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kaigouHrm, still a bit of a draft. I'm sure I'm forgetting something, but I can't remember what. Tired!
mastery: gwing analysis, episodes 14
I've been thinking more about this episode than the other ones, though I'm not sure that'll come through in the commentary. As some of you may already be aware, I do tend to keep my eyes on the political field, since I live near enough to the Nation's Capital that our local news is everyone else's national (or world) news. We are in a time of what I'd call half-war, since although it's on the news, it has not significantly changed our culture in ways that I would identify as being part of "being at war" – rations, victory gardens, and suchlike. But the rhetoric espoused in this episode does bear resemblance to some of the more extreme voices currently at work in the US (and a few in Europe). So in terms of GW's applicability and relevance, that's one thing that struck me.
The other thing that really stood out is the definite possibility that so many people writing Treize in the fandom must've caught the good-looking guy being charming on the stage, in this episode, and ignored his words completely. I fail to see how anyone could register him as anything other than a manipulative, chillingly ruthless (and completely self-aware) bastard. When he's introduced by Dermail – to a room full of elegantly if archaically dressed people smacking somewhat of a spoiled bunch of prom-goers – Treize is described as "a brave knight fighting an endless quest for world peace."
My response, this time around: say what? How can one fight endlessly for peace? Doesn't that rather defeat the purpose of peace? Questing endlessly, striving on behalf of, etc. But the translaters most definitely picked 'fighting', and this is one of the few times I doubt it was a mistake. Given that Treize, at this point in the story, is already embroiled in overseeing an outright war between the Alliance and OZ, the concept of 'fighting' is no longer a theoretical one, but a fact. From the amateur translation, this is the transcript of Dermail's speech:
In the past, the World Federation asked for our financial help and to provide for the defense of Earth. We did our best to cooperate with them to achieve peace. They came to want a peaceful world as a result of our suggestions. This planet Earth has many problems which can't be solved by suggestions alone. What we need is a system of control. Control is achieved by ruling. Ruling will keep a peaceful society. The World Federation didn't try to rule. When you rule a society, you are required to bear much responsibility for it. They tried to remain free of this responsibility. We have returned to the traditional way of ruling society. The obscure ideas of equality and freedom collapsed in their society. It is time for us to begin to rule society once again. Our way.
This is the rationalization of dictators.
And consider Treize's words, in their entirety, from the official translation:
Some think OZ's military power and mobile suit forces may result in excess rule. "Rule" is commonly associated with oppression and arrogance. I think it's a way to keep ambitions under control. God let humanity run free. So what humanity needs is a system over and above God's. God couldn't have predicted this world of neverending wars. I'm sure God would understand the steps we're taking.
I'm not religious and even I can see that as immense hubris. Treize makes Une look like an amateur.
So it's no surprise when Noin tells Relena – and mildly ironic, at the same time – that these people cannot be reasoned with, and cannot discuss the matters rationally. In an animated story (or any other story), we can look at the notions expressed and ridicule the logic: creating a peaceful world of free and equal peoples allows conflicts, some of which cannot be settled through dialogue. Therefore, because wars must be fought, the 'free' and 'equal' elements of peace are obviously a flaw. To remove the flaw in peace, remove freedom and equality. Stomp on it, if necessary: fight war to achieve peace, which fundamentally, I think, is the conflict at the entire heart of the Gundam series. Can you – and how can you – achieve peace through war?
While researching my side-essay on Japan's pre-WWII history and mindset, I discovered that Japan's original elite – the Samurai – had created a series of underground organizations dedicated to returning Japan to its imperial strength through subjugating all of Asia under Japan's plan for Co-Prosperity. Really, that boils down to "do what we say, and you will proceed into greatness with us." If there were any way for the writers of this Gundam series to tell us that Dermail, Treize, and their ilk are the bad guys, I don't think you could get much clearer with the code than what I've quoted above. On top of that, for the Japanese audience, it's not just "these are the bad guys" but also a broad commentary on Japan's reasons for entering WWII: subjugation and domination of their area of the world, as a God-led (via the emporer) blessed people whose traditions, once imposed, would bring peace and prosperity to Asia. Given Japan's tradition, post-WWII, of refusing to see itself as the instigator but as a helpless victim, I'd say this sub-message is pretty damn gutsy.
