchemy, so he tells everyone to enjoy the show of his last transmutation. He is literally relying on his brother's door to get out of Truth's realm. Not having alchemy could be a weakness. It does limit what he can do. But it doesn't stop him. He and Al set out on two versions of the same quest to learn more of alchemy. And he turns his experiences into a new alchemic theory. Weakness becomes strength, and makes the world open wider. Yeah, it's not perfect. There's a definite ebb in momentum, which is why the accusation of him "suddenly" figuring everything out right before the end is not entirely unmerited (the pieces are there, but there's a hell of a lot of other pieces in the plot). But Ed the young man is a world away from Ed the boy we met in the first episode. I am an anime only for AoT so this will only contain stuff up to S3P2/S4 P1 Mikasa- This is more of an overview than a completely elaborated analysis. Mikasa's character arc is subtle, and she is a really good character. We are introduced to her character theme "The world is cruel yet beautiful" which develops throughout her character arc. to give a breakdown of her progression and themes: Trost -- pretty obvious, most people like it. has to do with fleshing out her cruel world mentality and what led to that, carrying on Eren's words, and learning to live without him by finding a purpose Female Titan arc -- is about her 'pride'. it's also when her obsession over Eren becomes unhealthy due to almost losing him in the Trost arc, to the point where she sacrifices Eren's safety because of how caught up she is in his safety (such as trying to kill Annie even after they rescued Eren, which Levi criticizes her for, and she has to take responsibility for his injury). her arc is similar to Eren's, it's about being composed and working with other people, and in the end, she gets rewarded with a quiet scene alone with Eren after working with Armin and Eren to cut Annie down instead of charging headfirst Clash -- much more interesting than FT arc, this is about her compassionate side. it challenges her cruel mentality and you can see this with how she treats other characters: her words and actions don't match, because remember her cruel world mentality is not an authentic reflection of herself, but something Eren told her and she accepted because it helped her deal with losing her parents and escaping a traumatic situation. so in this arc she goes "I only care about so many people", "I'll kill anyone who gets in my way" but she spares Reiner, Bertholdt, Historia and Ymir, all in situations where if she was truly lacking compassion and truly a cold warrior she would kill them without a second thought. in the end, she accepts the compassionate side and it's the reason she and Eren both are safe, bc of her pep talk that helps him activate the Founder's power Uprising -- she's a lot more chilled here but is more of a team player. unlike the anime she is separate from Eren for the majority of the arc, and shows that even when she knows Eren is alive (unlike Trost) she prioritizes saving other people (Jean, Historia). she uses her newly learned compassion to comfort Armin, and ask if Sasha is okay. this arc isn't hers to shine so there isn't a conclusion to it, but Uprising is very densely focused on a few characters, namely Eren, Historia, Levi, and Kenny Return to Shiganshina -- this is about getting her character ready for the trauma of the time skip. she loses Armin, goes through Trost again, but overall it's mostly a collection of great little scenes (her letting Armin take care of Bertholdt and saying they're relying on him, Hange hugging her, her being visibly shaken by Floch's words, and almost attacking him) Marley - Begins to go against Eren bc he goes against her ideals in S4. Need to experience post timeskip mikasa completely to write everything about her character Armin- This is up to the end of S3 P2 bc I need to experience all of Post timeskip armin to make an opinion on him but he is still as good as before in S4 P1. I am also gonna ignore his strategic brilliance bc it will make the paragraph too big So let's start from the very beginning - from Armin's childhood and background. Armin was raised in a relatively poor outlier district of the Walls, Shiganshina. In his formative years, we see that he was considered a heretic, whose ideas didn’t conform to the majority of the Wall’s population. Armin is introduced as a physically weak character with a very low opinion about himself. The earliest scene is of him getting bullied, and meeting Eren. Eren, who believed in fighting and standing up to his foes, asked him why he didn't fight back. Although Armin fell to the ground beaten, the first lines he says are "I haven't lost. Because I'm not running away!". Although Armin never realized it then, Eren admired his spirit. It spurred in him a desire to know him better. Armin's parentage hasn't been fleshed out too well in the series. Yet, it plays a vital role in defining his character. The anime revealed to us that his parents were planning to set foot outside the walls. Considering how open-minded his parents and grandfather were with regards to stuff beyond the walls, it's no surprise that Armin wasn't one of the other kids who got trapped into the web of ignorance and submission that the walls tried to weave. We are introduced to how Armin gets inspired by reading a book his grandfather had hidden away. That book stimulated his imagination. He conjured powerful pictures in his mind about how vast, awe-inspiring and beautiful the outside world must be. This, I think, is an important theme to ponder over. Much of human society is driven by it's own collective imagination. It's the reason why we look outside planet earth, why we strive to explore new lands and why fictional stories inspire. If you think about it deeply enough, we all live in a blurred version of reality defined by our own fantastical creations. And it just keeps on getting complicated. These imaginary creations include the concept of money, empires, countries, borders, political ideologies, companies, religions etc. All these are products of the human collective imagination. They are not concrete physical entities like trees, rivers or animals. Our imagination propels us and that, in turn, shapes our material world. So it's not an understatement to say that the human collective imagination has been the greatest driver of human history. And we see a small, but powerful manifestation of that in Armin. He dreams, and creates fantastical pictures of the outside world. And that is what drives him. It is what gives him that spirit in the face of fear. It is out of fear that courage is born. Fear is that disreputable parent that keeps their rebellious child, courage, in check. One can only meet courage when they knock on fear's front door. And that is what defines Armin's character - fearful, but channeling all that fear into a power that saves his friends time and again. It's very reminiscent of the Lion from the Wizard of Oz, who is probably the earliest character I know of following this trope. It also reminds me of Courage the Cowardly Dog. And when you are really excited about something, you have this desire to share it with somebody - a close friend, a family member - somebody who won't judge or ostracize. That's what he saw in Eren. He felt free sharing the fantastical stories he created about the outside world with Eren. Humans bond by sharing stories with each other. And so did they. Eren was this energetic child who spent his time daydreaming. But Armin's spirit and imagination was contagious. He got drawn in. And he channeled it into his own fiery obsession. Eren embodies the will to fight, but he borrowed his imagination from Armin. Combined together, he started seeing the Titans as enemies that were taking away his freedom - a freedom to live his imagination. As Mikasa joined Eren's family, the trio developed a close bond. Mikasa saw Eren as light, and Armin as somebody who fueled that light. Armin grew up to appreciate Mikasa's and Eren's strengths, but he forgot to look within himself. One is often so focused on their neighbors' beautiful gardens, that they ignores the treasures of their own uncultivated garden. Even Eren's character is shaped by that principle. He admired Mikasa's super strength and Armin's spirit. He wanted to be strong like Mikasa, so we see minor jealousy in him. He'd feel annoyed when Mikasa, who was so strong, treated him like he was her baby brother. He saw the Survey Corps as a gateway to achieve his ideals. To become strong enough to fight and achieve his freedom. If it wasn't for the strength of his will, we wouldn't have seen the trio joining the survey corps at all. Armin is an aircraft’s wings and tail that provide lift and direction, attached to that wing is Eren - that blazing engine that provides thrust, while Mikasa provides the much-needed protective structure and stability. As a person who had a low opinion about his strengths, Armin was confused. At one end, his friend displayed a fiery will to join the Survey Corps to fight for his freedom. On the other end, he wasn’t sure if his skills were apt enough to even consider fighting. His readings and curiosity gifted him with an impeccable bird’s eye view of the society within the walls – he wondered how the walls were created, he thought out openly whether these walls would even hold long enough, he knew how most of the people within the walls were like blind sheep awaiting their demise and he also knew that only the Survey Corps was an organization that seemed to have that drive to pursue the unspeakable. Should he face his fear of death, and join the Survey Corps, or should he succumb to the pressures of the society, and resign to live like those blind sheep? Somewhere, he probably thought death would be preferable over giving up on his imagination. If his friend had the will to go and fight for his dreams, then maybe he should too! It is not always wise to blindly follow a friend, but who says he was blind? It’d be more apt to say he was dependent, drawing a little strength from Eren’s will to fight – little knowing that even Eren was dependent on his spirit and imagination. Would Eren have maintained the direction to invest his energies on if they had separated at this point? As the trio, who were dependent on each other’s strengths, joined training and subsequently the Survey Corps, they were posed with harsh challenges where they’d have to learn to recognize each other’s and their own strengths. When Eren and Armin first confront the Titans, Armin is gripped in fear. Stress, strain and anxiety created a mental block in him. Seeing Eren in his limp form stole away his will to act – where was that strength and that will against the power of these gargantuan monstrosities? This was a really striking moment for the two. Eren, seeing Armin in danger – seeing the person who gave direction to his will, in the mouth of a Titan – was forced to get up and save him. Eren was devoured. And Armin sat there in the realization. Of how the strong prey on the weak. Which leads us to our next defining moment for Armin. As Eren once again reappears, this time as a titan, Armin is flooded with relief. His mind also takes into account certain odd occurences - Eren’s arm had regenerated and his titan had been swarmed by the other titans. But he doesn’t have the time to connect his thoughts before being plunged into his next despairing moment. As his friends discuss escaping the walls, Armin sits there, still in his hard shell of self-loathing. Will his weakness ever allow him to keep up with the other two? Does he even have the right to call himself their equal? A moment later, when Eren asks him if he could convince the garrisson that he poses no threat, he wonders why. Why would they even trust him with such an important decision? It is when he realizes that Eren and Mikasa have faith in him, that he finally rears his head out of his shell. The people who depend on you bring out the best in you. He became willing to put away his own life for their sake, speaking out for them. He started recognizing his own value in the trio, struggling free from his coccoon to blossom into a fine butterfly. That day he had found self-confidence and met courage. It is one who has struggled within a dank shell of self-denial who recognizes the value of the warm, healing hand of compassion and empathy – and this he stretches out towards Annie, who had constructed an outward appearance of cynicism. This softness is what makes him fundamentally different from Erwin. But one must note that this warm, sensitive side also blinded him, causing the death of many of his comrades in arms. Armin’s thought process throughout the female titan arc is intriguing to look at. Basically, even without having the higher vantage point of Erwin, he was able to conjecture the existence of spies within their ranks; that they were after Eren and that Erwin’s actions seemed to be a way to ferret them out. Furthermore, I believe that him figuring out the identity of the female titan has nothing to do with his intelligence. He got lucky to have witnessed Marco’s ODM gear with Annie. What he did with this knowledge is what shines light on his character. He hesitated. He put a cover over logic and wanted to believe in the good that he saw in Annie. The full implications of this hesitancy are yet to be seen. It could affect his interaction with Annie as and when she returns from her crystal. He did speak-out and justify Erwin’s actions, saying that sacrifices are necessary for the greater-good. But the way his warmer emotions affected his actions clearly shows that he doesn’t fully abide by that ideology. His actions speak of a balance and an inner-conflict – between the good of greater humanity and that of his closest friends. He was also going to make a fatal mistake by revealing the identity of the female titan to Reiner and Jean. It once again shows that the trust he has for his friends clouds his judgement. But he’s 15, and he got his chance to develop there. At this point, I surmise that he starts questioning his humane ideals, and gets more and more inspired by Erwin. It is in the next arc that Armin has a painful realization about Reiner and Bertholdt, when Hanji prompts him. What’s interesting is the way the conflict between him and Bertholdt was set up. He uses the fact that Annie is captured to disorient him – to mentally torture him. Both Reiner and Bertholdt were shocked at the fact that her identity was exposed, and Bertholdt out of his love for Annie, screams revenge. “You children of the devil!!” At this one can’t help but think that Armin is attaining a certain level of madness. He probably lost some of his faith in his trust for his friends at that point. In the next arc, he even ponders over how the SC could exploit the masses for their self-centred aims. He also kills his first human being, which makes Armin finally confront himself over whether he has lost his humanity forever. Levi’s blunt response was harsh, but was a call for him to free himself from that muck of regret. The uprising arc has great defining moments for some of our SC characters. Since then, their eyes always show a certain tragic emptiness. With the revolution being a resounding success, spirits started rising once again. Our characters got a chance to reflect and re-energize. It was then that Armin recreated the pictures of his childhood dream. They rekindled his spirit once more, despite what he had been through. Endless salt-water lakes, water made of fire, mountains of ice. When the trio sat and talked this time, they now appreciated each other’s strengths and differences more than ever. Armin realized how his imagination was more precious than ever before, something which gave him meaning, something which helped him overcome fear everytime – while on the night-walk to Shiganshina, or when waking Eren up for a final confrontation with Bertholdt. Armin’s heroic moment of sacrifice was shocking and tragic. Chapter 82 was one of the crowning points of his character arc. The very dreams he was cultivating, the fantastical stories he created for himself – he decided to discard them all. At that moment, he knew, that if he faltered, humanity would never see the light of freedom. During the battle of Shiganshina, one can see the change our trio has undergone. Armin learns how to overcome his fears, Eren learns to listen and cooperate and Mikasa learns to let go. And this change is what led them to victory. They’ve finally learnt how to pilot their aircraft :). But their development as soldiers and military leaders is far from over. As Eren and Mikasa fought for their friend’s survival on the rooftop, blinded by emotion and not sparing a thought for the future of the SC, little did they realize the burden they’d be putting on Armin’s shoulders. He now feels indebted – to Levi, Mikasa and Eren. And pressured – to perform, to fill-in Erwin’s shoes. The syringe drama has introduced another level of internal conflict for him. Should he be resentful towards his friends for not catering to the more rational choice, or should he be grateful for the fact that he got another chance to live his dreams? But a really touching, sweet moment was when he decides to sleep in the same dungeons where Eren and Mikasa were confined. Was that his way of showing gratitude for them? That scene gives me hope. That Armin hasn’t yet lost his touch with humanity. That he still values his friends for what they have done. He isn’t going to fill-in Erwin’s shoes, he’s going to create his own pair that fits him. No matter how much he puts up a cold, rational expression on the outside – while talking to Flocke or while talking about the greater-good - he still has a warm, softer inside. Much like the coconut. At last, after around 9 months, we see him achieve his ambition. He wets his legs in the salty waters of the sea, eyes shining bright. Finally seeing the image he had been cultivating right in front of his eyes, in real life. Tasting the sweet fruit of rising above the harsh challenges posed to him. From here, it’s a matter of seeing which side his internal conflict takes him. His friends keep trying to give him hope, to have faith himself, but will that translate into results? What are your thoughts? |
CamelBowNov 19, 2021 9:38 PM
Nov 19, 2021 2:17 AM
#2
Elaborate and justify the idea that those characters develop. |
Well I for one already loved Lain. |
Nov 19, 2021 6:07 AM
#3
Thigh_Tide said: Why not?Elaborate and justify the idea that those characters develop. Ed- I've seen the idea floating around that Ed's character didn't develop much or at all in FMAB or the manga. I think this is hugely inaccurate, so I'm about to make a text-based argument for how Ed's character develops massively over the course of this story. I've only read some of the manga, so manga readers please add nuance when I've missed something! Note: I'm currently rewatching, so I'll probably come back and edit this on and off. Summary: Ed's journey is one from selfishness to self-worth and self-knowledge, from pride in himself (and shame of his sins) to reliance on others, and from anger to acceptance. Underlying all of these is his core character trait of determination, which is sometimes threatened by his shame but ultimately survives everything, and allows him to turn his weaknesses into strengths. Episodes 1-10 Beginnings At the start of Ed's continuity, his most important traits are his selfishness, pride, anger, and determination. 1) His selfishness is what motivates him to perform the human transmutation. He wanted to "prove he could stand on his own," to symbolically replace his father by proving he could do better by their mother. His tool was inherited directly from his father--he uses his father's alchemy to do all his initial research. 2) His pride feeds into his selfishness nicely, as it's what lets him think it's acceptable for him to break the taboo and make the attempt in the first place. His response, on seeing what lies beyond the Gate for the first time, is to immediately demand Truth let him see more so he can do human transmutation again. And since pride and shame are closely linked, a lot of his pride quickly turns to shame. 