진격의 거인 나치 이데올로기와 사회에 대한 탐구

### 진격의 거인 칼 슈미트의 논란의 여지가 있는 정치 철학에 대한 탐구
* 👹 진격의 거인은 인간의 죽음을 상기시키는 살아 있는 존재인 **타이탄을 통해 죽음의 본능적인 실체**를 탐구합니다.
* 🏰 이 시리즈의 가장 어두운 요소는 **나치 철학자 칼 슈미트의 정치 이데올로기**를 반영한 **벽 뒤의 사회 건설**입니다.
* 🤝 슈미트의 철학은 **갈등과 불평등, 친구와 적의 명확한 구분, 주권**을 안정된 사회의 핵심 요소로 강조합니다.
* 🧗 이 드라마에서 계급은 문자 그대로 벽으로 분리되어 있으며, **민족주의와 생존, 질서 유지에 초점**을 맞추고 있습니다.
* 🏞 타이탄은 인간들 사이의 끊임없는 전쟁과 내분을 막는 **공동의 적**입니다.
* 👑 진격의 거인에서 주권자는 **비상사태를 선포**하고 대의를 위해 **법에 예외를 둘 수 있는 권한**을 가집니다.
* ❓ 슈미트의 정치에 관한 쇼의 방향은 불확실하며, **향후 시즌에서 그의 사상을 비판하거나 복잡하게 만들 수 있습니다.**
* 🔮 "모든 타이탄이 갑자기 사라진다면 어떻게 될까요? **사회가 무정부 상태로 전락**할까요, 아니면 **해방과 더 큰 평화**를 위한 기회가 될까요?"

'진격의 거인'은 나치 이데올로기가 반영된 사회를 탐구하며, 타이탄을 도구로 삼아 안정을 유지하고 죽음과 실존적 대결을 벌이는 이야기입니다.

What’s up Wisecrack? Jared here. Today we are talking about a colossal series
with amazing fight scenes, a shit ton of crying cowards, and gargantuan steamy ken dolls:
Attack on Titan. Many anime properties explore death, but few
ruminate on the visceral reality of it quite like Attack On Titan. In a way, Titans are the physical personification
of death: walking reminders of human mortality—a sort of existential confrontation with the
inevitability of demise. It’s pretty horrifying. However, the darkest element of the series
isn’t the eerily introspective confrontations with death or the fact that Titans have no
genitals—it’s the construction of the society behind the walls itself. The show is set in an anachronistic quasi-Germanic
society full of German architecture, German war cries, and characters with German names. But the similarities to German history don’t
stop there. Upon closer inspection, the political ideology
of this society lines up with the beliefs

of one of the most notorious Nazi philosophers:
Carl Schmitt. Now just to be clear: Schmitt’s a real piece
of shit. Dude was a card-carrying Nazi, unrepentant
to the end. We are in no way saying that his ideas are
good, nor is Attack on Titan saying they're good. We are saying that the show can be understood
as an exploration of his ideas. What makes Attack on Titan so dark is that
it presents us with a society faced with a horrific enemy that maintains stability
while reflecting Nazi ideology. Is Attack on Titan one of the most provocative
shows out there? Not because of the balls-to-the-wall violence,
but because it dares to ask: is it possible that in this dystopian society—a controversial
philosophy may be the only thing keeping the fabric of society from collapsing? Welcome to this Wisecrack Edition on Attack
on Titan. Spoiler alert, and oh yeah- We’re only covering
the TV show, not the manga.

They’re going to be different anyway. Also, we had to use dubs so we don’t have
subtitles all over the video. So please, don’t freak out. Central to Schmitt’s philosophy and Attack
on Titan’s civilization is the concept of what he calls “the political.” For Schmitt, there are three concepts that
situate the political and create a stable society: conflict and inequality, clear distinctions
between friends and enemies, and sovereignty. The first thing that Schmitt highlights is
that conflict, division, and inequality among human beings is inevitable. Central to this is an understanding that humanity,
in its most basic nature, is savage and hellish. People are essentially shitty and life isn’t
fair. Mikasa, Armin, and Eren all make arguments
about the way the world is that are completely in line with this thinking. When young Mikasa is kidnapped, it is the image
of a mantis eating a moth and her father with

a duck he hunted, that kick starts the killing
spree that saves her and Eren. It's a constant theme that the show returns
to: it’s a dog-eat-dog world, and you have to fight to survive. This constant war against all is in line with
philosopher Thomas Hobbes’ understanding of humanity’s most basic nature. We’re all monsters at
heart, and social structures are the only thing that can keep us at bay. Schmitt takes things a step further: it isn’t
just that people are terrible; rather, hostility is unavoidable. For Schmitt, inequality is sort of inevitable.
People will always be smarter, fitter, more attractive, and it’s not the job of politics
to fix it. If society is to function properly, according
to Schmitt, it doesn’t make sense to attempt to eliminate antagonism or inequality because
they will always exist. Instead, a strong sovereign ought to be concerned with maintaining order
and control of the population, focusing on

