Editorials
[Anime Horrors] Exploring the Horror of Survival and War in “Attack on Titan”
Having been six years since the anime’s debut, Attack On Titan just recently concluded its third season. Full of brilliant action sequences and jaw dropping reveals, season three not only elevates the show’s phenomenal journey, but has cemented Attack On Titan as one of the most compelling works of emotional media.
Now that I’ve had some time to digest all that was season three, I wanted to take this month’s Anime Horrors to talk about what has made Attack On Titan such a terrific anime. Specifically, I want to explore what Attack On Titan establishes from the very beginning, and how it continues to carry such significant and powerful themes throughout its narrative. Just as a friendly heads up: This article will spoil several moments throughout the show, including season three.
From the beginning, Attack On Titan introduces viewers to desperation and despair. Episode one does a solid job of introducing us to the anime’s world. Right away, viewers become aware of the existence of the walls, how humanity has ceased to exist outside of them, and the Titans. As interesting as all these plot elements are, they also come shrouded in mystery. We learn that what remains of humanity lives inside three gigantic walls, each separated into various locations and classes. From there, the episode uses effective pacing to convey the survival aspect that people of this world must endure. There is an excellent moment where we see the Scout Regiment return from a mission outside the walls, wounded and defeated. One soldier cries out about his lost comrades and the agony that comes in fighting.
Shortly after that moment we are introduced to the Colossal Titan, a gigantic being who destroys part of the outer wall. It is at this point where we begin to see the Titans in brutal action; it is chilling to look upon their surreal humanoid forms, as well as how remorseless they are in their violence. Given their lack of conscience, the Titans move from victim to victim, tearing and biting into them.
Episode one also establishes the gap in power between the Titans and the humans. In an action-oriented show, it’s common to have an equal power of good to combat an evil force; while the humans here have their Omni-directional mobility gear, allowing them to zip through the air, they still lack a remarkable amount of physical strength compared to that of the Titans.
We can’t help but feel main protagonist Eren’s pain as he watches his mother being eaten by a Titan. Even a Scout who begins to approach that same Titan, stands frozen as he looks upon it in horror. It is by episode one’s conclusion that we have the setup for the entire anime; Eren, Mikasa, Armin, and others, become Scouts in order to defeat the Titans. From that episode forward, AoT has since brought viewers along for a whirlwind of action and mystery.
However, while the action and numerous twists are intriguing, they aren’t the only big selling points. What also makes AoT so engaging is the element of survival that exists within its story. This element is thanks to the show’s use of emotion, as well as its world building.
Even as Eren and friends continue to grow stronger, each encounter with the Titans is a struggle. Settings throughout AoT involve locations with multiple directions to latch onto and swing from with ODM gear (but may require navigating narrow pathways or have numerous blindspots); there are also big expansive areas with plenty of room to run (but with minimal to no options to latch onto). Environmentally, AoT has always done a good job of presenting spaces where all is not certain; how does one handle a Titan attack in a big field where Titans are charging from both sides, and all the characters have are their horses?
One of the best uses of environment comes when, in season three, part of the Scouts face off against the Beast Titan. Given the latter’s incredible throwing skills, he constantly bombards the Scouts with shrapnel from gigantic boulders; numerous houses and bodies are torn apart as his projectiles fly through the air. This interaction has the Scouts’ backs against the wall (almost literally, as they stand just outside one of the walls). This interaction between the two forces creates a great deal of tension in watching.
The other excellent component to AoT is that of its emotional storytelling, done through world building and its characters. Through various small moments, we become aware of the political corruption that has taken place and impacted the people living within the walls. When it comes to moments of people hungry for food or mourning the loss of loved ones, the show exudes an air of misery. This misery is further enhanced when it comes to that of the personal drama and pain felt by our main cast.
Over the course of three seasons we’ve come to witness Eren and friends combat various challenges. We hold our breath and hope for the best as they dive into another battle. We watch as friends suffer and allies die, the group coming together to share their sorrows.
Years from now, when people look back and talk about the “greatest episodes in anime,” I think season three’s “Hero” will be one of them. When Armin finally discovers a way to weaken the Colossal Titan, not only does he implement the strategy, he sacrifices his life for the sake of the team. After latching onto the Titan’s teeth, we watch as the Colossal Titan begins to release heat and steam from its body; at this point, Armin is aware that the more heat the Titan lets off, the more its body mass will decrease. As the Titan continues to unleash more pressure, Armin holds on for dear life, his clothes being ripped off, his body lighting on fire. After his body finally gives in, the Colossal Titan has been weakened to the point that Eren can swoop in for the finishing blow.