At the same time, Relena's appearance is an anomaly. If you look at her in the rest of the series, she's always wearing skirts (at least so far), or a pretty dress, or a school uniform. When she appears in Sanq with Noin, she's dressed as a page-boy. Not, as the other women present at Romafeller are, in a long ballgown. She's taking on a masculine role, as is Noin. It's not only the flip-side of the 'peaceful, nurturing female role' where she shot a gun while wearing a ballgown, and now comes as a pacifist while dressed in masculine garb – but also the fact that she tried war (the gun) and now resorts to peace, where normally violence is the last resort, not the first. The other thing I noted is that Relena remains somewhat laconic; when Noin asks her what's bothering her, Relena simply points. A nice touch of characterization, and one often overlooked (including by me). Relena observes that "a frenzied death [in battle] is the most honest way". I'm not sure that translation is quite the right sense; as a writer, I think comparing it to the amateur translation and the English version would be somewhere in the middle, implying a passionate death is the most honest, one in which emotions rule one's actions. That echoes Heero's remarks in the previous episode, of following one's emotions being the rule of thumb for leading a good life.
The bottom line is that war, as viewed through Romafeller's lens, is both a game – making massive suits that mimic humans in order to make war more 'personable' – and not a means to an end, but an end in and of itself. OZ, Noin comments, wants to remain at war, because Treize only has strength when he's leading an army. In peace, he'd be right out of a job. And Romafeller has no problems with war, so long as they're fighting wars they can win. I am reminded – of all things – of Rhett Butler's observation in Gone with the Wind, that there is much money to be made from the destruction of a civilization. (Echoed later, actually, in Star Trek's Ferengi.) And thus with the military finding excuses for its existence, the elite can use continued war as the rationalization for their control, and through control, take over the economic and fiscal aspects of civilization as well.
Relena nails the difference between Treize and Heero: that Treize will sacrifice others' lives to gain power for himself, while Heero sacrifices his own life to gain safety for (protect) others. I've commented before on the kamikaze-like nuances of some scenes, such as Wufei and Trowa slamming into the convoy, or even Heero's own suicidal tendencies. But where the kamikaze struck as last-ditch 'this is all we've got left and we'll give everything to attack', the Gundams are operating on a derivation of the concept, but one step removed. The Gundams attack, but when OZ presses, the Gundams fall back, preferring to destroy themselves rather than be used – either as a weapon if captured, or as a pawn to justify hurting civilians. Although much of this would probably miss a Western viewer not exceedingly familiar with the ins and outs of the Pacific Theater during WWII, I wonder how much was obvious to Japanese viewers. If the kamikaze had not continued their attacks – along with the rest of Japan – would the US have struck with such final force? In other words, the strike upon civilians could be seen as exacerbated by the military's refusal to back down. In the Gundam world, the militaristic side backs down (or, at least, the Gundams do, and if they represent the good guys, they also in some ways represent, perhaps, what Japan should have done).
The writers continue to use Relena as an echo of Heero, but I think where some viewers interpret this happily as a sign of the beginnings of "twu wuv" or at least some kind of fated destiny, I think it's more a literary/storytelling maneuver. First, Relena puts away the dresses and takes on a masculine role. Second, when she stares down Treize, he sees Heero self-destructing, which harks back to her observation of Heero accepting death to protect civilians from OZ's retribution. A direct comparison by the animators, telling us in no uncertain terms that Relena is figuring out she'd make the same choice, as well, and that Treize recognizes this determination. He seems a bit shaken by it at first, but recovers, twisting her words into something political advantageous. And finally, Relena remarks while still at Romafeller that she could torch the entire building, but admits she's not ready for such scorched-earth tactics. Her reluctance for all-out war, at all costs, highlights her humanity and underlines Treize's (and Romafeller's) inhumanity.
