Ai Magase: The Meaning of Evil

Summary

The video script delves into the anime 'Babylon,' a psychological thriller centered around public prosecutor Zen Seizaki and the enigmatic villainess Magase. It explores the show's themes of justice, morality, and societal norms through Seizaki's struggle with a political scandal and Magase's symbolic representation of corruption. The script challenges viewers to consider the complexities of evil and the fragility of societal values, questioning whether understanding or opposing such darkness is the path to justice.

Takeaways

• 🎬 The script discusses the anime series 'Babylon', highlighting its status as a psychological thriller that has made a significant impact despite flying under the radar.
• 📚 'Babylon' is based on a novel by Mado Nozaki and is produced by the studio Revoroot, showcasing a unique premise that captivated the speaker.
• 👤 The main character, Zen Seizaki, is a public prosecutor who gets entangled in a political scandal much larger than his initial investigation into a pharmaceutical company's false advertising.
• 🔍 The script emphasizes the importance of watching 'Babylon' without prior spoilers to fully experience its mind-bending narrative.
• 🎭 The character Magase is portrayed as a symbolic figure, drawing parallels with the Whore of Babylon from the New Testament's Book of Revelation, representing corruption and spiritual adultery.
• 🧩 The speaker analyzes Magase's role as a villain, discussing her ability to disrupt and challenge societal norms and the legal system, which is central to the show's themes.
• 🤔 The script poses philosophical questions about the nature of evil, morality, and justice, encouraging viewers to consider their own perspectives on these complex issues.
• 📖 The discussion of Magase's character includes an exploration of societal views on female sexuality and the discomfort her presence causes in male characters, reflecting broader social issues.
• 🗣️ The speaker reflects on the dialogue and scenes from 'Babylon' that they find particularly impactful, such as the interrogation and the monologue in episodes two and seven, respectively.
• 🤝 The script touches on the concept of understanding versus condemning evil, suggesting that acknowledging the humanity in others, even those we deem evil, is a crucial aspect of the show.
• 🏛️ 'Babylon' is praised for challenging the viewer's sense of security and the foundations of societal values, norms, and laws, leaving a lasting impression and prompting further contemplation.

Q & A

What is the main theme of the anime series 'Babylon'?

The main theme of 'Babylon' is a psychological thriller that explores political scandal and the breakdown of social norms.

Who is the female lead in the anime 'Babylon'?

The female lead in 'Babylon' is Satsuki Yukino, who plays the character Magase.

What is the significance of the character Magase in 'Babylon'?

Magase is a symbolic character representing corruption and influence, drawing parallels with the Whore of Babylon from the New Testament’s Book of Revelation.

How does the show 'Babylon' handle the portrayal of its antagonist, Magase?

The show portrays Magase as a complex character with supernatural abilities, challenging the viewer's perception of evil and the nature of villains.

What is the role of the character Zen Seizaki in 'Babylon'?

Zen Seizaki is a public prosecutor who operates from the newly formed Shiniki district of Tokyo and serves as the protagonist investigating a pharmaceutical company's false advertising and uncovering a larger political scandal.

What is the premise of the first arc of 'Babylon' titled 'Itteki no Doku'?

The first arc, 'Itteki no Doku' or 'A Drop of Poison', introduces Magase as a poison infiltrating and polluting the political system of Shiniki, with Seizaki entangled in her web.

What is the central theme of the second arc of 'Babylon' known as 'Erabareta Shi'?

The second arc, 'Erabareta Shi' or 'The Chosen Death', delves into the breakdown of social norms and the challenges faced by Seizaki and his team in disputing the legality of Itsuki’s actions.

How does the script describe the character development of Magase?

The script describes Magase's development as a villain who is not simply evil but represents a challenge to societal norms and the viewer's understanding of justice and morality.

What is the narrative technique used in 'Babylon' to create a sense of unease and discomfort?

The narrative technique used includes the exploration of taboo subjects, the portrayal of disturbing scenes, and the direct addressal of the viewer through the character of Magase.

What philosophical questions does 'Babylon' pose to the viewer?

Babylon poses questions about the nature of evil, the concept of justice, the sanctity of life, and the morality of understanding and empathizing with those who hold opposing views.

How does the script suggest that the character of Magase challenges societal norms?

The script suggests that Magase challenges societal norms by embodying a force of corruption and influence, and by questioning the viewer's preconceived notions of good and evil.

What is the significance of the title 'Babylon' in relation to the themes of the show?

The title 'Babylon' signifies the show's themes of confusion, the mingling of different ideas and values, and the potential for societal collapse due to the corruption of these values.

How does the script discuss the portrayal of female sexuality in society as seen through the character of Magase?

