Ai Magase: The Meaning of Evil
Summary
TLDRThe 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
🎬 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.
🔍 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.
🎭 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.
🤔 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.
🗣️ 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.
🏛️ 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.
Mindmap
Keywords
💡Psychological thriller
💡Political scandal
💡Symbolic character
💡Expectancy violation
💡Social norms
💡Villain
💡Justice
💡Suicide law
💡Evil
💡Yandere
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.
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