social issues like inequality misses the point, for him. In Attack on Titan, we see this first hand: classes are separated by literal walls. Each wall section is its own caste system. The people in wall Maria are not as safe as the people inside wall Rose and Sena. While people are being eaten in Trost—people in the inner city are chillin in castles, playing chess and shit. The scouts venture past the wall and risk their lives while the MP’s in the inner walls barely know how to use their Omnidirectional Mobility Gear—they just sort of get drunk all day. Most media narratives would see severe inequality as something to be repaired, but in Attack on Titan- we haven’t seen much evidence of that. At least yet. Trying to alleviate things like inequality, for Schmitt, is a distraction from what’s really important for “the political”: nationalism and survival—and this is where the parallels between the series and Schmitt get pretty creepy.

Nowhere is this focus on the nationalistic
duty of the warrior class more apparent than in the theme song for the first half of season
1, which looks and sounds like “triumph of the will” level nationalistic propaganda. The lyrics of the song are about fighting
past defeat, trampling over corpses, having the will of starving wolves, and piercing scarlet
holes in the twilight with bows and arrows, over scenes of the soaring military and crazy
battle scenes. It may as well have been a post-World War
I rallying cry for the defeated German people. Which gets us to Schmitt’s second element
of the political: a clear distinction between friend and enemy. The idea is—good governments need an enemy
to struggle against without completely dominating them. The titans provide a sort of check against
total conquest beyond the wall. Without a clear enemy, human nature drives
a war against all: an unending civil war full of war crimes, dehumanization, and the eradication
of your own people becomes an inevitability.

The existence of a clear enemy impedes the
quest for constant war and infighting. Both Erwin and Pyxis are concerned with this
friend-enemy distinction. On the wall with Eren, Pyxis makes this very
comment about the necessity of the Titans as the enemy: Both Pyxis and Erwin Smith worry that the
Titans aren’t the actual enemy—that they are not the real threat—the real threat
is humanity itself—the Titans merely keep people in line. They give everyone a common goal. Now, the purpose of the Titans is not yet revealed in the show. We know there is a face in the wall, and that
there are abnormal Titans that are controlled by people. It could be the case that they are merely
tools of the elite to lower the population-- they could be trying to break people out of their
cages--or they could just be evil. If Annie is in fact working for government
officials to create emergencies and lower

population. If the rogue Titans are in fact part of an inside conspiracy, then what we have is a government-fabricated enemy, a threat that is a Schmitt-ean wet dream, an intelligent, strong, naked enemy worthy of battle that will keep humanity from fighting each other. Also, incidentally, if this were the case, it would be a great criticism of Schmitt’s politics. In a way, the Titans could be read as an allegory for the perfect scapegoat, as the source of all fears that mobilizes a population and gives the people in control their very power. Even in the show’s theme of freedom, it reflects Schmitt’s friend-enemy distinction. The scouts badge is the wings of freedom. Eren and Armin are constantly crying about a life beyond the walls. And humanity is likened to penned-in cattle. More than that, freedom and community, for Schmitt, is defined as denying cowardice.

the face of impending death — joining the scouts is a sort of liberation from the fear of living inside the wall waiting to die. The desire to join the scouts together cements Eren’s class as a community — but not just any community — a political community that gives life a purpose... the battlefield. For Schmitt, a political community is defined by the ability to kill your enemies for the sake of your friends or dying at the hands of your enemies for the sake your friends. The scouts that risk their lives are like the troops in the Alfred Tennyson poem “The Charge of the Light Brigade.” Yeah, Attack on Titan characters quote Shakespeare and Tennyson. Having him quote Tennyson is particularly prescient - “The Charge of the Light Brigade” is an exemplar war poem about dying with your comrades in battle — especially given how many scouts die fighting Annie. This sense of camaraderie and political community is what binds together the remnants of humanity.

rather than letting them tear themselves apart. However, the friend-enemy distinction gets
a little fuzzier as the show progresses. Eren and Annie being Titans erodes the clear
lines between a foreign enemy and a domestic friend—it’s why the partial transformation
scene: when Eren saves Mikasa and Armin from cannon fire, is essential. It shows what happens when there isn’t a
clear division between human and titan—the line between who needs to be protected, and
from what, blurs, and it makes the task of securing the population near impossible. The final element of Schmitt’s, the political,
is the power of the sovereign itself. Sovereign entities have the ability to declare
states of emergencies that justify sacrificing populations for the greater good—like sending
a battalion to reclaim wall Maria. The ability to declare this kind of state
of emergency is crucial for the long-term stability of most societies: you don’t want
political bickering getting in the way of