3) His anger is most visible every time he imagines someone calls him short. This hits him right in his pride--he thinks of himself as the tallest man in the room, and being reminded in any way that he isn't makes him furious. Ed's determination is ultimately his core character trait, but the journey there takes a long time. Pinko highlights his destination and how far he is from it in the manga, saying that he is a strong person, and she wonders what will happen to a strong person when they hit an obstacle their strength can't overcome. Ed's journey to finding that enduring determination starts when he decides to become a state alchemist. He is buried in shame, but Mustang revives his pride enough for him to feel some sense of self-worth again, to have some hope. But the reason Ed becomes a state alchemist has nothing to do with the creed of, "be thou for the people," that is supposed to motivate alchemists. He explicitly links it to his selfishness--at one point in the manga, he explicitly says, "I don't care about my country." He is in this to get his brother his body back. Al is what saves him from being purely selfish here, although there's a layer of selfishness and pride embedded in that relationship too. Ed does obviously care deeply for his brother, and he feels intense guilt about Al's loss of his body. This guilt is partially justified--Ed's pride is what got them into this--but not to the degree he feels it. It becomes a part of his selfishness, that the loss of their bodies was all his and only his fault. Everything is about him. And there is a level in which Ed knows this--that's why what Shou Tucker said about them being the same gets to him. He wonders if what he did to Al was as much a violation, as much a sin, as the result of his human transmutation, or what Tucker did to Nina. We see his selfishness again when he and Al are defeated by Scar. Ed ignores Al telling him to run away or at least try to keep fighting, entirely ignores Al's feelings and opinions. Instead, he takes it all has to be about him, to the point that he demands Scar kill him as a sort of promise not to kill his brother. This is selfishness masquerading as self-sacrifice. This all starts to change when Al accuses Ed of lying to him and making him up with alchemy. Ed, for the first time in a long time, actually seems directly angry at his brother. This is part of Ed moving back into seeing Al in a way that isn't dominated by his guilt. It is around this time that Ed also starts to lean on other people. He draws on strength from his relationship with Al to survive the Fifth Laboratory. When he's beaten there, he doesn't give up, he gets up. When Maria berates him for cutting them out, Ed admits that she was right and he was wrong. He tells Hughes and Armstrong everything he knows. He also starts to see the limits of alchemy during these early episodes. His inability to save Nina isn't just because of the limits of his alchemy. It's because he was so focused on finding a bigger alchemical stick to fix himself and his brother's bodies--so focused on his research--that he didn't pick up on Tucker's plans until it was too late. Tucker literally made the plan to transmute Nina in front of the brothers, and they didn't notice a thing. Episodes 11-20: Beginning to Let Go of Pride and Shame This is when we see Ed's relationships really start to shift. It's notable that Ed freaks out at Greed for saying almost exactly what Ed himself said in episode 9 about Al's body being great. His relationship with Izumi also shifts a lot, from one of a defensive student to an adult partnership. This is rooted in himself and Izumi recognizing their reflected selves in one another. Each realizes the other has broken the taboo because the other does hand transmutations. Ed never made this connection before, but his self-awareness is growing. Then, on their return to Central, the boys learn of the death of Hughes. Ed's reaction to this is immediate and intense self-centeredness and shame. "It's all my fault." He's returning to the old coping mechanism of taking all the responsibility on himself, producing shame (the reflection of pride). He seems baffled when Al insists that it wasn't just Ed who is responsible for Hughes's death. When he confesses to Gracia Hughes, he's clearly astonished at her reaction. He expects Gracia Hughes to hate him--but she doesn't. She knew her husband, and knew it was his choice to get involved--it wasn't just about Ed. This wasn't a one-sided relationship. Ed cared about Hughes, and Hughes cared about Ed. Ed's reaction to the Maria Ross incident is to, again, fall back on anger. This actively gets in the way. Not that Mustang was likely to tell him anything before he started howling, but after that he definitely wasn't. The result is that, in the desert, Ed manages to gain some real perspective. Once, he said that he didn't really care about anything but his quest. Now, he decides "I'll never let another person become a victim in this deadly game." It's not that he's going to lock everyone else out, and it's not that he's taking responsibility for everyone. It's focused on what kind of person he wants to be in the context of others. Then, he demonstrates his increased understanding of how his pride can distort his worldview: "I know it's a big promise...maybe it's just my ego talking...maybe I'm just an idiot." It's a pretty dramatic change from his earlier comparisons of himself to god and mythical heroes. This all sets him up well for his next test, meeting his father again. Hohenheim and Ed see all their flaws reflected in one another (Hohenheim's mistakes and their unintended consequences, Ed's desire to make up for his father's departure), and it doesn't go well. Hohenheim doesn't trust Ed with any information at all about what's really happening in Amestris. He either feels to guilty or too angry to tell Ed directly that his human transmutation wouldn't have brought back their mother. Ed, because he's Ed, overhears him talking to Pinako. But he doesn't fall back on his old coping mechanisms of selfishness (which would have caused him to dismiss what Hohenheim said) or anger (he doesn't storm in and demand a fuller explanation from Hohenheim). Instead, he decides to see for himself. Hohenheim accused him of running away, of refusing to deal with the reminder or consequences of his sin. He wasn't entirely correct--after Al, Al is a walking talking consequence--but he wasn't entirely incorrect. Ed's reaction to learning that he failed at human transmutation, that his pride and certainty were false, is pure relief. He knows that he was arrogant, that his pride hurt people--but he didn't hurt his mother more. He didn't fuck up quite as badly as he thought he had. He is not the same as Shou Tucker. The shame isn't as endlessly deep as he thought it was, and that gives him hope. Episodes 21-30 Self-knowledge and Endurance Here's something that's not mentioned often enough: Ed never checked to make sure that Al was definitely really Al until episode 21. Not even when Al was wondering about it. Ed's on a journey back from his pride-oriented worldview. Even Ed admitting that he's short--without falling back on anger, no shouts about shrimp--is part of this. Ed and Al also have a fantastic conversation in which Ed finally lets go of his selfishness-oriented view of the human transmutation. Al says straight out, this is something we did together. This is not all your fault. These are also the episodes in which Ed's selfishness begins to ebb as a key motivator. He becomes increasingly involved in the main plot, joining forces with people he'd previously been antagonistic towards (he didn't like Ling, understandably, and he and Mustang are much too alike to ever really like each other). As Ed's involvement deepens, so does the danger he's exposed to. This leads to him facing the peak of the challenge that Pinako foreshadowed in the manga: something so strong it overwhelms his own strength. The Truth. The gate. When Ed sees Al's body again and is dragged away, he is at the peak of his alchemic strength. He just used a philosopher's stone for the first time. Al's body is in front of him. This is literally exactly where he set out to be at the start of his quest. And there is absolutely nothing he can do against the portal's hands, no way he can help Al. It momentarily overwhelms him, as he closes his eyes rather than watch Al vanish. But he pulls it together. He finds something he can give Al after all: the strength of their bond, and a promise that it will endure. The endurance of Ed's determination in the face of overwhelming strength is the key conflict of the ensuing set of episodes. There's nothing Ed can do to help Ling. Father can take away his alchemy with careless ease. Wrath can baldly threaten Winry, and there's nothing Ed can do about it. This calls back deliberately to Hughes--Ed and Al appear to be calling Winry in episode 29 from the same phone booth Hughes died in. Relationships make people vulnerable, they just do, and as Hughes died in part because Envy pretended to look like his wife, so now Ed and Al are restricted because of their relationship with Winry. But that relationship is not one sided. And, as the last line of the third opening song puts it, "What is it I don't want to let go of?" The answer is... Episodes 31-40 Relationships These are the episodes in which Ed's relationships really start to grow. His selfishness and pride are no longer so dominant, and he has developed stronger and stronger ties to people. He is horrified at Mustang's and Hawkeye's suicide plan. In the manga, he openly says, "self-sacrifice is just self-gratification." He doesn't like Mustang enough to say what he does to Hawkeye (he yells at Hawkeye she deserves to be happy too, not just live for other people to be happy, he's such a sweetheart), but he makes it clear he is not okay with Mustang's suicide plan. Once, he probably wouldn't have cared much either way. He also manages to recognize that Gen. Armstrong is definitely someone he should not antagonize, not matter how openly provocative she is. This is a good survival instinct. But not only does he do that, he manages to turn Armstrong into a key ally. Then Winry comes. This challenges Ed in a whole host of ways. First, there's the fact that all his previous coping mechanisms--pride, selfishness, and anger--are completely useless in the face of Kimblee's smug grin and Winry's vulnerability. Plus, he feels extra vulnerable himself because of what Hawkeye said about him loving Winry. To get through this, Ed relies on Al. He has to trust that Al understands him when Kimblee is listening to them. Ed and Al also make the decision in this episode that, even knowing Al's body is waiting at the gate, the priority has to be saving the country and everyone in it. Their bodies have to wait. This is a huge act of self-denial, and kind of a big character development deal. Ed also comes closer to accepting Winry as an equal partner in their relationship. Early on, he deliberately cut her off, refused to share information with her, and generally tried to keep her from knowing too much about what he and Al were going through. At Briggs, he insists to Kimblee that Winry be given as complete an understanding as possible in the circumstances--because, he sees, when she is directly involved she has the right to know. Then, Ed is forced to accept Winry's decision to go off on her own, join the fight, and put herself in the incredibly vulnerable position of depending entirely on Scar. This is something that previous versions of Ed would have found entirely intolerable, and he's still not happy about it. It is, in fact, an inversion of his response to Hughes's death. Then, his reaction was to take all the responsibility for Hughes's own actions on himself. Now, he has matured enough to see that a relationship is two-sided, and that he owes it to Winry to accept that she has responsibility for her own actions and reactions. So he accepts her decisions. And when Al goes out in a blizzard alone, he accepts that too. Episodes 41-50 Learning Not to be the Protagonist All the Time This is Ed dealing with having to be more reactive or passive. His relationships have grown to the point where he has no choice but to do this. He does so by leaning on his determination and starting to trust himself in different ways. Allowing others to share his responsibility means he has had to sacrifice his pride, which in turn means he has less shame, which again in turn lowers his anger. So, what do I mean by, "trusting himself in different ways?" I mean the scene when Kimblee sends him into the rubble and he gets run through. Firstly, he's only able to survive that in the first place because of the chimeras. He intervened to protect the chimeras from his own allies repeatedly, because of his core belief in the worth of human life. This linked up with his determination and the chimeras survived, later saving practically every major character. Secondly, he draws the strength to get up after collapsing from his relationship with Winry, a relationship with more depth than ever before. Finally, he is able to rely on himself doing some experimental alchemy for the first time since his huge mistaken human transmutation. It's kind of a big deal that this doesn't blow up. He doesn't do it from a place of pride, though--he does it to compensate for his lack of knowledge of healing alchemy, and he knows the price beforehand. Then, there's the scene when he allows the chimeras to pretend he's their hostage. Old Ed wouldn't have accepted this, and Ed now isn't too happy about it. But his anger doesn't get the better of him, as it once would have. He's still angry--he did take out both of the soldiers sent to get them himself after one called him short--but that anger is more directed. He really has fully recovered. Next, there's Ed's meeting with Greedling. He agrees to become Greed's follower. This is literally him agreeing not to be the protagonist anymore. It actually directly inverts a scene in the manga in which, after Ed and Al fought Lanfan and Fu, Ling asked Ed to become his servant. Ed screamed at him to come back where he came from. But the way Ed talks to Greed, it really doesn't bother him anymore. His pride no longer makes him think he always knows best. Ed's conversation with Winry, when she demands he tell her he'll win, also builds on this. Ed wanted her to go because he was scared she'd get hurt. That was what he needed--it was selfish. But he chooses to prioritize her needs, to reassure her when she asks. The next day, he meets Hohenheim again. This results in Hohenheim finally telling him everything, and in Ed telling him their mother's last words. It's when Ed's relationship with Hohenheim starts to shift, as he sees his father cry. He's a human in pain, not a monster from Ed's childhood, the real reason Ed broke the taboo. Finally, there's Ed accepting Al's decision to sit out the fight to stop Pride. This is, again, something that he absolutely does not want to do. But he an Al are now in an equal relationship, and sometimes one does something at risk to themselves that the other doesn't like. It can't all be Ed all the time. Episodes 51-60 Support Role Ed is one cog in a grand mechanism in these episodes, and he knows it. His job isn't even to do anything on the Promised Day: he's in a pure support role. He needs to keep Mustang from going nuts (a confrontation that, had it taken place at an earlier time, would absolutely have escalated). He has to help Scar get to the center to do his fancy alchemy. He has to run interference for May Chang and back Hohenheim up. He and Mustang bicker a bit, but otherwise he consistently comes through for people, even people he actively dislikes like Hohenheim. Episodes 60-61 Weakness into Strength Something that comes up in the fight with Pride, and started back when Ed escaped with the chimeras, is that Ed no longer gets angry about being short. He's accepted it--in fact, he's turning it into a strength. He lets the chimeras pretend he's a kid to get away. When he breaks into Warehouse 3, he straight up plays a "helpless child," card to trick the guards. And he straight up says he wins the fight with Pride because, "I've always been a runt." Ed repeatedly either refuses to let his weaknesses slow him, or turns them into strengths during these episodes. Crucially, he now understands his weaknesses. His selfishness has transformed into self-knowledge, and self-worth. He knows his own strengths and his weaknesses. This is a continuation of something that started way, way back in the Leor incident, when he used his metal arms to win a fight with the first chimera. He was always capable of this, he just didn't understand or know it. Now he does, and it makes all the difference The previous time he turned himself into a philosopher's stone, it was a last, desperate resort. This time, he does it to completely blindside Pride. And rather than using that as a chance to destroy his enemy, he puts his very soul on the line to give his enemy a second chance. This is emphasized by his using his own coat with the Flamel symbol (the symbol of his own quest for a second chance) as a cushion for Pride. Then he goes upstairs and fights Father tooth and nail. In the course of this fight, his arm is shattered. The last time his arm shattered during a fight (with Scar, way back at the beginning), Ed immediately gave up. He was consumed by helplessness, shame, and fear. This time, he goes back in to try to kick Father in the head. Now we come to when Ed is pinned and Al saves him by sacrificing his own broken body. Ed's and Al's roles come full circle here, quite literally. Once, the only way Ed could find to save Al was by sacrificing his right arm. Now, the only way Al can find to save Ed is by giving it back. Where Al was once helpless, Ed is now helpless. But both rely on each other, and both walk away. Ed now reflects Scar a few episodes back. One arm is a consequence of his brother's sacrifice, one is his own. Ed's connection to others is literally a part of his flesh, which enables his later realization. And Ed honors his brother's sacrifice by continuing to fight until Father is gone. Now, we come to Ed's moment of truth. No, not when he meets Truth--he already knows 'the truth,' at that point. Ed is standing by what's left of his brother, and he feels as helpless as he did before when the transmutation first went wrong. He falls back into those old habits of thinking, too: "What alchemy can I do? I'm such a great alchemist! I have to keep thinking, I'll find a solution!" Then his father comes up to him. He offers Ed his genuine, heartfelt sorrow. And he reminds Ed that Ed and Al aren't the only ones in this. Hohenheim loves them. He is in this with them, both their suffering and their responsibility. And Ed calls him father for the first time. Ed looks around at all the other people who share his pain. He looks at his hands, one from his brother and one from himself. And his perspective on who he is and what he offers the world and the people he loves shifts, his perspective on what he can do, on the bounds of the possible, changes. His pride finally fades, and he relies on others completely. It's not truly new. There's a reason he reaches all the way back to Nina when speaking to Truth. It's the fairy tale trope of, "the power was in you all along." Ed was never really in this alone, there was always Al, Winry, Pinako, and even his absent father. But his ability to see this, trust it, and use it to do the impossible and bring his brother home is the final point of his character development. The whole thing is a massive trust fall. He trusts himself to get by without alchemy. His pride in his alchemic abilities is gone, replaced by genuine self-worth and self-trust. What really matter is others, not his alchemy, so he tells everyone to enjoy the show of his last transmutation. He is literally relying on his brother's door to get out of Truth's realm. Not having alchemy could be a weakness. It does limit what he can do. But it doesn't stop him. He and Al set out on two versions of the same quest to learn more of alchemy. And he turns his experiences into a new alchemic theory. Weakness becomes strength, and makes the world open wider. Yeah, it's not perfect. There's a definite ebb in momentum, which is why the accusation of him "suddenly" figuring everything out right before the end is not entirely unmerited (the pieces are there, but there's a hell of a lot of other pieces in the plot). But Ed the young man is a world away from Ed the boy we met in the first episode. I am an anime only for AoT so this will only contain stuff up to S3P2/S4 P1 Mikasa- This is more of an overview than a completely elaborated analysis. Mikasa's character arc is subtle, and she is a really good character. We are introduced to her character theme "The world is cruel yet beautiful" which develops throughout her character arc. to give a breakdown of her progression and themes: Trost -- pretty obvious, most people like it. has to do with fleshing out her cruel world mentality and what led to that, carrying on Eren's words, and learning to live without him by finding a purpose Female Titan arc -- is about her 'pride'. it's also when her obsession over Eren becomes unhealthy due to almost losing him in the Trost arc, to the point where she sacrifices Eren's safety because of how caught up she is in his safety (such as trying to kill Annie even after they rescued Eren, which Levi criticizes her for, and she has to take responsibility for his injury). her arc is similar to Eren's, it's about being composed and working with other people, and in the end, she gets rewarded with a quiet scene alone with Eren after working with Armin and Eren to cut Annie down instead of charging headfirst Clash -- much more interesting than FT arc, this is about her compassionate side. it challenges her cruel mentality and you can see this with how she treats other characters: her words and actions don't match, because remember her cruel world mentality is not an authentic reflection of herself, but something Eren told her and she accepted because it helped her deal with losing her parents and escaping a traumatic situation. so in this arc she goes "I only care about so many people", "I'll kill anyone who gets in my way" but she spares Reiner, Bertholdt, Historia and Ymir, all in situations where if she was truly lacking compassion and truly a cold warrior she would kill them without a second thought. in the end, she accepts the compassionate side and it's the reason she and Eren both are safe, bc of her pep talk that helps him activate the Founder's power Uprising -- she's a lot more chilled here but is more of a team player. unlike the anime she is separate from Eren for the majority of the arc, and shows that even when she knows Eren is alive (unlike Trost) she prioritizes saving other people (Jean, Historia). she uses her newly learned compassion to comfort Armin, and ask if Sasha is okay. this arc isn't hers to shine so there isn't a conclusion to it, but Uprising is very densely focused on a few characters, namely Eren, Historia, Levi, and Kenny Return to Shiganshina -- this is about getting her character ready for the trauma of the time skip. she loses Armin, goes through Trost again, but overall it's mostly a collection of great little scenes (her letting Armin take care of Bertholdt and saying they're relying on him, Hange hugging her, her being visibly shaken by Floch's words, and almost attacking him) Marley - Begins to go against Eren bc he goes against her ideals in S4. Need to experience post timeskip mikasa completely to write everything about her character Armin- This is up to the end of S3 P2 bc I need to experience all of Post timeskip armin to make an opinion on him but he is