This sequence is not only one of the most thrilling moments in all of AoT, but sincerely one of the most emotional moments in contemporary media. The scene works so well thanks in part to the time we’ve gotten to spend with these characters; while we’ve been through so many hardships with them, we’ve also been able to witness those moments where they find some light. Perhaps it’s a victory of some sort, or a peaceful evening where they can pal around, but AoT does a good job connecting the viewer to the emotions of its characters. We understand Eren’s anger, and we can sympathize with Armin’s desire to see more of the world. We feel the pain in each push back, and we take a big breath of fresh air when the team gains an inch forward. These emotional character elements, along with the show’s world building, are what help to establish AoT’s themes of survival.
Some time ago, I thought to myself, “I wonder how effective this show might actually be if it were set in modern times, or if they had more modernized weaponry.” Come to find out, the show actually *is* set in more (relatively) modern times. As perhaps the show’s greatest twist thus far, our main cast learns humanity has survived outside the walls and has continued to progress. This reveal comes to them when they discover the journals of Grisha Yeger, Eren’s father, that were hidden in his basement (a secret that has been teased since episode one).
Eren and the others finding out they are part of an ancient race known as the Subjects of Ymir, and that they’ve actually been imprisoned on an island by the Nation of Marley, which brings a whole new dynamic to the show. Even though there are still plenty of mysteries to uncover, the story has now grounded itself in a more realistic way; beyond being a fascinating plot point, the twist reveals to the viewer that the actions we’ve seen so far are all the result of human ignorance and hatred.
By the end of AoT’s third season, we learn more about Grisha’s past; before these flashbacks, it was already revealed (in a limited sense), that he was a person who came from beyond the walls. We see him as a young boy living in the nation of Marley with his family; we witness how Eldians (as Subjects of Ymir are commonly referred to), are treated like garbage. We see them having to wear armbands to identify themselves to the public and how the local police force treats them with brutality. The Marleys’ aggression towards the Eldians comes from a muddied history of conflict, the details having become manipulated and hidden from the public. The island that we’ve spent three seasons on is revealed to be a location where Eldians are sent into exile, tormented by the Titan population.
It is with this major discovery that AoT’s themes begin to expand in meaning; along with the nods towards political commentary that have been presented thus far, the show is beginning to show more representation into the horrors of war.
Season three ends on a brilliant scene where our cast of characters finally get to see the ocean. Ever since the first episode, it has been a dream of Armin’s to see the water. When everyone finally gets there, it is such a powerful moment of happiness and joy. This moment slowly dissipates, however, as Eren looks out over the sea; while everyone else is in awe and enjoying themselves, he realizes the fight is nowhere near done. Speaking to Mikasa and Armin, he says that when they were younger, they thought that beyond the sea was freedom; after all their struggle, however, he realizes that across the water are their enemies. Pointing out towards the horizon, he asks that if they are able to kill all their enemies, will he and his friends finally have freedom?
I think it’s by this point that the anime reaches a more intimate and relatable sense of existentialism. War is a horror that has taken the lives of millions of people and has scarred, both physically and mentally, those who have survived combat. By season three’s conclusion, Eren realizes that his entire existence has been that of surviving war. For Eren, the dread of the conflict to come lingers over him.
Attack On Titan has been nothing short of a wild ride. The numerous twists, the compelling drama, along with the thrilling action sequences, have all allowed for the show to leave a lasting impact in the mind of viewers. I truly believe that Attack On Titan represents some of the finest anime among contemporary titles. This is an anime with layers of intrigue that are not super apparent at first glance; in the beginning, it feels like an action-survival story, but later begins to weave in political drama. Overtime, the show has begun to further explore universal fears and existential struggles: Attack On Titan is a story about how people view the world and others, humanity’s existence as it relates to war, and who writes history.
If you’re itching to know what happens after the conclusion of season three, the Attack On Titan manga is well into the events that anime viewers will get to see come 2020 when the show returns.
Moving forward, Anime Horrors will appear as a bimonthly column. See you all in September and thank you for reading!
In this day and age, the word “troll” is often used to describe various online nuisances. Yet as abundant and irksome as the modern troll can be, they aren’t usually as fearsome as their mythological counterparts. I’m not talking about the small and gentler versions that have become more common to see in media. No, there are much bigger and scarier trolls out there—and André Øvredal’s movie Troll Hunter is one of the best places to find them.
It doesn’t take long for Troll Hunter (or Trolljegeren) to dump the Blair Witch Project-esque setup and aim for something a lot fresher. The trajectory of the story is augmented by Otto Jespersen’s character Hans, the titular Troll Hunter. The second he comes barreling out of the deep, dark woods and shouts “troll” at the camera, this movie takes a turn into what feels like uncharted territory. Not only subject-wise, but also conceptually.