fighting the giant monster about to murder
you all. The sovereign can also make exceptions in
the law—like special citizen status for the people to live inside wall Sina. In Attack on Titan, we don’t have a very
good explanation of how the political works outside of the military--it appears that the
current leadership structure is based on marshall law and military rule. Sure, we know that Premiere Dhalis Zachary
is in charge of the military tribunal that has the power to execute Eren—and we know
that the wall cultists have grown in power since the attack on Shiganshina—but the
actual structure outside of military control hasn’t been revealed. We do know that the leaders send millions
to their death to ensure the safety of the rest of the people inside the walls. Pixus explains that the retaking of wall Maria
was little more than a thinly disguised purge to ease the stress from the massive influx
of refugees--it was a decision to kill off

part of the population for the greater good. As twisted as it sounds, for Schmitt, the
sovereign must maintain this ability to do even the most horrendous of things if order
is to be maintained. So wisecrack—with this in mind, I invite
you to ponder this: what would happen if all the Titans suddenly disappeared? Would society devolve into anarchy? Would there be a civil war inside the walls
that would be even more brutal than the occasional Titan attack? Or would it be an opportunity for liberation
and greater peace? For Schmitt eradicating your enemy isn’t
an option because there is always a drive for warfare, another enemy to be found. Eliminate one enemy and another one pops up
until there are no people left to kill but your own population. Of course, we should be wary of a guy who
warned about unending war while being a principal theorist for the Nazi Party. There is still a pretty robust debate in academia
about the redeemability and use of Schmitt’s

work for understanding international conflict. People still invoke Schmitt when discussing
executive power, the pitfalls of our current system, and even the war on terror. Attack on Titan could go in so many directions. It could reverse course and become a scathing
criticism of Schmitt-style politics, or it could simply complicate them. We’ll just have til season two to find out!

The Philosophy of Attack on Titan – Wisecrack Edition

Wisecrack

진격의 거인에서 죽음과 사회에 대한 어두운 탐구

진격의 거인은 인간의 죽음을 상기시키는 타이탄의 의인화를 통해 죽음의 본능적인 현실을 탐구합니다.

이 드라마의 가장 어두운 측면은 나치 이데올로기를 반영하는 사회를 묘사하여 논란의 여지가 있는 철학에 대한 생각을 자극하는 탐구를 제시한다는 데 있습니다.

칼 슈미트의 철학과 쇼의 문명 모두의 중심에는 피할 수 없는 갈등, 친구와 적의 명확한 구분, 주권을 강조하는 '정치적인 것'이라는 개념이 있습니다.

진격의 거인에서 투쟁과 불평등이라는 주제

이 쇼는 토마스 홉스의 인간관과 맞닿아 있는 약육강식의 세계를 반영합니다.

또한 불평등은 피할 수 없는 것이며, 사회 문제를 해결하기보다는 민족주의와 생존에 초점을 맞춰야 한다는 슈미트의 신념을 반영합니다.

이 시리즈는 친구와 적의 명확한 구분이라는 주제를 강조하며, 벽 너머의 완전한 정복에 대한 견제 역할을 하는 타이탄의 모습을 묘사합니다.

'진격의 거인'에서 적의 중요성

파이시스와 어윈은 타이탄이 진짜 적이 아니라 인류를 단결시키고 내분을 막기 위한 도구일지도 모른다고 우려합니다.

타이탄의 진정한 목적과 정부의 행동과의 연관성은 드라마에서 여전히 모호합니다.

타이탄이 공동의 적이라는 개념은 슈미트의 친구-적 구분 사상을 반영하며, 완벽한 희생양에 대한 우화로서 인구를 동원하고 통치자에게 권력을 부여하는 역할을 합니다.

진격의 거인에서 아군과 적의 경계가 모호해지다

에렌과 애니의 이중 정체성은 외국의 적과 국내의 친구의 구분을 모호하게 만듭니다.

시리즈에서 묘사된 것처럼 비상사태를 선포하고 법에 예외를 둘 수 있는 통치자의 권한은 사회 안정을 위해 매우 중요합니다.

진격의 거인에서 군사 통제권 밖의 정치 구조는 명확하게 설명되지 않지만, 성벽 안의 안전을 위해 수백만 명을 희생하려는 지도자들의 의지는 분명합니다.

'진격의 거인'에서 타이탄의 실종으로 인한 잠재적 영향

타이탄의 갑작스러운 실종으로 무정부 상태나 내전의 가능성 등 사회에 미칠 잠재적 결과에 대한 의문이 제기됩니다.

나치당과의 연관성에 대한 우려에도 불구하고 슈미트의 이론과 관련하여 적을 박멸한다는 개념과 지속적인 전쟁 추진에 대한 논의가 이루어지고 있습니다.

국제 분쟁을 이해하는 데 있어 슈미트의 연구와 행정권력 및 테러와의 전쟁에 대한 논의에서 슈미트의 연구가 갖는 관련성에 대한 논쟁이 계속되고 있습니다.