still as good as before in S4 P1. I am also gonna ignore his strategic brilliance bc it will make the paragraph too big So let's start from the very beginning - from Armin's childhood and background. Armin was raised in a relatively poor outlier district of the Walls, Shiganshina. In his formative years, we see that he was considered a heretic, whose ideas didn’t conform to the majority of the Wall’s population. Armin is introduced as a physically weak character with a very low opinion about himself. The earliest scene is of him getting bullied, and meeting Eren. Eren, who believed in fighting and standing up to his foes, asked him why he didn't fight back. Although Armin fell to the ground beaten, the first lines he says are "I haven't lost. Because I'm not running away!". Although Armin never realized it then, Eren admired his spirit. It spurred in him a desire to know him better. Armin's parentage hasn't been fleshed out too well in the series. Yet, it plays a vital role in defining his character. The anime revealed to us that his parents were planning to set foot outside the walls. Considering how open-minded his parents and grandfather were with regards to stuff beyond the walls, it's no surprise that Armin wasn't one of the other kids who got trapped into the web of ignorance and submission that the walls tried to weave. We are introduced to how Armin gets inspired by reading a book his grandfather had hidden away. That book stimulated his imagination. He conjured powerful pictures in his mind about how vast, awe-inspiring and beautiful the outside world must be. This, I think, is an important theme to ponder over. Much of human society is driven by it's own collective imagination. It's the reason why we look outside planet earth, why we strive to explore new lands and why fictional stories inspire. If you think about it deeply enough, we all live in a blurred version of reality defined by our own fantastical creations. And it just keeps on getting complicated. These imaginary creations include the concept of money, empires, countries, borders, political ideologies, companies, religions etc. All these are products of the human collective imagination. They are not concrete physical entities like trees, rivers or animals. Our imagination propels us and that, in turn, shapes our material world. So it's not an understatement to say that the human collective imagination has been the greatest driver of human history. And we see a small, but powerful manifestation of that in Armin. He dreams, and creates fantastical pictures of the outside world. And that is what drives him. It is what gives him that spirit in the face of fear. It is out of fear that courage is born. Fear is that disreputable parent that keeps their rebellious child, courage, in check. One can only meet courage when they knock on fear's front door. And that is what defines Armin's character - fearful, but channeling all that fear into a power that saves his friends time and again. It's very reminiscent of the Lion from the Wizard of Oz, who is probably the earliest character I know of following this trope. It also reminds me of Courage the Cowardly Dog. And when you are really excited about something, you have this desire to share it with somebody - a close friend, a family member - somebody who won't judge or ostracize. That's what he saw in Eren. He felt free sharing the fantastical stories he created about the outside world with Eren. Humans bond by sharing stories with each other. And so did they. Eren was this energetic child who spent his time daydreaming. But Armin's spirit and imagination was contagious. He got drawn in. And he channeled it into his own fiery obsession. Eren embodies the will to fight, but he borrowed his imagination from Armin. Combined together, he started seeing the Titans as enemies that were taking away his freedom - a freedom to live his imagination. As Mikasa joined Eren's family, the trio developed a close bond. Mikasa saw Eren as light, and Armin as somebody who fueled that light. Armin grew up to appreciate Mikasa's and Eren's strengths, but he forgot to look within himself. One is often so focused on their neighbors' beautiful gardens, that they ignores the treasures of their own uncultivated garden. Even Eren's character is shaped by that principle. He admired Mikasa's super strength and Armin's spirit. He wanted to be strong like Mikasa, so we see minor jealousy in him. He'd feel annoyed when Mikasa, who was so strong, treated him like he was her baby brother. He saw the Survey Corps as a gateway to achieve his ideals. To become strong enough to fight and achieve his freedom. If it wasn't for the strength of his will, we wouldn't have seen the trio joining the survey corps at all. Armin is an aircraft’s wings and tail that provide lift and direction, attached to that wing is Eren - that blazing engine that provides thrust, while Mikasa provides the much-needed protective structure and stability. As a person who had a low opinion about his strengths, Armin was confused. At one end, his friend displayed a fiery will to join the Survey Corps to fight for his freedom. On the other end, he wasn’t sure if his skills were apt enough to even consider fighting. His readings and curiosity gifted him with an impeccable bird’s eye view of the society within the walls – he wondered how the walls were created, he thought out openly whether these walls would even hold long enough, he knew how most of the people within the walls were like blind sheep awaiting their demise and he also knew that only the Survey Corps was an organization that seemed to have that drive to pursue the unspeakable. Should he face his fear of death, and join the Survey Corps, or should he succumb to the pressures of the society, and resign to live like those blind sheep? Somewhere, he probably thought death would be preferable over giving up on his imagination. If his friend had the will to go and fight for his dreams, then maybe he should too! It is not always wise to blindly follow a friend, but who says he was blind? It’d be more apt to say he was dependent, drawing a little strength from Eren’s will to fight – little knowing that even Eren was dependent on his spirit and imagination. Would Eren have maintained the direction to invest his energies on if they had separated at this point? As the trio, who were dependent on each other’s strengths, joined training and subsequently the Survey Corps, they were posed with harsh challenges where they’d have to learn to recognize each other’s and their own strengths. When Eren and Armin first confront the Titans, Armin is gripped in fear. Stress, strain and anxiety created a mental block in him. Seeing Eren in his limp form stole away his will to act – where was that strength and that will against the power of these gargantuan monstrosities? This was a really striking moment for the two. Eren, seeing Armin in danger – seeing the person who gave direction to his will, in the mouth of a Titan – was forced to get up and save him. Eren was devoured. And Armin sat there in the realization. Of how the strong prey on the weak. Which leads us to our next defining moment for Armin. As Eren once again reappears, this time as a titan, Armin is flooded with relief. His mind also takes into account certain odd occurences - Eren’s arm had regenerated and his titan had been swarmed by the other titans. But he doesn’t have the time to connect his thoughts before being plunged into his next despairing moment. As his friends discuss escaping the walls, Armin sits there, still in his hard shell of self-loathing. Will his weakness ever allow him to keep up with the other two? Does he even have the right to call himself their equal? A moment later, when Eren asks him if he could convince the garrisson that he poses no threat, he wonders why. Why would they even trust him with such an important decision? It is when he realizes that Eren and Mikasa have faith in him, that he finally rears his head out of his shell. The people who depend on you bring out the best in you. He became willing to put away his own life for their sake, speaking out for them. He started recognizing his own value in the trio, struggling free from his coccoon to blossom into a fine butterfly. That day he had found self-confidence and met courage. It is one who has struggled within a dank shell of self-denial who recognizes the value of the warm, healing hand of compassion and empathy – and this he stretches out towards Annie, who had constructed an outward appearance of cynicism. This softness is what makes him fundamentally different from Erwin. But one must note that this warm, sensitive side also blinded him, causing the death of many of his comrades in arms. Armin’s thought process throughout the female titan arc is intriguing to look at. Basically, even without having the higher vantage point of Erwin, he was able to conjecture the existence of spies within their ranks; that they were after Eren and that Erwin’s actions seemed to be a way to ferret them out. Furthermore, I believe that him figuring out the identity of the female titan has nothing to do with his intelligence. He got lucky to have witnessed Marco’s ODM gear with Annie. What he did with this knowledge is what shines light on his character. He hesitated. He put a cover over logic and wanted to believe in the good that he saw in Annie. The full implications of this hesitancy are yet to be seen. It could affect his interaction with Annie as and when she returns from her crystal. He did speak-out and justify Erwin’s actions, saying that sacrifices are necessary for the greater-good. But the way his warmer emotions affected his actions clearly shows that he doesn’t fully abide by that ideology. His actions speak of a balance and an inner-conflict – between the good of greater humanity and that of his closest friends. He was also going to make a fatal mistake by revealing the identity of the female titan to Reiner and Jean. It once again shows that the trust he has for his friends clouds his judgement. But he’s 15, and he got his chance to develop there. At this point, I surmise that he starts questioning his humane ideals, and gets more and more inspired by Erwin. It is in the next arc that Armin has a painful realization about Reiner and Bertholdt, when Hanji prompts him. What’s interesting is the way the conflict between him and Bertholdt was set up. He uses the fact that Annie is captured to disorient him – to mentally torture him. Both Reiner and Bertholdt were shocked at the fact that her identity was exposed, and Bertholdt out of his love for Annie, screams revenge. “You children of the devil!!” At this one can’t help but think that Armin is attaining a certain level of madness. He probably lost some of his faith in his trust for his friends at that point. In the next arc, he even ponders over how the SC could exploit the masses for their self-centred aims. He also kills his first human being, which makes Armin finally confront himself over whether he has lost his humanity forever. Levi’s blunt response was harsh, but was a call for him to free himself from that muck of regret. The uprising arc has great defining moments for some of our SC characters. Since then, their eyes always show a certain tragic emptiness. With the revolution being a resounding success, spirits started rising once again. Our characters got a chance to reflect and re-energize. It was then that Armin recreated the pictures of his childhood dream. They rekindled his spirit once more, despite what he had been through. Endless salt-water lakes, water made of fire, mountains of ice. When the trio sat and talked this time, they now appreciated each other’s strengths and differences more than ever. Armin realized how his imagination was more precious than ever before, something which gave him meaning, something which helped him overcome fear everytime – while on the night-walk to Shiganshina, or when waking Eren up for a final confrontation with Bertholdt. Armin’s heroic moment of sacrifice was shocking and tragic. Chapter 82 was one of the crowning points of his character arc. The very dreams he was cultivating, the fantastical stories he created for himself – he decided to discard them all. At that moment, he knew, that if he faltered, humanity would never see the light of freedom. During the battle of Shiganshina, one can see the change our trio has undergone. Armin learns how to overcome his fears, Eren learns to listen and cooperate and Mikasa learns to let go. And this change is what led them to victory. They’ve finally learnt how to pilot their aircraft :). But their development as soldiers and military leaders is far from over. As Eren and Mikasa fought for their friend’s survival on the rooftop, blinded by emotion and not sparing a thought for the future of the SC, little did they realize the burden they’d be putting on Armin’s shoulders. He now feels indebted – to Levi, Mikasa and Eren. And pressured – to perform, to fill-in Erwin’s shoes. The syringe drama has introduced another level of internal conflict for him. Should he be resentful towards his friends for not catering to the more rational choice, or should he be grateful for the fact that he got another chance to live his dreams? But a really touching, sweet moment was when he decides to sleep in the same dungeons where Eren and Mikasa were confined. Was that his way of showing gratitude for them? That scene gives me hope. That Armin hasn’t yet lost his touch with humanity. That he still values his friends for what they have done. He isn’t going to fill-in Erwin’s shoes, he’s going to create his own pair that fits him. No matter how much he puts up a cold, rational expression on the outside – while talking to Flocke or while talking about the greater-good - he still has a warm, softer inside. Much like the coconut. At last, after around 9 months, we see him achieve his ambition. He wets his legs in the salty waters of the sea, eyes shining bright. Finally seeing the image he had been cultivating right in front of his eyes, in real life. Tasting the sweet fruit of rising above the harsh challenges posed to him. From here, it’s a matter of seeing which side his internal conflict takes him. His friends keep trying to give him hope, to have faith himself, but will that translate into results? |
CamelBowNov 19, 2021 6:11 AM
Nov 19, 2021 7:04 AM
#4
Perhaps people aren't really aware of what good character development is unless it's shoved into their faces. A majority of people consume anime just for entertainment and don't delve deep into it and analyse it further. adnan_ said: Went through the entire thing, and it's really good. FMAB and AOT were two of the first anime I've watched, and I wasn't good at inspecting and critiquing anime back then (not that I am particularly good at it now, but I like to imagine that I am). I really feel like re-watching them now (my memory of them is quite hazy) thanks to your thoughtfully written discourse - it was the most interesting thing I came across on the internet today.Thigh_Tide said: Why not?Elaborate and justify the idea that those characters develop. Ed- I've seen the idea floating around that Ed's character didn't develop much or at all in FMAB or the manga. I think this is hugely inaccurate, so I'm about to make a text-based argument for how Ed's character develops massively over the course of this story. I've only read some of the manga, so manga readers please add nuance when I've missed something! Note: I'm currently rewatching, so I'll probably come back and edit this on and off. Summary: Ed's journey is one from selfishness to self-worth and self-knowledge, from pride in himself (and shame of his sins) to reliance on others, and from anger to acceptance. Underlying all of these is his core character trait of determination, which is sometimes threatened by his shame but ultimately survives everything, and allows him to turn his weaknesses into strengths. Episodes 1-10 Beginnings At the start of Ed's continuity, his most important traits are his selfishness, pride, anger, and determination. 1) His selfishness is what motivates him to perform the human transmutation. He wanted to "prove he could stand on his own," to symbolically replace his father by proving he could do better by their mother. His tool was inherited directly from his father--he uses his father's alchemy to do all his initial research. 2) His pride feeds into his selfishness nicely, as it's what lets him think it's acceptable for him to break the taboo and make the attempt in the first place. His response, on seeing what lies beyond the Gate for the first time, is to immediately demand Truth let him see more so he can do human transmutation again. And since pride and shame are closely linked, a lot of his pride quickly turns to shame. 3) His anger is most visible every time he imagines someone calls him short. This hits him right in his pride--he thinks of himself as the tallest man in the room, and being reminded in any way that he isn't makes him furious. Ed's determination is ultimately his core character trait, but the journey there takes a long time. Pinko highlights his destination and how far he is from it in the manga, saying that he is a strong person, and she wonders what will happen to a strong person when they hit an obstacle their strength can't overcome. Ed's journey to finding that enduring determination starts when he decides to become a state alchemist. He is buried in shame, but Mustang revives his pride enough for him to feel some sense of self-worth again, to have some hope. But the reason Ed becomes a state alchemist has nothing to do with the creed of, "be thou for the people," that is supposed to motivate alchemists. He explicitly links it to his selfishness--at one point in the manga, he explicitly says, "I don't care about my country." He is in this to get his brother his body back. Al is what saves him from being purely selfish here, although there's a layer of selfishness and pride embedded in that relationship too. Ed does obviously care deeply for his brother, and he feels intense guilt about Al's loss of his body. This guilt is partially justified--Ed's pride is what got them into this--but not to the degree he feels it. It becomes a part of his selfishness, that the loss of their bodies was all his and only his fault. Everything is about him. And there is a level in which Ed knows this--that's why what Shou Tucker said about them being the same gets to him. He wonders if what he did to Al was as much a violation, as much a sin, as the result of his human transmutation, or what Tucker did to Nina. We see his selfishness again when he and Al are defeated by Scar. Ed ignores Al telling him to run away or at least try to keep fighting, entirely ignores Al's feelings and opinions. Instead, he takes it all has to be about him, to the point that he demands Scar kill him as a sort of promise not to kill his brother. This is selfishness masquerading as self-sacrifice. This all starts to change when Al accuses Ed of lying to him and making him up with alchemy. Ed, for the first time in a long time, actually seems directly angry at his brother. This is part of Ed moving back into seeing Al in a way that isn't dominated by his guilt. It is around this time that Ed also starts to lean on other people. He draws on strength from his relationship with Al to survive the Fifth Laboratory. When he's beaten there, he doesn't give up, he gets up. When Maria berates him for cutting them out, Ed admits that she was right and he was wrong. He tells Hughes and Armstrong everything he knows. He also starts to see the limits of alchemy during these early episodes. His inability to save Nina isn't just because of the limits of his alchemy. It's because he was so focused on finding a bigger alchemical stick to fix himself and his brother's bodies--so focused on his research--that he didn't pick up on Tucker's plans until it was too late. Tucker literally made the plan to transmute Nina in front of the brothers, and they didn't notice a thing. Episodes 11-20: Beginning to Let Go of Pride and Shame This is when we see Ed's relationships really start to shift. It's notable that Ed freaks out at Greed for saying almost exactly what Ed himself said in episode 9 about Al's body being great. His relationship with Izumi also shifts a lot, from one of a defensive student to an adult partnership. This is rooted in himself and Izumi recognizing their reflected selves in one another. Each realizes the other has broken the taboo because the other does hand transmutations. Ed never made this connection before, but his self-awareness is growing. Then, on their return to Central, the boys learn of the death of Hughes. Ed's reaction to this is immediate and intense self-centeredness and shame. "It's all my fault." He's returning to the old coping mechanism of taking all the responsibility on himself, producing shame (the reflection of pride). He seems baffled when Al insists that it wasn't just Ed who is responsible for Hughes's death. When he confesses to Gracia Hughes, he's clearly astonished at her reaction. He expects Gracia Hughes to hate him--but she doesn't. She knew her husband, and knew it was his choice to get involved--it wasn't just about Ed. This wasn't a one-sided relationship. Ed cared about Hughes, and Hughes cared about Ed. Ed's reaction to the Maria Ross incident is to, again, fall back on anger. This actively gets in the way. Not that Mustang was likely to tell him anything before he started howling, but after that he definitely wasn't. The result is that, in the desert, Ed manages to gain some real perspective. Once, he said that he didn't really care about anything but his quest. Now, he decides "I'll never let another person become a victim in this deadly game." It's not that he's going to lock everyone else out, and it's not that he's taking responsibility for everyone. It's focused on what kind of person he wants to be in the context of others. Then, he demonstrates his increased understanding of how his pride can distort