The script discusses the portrayal of female sexuality by examining how Magase is perceived and treated by society, and how she uses her influence to challenge societal views on female sexuality.

What is the role of the character Itsuki in the narrative of 'Babylon'?

Itsuki is a character who is likely under Magase's influence and is involved in the introduction of a controversial suicide law, which becomes a central point of debate in the series.

What is the significance of the character Seizaki's name in the context of the show's themes?

Seizaki's name shares a character with 'seigi', meaning 'right justice', which highlights his role as a symbol of respectable society and the ongoing conflict between his ideals and those of Magase.

Outlines

00:00

🎬 Introduction to Babylon and Its Impact

The script introduces the anime series 'Babylon,' highlighting the author's excitement about Satsuki Yukino's role as the female lead. Despite the series flying under the radar, it has made a significant impact on viewers. The author confesses to watching the series in one sitting and emphasizes the importance of watching it without spoilers due to its psychological thriller nature. The story revolves around public prosecutor Zen Seizaki and his investigation into a pharmaceutical company, which quickly escalates into a massive political scandal.

05:05

🔍 Delving into the Symbolism and Themes of Babylon

This section delves into the symbolic nature of the character Magase, drawing parallels with the Whore of Babylon from the Book of Revelation. The character is portrayed as a force of corruption, challenging traditional views of villains and questioning the audience's understanding of morality. The script discusses the character's role in the narrative arcs of the series, including the political intrigue and the breakdown of social norms, leading to a contemplation of what constitutes good and evil.

10:09

🎭 Analyzing Magase's Character and Her Impact on Society

The script provides an in-depth analysis of Magase's character, her actions, and their implications on society. It discusses her ability to manipulate and the psychological impact she has on her victims, drawing attention to themes of power, control, and societal expectations of female sexuality. The analysis also touches on the idea that Magase's influence may only affect those who are already contemplating dark thoughts, suggesting a psychological rather than supernatural power.

15:12

🤔 The Complexity of Evil and the Human Condition

This paragraph explores the concept of evil through the lens of Magase's character, challenging the audience to consider the nature of evil and its relationship with the human condition. It discusses the idea that evil is not simply a product of insanity but can be a choice made by individuals who are fully aware of their actions. The script uses Magase as a symbol to question societal norms and the binary concepts of good and evil, urging the audience to reflect on their own values and understanding of morality.

20:13

🗣️ The Power of Words and the Search for Understanding

The script focuses on a pivotal scene where Magase confronts Seizaki with challenging questions about the nature of justice and the morality of life and death. It highlights the power of Magase's words and her ability to unsettle Seizaki's worldview. The dialogue serves to illustrate the complexity of understanding evil and the potential for shared humanity between perceived opposites, leaving the audience to ponder the fragility of societal values and norms.

25:15

🏛️ Challenging the Foundations of Society and Morality

The final paragraph reflects on the broader themes of 'Babylon,' examining the series' exploration of societal values, norms, and laws. It discusses the implications of the series' narrative on the audience's understanding of justice, morality, and the sacredness of life. The script concludes by emphasizing the importance of questioning and challenging established beliefs, suggesting that the series encourages viewers to engage in a deeper contemplation of their own values and the society they live in.

Keywords

💡Psychological thriller

A psychological thriller is a genre of film or television that focuses on the psychological aspects of its characters, often involving suspense and tension rather than action or violence. In the context of the video, 'Babylon' is described as one of anime's rare psychological thrillers, indicating that it explores the mental states and complex motivations of its characters, particularly the protagonist Zen Seizaki and the antagonist Magase, as they navigate a politically charged scandal.

💡Political scandal

A political scandal refers to a situation where a politician or political entity is involved in an incident that is seen as unethical or illegal, often leading to public outrage and potential legal consequences. In the video, Zen Seizaki, a public prosecutor, finds himself at the center of a political scandal that threatens to shake the foundations of his world, highlighting the theme of corruption and the moral dilemmas faced by those in power.

💡Symbolic character

A symbolic character is one that represents an idea, theme, or concept beyond their literal presence in a story. In the video, Magase is described as a symbolic character based on the Whore of Babylon from the New Testament's Book of Revelation, suggesting that she embodies broader themes of corruption, deception, and the manipulation of power.

💡Expectancy violation

Expectancy violation is a concept where an individual's behavior does not align with the expectations of others, leading to a loss of credibility or trust. In the script, this concept is applied to the character of Magase, where her behavior during an interrogation does not conform to the preconceived notions of the prosecutor, Seizaki, thus challenging his narrative and undermining his authority.