For fantastical and made-up subject matter in cinema, found footage is a fast way to add a guise of believability. After all, what we accept to be the most crucial aspect of documentaries—the truth—rubs off on pseudo-documentaries, despite our understanding of the pretense involved. That is what Øvredal delivered with Troll Hunter: a movie so convincing that some viewers wondered if trolls really do exist. So, had this been straightforwardly made, it likely wouldn’t have been as effective. Conventional narratives would be more inclined to treat something like trolls as flat out unreal, and never try to convince the audience to think otherwise.
Hans petrifies the three-headed Tusseladd troll.
The viewers, like the characters trailing Hans, are quickly thrown into the deeper end of that extraordinary story. They have to process all this new information while staying on the go. So, although there is no significant amount of meandering, narratively or physically, there is still a good amount of atmosphere, not to mention tension building. It’s never anything frightful, but then again, Troll Hunter isn’t your standard offering of horror; it’s more on the low end of the dark fantasy spectrum. We aren’t ever spirited away to a faraway world—we stay in rather familiar surroundings, as well as dip into those less so. The outcome is a movie where you’re constantly more in awe than in terror.
As fantasy fiction might do, Troll Hunter prefers not to deal with incredulity. There is no time to waste on doubt, as interviewer Thomas (Glenn Erland Tosterud), soundperson Johanna (Johanna Mørck), and cameraman Kalle (Tomas Alf Larsen) all follow Hans around, recording whatever this character is willing to reveal about his bizarre job. Of course, the Troll Hunter himself is not an open book; in that respect, the diegetic documentary fails to fully capture and unpack the more interesting of its two subjects. Yes, all those giant, monstrous trolls are indeed incredible, but understandably, your mind wanders to their pursuer. What kind of person signs up for this gig and then chooses to stick with it for so long?
Reviews have called out Troll Hunter for its lack of character development. In regard to Thomas and his fellow documentarians, that criticism is valid, but bear in mind, they aren’t the focus of the story, either. Meanwhile, Hans is a well-crafted character. At least better than first realized. Before he was introduced, Hans had already grown tired of the troll grind. Fed up with that low compensation for his services, resentful of the bureaucracy, and wanting to expose his employer on a large scale, Hans’ discontent is glaring.
Then there are those finer details about the Troll Hunter, such as that indifference to both the natural splendor of his everyday surroundings and the affections of an obviously smitten colleague, that also suggest some level of despondency. So it is fair to say this movie doesn’t feature any sizable growth for its characters; however, the namesake isn’t underwritten. No doubt, putting a real-life character like Otto Jespersen in that role is partly why Hans is so fascinating—maybe even relatable.
Otto Jespersen as Hans the Troll Hunter.
There is always a small risk whenever using the term “mockumentary” to describe a found-footage movie, as the word could imply humor where there is none. In the case of Troll Hunter, the term’s usage is appropriate. Some folks have claimed the English-dubbed version has the more comedic tone, however, the Norwegian cut isn’t exactly humorless. Apart from the trolls’ absurd appearances, this is a movie where the characters nearly choke on the monsters’ farts, and Christians are like walking targets. Hans’ complete apathy towards everything is another cause of laughter. Overall, the comedy is intentionally dry and inconsistent. Unfunny, though? Absolutely not.
In a movie where endemic creatures are maltreated, as well as disavowed from living freely and peacefully, it’s hard not to notice the ecological message buried beneath the story. In addition to that is the unmistakable political satire. There is this whole business about intrusive and unsightly power lines—like trolls, they’re big blemishes on the land—that leads to what is perhaps the movie’s funniest moment. The scene in question is that one where certain electric lines, the ones secretly being used to keep the trolls at bay, go in a loop and don’t actually send power to any residents. Yet the monitors of said lines don’t find this at all weird. So it stands to reason that Øvredal was having a go at those who accept the government’s doings without question.
Looking past the fact that trolls aren’t actually real, this movie is an enlightening source of information. And not just for international audiences; Norwegians, too, get schooled about their homeland’s own mythology. It’s also evident from everything on screen that Øvredal and his crew were enthusiastic about the topic. The creature designs are the most indicative of that zeal; those imaginative yet myth-accurate manifestations are equally amusing and grotesque. One second you’re laughing at their phallic noses, the next you’re white-knuckling during a hairy sequence. Most surprisingly is how well the trolls’ visual effects hold up after fifteen years. It’s not all spotless, but on the whole, they remain impressive.
Vouching for a mockumentary about trolls isn’t easy, but those who do come around and give it a shot will more than likely be grateful for the recommendation. For Troll Hunter is a real find in that vast and varied genre we call “found footage“.
A bridge troll reaches up for food and finds Hans decked out in armor.
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