his worldview: "I know it's a big promise...maybe it's just my ego talking...maybe I'm just an idiot." It's a pretty dramatic change from his earlier comparisons of himself to god and mythical heroes. This all sets him up well for his next test, meeting his father again. Hohenheim and Ed see all their flaws reflected in one another (Hohenheim's mistakes and their unintended consequences, Ed's desire to make up for his father's departure), and it doesn't go well. Hohenheim doesn't trust Ed with any information at all about what's really happening in Amestris. He either feels to guilty or too angry to tell Ed directly that his human transmutation wouldn't have brought back their mother. Ed, because he's Ed, overhears him talking to Pinako. But he doesn't fall back on his old coping mechanisms of selfishness (which would have caused him to dismiss what Hohenheim said) or anger (he doesn't storm in and demand a fuller explanation from Hohenheim). Instead, he decides to see for himself. Hohenheim accused him of running away, of refusing to deal with the reminder or consequences of his sin. He wasn't entirely correct--after Al, Al is a walking talking consequence--but he wasn't entirely incorrect. Ed's reaction to learning that he failed at human transmutation, that his pride and certainty were false, is pure relief. He knows that he was arrogant, that his pride hurt people--but he didn't hurt his mother more. He didn't fuck up quite as badly as he thought he had. He is not the same as Shou Tucker. The shame isn't as endlessly deep as he thought it was, and that gives him hope. Episodes 21-30 Self-knowledge and Endurance Here's something that's not mentioned often enough: Ed never checked to make sure that Al was definitely really Al until episode 21. Not even when Al was wondering about it. Ed's on a journey back from his pride-oriented worldview. Even Ed admitting that he's short--without falling back on anger, no shouts about shrimp--is part of this. Ed and Al also have a fantastic conversation in which Ed finally lets go of his selfishness-oriented view of the human transmutation. Al says straight out, this is something we did together. This is not all your fault. These are also the episodes in which Ed's selfishness begins to ebb as a key motivator. He becomes increasingly involved in the main plot, joining forces with people he'd previously been antagonistic towards (he didn't like Ling, understandably, and he and Mustang are much too alike to ever really like each other). As Ed's involvement deepens, so does the danger he's exposed to. This leads to him facing the peak of the challenge that Pinako foreshadowed in the manga: something so strong it overwhelms his own strength. The Truth. The gate. When Ed sees Al's body again and is dragged away, he is at the peak of his alchemic strength. He just used a philosopher's stone for the first time. Al's body is in front of him. This is literally exactly where he set out to be at the start of his quest. And there is absolutely nothing he can do against the portal's hands, no way he can help Al. It momentarily overwhelms him, as he closes his eyes rather than watch Al vanish. But he pulls it together. He finds something he can give Al after all: the strength of their bond, and a promise that it will endure. The endurance of Ed's determination in the face of overwhelming strength is the key conflict of the ensuing set of episodes. There's nothing Ed can do to help Ling. Father can take away his alchemy with careless ease. Wrath can baldly threaten Winry, and there's nothing Ed can do about it. This calls back deliberately to Hughes--Ed and Al appear to be calling Winry in episode 29 from the same phone booth Hughes died in. Relationships make people vulnerable, they just do, and as Hughes died in part because Envy pretended to look like his wife, so now Ed and Al are restricted because of their relationship with Winry. But that relationship is not one sided. And, as the last line of the third opening song puts it, "What is it I don't want to let go of?" The answer is... Episodes 31-40 Relationships These are the episodes in which Ed's relationships really start to grow. His selfishness and pride are no longer so dominant, and he has developed stronger and stronger ties to people. He is horrified at Mustang's and Hawkeye's suicide plan. In the manga, he openly says, "self-sacrifice is just self-gratification." He doesn't like Mustang enough to say what he does to Hawkeye (he yells at Hawkeye she deserves to be happy too, not just live for other people to be happy, he's such a sweetheart), but he makes it clear he is not okay with Mustang's suicide plan. Once, he probably wouldn't have cared much either way. He also manages to recognize that Gen. Armstrong is definitely someone he should not antagonize, not matter how openly provocative she is. This is a good survival instinct. But not only does he do that, he manages to turn Armstrong into a key ally. Then Winry comes. This challenges Ed in a whole host of ways. First, there's the fact that all his previous coping mechanisms--pride, selfishness, and anger--are completely useless in the face of Kimblee's smug grin and Winry's vulnerability. Plus, he feels extra vulnerable himself because of what Hawkeye said about him loving Winry. To get through this, Ed relies on Al. He has to trust that Al understands him when Kimblee is listening to them. Ed and Al also make the decision in this episode that, even knowing Al's body is waiting at the gate, the priority has to be saving the country and everyone in it. Their bodies have to wait. This is a huge act of self-denial, and kind of a big character development deal. Ed also comes closer to accepting Winry as an equal partner in their relationship. Early on, he deliberately cut her off, refused to share information with her, and generally tried to keep her from knowing too much about what he and Al were going through. At Briggs, he insists to Kimblee that Winry be given as complete an understanding as possible in the circumstances--because, he sees, when she is directly involved she has the right to know. Then, Ed is forced to accept Winry's decision to go off on her own, join the fight, and put herself in the incredibly vulnerable position of depending entirely on Scar. This is something that previous versions of Ed would have found entirely intolerable, and he's still not happy about it. It is, in fact, an inversion of his response to Hughes's death. Then, his reaction was to take all the responsibility for Hughes's own actions on himself. Now, he has matured enough to see that a relationship is two-sided, and that he owes it to Winry to accept that she has responsibility for her own actions and reactions. So he accepts her decisions. And when Al goes out in a blizzard alone, he accepts that too. Episodes 41-50 Learning Not to be the Protagonist All the Time This is Ed dealing with having to be more reactive or passive. His relationships have grown to the point where he has no choice but to do this. He does so by leaning on his determination and starting to trust himself in different ways. Allowing others to share his responsibility means he has had to sacrifice his pride, which in turn means he has less shame, which again in turn lowers his anger. So, what do I mean by, "trusting himself in different ways?" I mean the scene when Kimblee sends him into the rubble and he gets run through. Firstly, he's only able to survive that in the first place because of the chimeras. He intervened to protect the chimeras from his own allies repeatedly, because of his core belief in the worth of human life. This linked up with his determination and the chimeras survived, later saving practically every major character. Secondly, he draws the strength to get up after collapsing from his relationship with Winry, a relationship with more depth than ever before. Finally, he is able to rely on himself doing some experimental alchemy for the first time since his huge mistaken human transmutation. It's kind of a big deal that this doesn't blow up. He doesn't do it from a place of pride, though--he does it to compensate for his lack of knowledge of healing alchemy, and he knows the price beforehand. Then, there's the scene when he allows the chimeras to pretend he's their hostage. Old Ed wouldn't have accepted this, and Ed now isn't too happy about it. But his anger doesn't get the better of him, as it once would have. He's still angry--he did take out both of the soldiers sent to get them himself after one called him short--but that anger is more directed. He really has fully recovered. Next, there's Ed's meeting with Greedling. He agrees to become Greed's follower. This is literally him agreeing not to be the protagonist anymore. It actually directly inverts a scene in the manga in which, after Ed and Al fought Lanfan and Fu, Ling asked Ed to become his servant. Ed screamed at him to come back where he came from. But the way Ed talks to Greed, it really doesn't bother him anymore. His pride no longer makes him think he always knows best. Ed's conversation with Winry, when she demands he tell her he'll win, also builds on this. Ed wanted her to go because he was scared she'd get hurt. That was what he needed--it was selfish. But he chooses to prioritize her needs, to reassure her when she asks. The next day, he meets Hohenheim again. This results in Hohenheim finally telling him everything, and in Ed telling him their mother's last words. It's when Ed's relationship with Hohenheim starts to shift, as he sees his father cry. He's a human in pain, not a monster from Ed's childhood, the real reason Ed broke the taboo. Finally, there's Ed accepting Al's decision to sit out the fight to stop Pride. This is, again, something that he absolutely does not want to do. But he an Al are now in an equal relationship, and sometimes one does something at risk to themselves that the other doesn't like. It can't all be Ed all the time. Episodes 51-60 Support Role Ed is one cog in a grand mechanism in these episodes, and he knows it. His job isn't even to do anything on the Promised Day: he's in a pure support role. He needs to keep Mustang from going nuts (a confrontation that, had it taken place at an earlier time, would absolutely have escalated). He has to help Scar get to the center to do his fancy alchemy. He has to run interference for May Chang and back Hohenheim up. He and Mustang bicker a bit, but otherwise he consistently comes through for people, even people he actively dislikes like Hohenheim. Episodes 60-61 Weakness into Strength Something that comes up in the fight with Pride, and started back when Ed escaped with the chimeras, is that Ed no longer gets angry about being short. He's accepted it--in fact, he's turning it into a strength. He lets the chimeras pretend he's a kid to get away. When he breaks into Warehouse 3, he straight up plays a "helpless child," card to trick the guards. And he straight up says he wins the fight with Pride because, "I've always been a runt." Ed repeatedly either refuses to let his weaknesses slow him, or turns them into strengths during these episodes. Crucially, he now understands his weaknesses. His selfishness has transformed into self-knowledge, and self-worth. He knows his own strengths and his weaknesses. This is a continuation of something that started way, way back in the Leor incident, when he used his metal arms to win a fight with the first chimera. He was always capable of this, he just didn't understand or know it. Now he does, and it makes all the difference The previous time he turned himself into a philosopher's stone, it was a last, desperate resort. This time, he does it to completely blindside Pride. And rather than using that as a chance to destroy his enemy, he puts his very soul on the line to give his enemy a second chance. This is emphasized by his using his own coat with the Flamel symbol (the symbol of his own quest for a second chance) as a cushion for Pride. Then he goes upstairs and fights Father tooth and nail. In the course of this fight, his arm is shattered. The last time his arm shattered during a fight (with Scar, way back at the beginning), Ed immediately gave up. He was consumed by helplessness, shame, and fear. This time, he goes back in to try to kick Father in the head. Now we come to when Ed is pinned and Al saves him by sacrificing his own broken body. Ed's and Al's roles come full circle here, quite literally. Once, the only way Ed could find to save Al was by sacrificing his right arm. Now, the only way Al can find to save Ed is by giving it back. Where Al was once helpless, Ed is now helpless. But both rely on each other, and both walk away. Ed now reflects Scar a few episodes back. One arm is a consequence of his brother's sacrifice, one is his own. Ed's connection to others is literally a part of his flesh, which enables his later realization. And Ed honors his brother's sacrifice by continuing to fight until Father is gone. Now, we come to Ed's moment of truth. No, not when he meets Truth--he already knows 'the truth,' at that point. Ed is standing by what's left of his brother, and he feels as helpless as he did before when the transmutation first went wrong. He falls back into those old habits of thinking, too: "What alchemy can I do? I'm such a great alchemist! I have to keep thinking, I'll find a solution!" Then his father comes up to him. He offers Ed his genuine, heartfelt sorrow. And he reminds Ed that Ed and Al aren't the only ones in this. Hohenheim loves them. He is in this with them, both their suffering and their responsibility. And Ed calls him father for the first time. Ed looks around at all the other people who share his pain. He looks at his hands, one from his brother and one from himself. And his perspective on who he is and what he offers the world and the people he loves shifts, his perspective on what he can do, on the bounds of the possible, changes. His pride finally fades, and he relies on others completely. It's not truly new. There's a reason he reaches all the way back to Nina when speaking to Truth. It's the fairy tale trope of, "the power was in you all along." Ed was never really in this alone, there was always Al, Winry, Pinako, and even his absent father. But his ability to see this, trust it, and use it to do the impossible and bring his brother home is the final point of his character development. The whole thing is a massive trust fall. He trusts himself to get by without alchemy. His pride in his alchemic abilities is gone, replaced by genuine self-worth and self-trust. What really matter is others, not his alchemy, so he tells everyone to enjoy the show of his last transmutation. He is literally relying on his brother's door to get out of Truth's realm. Not having alchemy could be a weakness. It does limit what he can do. But it doesn't stop him. He and Al set out on two versions of the same quest to learn more of alchemy. And he turns his experiences into a new alchemic theory. Weakness becomes strength, and makes the world open wider. Yeah, it's not perfect. There's a definite ebb in momentum, which is why the accusation of him "suddenly" figuring everything out right before the end is not entirely unmerited (the pieces are there, but there's a hell of a lot of other pieces in the plot). But Ed the young man is a world away from Ed the boy we met in the first episode. I am an anime only for AoT so this will only contain stuff up to S3P2/S4 P1 Mikasa- This is more of an overview than a completely elaborated analysis. Mikasa's character arc is subtle, and she is a really good character. We are introduced to her character theme "The world is cruel yet beautiful" which develops throughout her character arc. to give a breakdown of her progression and themes: Trost -- pretty obvious, most people like it. has to do with fleshing out her cruel world mentality and what led to that, carrying on Eren's words, and learning to live without him by finding a purpose Female Titan arc -- is about her 'pride'. it's also when her obsession over Eren becomes unhealthy due to almost losing him in the Trost arc, to the point where she sacrifices Eren's safety because of how caught up she is in his safety (such as trying to kill Annie even after they rescued Eren, which Levi criticizes her for, and she has to take responsibility for his injury). her arc is similar to Eren's, it's about being composed and working with other people, and in the end, she gets rewarded with a quiet scene alone with Eren after working with Armin and Eren to cut Annie down instead of charging headfirst Clash -- much more interesting than FT arc, this is about her compassionate side. it challenges her cruel mentality and you can see this with how she treats other characters: her words and actions don't match, because remember her cruel world mentality is not an authentic reflection of herself, but something Eren told her and she accepted because it helped her deal with losing her parents and escaping a traumatic situation. so in this arc she goes "I only care about so many people", "I'll kill anyone who gets in my way" but she spares Reiner, Bertholdt, Historia and Ymir, all in situations where if she was truly lacking compassion and truly a cold warrior she would kill them without a second thought. in the end, she accepts the compassionate side and it's the reason she and Eren both are safe, bc of her pep talk that helps him activate the Founder's power Uprising -- she's a lot more chilled here but is more of a team player. unlike the anime she is separate from Eren for the majority of the arc, and shows that even when she knows Eren is alive (unlike Trost) she prioritizes saving other people (Jean, Historia). she uses her newly learned compassion to comfort Armin, and ask if Sasha is okay. this arc isn't hers to shine so there isn't a conclusion to it, but Uprising is very densely focused on a few characters, namely Eren, Historia, Levi, and Kenny Return to Shiganshina -- this is about getting her character ready for the trauma of the time skip. she loses Armin, goes through Trost again, but overall it's mostly a collection of great little scenes (her letting Armin take care of Bertholdt and saying they're relying on him, Hange hugging her, her being visibly shaken by Floch's words, and almost attacking him) Marley - Begins to go against Eren bc he goes against her ideals in S4. Need to experience post timeskip mikasa completely to write everything about her character Armin- This is up to the end of S3 P2 bc I need to experience all of Post timeskip armin to make an opinion on him but he is still as good as before in S4 P1. I am also gonna ignore his strategic brilliance bc it will make the paragraph too big So let's start from the very beginning - from Armin's childhood and background. Armin was raised in a relatively poor outlier district of the Walls, Shiganshina. In his formative years, we see that he was considered a heretic, whose ideas didn’t conform to the majority of the Wall’s population. Armin is introduced as a physically weak character with a very low opinion about himself. The earliest scene is of him getting bullied, and meeting Eren. Eren, who believed in fighting and standing up to his foes, asked him why he didn't fight back. Although Armin fell to the ground beaten, the first lines he says are "I haven't lost. Because I'm not running away!". Although Armin never realized it then, Eren admired his spirit. It spurred in him a desire to know him better. Armin's parentage hasn't been fleshed out too well in the series. Yet, it plays a vital role in defining his character. The anime revealed to us that his parents were planning to set foot outside the walls. Considering how open-minded his parents and grandfather were with regards to stuff beyond the walls, it's no surprise that Armin wasn't one of the other kids who got trapped into the web of ignorance and submission that the walls tried to weave. We are introduced to how Armin gets inspired by reading a book his grandfather had hidden away. That book stimulated his imagination. He conjured powerful pictures in his mind about how vast, awe-inspiring and beautiful the outside world must be. This, I think, is an important theme to ponder over. Much of human society is driven by it's own collective imagination. It's the reason why we look outside planet earth, why we strive to explore new lands and why fictional stories inspire. If you think about it deeply enough, we all live in a blurred version of reality defined by our own fantastical creations. And it just keeps on getting complicated. These imaginary creations include the concept of money, empires, countries, borders, political ideologies, companies, religions etc. All these are products of the human collective imagination. They are not concrete physical entities like trees, rivers or animals. Our imagination propels us and that, in turn, shapes our material world. So it's not an understatement to say that the human collective imagination has been the greatest driver of human history. And we see a small, but powerful manifestation of that in Armin. He dreams, and creates fantastical pictures of the outside world. And that is what drives him. It is what gives him that spirit in the face of fear. It is out of fear that courage is born. Fear is that disreputable parent that keeps their rebellious child, courage, in check. One can only meet courage when they knock on fear's front door. And that is what defines Armin's character - fearful, but channeling all that fear into a power that saves his friends time and again. It's very reminiscent of the Lion from the Wizard of Oz, who is probably the earliest character I know of following this trope. It also reminds me of Courage the Cowardly Dog. And when you are really excited about something, you have this desire to share it with somebody - a close friend, a family member - somebody who won't judge or ostracize. That's what he saw in Eren. He felt free sharing the fantastical stories he created about the outside world with Eren. Humans bond by sharing stories