💡Social norms

Social norms are the unwritten rules and expectations that govern behavior within a society or group. The video discusses the breakdown of social norms as a core theme of 'Babylon', particularly in the context of the show's exploration of controversial topics like suicide and the morality of murder, which challenge the viewer's understanding of right and wrong.

💡Villain

A villain is a character in a narrative who is portrayed as the antagonist, often engaging in actions that are morally or legally wrong. In the video, Magase is analyzed as a villain whose motivations and actions are central to the narrative of 'Babylon', with her character challenging traditional perceptions of evil and the nature of power.

💡Justice

Justice refers to the concept of fairness, reasonableness, and the administration of law. It is a central theme in the video, as the character Seizaki grapples with his understanding of justice in the face of complex moral dilemmas presented by the actions of Magase and the political scandal at the heart of 'Babylon'.

💡Suicide law

The term 'suicide law' in the video refers to a controversial piece of legislation introduced within the narrative of 'Babylon', which allows for the legal and regulated process of assisted suicide. This law becomes a focal point for debates on morality, autonomy, and the value of life within the show.

💡Evil

Evil is a term often used to describe actions or individuals that are morally wrong or have a harmful intent. In the video, the concept of evil is explored through the character of Magase, who challenges the viewer's understanding of evil as she embodies both a literal villain and a symbolic representation of broader societal ills.

💡Yandere

Yandere is a term from Japanese culture that describes a character who is initially loving and gentle but becomes deranged and violent due to their strong romantic affection for someone. In the video, the term is discussed in relation to Magase, but it is argued that her actions are not driven by derangement or obsession but by a clear and purposeful set of motivations.

Highlights

Introduction of Satsuki Yukino as the female lead in the anime 'Babylon' and the speaker's excitement despite not being there to promote her.

The premise of 'Babylon' being intriguing enough to captivate the speaker even before knowing about Satsuki Yukino's involvement.

The recommendation to watch 'Babylon' before continuing with the video to avoid spoilers.

The description of 'Babylon' as a psychological thriller based on a novel by Mado Nozaki.

The show's ability to engage viewers deeply, as evidenced by the speaker's multiple viewings.

The introduction of the main character, Zen Seizaki, a public prosecutor in Tokyo's Shiniki district.

The unexpected twist in the plot involving a blood-stained sheet of paper and a political scandal.

The symbolic nature of the character Magase, based on the Whore of Babylon from the Book of Revelation.

The exploration of societal views on female sexuality and the character's role as a mirror reflecting men's desires.

The analysis of the interrogation scene and its implications on power dynamics and expectancy violation.

The commentary on the breakdown of social norms and the reliance on law to define 'bad guys'.

The discussion on the character's ability to influence others and the potential reasons behind it.

The comparison of Magase's character to real-life criminals, challenging the perception of villains as 'insane'.

The examination of the character's dialogue and its role in revealing her motivations and worldview.

The philosophical questions raised by 'Babylon' about the nature of justice, evil, and the sacredness of life.

The critique of binary thinking in society and the call for a deeper understanding of complex issues.

The reflection on the potential reasons behind Magase's actions and her challenge to societal norms.

The conclusion emphasizing the thought-provoking nature of 'Babylon' and its impact on the viewer.

Transcripts

If any of you have actually watched all  of my videos, you might be starting to  

think I’m purely here to promote series  Satsuki Yukino features in. I’m not,  

but it definitely didn’t do anything to dampen  my excitement when I found out she was playing  

the female lead in Babylon. That said, I was  already sold the second I heard the premise.

Babylon is a Fall 2019 show that’s slipped under  a lot of people’s radars and knocked everyone who  

has seen it out cold, based on the novel by Mado  Nozaki and brought to us by new studio Revoroot.  

Now, I learnt a long time ago that by-the-season  anime watching and my atrocious attention span are  

a match made in hell and will leave even the  best of shows relegated to on-hold oblivion,  

or just straight up dropped. As such, I  tried to wait until Babylon was done to  

watch it -- I really did. Spoiler alert:  it didn’t work. I needn’t have worried:  

I watched it all in one sitting as soon as  I had the time, did the same thing again  

with a friend in tow about two days later  and have been thinking about it ever since.

So, what is Babylon? For one thing, it’s one of  anime’s all too rare psychological thrillers.  

In the show, we follow public prosecutor Zen  Seizaki who operates from the newly formed  

Shiniki district of Tokyo. Initially, it  seems as though we’re going to tag along  

as Seizaki investigates a pharmaceutical  company’s false advertising. And then one  

blood-stained sheet of paper shatters the  illusion that this is going to be a regular  

case. It becomes evident pretty quickly that  Seizaki has uncovered only the very tip of  

the iceberg in a political scandal that  will shake the foundations of his world.

If you came into this video not knowing anything  about Babylon and that sounds in any way up your  

street, I strongly encourage you to click away now  and watch the eight episodes currently out before  

you carry on. I’m not one to say spoilers can  remotely ruin any good series but Babylon really  

deserves an uninitiated first viewing, if only  for the sheer mindfuck factor -- no pun intended.

And why am I doing a video on a character we  barely know anything about from a show that’s  

still airing? Great question! I obviously  have no self-control. In all seriousness,  

I really agonised over this -- and in the end  I decided that I wanted to put my thoughts on  

Magase out there now before we find out any more,  while I, as a viewer, am still in very much the  

same position as Seizaki, trying to work out what  the fuck is going on. I’m willing to share my  

interpretations as they currently stand because,  contrary to what some might say, I think the first  

two arcs tell us plenty about Magase already in  their current state, and hopefully my views are  

only built upon and not utterly dashed like a  sandcastle by the waves in whatever the last  

arc brings. I want to talk about how Babylon’s  direction and writing have led me to have this  

view of Magase’s character, and how absolutely  they allow her to exemplify her role as a villain.

The important thing to acknowledge about Magase  is that she is a symbolic character, based on  

the Whore of Babylon from the New Testament’s  Book of Revelation. Shocking and controversial,  

the Book of Revelation was an apocalyptic prophecy  written to rally Christians and encourage them to  

hold strong to their faith in a time of hardship  with the promise that their persecutors would reap  

what they had sown. The book is characterised by  strong imagery, and the Whore of Babylon is no  

exception. Titled MYSTERY, BABYLON THE GREAT, THE  MOTHER OF HARLOTS AND OF THE ABOMINATIONS OF THE  

EARTH, she is a figure clothed in purple  and scarlet who appears riding a beast.

The whore of Babylon immediately takes  form as more a force of corruption than a  

singular individual, described as sitting “on  many waters” and engaging the “kings of the  

earth” in sexual immorality. She is largely  considered to represent spiritual adultery,  

with churches often being depicted as women in  the Bible in order to further this metaphor. More  

specifically, she is portrayed as drawing people  away from God’s teachings. The beast she rides,  

with its appearance of a leopard, feet of a  bear, lion’s mouth, and ten horns, is speculated  

to represent some mishmash of the political  kingdoms she has exercised her influence on.

It’s hard to make sense of Magase as a character  if we do not accept her symbolic nature. I know  

some viewers have lost interest with the  furtherment of a seemingly supernatural  

explanation for her powers, having hoped for a  more human and thus more interesting villain.  

I do sympathise, it was my initial thinking too,  and there’s no saying we won’t eventually find out  

more about, say, her childhood. The show does  equally seem to be self-aware on this point,  

though. What I want to explain is  why, as I see it, Magase’s ability  

by no means undermines her legitimacy as a  villain nor that of the messages she evokes.

The first arc of Babylon, encapsulating the  first three episodes and ending with Itsuki’s  

proposition of the suicide law, is titled  “Itteki no Doku” -- “A Drop of Poision”. This  

poison is Magase, able to infiltrate and pollute  Shiniki’s entire political system. For one thing,  

Itsuki is likely acting from entirely under her  influence and potentially has been for a very  

long time. This arc sets the stage, embroiling  Seizaki entirely in Magase’s web as he lags  

constantly five steps behind. The second arc,  having concluded with the seventh episode before  

the show went on hiatus, is titled “Erabareta  Shi” -- “The Chosen Death”. This arc introduces  

us to what appears to be Babylon’s core theme,  the breakdown of social norms, beautifully. With  

the bombastic introduction of Shiniki’s first  law, we see Seizaki and co. flounder to actually  

find any legal basis from which they can dispute  Itsuki’s actions. It makes us consider just how  

much we rely on the law to take down the “bad  guys”. Often we see evil-doers in fiction and  

in real life evading capture with deception and  power, but with the promise that their actions,  

by our collective understanding and that of  the law’s, are wrong. What happens when that  

safety net disappears and our concept of what  is right is called into question as a result?  

This uncomfortable prospect is only taken  to greater extremes as the arc progresses.

The final arc, then, even with four  episodes still to air, seems aptly titled:  

“Magaru Sekai” -- “Twisted World”. The kanji  from Magase’s name are in there as well.

Rather than simply analysing Magase as  a character, I want to talk specifically  

about each of her key scenes, with a focus  on episode two’s spliced interrogations and  

episode seven’s monologue. Not only do these  already achieve a great deal in isolation,  

they comment directly on one another.