with each other. And so did they. Eren was this energetic child who spent his time daydreaming. But Armin's spirit and imagination was contagious. He got drawn in. And he channeled it into his own fiery obsession. Eren embodies the will to fight, but he borrowed his imagination from Armin. Combined together, he started seeing the Titans as enemies that were taking away his freedom - a freedom to live his imagination. As Mikasa joined Eren's family, the trio developed a close bond. Mikasa saw Eren as light, and Armin as somebody who fueled that light. Armin grew up to appreciate Mikasa's and Eren's strengths, but he forgot to look within himself. One is often so focused on their neighbors' beautiful gardens, that they ignores the treasures of their own uncultivated garden. Even Eren's character is shaped by that principle. He admired Mikasa's super strength and Armin's spirit. He wanted to be strong like Mikasa, so we see minor jealousy in him. He'd feel annoyed when Mikasa, who was so strong, treated him like he was her baby brother. He saw the Survey Corps as a gateway to achieve his ideals. To become strong enough to fight and achieve his freedom. If it wasn't for the strength of his will, we wouldn't have seen the trio joining the survey corps at all. Armin is an aircraft’s wings and tail that provide lift and direction, attached to that wing is Eren - that blazing engine that provides thrust, while Mikasa provides the much-needed protective structure and stability. As a person who had a low opinion about his strengths, Armin was confused. At one end, his friend displayed a fiery will to join the Survey Corps to fight for his freedom. On the other end, he wasn’t sure if his skills were apt enough to even consider fighting. His readings and curiosity gifted him with an impeccable bird’s eye view of the society within the walls – he wondered how the walls were created, he thought out openly whether these walls would even hold long enough, he knew how most of the people within the walls were like blind sheep awaiting their demise and he also knew that only the Survey Corps was an organization that seemed to have that drive to pursue the unspeakable. Should he face his fear of death, and join the Survey Corps, or should he succumb to the pressures of the society, and resign to live like those blind sheep? Somewhere, he probably thought death would be preferable over giving up on his imagination. If his friend had the will to go and fight for his dreams, then maybe he should too! It is not always wise to blindly follow a friend, but who says he was blind? It’d be more apt to say he was dependent, drawing a little strength from Eren’s will to fight – little knowing that even Eren was dependent on his spirit and imagination. Would Eren have maintained the direction to invest his energies on if they had separated at this point? As the trio, who were dependent on each other’s strengths, joined training and subsequently the Survey Corps, they were posed with harsh challenges where they’d have to learn to recognize each other’s and their own strengths. When Eren and Armin first confront the Titans, Armin is gripped in fear. Stress, strain and anxiety created a mental block in him. Seeing Eren in his limp form stole away his will to act – where was that strength and that will against the power of these gargantuan monstrosities? This was a really striking moment for the two. Eren, seeing Armin in danger – seeing the person who gave direction to his will, in the mouth of a Titan – was forced to get up and save him. Eren was devoured. And Armin sat there in the realization. Of how the strong prey on the weak. Which leads us to our next defining moment for Armin. As Eren once again reappears, this time as a titan, Armin is flooded with relief. His mind also takes into account certain odd occurences - Eren’s arm had regenerated and his titan had been swarmed by the other titans. But he doesn’t have the time to connect his thoughts before being plunged into his next despairing moment. As his friends discuss escaping the walls, Armin sits there, still in his hard shell of self-loathing. Will his weakness ever allow him to keep up with the other two? Does he even have the right to call himself their equal? A moment later, when Eren asks him if he could convince the garrisson that he poses no threat, he wonders why. Why would they even trust him with such an important decision? It is when he realizes that Eren and Mikasa have faith in him, that he finally rears his head out of his shell. The people who depend on you bring out the best in you. He became willing to put away his own life for their sake, speaking out for them. He started recognizing his own value in the trio, struggling free from his coccoon to blossom into a fine butterfly. That day he had found self-confidence and met courage. It is one who has struggled within a dank shell of self-denial who recognizes the value of the warm, healing hand of compassion and empathy – and this he stretches out towards Annie, who had constructed an outward appearance of cynicism. This softness is what makes him fundamentally different from Erwin. But one must note that this warm, sensitive side also blinded him, causing the death of many of his comrades in arms. Armin’s thought process throughout the female titan arc is intriguing to look at. Basically, even without having the higher vantage point of Erwin, he was able to conjecture the existence of spies within their ranks; that they were after Eren and that Erwin’s actions seemed to be a way to ferret them out. Furthermore, I believe that him figuring out the identity of the female titan has nothing to do with his intelligence. He got lucky to have witnessed Marco’s ODM gear with Annie. What he did with this knowledge is what shines light on his character. He hesitated. He put a cover over logic and wanted to believe in the good that he saw in Annie. The full implications of this hesitancy are yet to be seen. It could affect his interaction with Annie as and when she returns from her crystal. He did speak-out and justify Erwin’s actions, saying that sacrifices are necessary for the greater-good. But the way his warmer emotions affected his actions clearly shows that he doesn’t fully abide by that ideology. His actions speak of a balance and an inner-conflict – between the good of greater humanity and that of his closest friends. He was also going to make a fatal mistake by revealing the identity of the female titan to Reiner and Jean. It once again shows that the trust he has for his friends clouds his judgement. But he’s 15, and he got his chance to develop there. At this point, I surmise that he starts questioning his humane ideals, and gets more and more inspired by Erwin. It is in the next arc that Armin has a painful realization about Reiner and Bertholdt, when Hanji prompts him. What’s interesting is the way the conflict between him and Bertholdt was set up. He uses the fact that Annie is captured to disorient him – to mentally torture him. Both Reiner and Bertholdt were shocked at the fact that her identity was exposed, and Bertholdt out of his love for Annie, screams revenge. “You children of the devil!!” At this one can’t help but think that Armin is attaining a certain level of madness. He probably lost some of his faith in his trust for his friends at that point. In the next arc, he even ponders over how the SC could exploit the masses for their self-centred aims. He also kills his first human being, which makes Armin finally confront himself over whether he has lost his humanity forever. Levi’s blunt response was harsh, but was a call for him to free himself from that muck of regret. The uprising arc has great defining moments for some of our SC characters. Since then, their eyes always show a certain tragic emptiness. With the revolution being a resounding success, spirits started rising once again. Our characters got a chance to reflect and re-energize. It was then that Armin recreated the pictures of his childhood dream. They rekindled his spirit once more, despite what he had been through. Endless salt-water lakes, water made of fire, mountains of ice. When the trio sat and talked this time, they now appreciated each other’s strengths and differences more than ever. Armin realized how his imagination was more precious than ever before, something which gave him meaning, something which helped him overcome fear everytime – while on the night-walk to Shiganshina, or when waking Eren up for a final confrontation with Bertholdt. Armin’s heroic moment of sacrifice was shocking and tragic. Chapter 82 was one of the crowning points of his character arc. The very dreams he was cultivating, the fantastical stories he created for himself – he decided to discard them all. At that moment, he knew, that if he faltered, humanity would never see the light of freedom. During the battle of Shiganshina, one can see the change our trio has undergone. Armin learns how to overcome his fears, Eren learns to listen and cooperate and Mikasa learns to let go. And this change is what led them to victory. They’ve finally learnt how to pilot their aircraft :). But their development as soldiers and military leaders is far from over. As Eren and Mikasa fought for their friend’s survival on the rooftop, blinded by emotion and not sparing a thought for the future of the SC, little did they realize the burden they’d be putting on Armin’s shoulders. He now feels indebted – to Levi, Mikasa and Eren. And pressured – to perform, to fill-in Erwin’s shoes. The syringe drama has introduced another level of internal conflict for him. Should he be resentful towards his friends for not catering to the more rational choice, or should he be grateful for the fact that he got another chance to live his dreams? But a really touching, sweet moment was when he decides to sleep in the same dungeons where Eren and Mikasa were confined. Was that his way of showing gratitude for them? That scene gives me hope. That Armin hasn’t yet lost his touch with humanity. That he still values his friends for what they have done. He isn’t going to fill-in Erwin’s shoes, he’s going to create his own pair that fits him. No matter how much he puts up a cold, rational expression on the outside – while talking to Flocke or while talking about the greater-good - he still has a warm, softer inside. Much like the coconut. At last, after around 9 months, we see him achieve his ambition. He wets his legs in the salty waters of the sea, eyes shining bright. Finally seeing the image he had been cultivating right in front of his eyes, in real life. Tasting the sweet fruit of rising above the harsh challenges posed to him. From here, it’s a matter of seeing which side his internal conflict takes him. His friends keep trying to give him hope, to have faith himself, but will that translate into results? |
elnino02Nov 19, 2021 11:44 AM
Nov 19, 2021 7:14 AM
#5
You kinda gave an answer yourself. It's easy to miss subtle things. Maybe because they got overshadowed or just because they are plainly so subtle. And yeah, as someone above said, most watch for entertainment or so it seems. So it won't be character development may won't appeal to them as much as animation, soundtrack, etc. |
Nov 19, 2021 8:08 AM
#6
Some anime fans are really young and unexperienced and a bunch of anime fans can't read people well and don't really understand them from my experience. |
Nov 19, 2021 11:30 AM
#7
Subtle character development is hard to detect because it is subtle lol. Really in general people need to stop viewing dynamic characters as innate positive or static as a negative and their view on character writing will be better. What matters is do the characters interact naturally? Plus when those characters change subtly, greatly or that change is non existent does it help support the narrative in an interesting way? Not every character in existence needs some major change by the end of the story for them to be good characters. My favourite character in the entire medium is actually pretty static but it works well for the story/theme being told. Static doesn't = weak character nor does dynamic = strong character. |
Nov 19, 2021 12:56 PM
#8
Full Metal Alchemist has subtle development? That's news to me. I don't care for the others you mentioned because they're just cardboard. As for the question, it's because some people prefer to just consume things without wanting to think about what they're watching and others just can't pick up on visual cues so they want everything told to them. |
AnimaniaigNov 19, 2021 1:16 PM
Nov 19, 2021 1:11 PM
#9
Sometimes it's the natural consequence of character roles. It also depends on what aspects that people look for in characters which gets them attached. Character development isn't something that always makes me like a character. Most of the time it's personality. |
Nov 19, 2021 1:19 PM
#10
Either because they don't want to analyse that deep or they can't analyse that deep. Because it takes a good understanding and experience to be able to analyse characters deeply. |
Nov 19, 2021 2:05 PM
#11
I believe it's more of a case that the character doesn't develope in a way the criticizer wished for. But the person lacks words to describe what they expected/hoped for from the character so they go for critiscism they know. Or the character development gets overshadowed by other things in the work, which I think can be argued if it's such good thing. |
Nov 19, 2021 2:24 PM
#12
Because people like to parot what other peolle parot without bothering to find out when and why a static character is actually bad |
Nov 19, 2021 2:35 PM
#13
About Mikasa, if you give me the option to decide between watching a paint drying up 24 minutes and a full episode of Mikasa, then I would choose the former and probably extend my session by 24 minutes to be grateful. It is not just matter of what the character is, Mikasa obviously brings an alternative view about the conflict and have her own development, duh, every character does, but her development barely accomplishes anything inside of the story and fall flat against the other topics. Mikasa could have killed herself in the first chapter and I wouldn't mind it, there is no point in AoT where I would think that Mikasa served as anything but as a discount Levi, she is just a companion, not a statement on its own |
Nov 19, 2021 2:47 PM
#14
Manga spoilers for aot Mikasa's subtle development turned out to be an idea of love with all that Eren love shit, I don't mind subtle development, but it needs to produce satisfying results, otherwise it is like those anti-climatic yt videos of someone who wants to show the world what happens when you pass 999:99:99.999 on a timer. |
Nov 19, 2021 10:41 PM
#15
elnino02 said: Yeah I definitely agree. I think people are used to character development where dramatic sequence and screaming are involved and it is also a shame that people don't delve deeper into entertainment as you can enjoy a lot more when you discover new things when thinking about stuff.Perhaps people aren't really aware of what good character development is unless it's shoved into their faces. A majority of people consume anime just for entertainment and don't delve deep into it and analyse it further. Went through the entire thing, and it's really good. FMAB and AOT were two of the first anime I've watched, and I wasn't good at inspecting and critiquing anime back then (not that I am particularly good at it now, but I like to imagine that I am). I really feel like re-watching them now (my memory of them is quite hazy) thanks to your thoughtfully written discourse - it was the most interesting thing I came across on the internet today. Thank you very much. It makes all the effort worth it. I am glad that my write-up made you rewatch these series. Read the Uprising arc of AoT it's better in the manga. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Blind-Ninja said: Hmm you may be right but I really don't like when people deem subtle character development as no development at all. I have seen plenty of people say that to the characters mentioned in my OP.You kinda gave an answer yourself. It's easy to miss subtle things. Maybe because they got overshadowed or just because they are plainly so subtle. And yeah, as someone above said, most watch for entertainment or so it seems. So it won't be character development may won't appeal to them as much as animation, soundtrack, etc. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ _Maneki-Neko_ said: Yeah, I have seen takes like Levi is just there for being a Beyblade or he is famous or popular bc of his looks and appearance and badassness and sh-t like that when that's merely the case of Levi. His character has so much potential(I just hope Yams don't kill him in part 2.) which really shows that many anime fans lack deep reading comprehension.Some anime fans are really young and unexperienced and a bunch of anime fans can't read people well and don't really understand them from my experience. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ BilboBaggins365 said: I 100% agree with you. I have seen people celebrate characters like Lelouch who gives off the master, CHAD vibe way more than equally well-written Shinji Ikari. Writing for static characters can also be amazing. I think people are just too obsessed with dynamic or dramatic character development. Take Historia for example, many people like her bc she got a dramatic development in Uprising arc and thinks she is the best FC of AoT when Ymir freckles' writing is way better even if she is a static character. I would also argue that Mikasa is a better character than Historia but its a talk for another day.Subtle character development is hard to detect because it is subtle lol. Really in general people need to stop viewing dynamic characters as innate positive or static as a negative and their view on character writing will be better. What matters is do the characters interact naturally? Plus when those characters change subtly, greatly or that change is non existent does it help support the narrative in an interesting way? Not every character in existence needs some major change by the end of the story for them to be good characters. My favourite character in the entire medium is actually pretty static but it works well for the story/theme being told. Static doesn't = weak character nor does dynamic = strong character. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Animaniaig said: Thanks for providing an example for my post. If you have time I have written about all those "cardboard characters". So give it a go if you want.Full Metal Alchemist has subtle development? That's news to me. I don't care for the others you mentioned because they're just cardboard. As for the question, it's because some people prefer to just consume things without wanting to think about what they're watching and others just can't pick up on visual cues so they want everything told to them. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ konkelo said: Interesting points. It can be the case that bc of the lack of words they just go "eh, they don't develop" when that's not true. I think people should experience the stuff for it is not bc of what it can become according to them. Only disappointment stems from such a way of thinking. I don't think that subtle development being "overshadowed", is the problem from the narration perspective as it's the responsibility of the user to catch on to the stuff which the author is writing in its story whether it's subtle or not. And as far as I remember the development of these characters is not so less that they can get easily overshadowed.I believe it's more of a case that the character doesn't develope in a way the criticizer wished for. But the person lacks words to describe what they expected/hoped for from the character so they go for critiscism they know. Or the character development gets overshadowed by other things in the work, which I think can be argued if it's such good thing. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ Gween_Gween said: Well what's interesting or not is subjective so I won't argue on that, But saying she does not accomplish inside the story is a cap as she is literally the embodiment of beauty in a cruel world, family, love. She is definitely a statement of her own by her goal to protect her family, gradually starting to accept the death of her family(serumbowl) and starting to go against Eren when he goes against her ideal. There's her relationship with Levi and her gradually opening to other people and starting teamwork, shouldering her mistakes and reflecting upon them, the commentary on trauma, the opposing ideology to Eren's view on freedom and their interplay (flowers, rooted to environment, v birds, not tied to anything), Her journey of agency, self-worth, and finding meaning. etc. So there's a lot more to her than what you give her credit forAbout Mikasa, if you give me the option to decide between watching a paint drying up 24 minutes and a full episode of Mikasa, then I would choose the former and probably extend my session by 24 minutes to be grateful. It is not just matter of what the character is, Mikasa obviously brings an alternative view about the conflict and have her own development, duh, every character does, but her development barely accomplishes anything inside of the story and fall flat against the other topics. Mikasa could have killed herself in the first chapter and I wouldn't mind it, there is no point in AoT where I would think that Mikasa served as anything but as a discount Levi, she is just a companion, not a statement on its own Atleast you know she goes through development instead of saying she does not develop a bit. ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ NextUniverse said: Hahaha nice analogy. I completely agree with you. I hope Mikasa and Armin gets proper conclusion to their respective character arc. EMA is one of my favorite trio in animeit wasn't like a burst of true color like Madoka Magica's Homura for example. The same is true for Armin if I am not wrong. Although I kinda forgot what role he plays. I don't mind subtle development, but it needs to produce satisfying results, otherwise it is like those anti-climatic yt videos of someone who wants to show the world what happens when you pass 999:99:99.999 on a timer. |