Before the interrogation ever begins,  there’s already something worth considering:  

the show makes sure we know of the presence of a  central female antagonist through its advertising,  

making it fairly easy to surmise said antagonist  is likely this mysterious woman we spend so  

much time with here. What this means is we,  unlike Seizaki, are entirely in on her act of  

the unassuming victim even before the facade  slowly slips over the course of the episode.  

This makes the power dynamic clear before  anybody has so much as opened their mouth,  

as we join her in waiting for Seizaki to  realise this as she strings him along.

I have plenty to say about Magase as a  female villain that I’ll come to -- for now,  

one of the first things immediately evident is  the expectancy violation Seizaki is experiencing.  

Found often in the police interview and  trial process when making judgements on  

female victims of sexual and domestic violence,  expectancy violation is the phenomenon by which  

said victims lose credibility merely by  failing to display whichever pattern of  

behaviour their observer considers appropriate  from somebody having had their experiences.

Seizaki already has a pre-formed idea  of how this interaction should go,  

all the more so for likely having interviewed  other women for the same purposes in the  

past. He’s immediately bothered by Magase not  conforming to his image of the prostituted woman,  

with her constant buffers that Ano is a “nice  man”. We know Seizaki’s aim is just and can  

sympathise -- he wants her to cut to the  chase, knowing very well this isn’t the full  

picture -- but still. In his mind, he’s written  the script, and she’s refusing to play the part.  

He’s not come into this interrogation with the  intention of finding out her side of the story,  

but making her conform to his narrative.  It’s no wonder that he quickly begins to  

lose his temper. Her actions and words come  to seem as though orchestrated to purposefully  

annoy him -- moreover, to demonstrate  that she will not play by his rules.

When Seizaki asks Magase why she  thinks Ano is interested in her,  

there’s a deliberate cut to her body  -- her face, her identity, obscured,  

irrelevant. By the time we’ve gotten to the  visualization of the night at the hot springs,  

Seizaki is evidently distracted,  captivated by the very same thing.

A whole day and a half later, Magase shows  she’s running things on her schedule. When  

she offers him the bait of her signed  testimony, Seizaki has no choice but to  

concede to her request to tell her about  himself. When this whole sequence begins,  

Magase comments on Seizaki’s name. Her returning  to it here only further implies she’s known what  

she was doing from the very beginning. By now,  Seizaki is worn down, nervous and defensive. The  

idea that he was going to get Magase to answer his  questions now seems laughable. Magase begins her  

personal interrogation while already seemingly  anticipating his answers so that she ends up  

using him to illustrate her very own point. The  ultimate conclusion we come to in this scene,  

from Seizaki’s own mouth, is that people  have to attempt to understand each other,  

no matter how incompatible. If that doesn’t  already sound familiar, I’ll be coming back to it.

When Magase finally asks him whether murder is  wrong, he uses it as an excuse to lash out at her  

the way he has evidently wanted to for some  time. Finally, she seems to concede -- yes,  

murder is terrible. Specifically, she uses the  word “saiyaku”. The kanji literally mean “the  

worst” or “most evil”. They’re in agreement  on that much, and her work is done. When  

Magase leaves entirely of her own accord we  realise she could have done this at any time.

Before we get into the second scene I want to  look at in this video, let’s discuss what they  

bookend. For the time being, murder fades into  the background as suicide now takes centre stage,  

and by extension, Magase’s means of enslaving her  victims. The other key aspect of her character  

to me is the commentary she provides on female  sexuality as viewed by society. The first scene  

that really delves into this is that of Seizaki  and Sekuro’s trip to visit Magase’s uncle,  

Dr. Sakabe. There’s a few things that stand out to  me here. Despite the pervasive narrative of rape,  

as Sekuro points out, however her supposed  victims feel, Magase did not touch any of  

the seven boys she was accused of harming nor  the doctor himself. Abuse is of course very  

much possible without physical contact,  sexual harassment being no exception,  

but the doctor himself concedes  -- Magase did not do anything,  

besides draw his attention to his own capacity  to be attracted to a child and member of his  

own family. His discomfort ultimately lies  not with her but with himself. He mentions  

two important concepts -- awareness of one’s own  immorality and the emotional response of guilt.