CamelBowNov 19, 2021 10:50 PM
Nov 20, 2021 7:12 AM
#16
adnan_ said: Gween_Gween said: Well what's interesting or not is subjective so I won't argue on that, But saying she does not accomplish inside the story is a cap as she is literally the embodiment of beauty in a cruel world, family, love. She is definitely a statement of her own by her goal to protect her family, gradually starting to accept the death of her family(serumbowl) and starting to go against Eren when he goes against her ideal. There's her relationship with Levi and her gradually opening to other people and starting teamwork, shouldering her mistakes and reflecting upon them, the commentary on trauma, the opposing ideology to Eren's view on freedom and their interplay (flowers, rooted to environment, v birds, not tied to anything), Her journey of agency, self-worth, and finding meaning. etc. So there's a lot more to her than what you give her credit forAbout Mikasa, if you give me the option to decide between watching a paint drying up 24 minutes and a full episode of Mikasa, then I would choose the former and probably extend my session by 24 minutes to be grateful. It is not just matter of what the character is, Mikasa obviously brings an alternative view about the conflict and have her own development, duh, every character does, but her development barely accomplishes anything inside of the story and fall flat against the other topics. Mikasa could have killed herself in the first chapter and I wouldn't mind it, there is no point in AoT where I would think that Mikasa served as anything but as a discount Levi, she is just a companion, not a statement on its own Atleast you know she goes through development instead of saying she does not develop a bit. Is her meaning an accomplishment? You can give any character in any anime an outline about their personality and say that imposing such vision is a statement. You are right about her purpose in the story, but you are clearly misguided about the reasoning behind people finding Mikasa a weak character. It doesn't really matter though, being able to enjoy her character is more power to you |
Nov 20, 2021 7:31 AM
#17
because people are to immature to understand good writing.. a widely hated anime exists called scum's wish its my 4th fav anime of all time but why people didn't understand it and hate is because no one in that anime shows up stuff in their faces we are left to us to see for ourselves who is good and how bad is the good.. same for an anime called parasyte.. the people who think the bad guys were killed and good guys won have seriously not understood it.. the truth is they were both just trying to survive in it |
Stawberry Milk Supremacy |
Nov 20, 2021 8:54 AM
#18
Gween_Gween said: I get everything else that you said but I am wondering what is the reasoning behind her being a "bad character". Genuinely curious. But up until now, I have only seen she is a simp for eren or she only does ereh or her character revolves around eren when all of these are falsebut you are clearly misguided about the reasoning behind people finding Mikasa a weak character. |
Nov 20, 2021 9:12 AM
#19
adnan_ said: _Maneki-Neko_ said: Some anime fans are really young and unexperienced and a bunch of anime fans can't read people well and don't really understand them from my experience. Yeah, I have seen takes like Levi is just there for being a Beyblade or he is famous or popular bc of his looks and appearance and badassness and sh-t like that when that's merely the case of Levi. His character has so much potential(I just hope Yams don't kill him in part 2.) which really shows that many anime fans lack deep reading comprehension. Sometimes I really think "how could you miss that", but I think many anime fans aren't used to how real people and especially adults are written, because they watch a lot of the "generic school boy gets isekaied" stuff and overall anime that are written very, well, that are "very anime". And real weebs are watching and reading barely any / none western media, or other media in general, either. Also I like your analysis. Wish I could the same about Levi and how's a really caring person beyond his resting bitch face, but ... maybe later. I should do something else right now haha. |
Nov 20, 2021 11:45 AM
#20
adnan_ said: Gween_Gween said: I get everything else that you said but I am wondering what is the reasoning behind her being a "bad character". Genuinely curious. But up until now, I have only seen she is a simp for eren or she only does ereh or her character revolves around eren when all of these are falsebut you are clearly misguided about the reasoning behind people finding Mikasa a weak character. The overall idea is that the character is inserted incorrectly and just as a badass, already figured out the game coin into the story. You have a bunch of character with interesting themes and that makes them shine in one way or another by bringing an approachable and tense arc where they take decisions with some sort of risk and emotional impact (Eren, Erwin, Levi, Hange, Historia, Armin, Gabi), the inner conflict of Mikasa and her growth pales in comparison by not allowing in any moment a further question about her actions, the reaction to her scenes is mostly "Oh she is feeling like that, but she will do nothing with such perspective, lets move on", so you get an obvious counter-culture response against her popularity (And no, she is not popular because of her development lmao). You can see that people who find her an attractive character by the start just did a research about her, put a bunch of plot points that arrives at a conclusion, and then decided that the character is worth something because you can do a 1000 words essay about it (A counter-counter-culture approach), but within the context of AoT her lack of exposure and agency makes her overall principle overshadowed. It is not about her worth as a single entity in the world, but her worth in relation with the other entities that makes her weak. The story didnt let her position flourish |
Nov 20, 2021 12:32 PM
#21
adnan_ said: If in your last sentence you're referring to characters you mentioned in your first post, I must acclaim I know jack shit about aot beyond season 1. As for FMA while it has been some time since I have read the whole story, I don't think any of the characters in it have subtle development. Most if not all characters' stories and development is crucial and linked to the main plot and to the worldbuilding. I can't really see how someone could miss them.konkelo said: Interesting points. It can be the case that bc of the lack of words they just go "eh, they don't develop" when that's not true. I think people should experience the stuff for it is not bc of what it can become according to them. Only disappointment stems from such a way of thinking. I don't think that subtle development being "overshadowed", is the problem from the narration perspective as it's the responsibility of the user to catch on to the stuff which the author is writing in its story whether it's subtle or not. And as far as I remember the development of these characters is not so less that they can get easily overshadowed.I believe it's more of a case that the character doesn't develope in a way the criticizer wished for. But the person lacks words to describe what they expected/hoped for from the character so they go for critiscism they know. Or the character development gets overshadowed by other things in the work, which I think can be argued if it's such good thing. While I guess it should be ideal situation that audience takes the story as it goes, but that in most cases is impossible to achieve. Since what we expect out of the story is already shaped by marketing, other fans' opinion and what are the norms in the genre. Take also in account that as far as anime goes competition for audience is tough, and from my experience there are only few fandoms that attract fans that really go through the source material like reading the Bible. Typical anime fan consumer follows what's the newest hot show this season, watches it, talks about it for a while and when the next season comes go for the other new hit show. Any deeper reading in to the work is done by few fans who are still attached to the story. |
Nov 20, 2021 10:38 PM
#22
Gween_Gween said: I don't think it's inserted incorrectly. It's just that we haven't got an arc that heavily focuses on her. Trost focuses on her but it's merely the introduction of her character theme of beauty in a cruel world and fleshes it out a bit. I have heard that Mikasa has a more major role in the story left to be adapted to let's see. It's unfair to compare her with Levi, Erwin, who got the major spotlight in S3, and Eren, Gabi who got the major spotlight in S4 P1. The overall idea is that the character is inserted incorrectly and just as a badass, already figured out the game coin into the story. You have a bunch of character with interesting themes and that makes them shine in one way or another by bringing an approachable and tense arc where they take decisions with some sort of risk and emotional impact (Eren, Erwin, Levi, Hange, Historia, Armin, Gabi), the inner conflict of Mikasa and her growth pales in comparison by not allowing in any moment a further question about her actions, the reaction to her scenes is mostly "Oh she is feeling like that, but she will do nothing with such perspective, lets move on", so you get an obvious counter-culture response against her popularity (And no, she is not popular because of her development lmao). You can see that people who find her an attractive character by the start just did a research about her, put a bunch of plot points that arrives at a conclusion, and then decided that the character is worth something because you can do a 1000 words essay about it (A counter-counter-culture approach), but within the context of AoT her lack of exposure and agency makes her overall principle overshadowed. It is not about her worth as a single entity in the world, but her worth in relation with the other entities that makes her weak. The story didnt let her position flourish For the emotional impact, Serumbowl does exactly that for Mikasa and it's actually a big point for her character. I don't think what she will do can be decided already bc if that was the case she wouldn't have hesitated to kill Riener and Bert. in CoT and wouldn't have given up on serum in serumbowl. There's more example but I think I explained this enough. I dunno I have seen people on Twitter and other socials appreciating her for her character rather than her looks. Ofc. some of them shitted on Post TS Mikasa's design but they were a minority. If you are comparing her development to Historia's development or Ymir freckles development then sure she lacks exposure as she has to have an arc of her own. But lack of exposure does not mean she is a bad character as those small bits of development and her ever-changing actions are what build her character. I mean that's the same for Ed from FMAB too. Its just that he has more exposure than her bc he is the protag. You are mistaken on agency bc To understand Mikasa's overarching development we first need to look back to the start. She doesn’t run because anyplace without her loved ones would feel too cold. Eren saves her and gives clarity to the cruelness of the world, he gives her the opportunity to combat it. In fact, words that represent trauma stick with Mikasa throughout the manga, from Eren's to Carla's request. She internalizes them into her identity because, broken as she is, she hasn’t yet found her own purpose. Her journey is one of agency, self-worth, and finding meaning. This is also the reason she goes on for a suicidal charge in the Trost arc. She is slowly starting to find it throughout the story by meeting and opening up to different characters and she has developed so much that now she has made her own ideals and actively goes against Eren in S4. Ofc. She wants him back bc he is really important to her. She won't abandon him but she won't support any of his actions too. Anyway, my point is that using her lack of exposure as a critic should be unfair bc even Levi was not much fleshed out before S3 ━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━━ konkelo said: You think people don't believe about FMA like that. There's an example in this thread only- If in your last sentence you're referring to characters you mentioned in your first post, I must acclaim I know jack shit about aot beyond season 1. As for FMA while it has been some time since I have read the whole story, I don't think any of the characters in it have subtle development. Most if not all characters' stories and development is crucial and linked to the main plot and to the worldbuilding. I can't really see how someone could miss them. While I guess it should be ideal situation that audience takes the story as it goes, but that in most cases is impossible to achieve. Since what we expect out of the story is already shaped by marketing, other fans' opinion and what are the norms in the genre. Take also in account that as far as anime goes competition for audience is tough, and from my experience there are only few fandoms that attract fans that really go through the source material like reading the Bible. Typical anime fan consumer follows what's the newest hot show this season, watches it, talks about it for a while and when the next season comes go for the other new hit show. Any deeper reading in to the work is done by few fans who are still attached to the story. Animaniaig said: Full Metal Alchemist has subtle development? That's news to me. And yeah I agree with the 2nd paragraph. People just wanna enjoy things and move on without having a better understanding of it which results in the the type of comments as X character didn't develop or similar stuff like that. |
CamelBowNov 20, 2021 10:42 PM
Nov 21, 2021 6:45 AM
#23
adnan_ said: I don't think it's inserted incorrectly. It's just that we haven't got an arc that heavily focuses on her. If she wasnt inserted incorrectly people would care about her beyond her superficial personality, or are you going to tell me that it is just a coincidence that within all the universe of AoT her character is that polarizing? Now, I'm not saying that it should be introduced differently, I'm just explaining you why people think that she is a weak character, it is alright to her to be like that, but her theme just falls flat, it is not hard to see it Trost focuses on her but it's merely the introduction of her character theme of beauty in a cruel world and fleshes it out a bit. I have heard that Mikasa has a more major role in the story left to be adapted to let's see. It's unfair to compare her with Levi, Erwin, who got the major spotlight in S3, and Eren, Gabi who got the major spotlight in S4 P1. It is unfair, I'm not saying the opposite, I said that the hate towards her is a counter-culture I dunno I have seen people on Twitter and other socials appreciating her for her character rather than her looks. Ofc. some of them shitted on Post TS Mikasa's design but they were a minority. We can see a lot in social media, people will defend their bare bones shows to the core bla bla bla explaining me the theme I agree, you are just not interpreting right my comments. You asked in your post, "Why is Mikasa considered a weak character if she has development", and I'm answering you that she doesn't have the correct agency and exposure to let people who doesn't care about nerdly studying her character to care about her Anyway, my point is that using her lack of exposure as a critic should be unfair bc even Levi was not much fleshed out before S3 It is unfair, it is not a critique, I just don't really care about Mikasa's character and her theme is bland because it is telegraphed by the virtue of not having enough agency beyond the definition of the paths of the story. She is an important character, but not something to watch for in the grand scheme. No wonder the ending is disliked, right? |
Nov 21, 2021 7:26 AM
#24
I dropped Fullmetal Alchemist because I didn’t want to deal with Ed’s obnoxious character. If he develops later on, I wouldn’t know of it. |
その目だれの目? |
Nov 21, 2021 9:39 AM
#25
Gween_Gween said: But people do care for her. I mean neither you nor I can prove our stance but if I have to establish a point then I would say every reactor on YT I have seen like her. Anyways arguing about people caring or not would be meaningless as I have seen a large number of accounts on insta, Twitter, and even on MAL but that ain't good for an argument. Her theme of failing flat is something I completely disagree with. Her mindset slowly expands beyond Armin and eren and other things i have already said. Ig her theme can fall flat for you just like Luffy's freedom theme falling can be flat for some.If she wasnt inserted incorrectly people would care about her beyond her superficial personality, or are you going to tell me that it is just a coincidence that within all the universe of AoT her character is that polarizing? Now, I'm not saying that it should be introduced differently, I'm just explaining you why people think that she is a weak character, it is alright to her to be like that, but her theme just falls flat, it is not hard to see it In AoT universe, Levi, Eren S1-S3 were most critiqued. And if you want to know why she is hated. You can see here- https://myanimelist.net/forum/?topicid=1973546 It is unfair, I'm not saying the opposite, I said that the hate towards her is a counter-culture Which I think is not a good thing.We can see a lot in social media, people will defend their bare bones shows to the core I didn't say defending her. I said appreciating her. Honestly, I have only seen this much hate for MAL only. And I don't think you can defend bare bones and not get called out especially in platforms like Twitter where ratios and stuff similar to that exists. I mean how can someone find coconut water in a dry coconut.I agree, you are just not interpreting right my comments. You asked in your post, "Why is Mikasa considered a weak character if she has development", and I'm answering you that she doesn't have the correct agency and exposure to let people who doesn't care about nerdly studying her character to care about her Uh it's not nerdy study, subtle development is a prevalent way to develop a character in many mediaIt is unfair, it is not a critique, I just don't really care about Mikasa's character and her theme is bland because it is telegraphed by the virtue of not having enough agency beyond the definition of the paths of the story. She is an important character, but not something to watch for in the grand scheme. No wonder the ending is disliked, right? I dunno about the ending or why it's disliked so I bringing Mikasa here does not make sense. Again her character journey is to find agency and self-worth. Again calling her theme bland is senseless. Her character arc or theme is not complete. So hating on incomplete work is for not portraying something completely or in an interesting way is senseless. |
Nov 21, 2021 10:46 AM
#26
It's so subtle they don't notice it lol |
My biggest regret: Reading all 200+ chapters of Kanojo, Okarishimasu |
Nov 21, 2021 11:45 AM
#27
I think people who said Mikasa and Armin dont have character development are just not paying attention, its not even hard to notice to they've gotten stronger mentally and physically as the story progress. You really dont need to break it down lol. That being said I personally still dont find whats so special about Armin and Mikasa as characters at all really, the character development that they've got was to be expected when you have characters like that. Ones a simp with no other goal other than following the MC and the other is a character who starts out pretty weak in many ways. |
Nov 21, 2021 8:19 PM
#28