Now, I want to be clear here -- much like Magase,  the doctor did not do anything wrong. Even more  

noteworthy are the seemingly innocent boys she  disturbed so profusely. This series of incidents,  

much like the show’s suicide dilemma, are  complicated to consider. On paper, Magase is  

innocent, but the harm caused remains. Moreover,  unlike other female villains of her ilk who  

weaponize their sexuality, she does not seem to  be motivated by a drive for pleasure nor remotely  

affected by the carnal desires she draws out in  those around her. There’s certainly something  

otherworldly about the effortless destruction she  leaves in her wake -- she isn’t unlike a siren,  

able to lead men to their deaths with her voice  alone. If we consider Kujiin’s final conversation  

with Seizaki, it does not seem to be the content  of what she whispers that is significant,  

but more her mere existence in itself and its  ability to make men vividly, maddeningly aware  

of their own base desires and how controlled they  are by them. She acts like a mirror, realising,  

in the case of the doctor and likely her male  classmates, their worst and most private fears.  

Babylon is visceral, disturbing and altogether  brilliant in how elegantly it delivers its  

viewing experience. This sequence made me  deeply uncomfortable -- this is obviously  

the point. It took me time, however, to put my  finger on just what about it was so upsetting.  

For the utterly pervasive narrative of Magase as  the villain, the thing that struck me about this  

scene as a woman was how strongly it evoked the  feeling of being deemed a sexual entity against  

your own will by the men around you even as  a child. My mind is drawn back to Magase’s  

existence as a symbolic character and her very  first self-introduction as simply “female”.

So what Magase does probably does  feel like some kind of violation,  

but it only works if there’s something hidden in  your own mind she can turn against you. This is my  

theory of Magase’s power. There’s a promotional  video on the Babylon anime’s Twitter account  

wherein you basically experience this firsthand  ASMR-style. Besides fulfilling my personal dream  

of having Satsuki Yukino whisper directly into  my ear, it literally hands us the answer to the  

question of what Magase actually tells people on  a platter. I’m certainly not fluent in Japanese,  

but it’s more or less what you’d expect; a lot of  “is your life really that good?” and “wouldn’t it  

be so easy to be dead?”. Again, it’s all good and  well saying Magase leads people to their deaths,  

and there’s no doubt these people aren’t  in some kind of hypnosis-esque state,  

but I’m willing to bet this influence doesn’t  work on people who aren’t already, on some level,  

asking themselves these questions. Considering  these are the kinds of things I think when I’ve  

spent ten minutes with my face in someone’s armpit  on a rush hour tube, Magase finding sixty-odd  

people of this mindset throughout central Shiniki  seems pretty realistic to me. Jokes aside,  

I think this equally sheds some light onto the  people Magase has thus far failed to exert her  

influence on -- by my estimation, Seizaki,  Sekuro and Fumio. While we don’t know that  

she’s actually tried in any of these cases, they  stand out as three characters driven by seemingly  

unshakeable ideals -- and then there’s Fumio and  Sekuro’s identical faux suicide notes. Still,  

these are all just theories. There’s one scene in  this show that does a spectacular job of actually  

laying everything we need to know about Magase’s  character, at least currently, out on the table.

In anime’s most shocking scene in recent memory,  Magase aims to convince Seizaki that they “aren’t  

that different”. She is proposing, to him, the  most reprehensible concept possible: that someone  

like her and someone like him could understand  each other. There’s going to be a lot of callbacks  

to the interrogation scene here. When she says  murder is wrong there we take it as shorthand  

to mean she wouldn’t do it -- at least not so  publicly. In actual fact, she fully comprehends  

the immorality of the act and still chooses it.  This is what sets Magase apart -- she defies  

the common perception that villains are simply  “insane”. In fiction, we are so often presented  

with characters who commit acts of extreme  violence out of acute mental instability or else  

psychopathy -- there is an evident disconnect from  reality, be it perceptual or emotional. In real  

life, we justify crime with the same outlandish  mindset and often hear violent acts described in  

similar terms. When you look at the statistics  for domestic and sexual violence in particular,  

this plainly is not true. It is pure fact that  these crimes are being committed constantly  

without our knowledge by the kinds of people we  see every day at school or work, even friends  

and family. People who we would call perfectly  normal and sane. Even other acts of interpersonal  

violence -- take gang violence -- often have  far more mundane explanations -- poverty,  

cuts to the public sector, stress, discontent.  Magase is a great villain because, for all the  

hyperbole of her character, she really embodies  this concept -- that the people in this world  

who do terrible things are most often people  we could look in the eye and have a regular  

conversation with without ever knowing. That  they are comfortable in their actions, or at  

least fully aware of what they entail. That there  aren’t so many differences between us after all.

When Magase now blatantly calls back to the  interrogation with the question of whether  

people who prefer cats and people who prefer dogs  could be compatible, we see just how far ahead  

her plan had stretched from day one, and that if  Seizaki has ever felt even remotely in control,  

it is only out of her having given him  the illusion of being so. This equally  

demonstrates that she does understand him on  some level and is able to predict not only  

his words but even his actions. This  is presumably mortifying for Seizaki,  

who has consistently underestimated Magase  by writing her off as being purely evil,  

all the while failing to see through to her  thoughts whatsoever the same way she has him.