leev said: I think people who said Mikasa and Armin dont have character development are just not paying attention, its not even hard to notice to they've gotten stronger mentally and physically as the story progress. You really dont need to break it down lol. That being said I personally still dont find whats so special about Armin and Mikasa as characters at all really, the character development that they've got was to be expected when you have characters like that. Ones a simp with no other goal other than following the MC and the other is a character who starts out pretty weak in many ways. adnan_ said: I have seen many times in MAL that many users deem subtle development as static/no development when it's simply wrong. For example, characters like Edward, Mikasa, Armin, etc(There's probably more but these characters were on the top of my head) are often deemed as having no developments or being very weak characters when it's simply not true. Elaboration for the characters mentioned above. Ed- I've seen the idea floating around that Ed's character didn't develop much or at all in FMAB or the manga. I think this is hugely inaccurate, so I'm about to make a text-based argument for how Ed's character develops massively over the course of this story. I've only read some of the manga, so manga readers please add nuance when I've missed something! Note: I'm currently rewatching, so I'll probably come back and edit this on and off. Summary: Ed's journey is one from selfishness to self-worth and self-knowledge, from pride in himself (and shame of his sins) to reliance on others, and from anger to acceptance. Underlying all of these is his core character trait of determination, which is sometimes threatened by his shame but ultimately survives everything, and allows him to turn his weaknesses into strengths. Episodes 1-10 Beginnings At the start of Ed's continuity, his most important traits are his selfishness, pride, anger, and determination. 1) His selfishness is what motivates him to perform the human transmutation. He wanted to "prove he could stand on his own," to symbolically replace his father by proving he could do better by their mother. His tool was inherited directly from his father--he uses his father's alchemy to do all his initial research. 2) His pride feeds into his selfishness nicely, as it's what lets him think it's acceptable for him to break the taboo and make the attempt in the first place. His response, on seeing what lies beyond the Gate for the first time, is to immediately demand Truth let him see more so he can do human transmutation again. And since pride and shame are closely linked, a lot of his pride quickly turns to shame. 3) His anger is most visible every time he imagines someone calls him short. This hits him right in his pride--he thinks of himself as the tallest man in the room, and being reminded in any way that he isn't makes him furious. Ed's determination is ultimately his core character trait, but the journey there takes a long time. Pinko highlights his destination and how far he is from it in the manga, saying that he is a strong person, and she wonders what will happen to a strong person when they hit an obstacle their strength can't overcome. Ed's journey to finding that enduring determination starts when he decides to become a state alchemist. He is buried in shame, but Mustang revives his pride enough for him to feel some sense of self-worth again, to have some hope. But the reason Ed becomes a state alchemist has nothing to do with the creed of, "be thou for the people," that is supposed to motivate alchemists. He explicitly links it to his selfishness--at one point in the manga, he explicitly says, "I don't care about my country." He is in this to get his brother his body back. Al is what saves him from being purely selfish here, although there's a layer of selfishness and pride embedded in that relationship too. Ed does obviously care deeply for his brother, and he feels intense guilt about Al's loss of his body. This guilt is partially justified--Ed's pride is what got them into this--but not to the degree he feels it. It becomes a part of his selfishness, that the loss of their bodies was all his and only his fault. Everything is about him. And there is a level in which Ed knows this--that's why what Shou Tucker said about them being the same gets to him. He wonders if what he did to Al was as much a violation, as much a sin, as the result of his human transmutation, or what Tucker did to Nina. We see his selfishness again when he and Al are defeated by Scar. Ed ignores Al telling him to run away or at least try to keep fighting, entirely ignores Al's feelings and opinions. Instead, he takes it all has to be about him, to the point that he demands Scar kill him as a sort of promise not to kill his brother. This is selfishness masquerading as self-sacrifice. This all starts to change when Al accuses Ed of lying to him and making him up with alchemy. Ed, for the first time in a long time, actually seems directly angry at his brother. This is part of Ed moving back into seeing Al in a way that isn't dominated by his guilt. It is around this time that Ed also starts to lean on other people. He draws on strength from his relationship with Al to survive the Fifth Laboratory. When he's beaten there, he doesn't give up, he gets up. When Maria berates him for cutting them out, Ed admits that she was right and he was wrong. He tells Hughes and Armstrong everything he knows. He also starts to see the limits of alchemy during these early episodes. His inability to save Nina isn't just because of the limits of his alchemy. It's because he was so focused on finding a bigger alchemical stick to fix himself and his brother's bodies--so focused on his research--that he didn't pick up on Tucker's plans until it was too late. Tucker literally made the plan to transmute Nina in front of the brothers, and they didn't notice a thing. Episodes 11-20: Beginning to Let Go of Pride and Shame This is when we see Ed's relationships really start to shift. It's notable that Ed freaks out at Greed for saying almost exactly what Ed himself said in episode 9 about Al's body being great. His relationship with Izumi also shifts a lot, from one of a defensive student to an adult partnership. This is rooted in himself and Izumi recognizing their reflected selves in one another. Each realizes the other has broken the taboo because the other does hand transmutations. Ed never made this connection before, but his self-awareness is growing. Then, on their return to Central, the boys learn of the death of Hughes. Ed's reaction to this is immediate and intense self-centeredness and shame. "It's all my fault." He's returning to the old coping mechanism of taking all the responsibility on himself, producing shame (the reflection of pride). He seems baffled when Al insists that it wasn't just Ed who is responsible for Hughes's death. When he confesses to Gracia Hughes, he's clearly astonished at her reaction. He expects Gracia Hughes to hate him--but she doesn't. She knew her husband, and knew it was his choice to get involved--it wasn't just about Ed. This wasn't a one-sided relationship. Ed cared about Hughes, and Hughes cared about Ed. Ed's reaction to the Maria Ross incident is to, again, fall back on anger. This actively gets in the way. Not that Mustang was likely to tell him anything before he started howling, but after that he definitely wasn't. The result is that, in the desert, Ed manages to gain some real perspective. Once, he said that he didn't really care about anything but his quest. Now, he decides "I'll never let another person become a victim in this deadly game." It's not that he's going to lock everyone else out, and it's not that he's taking responsibility for everyone. It's focused on what kind of person he wants to be in the context of others. Then, he demonstrates his increased understanding of how his pride can distort his worldview: "I know it's a big promise...maybe it's just my ego talking...maybe I'm just an idiot." It's a pretty dramatic change from his earlier comparisons of himself to god and mythical heroes. This all sets him up well for his next test, meeting his father again. Hohenheim and Ed see all their flaws reflected in one another (Hohenheim's mistakes and their unintended consequences, Ed's desire to make up for his father's departure), and it doesn't go well. Hohenheim doesn't trust Ed with any information at all about what's really happening in Amestris. He either feels to guilty or too angry to tell Ed directly that his human transmutation wouldn't have brought back their mother. Ed, because he's Ed, overhears him talking to Pinako. But he doesn't fall back on his old coping mechanisms of selfishness (which would have caused him to dismiss what Hohenheim said) or anger (he doesn't storm in and demand a fuller explanation from Hohenheim). Instead, he decides to see for himself. Hohenheim accused him of running away, of refusing to deal with the reminder or consequences of his sin. He wasn't entirely correct--after Al, Al is a walking talking consequence--but he wasn't entirely incorrect. Ed's reaction to learning that he failed at human transmutation, that his pride and certainty were false, is pure relief. He knows that he was arrogant, that his pride hurt people--but he didn't hurt his mother more. He didn't fuck up quite as badly as he thought he had. He is not the same as Shou Tucker. The shame isn't as endlessly deep as he thought it was, and that gives him hope. Episodes 21-30 Self-knowledge and Endurance Here's something that's not mentioned often enough: Ed never checked to make sure that Al was definitely really Al until episode 21. Not even when Al was wondering about it. Ed's on a journey back from his pride-oriented worldview. Even Ed admitting that he's short--without falling back on anger, no shouts about shrimp--is part of this. Ed and Al also have a fantastic conversation in which Ed finally lets go of his selfishness-oriented view of the human transmutation. Al says straight out, this is something we did together. This is not all your fault. These are also the episodes in which Ed's selfishness begins to ebb as a key motivator. He becomes increasingly involved in the main plot, joining forces with people he'd previously been antagonistic towards (he didn't like Ling, understandably, and he and Mustang are much too alike to ever really like each other). As Ed's involvement deepens, so does the danger he's exposed to. This leads to him facing the peak of the challenge that Pinako foreshadowed in the manga: something so strong it overwhelms his own strength. The Truth. The gate. When Ed sees Al's body again and is dragged away, he is at the peak of his alchemic strength. He just used a philosopher's stone for the first time. Al's body is in front of him. This is literally exactly where he set out to be at the start of his quest. And there is absolutely nothing he can do against the portal's hands, no way he can help Al. It momentarily overwhelms him, as he closes his eyes rather than watch Al vanish. But he pulls it together. He finds something he can give Al after all: the strength of their bond, and a promise that it will endure. The endurance of Ed's determination in the face of overwhelming strength is the key conflict of the ensuing set of episodes. There's nothing Ed can do to help Ling. Father can take away his alchemy with careless ease. Wrath can baldly threaten Winry, and there's nothing Ed can do about it. This calls back deliberately to Hughes--Ed and Al appear to be calling Winry in episode 29 from the same phone booth Hughes died in. Relationships make people vulnerable, they just do, and as Hughes died in part because Envy pretended to look like his wife, so now Ed and Al are restricted because of their relationship with Winry. But that relationship is not one sided. And, as the last line of the third opening song puts it, "What is it I don't want to let go of?" The answer is... Episodes 31-40 Relationships These are the episodes in which Ed's relationships really start to grow. His selfishness and pride are no longer so dominant, and he has developed stronger and stronger ties to people. He is horrified at Mustang's and Hawkeye's suicide plan. In the manga, he openly says, "self-sacrifice is just self-gratification." He doesn't like Mustang enough to say what he does to Hawkeye (he yells at Hawkeye she deserves to be happy too, not just live for other people to be happy, he's such a sweetheart), but he makes it clear he is not okay with Mustang's suicide plan. Once, he probably wouldn't have cared much either way. He also manages to recognize that Gen. Armstrong is definitely someone he should not antagonize, not matter how openly provocative she is. This is a good survival instinct. But not only does he do that, he manages to turn Armstrong into a key ally. Then Winry comes. This challenges Ed in a whole host of ways. First, there's the fact that all his previous coping mechanisms--pride, selfishness, and anger--are completely useless in the face of Kimblee's smug grin and Winry's vulnerability. Plus, he feels extra vulnerable himself because of what Hawkeye said about him loving Winry. To get through this, Ed relies on Al. He has to trust that Al understands him when Kimblee is listening to them. Ed and Al also make the decision in this episode that, even knowing Al's body is waiting at the gate, the priority has to be saving the country and everyone in it. Their bodies have to wait. This is a huge act of self-denial, and kind of a big character development deal. Ed also comes closer to accepting Winry as an equal partner in their relationship. Early on, he deliberately cut her off, refused to share information with her, and generally tried to keep her from knowing too much about what he and Al were going through. At Briggs, he insists to Kimblee that Winry be given as complete an understanding as possible in the circumstances--because, he sees, when she is directly involved she has the right to know. Then, Ed is forced to accept Winry's decision to go off on her own, join the fight, and put herself in the incredibly vulnerable position of depending entirely on Scar. This is something that previous versions of Ed would have found entirely intolerable, and he's still not happy about it. It is, in fact, an inversion of his response to Hughes's death. Then, his reaction was to take all the responsibility for Hughes's own actions on himself. Now, he has matured enough to see that a relationship is two-sided, and that he owes it to Winry to accept that she has responsibility for her own actions and reactions. So he accepts her decisions. And when Al goes out in a blizzard alone, he accepts that too. Episodes 41-50 Learning Not to be the Protagonist All the Time This is Ed dealing with having to be more reactive or passive. His relationships have grown to the point where he has no choice but to do this. He does so by leaning on his determination and starting to trust himself in different ways. Allowing others to share his responsibility means he has had to sacrifice his pride, which in turn means he has less shame, which again in turn lowers his anger. So, what do I mean by, "trusting himself in different ways?" I mean the scene when Kimblee sends him into the rubble and he gets run through. Firstly, he's only able to survive that in the first place because of the chimeras. He intervened to protect the chimeras from his own allies repeatedly, because of his core belief in the worth of human life. This linked up with his determination and the chimeras survived, later saving practically every major character. Secondly, he draws the strength to get up after collapsing from his relationship with Winry, a relationship with more depth than ever before. Finally, he is able to rely on himself doing some experimental alchemy for the first time since his huge mistaken human transmutation. It's kind of a big deal that this doesn't blow up. He doesn't do it from a place of pride, though--he does it to compensate for his lack of knowledge of healing alchemy, and he knows the price beforehand. Then, there's the scene when he allows the chimeras to pretend he's their hostage. Old Ed wouldn't have accepted this, and Ed now isn't too happy about it. But his anger doesn't get the better of him, as it once would have. He's still angry--he did take out both of the soldiers sent to get them himself after one called him short--but that anger is more directed. He really has fully recovered. Next, there's Ed's meeting with Greedling. He agrees to become Greed's follower. This is literally him agreeing not to be the protagonist anymore. It actually directly inverts a scene in the manga in which, after Ed and Al fought Lanfan and Fu, Ling asked Ed to become his servant. Ed screamed at him to come back where he came from. But the way Ed talks to Greed, it really doesn't bother him anymore. His pride no longer makes him think he always knows best. Ed's conversation with Winry, when she demands he tell her he'll win, also builds on this. Ed wanted her to go because he was scared she'd get hurt. That was what he needed--it was selfish. But he chooses to prioritize her needs, to reassure her when she asks. The next day, he meets Hohenheim again. This results in Hohenheim finally telling him everything, and in Ed telling him their mother's last words. It's when Ed's relationship with Hohenheim starts to shift, as he sees his father cry. He's a human in pain, not a monster from Ed's childhood, the real reason Ed broke the taboo. Finally, there's Ed accepting Al's decision to sit out the fight to stop Pride. This is, again, something that he absolutely does not want to do. But he an Al are now in an equal relationship, and sometimes one does something at risk to themselves that the other doesn't like. It can't all be Ed all the time. Episodes 51-60 Support Role Ed is one cog in a grand mechanism in these episodes, and he knows it. His job isn't even to do anything on the Promised Day: he's in a pure support role. He needs to keep Mustang from going nuts (a confrontation that, had it taken place at an earlier time, would absolutely have escalated). He has to help Scar get to the center to do his fancy alchemy. He has to run interference for May Chang and back Hohenheim up. He and Mustang bicker a bit, but otherwise he consistently comes through for people, even people he actively dislikes like Hohenheim. Episodes 60-61 Weakness into Strength Something that comes up in the fight with Pride, and started back when Ed escaped with the chimeras, is that Ed no longer gets angry about being short. He's accepted it--in fact, he's turning it into a strength. He lets the chimeras pretend he's a kid to get away. When he breaks into Warehouse 3, he straight up plays a "helpless child," card to trick the guards. And he straight up says he wins the fight with Pride because, "I've always been a runt." Ed repeatedly either refuses to let his weaknesses slow him, or turns them into strengths during these episodes. Crucially, he now understands his weaknesses. His selfishness has transformed into self-knowledge, and self-worth. He knows his own strengths and his weaknesses. This is a continuation of something that started way, way back in the Leor incident, when he used his metal arms to win a fight with the first chimera. He was always capable of this, he just didn't understand or know it. Now he does, and it makes all the difference The previous time he turned himself into a philosopher's stone, it was a last, desperate resort. This time, he does it to completely blindside Pride. And rather than using that as a chance to destroy his enemy, he puts his very soul on the line to give his enemy a second chance. This is emphasized by his using his own coat with the Flamel symbol (the symbol of his own quest for a second chance) as a cushion for Pride. Then he goes upstairs and fights Father tooth and nail. In the course of this fight, his arm is shattered. The last time his arm shattered during a fight (with Scar, way back at the beginning), Ed immediately gave up. He was consumed by helplessness, shame, and fear. This time, he goes back in to try to kick Father in the head. Now we come to when Ed is pinned and Al saves him by sacrificing his own broken body. Ed's and Al's roles come full circle here, quite literally. Once, the only way Ed could find to save Al was by sacrificing his right arm. Now, the only way Al can find to save Ed is by giving it back. Where Al was once helpless, Ed is now helpless. But both rely on each other, and both walk away. Ed now reflects Scar a few episodes back. One arm is a consequence of his brother's sacrifice, one is his own. Ed's connection to others is literally a part of his flesh, which enables his later realization. And Ed honors his brother's sacrifice by continuing to fight until Father is gone. Now, we come to Ed's moment of truth. No, not when he meets Truth--he already knows 'the truth,' at that point. Ed is standing by what's left of his brother, and he feels as helpless as he did before when the transmutation first went wrong. He falls back into those old habits of thinking, too: "What alchemy can I do? I'm such a great alchemist! I have to keep thinking, I'll find a solution!" Then his father comes up to him. He offers Ed his genuine, heartfelt sorrow. And he reminds Ed that Ed and Al aren't the only ones in this. Hohenheim loves them. He is in this with them, both their suffering and their responsibility. And Ed calls him father for the first time. Ed looks around at all the other people who share his pain. He looks at his hands, one from his brother and one from himself. And his perspective on who he is and what he offers the world and the people he loves shifts, his perspective on what he can do, on the bounds of the possible, changes. His pride finally fades, and he relies on others completely. It's not truly new. There's a reason he reaches all the way back to Nina when speaking to Truth. It's the fairy tale trope of, "the power was in you all along." Ed was never really in this alone, there was always Al, Winry, Pinako, and even his absent father. But his ability to see this, trust it, and use it to do the impossible and bring his brother home is the final point of his character development. The whole thing is a massive trust fall. He trusts himself to get by without alchemy. His pride in his alchemic abilities is gone, replaced by genuine self-worth and self-trust. What really matter is others, not his alchemy, so he tells everyone to enjoy the show of his last transmutation. He is literally relying on his brother's door to get out of Truth's realm. Not having alchemy could be a weakness. It does limit what he can do. But it doesn't stop him. He and Al set out on two versions of the same quest to learn more of alchemy. And he turns his experiences into a new alchemic theory. Weakness becomes strength, and makes the world open wider. Yeah, it's not perfect. There's a definite ebb in momentum, which is why the accusation of him "suddenly" figuring everything out right before the end is not entirely unmerited (the pieces are there, but there's a hell of a lot of other pieces in the plot). But Ed the young man is a world away from Ed the boy we met in the first episode. I am an anime only for AoT so this will only contain stuff up to S3P2/S4 P1 Mikasa- This is more of an overview than a completely elaborated analysis. Mikasa's character arc is subtle, and she is a really good character. We are introduced to her character theme "The world is cruel yet beautiful" which develops throughout her character arc. to give a breakdown of her progression and themes: Trost -- pretty obvious, most people like it. has to do with fleshing out her cruel world mentality and what led to that, carrying on Eren's words, and learning to live without him by finding a purpose Female Titan arc -- is about her 'pride'. it's also when her obsession over Eren becomes unhealthy due to almost losing him in the Trost arc, to the point where she sacrifices Eren's safety because of how caught up she is in his safety (such as trying to kill Annie even after they rescued Eren, which Levi criticizes her for, and she has to take responsibility for his injury). her arc is similar to Eren's, it's about being composed and working with other people, and in the end, she gets rewarded with a quiet scene alone with Eren after working with Armin and Eren to cut Annie down instead of charging headfirst Clash -- much more interesting than FT arc, this is about her compassionate side. it challenges her cruel mentality and you can see this with how she treats other characters: her words and actions don't match, because remember her cruel world mentality is not an authentic reflection of herself, but something Eren told her and she accepted because it helped her deal with losing her parents and escaping a traumatic situation. so in this arc she goes "I only care about so many people", "I'll kill anyone who gets in my way" but she spares Reiner, Bertholdt, Historia and Ymir, all in situations where if she was truly lacking compassion and truly a cold warrior she would kill them without a second thought. in the end, she accepts the compassionate side and it's the reason she and Eren both are safe, bc of her pep talk that helps him activate the Founder's power Uprising -- she's a lot more chilled here but is more of a team player. unlike the anime she is separate from Eren for the majority of the arc, and shows that even when she knows Eren is alive (unlike Trost) she prioritizes saving other people (Jean, Historia). she uses her newly learned compassion to comfort Armin, and ask if Sasha is okay. this arc isn't hers to shine so there isn't a conclusion to it, but Uprising is very densely focused on a few characters, namely Eren, Historia, Levi, and Kenny Return to Shiganshina -- this is about getting her character ready for the trauma of the time skip. she loses Armin, goes through Trost again, but overall it's mostly a collection of great little scenes (her letting Armin take care of Bertholdt and saying they're relying on him, Hange hugging her, her being visibly shaken by Floch's words, and almost attacking him) Marley - Begins to go against Eren bc he goes against her ideals in S4. Need to experience post timeskip mikasa completely to write everything about her character Armin- This is up to the end of S3 P2 bc I need to experience all of Post timeskip armin to make an opinion on him but he is still as good as before in S4 P1. I am also gonna ignore his strategic brilliance bc it will make the paragraph too big So let's start from the very beginning - from Armin's childhood and background. Armin was raised in a relatively poor outlier district of the Walls, Shiganshina. In his formative years, we see that he was considered a heretic, whose ideas didn’t conform to the majority of the Wall’s population. Armin is introduced as a physically weak character with a very low opinion about himself. The earliest scene is of him getting bullied, and meeting Eren. Eren, who believed in fighting and standing up to his foes, asked him why he didn't fight back. Although Armin fell to the ground beaten, the first lines he says are "I haven't lost. Because I'm not running away!". Although Armin never realized it then, Eren admired his spirit. It spurred in him a desire to know him better. Armin's parentage hasn't been fleshed out too well in the series. Yet, it plays a vital role in defining his character. The anime revealed to us that his parents were planning to set foot outside the walls. Considering how open-minded his parents and grandfather were with regards to stuff beyond the walls, it's no surprise that Armin wasn't one of the other kids who got trapped into the web of ignorance and submission that the walls tried to weave. We are introduced to how Armin gets inspired by reading a book his grandfather had hidden away. That book stimulated his imagination. He conjured powerful pictures in his mind about how vast, awe-inspiring and beautiful the outside world must be. This, I think, is an important theme to ponder over. Much of human society is driven by it's own collective imagination. It's the reason why we look outside planet earth, why we strive to explore new lands and why fictional stories inspire. If you think about it deeply enough, we all live in a blurred version of reality defined by our own fantastical creations. And it just keeps on getting complicated. These imaginary creations include the concept of money, empires, countries, borders, political ideologies, companies, religions etc. All these are products of the human collective imagination. They are not concrete physical entities like trees, rivers or animals. Our imagination propels us and that, in turn, shapes our material world. So it's not an understatement to say that the human collective imagination has been the greatest driver of human history. And we see a small, but powerful manifestation of that in Armin. He dreams, and creates fantastical pictures of the outside world. And that is what drives him. It is what gives him that spirit in the face of fear. It is out of fear that courage is born. Fear is that disreputable parent that keeps their rebellious child, courage, in check. One can only meet courage when they knock on fear's front door. And that is what defines Armin's character - fearful, but channeling all that fear into a power that saves his friends time and again. It's very reminiscent of the Lion from the Wizard of Oz, who is probably the earliest character I know of following this trope. It also reminds me of Courage the Cowardly Dog. And when you are really excited about something, you have this desire to share it with somebody - a close friend, a family member - somebody who won't judge or ostracize. That's what he saw in Eren. He felt free sharing the fantastical stories he created about the outside world with Eren. Humans bond by sharing stories with each other. And so did they. Eren was this energetic child who spent his time daydreaming. But Armin's spirit and imagination was contagious. He got drawn in. And he channeled it into his own fiery obsession. Eren embodies the will to fight, but he borrowed his imagination from Armin. Combined together, he started seeing the Titans as enemies that were taking away his freedom - a freedom to live his imagination. As Mikasa joined Eren's family, the trio developed a close bond. Mikasa saw Eren as light, and Armin as somebody who fueled that light. Armin grew up to appreciate Mikasa's and Eren's strengths, but he forgot to look within himself. One is often so focused on their neighbors' beautiful gardens, that they ignores the treasures of their own uncultivated garden. Even Eren's character is shaped by that principle. He admired Mikasa's super strength and Armin's spirit. He wanted to be strong like Mikasa, so we see minor jealousy in him. He'd feel annoyed when Mikasa, who was so strong, treated him like he was her baby brother. He saw the Survey Corps as a gateway to achieve his ideals. To become strong enough to fight and achieve his freedom. If it wasn't for the strength of his will, we wouldn't have seen the trio joining the survey corps at all. Armin is an aircraft’s wings and tail that provide lift and direction, attached to that wing is Eren - that blazing engine that provides thrust, while Mikasa provides the much-needed protective structure and stability. As a person who had a low opinion about his strengths, Armin was confused. At one end, his friend displayed a fiery will to join the Survey Corps to fight for his freedom. On the other end, he wasn’t sure if his skills were apt enough to even consider fighting. His readings and curiosity gifted him with an impeccable bird’s eye view of the society within the walls – he wondered how the walls were created, he thought out openly whether these walls would even hold long enough, he knew how most of the people within the walls were like blind sheep awaiting their demise and he also knew that only the Survey Corps was an organization that seemed to have that drive to pursue the unspeakable. Should he face his fear of death, and join the Survey Corps, or should he succumb to the pressures of the society, and resign to live like those blind sheep? Somewhere, he probably thought death would be preferable over giving up on his imagination. If his friend had the will to go and fight for his dreams, then maybe he should too! It is not always wise to blindly follow a friend, but who says he was blind? It’d be more apt to say he was dependent, drawing a little strength from Eren’s will to fight – little knowing that even Eren was dependent on his spirit and imagination. Would Eren have maintained the direction to invest his energies on if they had separated at this point? As the trio, who were dependent on each other’s strengths, joined training and subsequently the Survey Corps, they were posed with harsh challenges where they’d have to learn to recognize each other’s and their own strengths. When Eren and Armin first confront the Titans, Armin is gripped in fear. Stress, strain and anxiety created a mental block in him. Seeing Eren in his limp form stole away his will to act – where was that strength and that will against the power of these gargantuan monstrosities? This was a really striking moment for the two. Eren, seeing Armin in danger – seeing the person who gave direction to his will, in the mouth of a Titan – was forced to get up and save him. Eren was devoured. And Armin sat there in the realization. Of how the strong prey on the weak. Which leads us to our next defining moment for Armin. As Eren once again reappears, this time as a titan, Armin is flooded with relief. His mind also takes into account certain odd occurences - Eren’s arm had regenerated and his titan had been swarmed by the other titans. But he doesn’t have the time to connect his thoughts before being plunged into his next despairing moment. As his friends discuss escaping the walls, Armin sits there, still in his hard shell of self-loathing. Will his weakness ever allow him to keep up with the other two? Does he even have the right to call himself their equal? A moment later, when Eren asks him if he could convince the garrisson that he poses no threat, he wonders why. Why would they even trust him with such an important decision? It is when he realizes that Eren and Mikasa have faith in him, that he finally rears his head out of his shell. The people who depend on you bring out the best in you. He became willing to put away his own life for their sake, speaking out for them. He started recognizing his own value in the trio, struggling free from his coccoon to blossom into a fine butterfly. That day he had found self-confidence and met courage. It is one who has struggled within a dank shell of self-denial who recognizes the value of the warm, healing hand of compassion and empathy – and this he stretches out towards Annie, who had constructed an outward appearance of cynicism. This softness is what makes him fundamentally different from Erwin. But one must note that this warm, sensitive side also blinded him, causing the death of many of his comrades in arms. Armin’s thought process throughout the female titan arc is intriguing to look at. Basically, even without having the higher vantage point of Erwin, he was able to conjecture the existence of spies within their ranks; that they were after Eren and that Erwin’s actions seemed to be a way to ferret them out. Furthermore, I believe that him figuring out the identity of the female titan has nothing to do with his intelligence. He got lucky to have witnessed Marco’s ODM gear with Annie. What he did with this knowledge is what shines light on his character. He hesitated. He put a cover over logic and wanted to believe in the good that he saw in Annie. The full implications of this hesitancy are yet to be seen. It could affect his interaction with Annie as and when she returns from her crystal. He did speak-out and justify Erwin’s actions, saying that sacrifices are necessary for the greater-good. But the way his warmer emotions affected his actions clearly shows that he doesn’t fully abide by that ideology. His actions speak of a balance and an inner-conflict – between the good of greater humanity and that of his closest friends. He was also going to make a fatal mistake by revealing the identity of the female titan to Reiner and Jean. It once again shows that the trust he has for his friends clouds his judgement. But he’s 15, and he got his chance to develop there. At this point, I surmise that he starts questioning his humane ideals, and gets more and more inspired by Erwin. It is in the next arc that Armin has a painful realization about Reiner and Bertholdt, when Hanji prompts him. What’s interesting is the way the conflict between him and Bertholdt was set up. He uses the fact that Annie is captured to disorient him – to mentally torture him. Both Reiner and Bertholdt were shocked at the fact that her identity was exposed, and Bertholdt out of his love for Annie, screams revenge. “You children of the devil!!” At this one can’t help but think that Armin is attaining a certain level of madness. He probably lost some of his faith in his trust for his friends at that point. In the next arc, he even ponders over how the SC could exploit the masses for their self-centred aims. He also kills his first human being, which makes Armin finally confront himself over whether he has lost his humanity forever. Levi’s blunt response was harsh, but was a call for him to free himself from that muck of regret. The uprising arc has great defining moments for some of our SC characters. Since then, their eyes always show a certain tragic emptiness. With the revolution being a resounding success, spirits started rising once again. Our characters got a chance to reflect and re-energize. It was then that Armin recreated the pictures of his childhood dream. They rekindled his spirit once more, despite what he had been through. Endless salt-water lakes, water made of fire, mountains of ice. When the trio sat and talked this time, they now appreciated each other’s strengths and differences more than ever. Armin realized how his imagination was more precious than ever before, something which gave him meaning, something which helped him overcome fear everytime – while on the night-walk to Shiganshina, or when waking Eren up for a final confrontation with Bertholdt. Armin’s heroic moment of sacrifice was shocking and tragic. Chapter 82 was one of the crowning points of his character arc. The very dreams he was cultivating, the fantastical stories he created for himself – he decided to discard them all. At that moment, he knew, that if he faltered, humanity would never see the light of freedom. During the battle of Shiganshina, one can see the change our trio has undergone. Armin learns how to overcome his fears, Eren learns to listen and cooperate and Mikasa learns to let go. And this change is what led them to victory. They’ve finally learnt how to pilot their aircraft :). But their development as soldiers and military leaders is far from over. As Eren and Mikasa fought for their friend’s survival on the rooftop, blinded by emotion and not sparing a thought for the future of the SC, little did they realize the burden they’d be putting on Armin’s shoulders. He now feels indebted – to Levi, Mikasa and Eren. And pressured – to perform, to fill-in Erwin’s shoes. The syringe drama has introduced another level of internal conflict for him. Should he be resentful towards his friends for not catering to the more rational choice, or should he be grateful for the fact that he got another chance to live his dreams? But a really touching, sweet moment was when he decides to sleep in the same dungeons where Eren and Mikasa were confined. Was that his way of showing gratitude for them? That scene gives me hope. That Armin hasn’t yet lost his touch with humanity. That he still values his friends for what they have done. He isn’t going to fill-in Erwin’s shoes, he’s going to create his own pair that fits him. No matter how much he puts up a cold, rational expression on the outside – while talking to Flocke or while talking about the greater-good - he still has a warm, softer inside. Much like the coconut. At last, after around 9 months, we see him achieve his ambition. He wets his legs in the salty waters of the sea, eyes shining bright. Finally seeing the image he had been cultivating right in front of his eyes, in real life. Tasting the sweet fruit of rising above the harsh challenges posed to him. From here, it’s a matter of seeing which side his internal conflict takes him. His friends keep trying to give him hope, to have faith himself, but will that translate into results? What are your thoughts? Trying to explain why these characters have any devolpment to some users on here is akin to playing chess with a pigeon. They already have it set in stone why a character is "good" or "bad". Rather than focus on what they contribute to the story or how they interact with other characters, they'll focus on superficial aspects such as mikasa is a simp, or Saitama being a boring character because he's op. Despite opm being about saitama struggling with his bordom/depression. And how power rankings are pointless. |
Nov 21, 2021 9:01 PM
#29
scruffs said: Trying to explain why these characters have any devolpment to some users on here is akin to playing chess with a pigeon. They already have it set in stone why a character is "good" or "bad". Rather than focus on what they contribute to the story or how they interact with other characters, they'll focus on superficial aspects such as mikasa is a simp, or Saitama being a boring character because he's op. Despite opm being about saitama struggling with his bordom/depression. And how power rankings are pointless. I don't know why you quoted me here but it seems you're bothered I don't rate those two in a higher regard. There's nothing wrong with having your own standards/preference. Saying a character getting development is one thing and finding the character uninteresting is another. |
Nov 21, 2021 9:22 PM
#30
I think character development is overrated. A character can fit a joke (a running gag or be a mix of comic relief and maybe a character that gives advice in a later episode), they can have many hobbies, a tragic backstory or use more with an archetype and all can be just as good, bad or boring as bored they added more to the character especially with melodrama or backstories and you may skip them on a re-watch. Sometimes an archetype character can be good, expanded on or not. They could be an introverted character that does inside things doesn't mean they aren't developed whether they make it clear their hobbies or are wanting their space, or a silent character has no depth because they just have to have their confidence boost by episode 5 or something and move on to the next character with lacking depth, they just have to be an extroverted character (exaggerating what people that complain about character development think, I don't know for sure but fun to think at least. Or they have to have a checklist of say 5 outside hobbies/joined a club, won a sports event/lost due to someone cheating and it made them consider if they were going to join a sport club again, lead a group of soldiers for some big deal war in the series that set the events in place of the story or whatever. Sure it helps and adds a fair amount but shouldn't be the main reason. When things are dragged out like characters holding hands and it's a romance show then yeah it's ridiculous but do they have to get a girlfriend/have to have tons of emotional moments (that are earned then forced) as a goal even if not the goal of the show or the side characters need to when they are the friend character/maybe wingman, maybe. Are self inserts bad when it's the point of the show but just not for certain people that don't want self insert characters or think power fantasy shows are bad when it was the goal of the show/character and it's purpose is fulfilled. Can't say for the examples made by the OP as not seen the show or care to (I will say when someone brought up Saitama even though I haven't seen One Punch Man either but I can understand how the show uses him even if you could just go, oh he is OP even though they do more with his character and the other characters so that it's not boring and just that he is OP if only going off the premise or something rather than what is done to make the fights and characterization interesting) but I do think that while sure many characters can be more interesting because of it whether relatable or not they don't have to be. I've never found any characters to be relatable in any medium as I haven't done anything they have at all, even if they didn't I couldn't care less, doesn't matter to me, doesn't mean I don't enjoy the show less/care about those characters or they aren't realistic characters. If they fit the show's goal then I think it's fine. If they are annoying and could easily be taken out of the show without anything changing then I think that says enough right there. A slice of life or comedy show doesn't always have much going on but can have it and otherwise can be a good villain, mentor, leader or otherwise character depending on what they are offered. To me I don't think a character that stands out from the rest in such as way is the best, whether they have fancy hair, a backstory or whatever hobbies, I could think they sure had something about them to add to a checklist but otherwise they could still have issues or are boring to watch doesn't mean their character development improved the show unless it's relevant, if it's there just to be there then it can be seen as a waste in some cases of screentime when something else could be there. |
Suntanned_Duck2Nov 21, 2021 9:26 PM
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