Magase provides her own answers to  her questions, now: they don’t have  

to compromise their views of the topics, be  they choice of pet or the morality of murder,  

they must only seek to understand why one another  hold those views. Babylon is addressing us,  

here, as much as Seizaki: have  we ever tried to understand evil?

Finally, Magase proposes that we can understand  evil. We treat the act of understanding as a  

Pandora’s box, as though to even try would be  to bring us closer to villainy ourself, or would  

compromise our goodness. In the case of suicide,  the fear is that allowing people to seriously  

consider it will likewise encourage it. This is  why we so often explain away things that scare us  

as being “insane”. Ultimately, we do not want to  consider that we, too, could be capable of them.

Magase points out that when we organize  ourselves into these binaries, we divide  

ourselves. “There’s a meaning to evil,” she  says, and there is, for those who do it,  

but we continually ignore this. Seizaki is  not simply experiencing the trauma of what  

he is witnessing here, but that of trying to  comprehend Magase’s propositions. She represents  

the breakdown of our values and norms, a truly  frightening, larger than life concept. Even so,  

she remains startlingly human. To quote another  favourite series, Umineko, “People are riddles.  

They live life wanting someone to solve the riddle  that they are, the most difficult riddle in the  

world.” Even if Magase is an evil creature of  supernatural origin, or a symbolic character,  

the dilemma remains the same. She has never been  understood. She is immediately drawn to Seizaki  

as someone wholly dedicated to one worldview and  set of ideals, much like herself. In this way,  

much like Magase represents the concept of evil,  Seizaki is the emblem of respectable society.

And Magase does speak of this now -- specifically,  of Seizaki being raised in “a good society  

surrounded by good things,” in contrast to the  “bad things” she does. Her choice of words here  

stands out -- “shakai” for society, not “sekai”  for world. This casts her worldview in something  

more concrete and objective. Magase constantly  uses a tone of condescension when talking to  

Seizaki, as though she knows more about their  shared world than him. Even in her parroting of  

the phrases, ”good things”, “bad things”, “evil”,  it’s as though she’s ridiculing his simplistic,  

emotional language. To speak as though she  understands this side of society, that which makes  

up his career, better than him is the ultimate  challenge to his identity as a prosecutor.  

She tells him, now, that he’s probably “never  thought of something bad”. In any other context,  

this would be a slightly off-colour compliment.  Instead, Magase sounds almost pitying, or perhaps  

envious -- and Seizaki’s simplistic view of  justice as being about punishing “bad people”  

makes it seem this is true. Many supposedly bad  people are responding to the bad things they’ve  

had done to them. Perhaps responding to what is,  in their view, a fundamentally bad world. From the  

dilemma of Dr. Sakabe and the seven students, to  the televised suicide debate and Itsuki’s actions,  

to Seizaki’s response to kidnap him and his many  willing co-conspirators -- to paint the world as  

being possible to separate into “good” and “bad”  people is beginning to seem woefully inadequate.  

The continual positing of the question, “what  does justice mean to you?” -- especially by  

Fumio as Seizaki’s first assistant and Sekuro as  his second -- is a simple yet effective way to  

underline this realisation Seizaki is undergoing.  And who has caused this introspection? Still,  

Magase tells him directly, now:  “you have no idea what evil is.”

Finally, we reach the crux of the matter.  “Why is it a bad thing to kill someone? Why  

is it a good thing to let people live?” We’ve  already spent the arc considering the second  

question -- Magase shows us now that they  are two sides of the same coin. Moreover,  

all this time Seizaki has called her evil and a  murderer without evidence of her actually laying  

a finger on anybody. She finally shows him --  this is what evil looks like. The scene is at  

its most ruthless when Magase begins to hammer  him with the same questions again and again,  

knowing full well he cannot answer  and has no power to stop her.

“I’m sure you’ll understand,” comes now as a  threat, as we cut back and forth between the  

two of them and Seizaki’s wife and son. “There’s  nothing you wouldn’t be able to understand”.  

Seizaki is nothing more than a proxy at this  point, as Magase addresses us directly through  

the camera. The final line of the scene is  likewise the best. “Because we’re both human.”

Wherever Babylon goes from here, I’d be  hard-pressed to name another scene from  

anime I love more. It goes without saying  the direction, voice acting and music here  

are all phenomenal alongside what is a  masterclass in dialogue writing. It took  

time for me to go back and realise how little  we actually see of what’s happening to Sekuro,  

thanks to some discreet and clever  shot composition. Babylon treads a  

very fine line with the shock value of its  content but it pulls it off. The emotions  

of the characters are all we need in this  scene to feel how utterly horrific it is.

To go on a tangent, I’ve seen some people jumping  to call Magase a yandere on the heels of episode  

seven. When people talk about yandere, they’re  talking about female characters obsessed with  

the object of their affections to the point  of mental instability. These characters are  

willing to commit any act of violence  to bring them closer to said individual,  

be it eliminating the competition or simply  something that will draw their attention. The  

problem with calling Magase this is implying she’s  somehow at the whims of her feelings for Seizaki,  

whatever they may be, or is acting the way she  does because of him. While it’s true that she’s  

doing her level best to completely break him, if  we’re to trust her words, we know that she does  

have wider goals and motivations. She has been  the fascinating trainwreck of a person she is  

since long before ever meeting him. Most of all, I  simply think it does her a disservice to imply she  

is deranged and lovesick as opposed to acting with  clear purpose that extends far beyond one man.

In conclusion, Babylon has done  nothing if not made me think,  

and there are still four episodes to go.  Beyond the specific debates put forth,  

it asks: should we uphold a surely flawed  concept of justice and rule with an iron fist,  

or is there merit in seeking to understand?  The Book of Revelation warns not to compromise,  

stating Christians cannot truly worship God  whilst embracing false doctrines or those  

unlike themselves. “Do not become unevenly  yoked with unbelievers. For what fellowship  

do righteousness and lawlessness have? Or what  sharing does light have with darkness? Further,  

what harmony is there between Christ and  Beʹli·al? Or what does a believer share in  

common with an unbeliever? And what agreement does  God’s temple have with idols?” (Corinthians 6:14)

In the most extreme way conceivable, Magase  demonstrates a genuinely compelling case. Above  

all, she evokes the odiousness of the concept that  any one human has a right to decide who should  

live and who should die. In the story of the Tower  of Babel, humans come together to try and build a  

tower that reaches heaven. In response to this,  God casts them all over the world and gives them  

many languages such that they cannot work together  to the same end ever again. This story’s meaning  

remains up for debate. One message, however, is  clear: humans must not try to become like God.

Lastly, there is something interesting  about Seizaki’s name: as we know,  

it shares its character with “seigi”. Together,  these kanji mean “the right justice”. So often,  

Magase is called “saiyaku”. “The worst  evil”. Both words imply a plurality,  

and as the show points out, our very idea of  what is right or wrong has changed drastically  

over time. Across the world or even in our own  countries and communities, we still differ.  

Babylon’s arguments about suicide and murder come  from the basic concept that, if nothing else,  

humans must treat life as sacred. This is treated  as a value all understand and should adhere to.

As for the suicide law, at least in Babylon, as of  the most recent episode, there is, as predicted,  

a drop in the number of people opting for it  post-legalisation. The idea that those who wish  

to die for whatever reason might be given the  right to do so comfortably seems just. And yet,  

as Ryuichiro points out during the debate, who  wants to live in a world where people won’t tell  

those in pain to keep fighting? Morally, it is  everyone’s right to take their life, but we feel  

an equal duty as fellow humans to act as a buffer,  for fear of feeling otherwise complicit. Our hope  

is that our direct opposition will force the  individual to reconsider. We all understand this  

concept -- it’s why helplines exist. We can see  the belief that opposition is necessary to come  

to the best decision embedded deep in our society,  from televised debates to the adversarial system.

Magase, then, embodies this resistance -- not  to any one argument, but to the stagnant and  

unchanging pillars of belief upholding modern  society. In this way Babylon digs right to the  

core of our values, norms and laws, and shows how  inconsistent, nonsensical and altogether fragile  

they really are. What did happen to lead Magase  down the path she has taken, and will there come  

a time when Seizaki makes similar decisions --  indeed, when he truly does understand her? What  

would it take for us to do the same? Above all,  Babylon is great because it makes us ask these  

taboo, complicated questions. It reminds us just  how many people do every single day. It shows how  

frightening it can be when the powers that guide  us are corrupted with ideals that are not our own.  

It shows how frightened we are of losing ourselves  -- after all, who are we if not the values we live  

by? And of course, it asks us to keep thinking.  Magase is not an exceptional villain because  

she represents any one moral, or even a lack  thereof, but instead their ultimate impermanence.

Babylon creeps into our mind and probes our sense  of security. It is insidious, chilling and utterly  

masterful in its demonstration of just how shaky  the foundations our societies and identities are  

built on really are -- so much so, even one  breath could send them all toppling down.