A quick note about Zechs and Noin. I know there's often the impression that Noin follows Zechs about like a schoolgirl, crushing on him with a strong dose of hero-worship, but I'm still not seeing that. In private, she's willing to question him, but only so far; she seems to swing between two difficult roles, that of old school classmate and military subordinate. A subordinate would not ask her commanding officer when (or if) he'd come clean to his sister about their connection, but when he avoids the question, she lets it go, unlike a classmate would. The same pattern happens when she asks whether he'd destroy the rebuilt Gundam if Treize ordered. Her question is enough to indicate that she's aware of what's going on, and doubts him just enough to think he needs to have it pointed out, but won't overstep the boundaries completely. Their dynamics, frankly, are odd, and much of that is due to the school classmates vs. subordinate/commanding officer element.
And now, over to Trowa for a bit. When episode 14 begins, Trowa and Heero appear to be in a dark library, using the computer system to locate Sylvia Noventa. Heero drops a disk, and Trowa not only tells him to be more careful, but feels the need to clarify: "[take better care] of your body". Trowa put him back together, in some ways; he's not inclined to see Heero mess that up right away. And what I find curious is that Heero appears to assume that Trowa will accompany him on his personal quest, now that he's Gundam-free and able to act without his albatross.
In Marseilles, I noticed Trowa still has a strong punch to the gut, taking down an OZ soldier. Thinking ahead, this foreshadows his use of that move with Duo, who also gets punched in the gut by Heero. To the best of my knowledge, neither Trowa nor Heero ever punch anyone anywhere but in the gut. (Heero tends to strike men from behind, at the neck, when on attack, if I recall correctly.) This may be unrelated – and if anything, probably working on the level of the writers' and illustrators' subconscious at this point – but in the Asian world, the gut is the source of instinct/emotion, not the heart. In English, we say, "I have a gut feeling about this," or "My gut's telling me this is a bad idea." If you add in love and lust to that "gut sense" location, you've got the Asian concept of things, for the most part. So it's curious to me that Trowa and Heero strike to the gut, while Duo strikes to the face/intellect.
After taking out the soldier, Heero listens in on the headphones while Trowa waits. He's too aware that if OZ finds them, the Gundam is more of a liability than a help. What's odd is that while watching this bit, Trowa distinctly has a ka at the end of his line, which would indicate a question. In the official version, he says: "Can't let them find the Gundam," but in the amateur translation he asks Heero, "You don't want to let them know about my Gundam?" I honestly can't think of any reason he'd ask that; his expression is deadpan and thoughtful, not snarky or suspicious.
A minor note about the mobile suits in Marseilles: when Une had asked to take 'a few' mobile suits to kill Relena, Treize had suggested taking five. She'd reacted with surprise that he'd permit her to have that many. Now compare to how many are deployed at Marseilles – ten or fifteen, I think. When you consider that these are probably supposed to be million-dollar suits, equivalent to today's fighter jets in terms of cost – it says something about the all-out aspect.
Trowa ends up taking on the OZ suits in the tunnels below the city, rather than let them live having seen the Gundam. (It's also the first time we've seen any acrobatic-like action from him.) At the same time he's decimating the OZ attackers, he's reluctant to get between OZ and the Alliance. Technically, he's the enemy of both. Later while Heero talks to Sylvia, Trowa also discovers Heero's name – like Duo – by way of another person. I'm not sure whether Heero sees girls as less of a threat and so can know his name, or what, but I think that might be part of it. However, while Trowa observes Heero and Sylvia, he seems annoyed, even envious: "everything he does is thought-out". Seems like a bit of projection to me, since so far I've only really seen Heero being goal-oriented but a bit rash, while Trowa's constantly got a delayed reaction (Duo, Cathy) before he acts decisively.
Heero is sharp contrast to Trowa, and again I think the fandom perception of Heero as 'the perfect soldier' is possibly due more to Trowa's verbalizations than anything else. In fact, Heero is anything but, as I've said before, but it's Trowa who really insists the most on the idea that Heero is something above and beyond all expectations. Duo didn't; he seemed to swing between Heero being a few fries short of a happy meal and pretty damned amazing.
Tangential note: the animators did a good job on the almost-hitting-Sylvia segment, with the angles of the shots. Close-up on Heero jerking the wheel, which I take as a sign of his tunnel-vision. And then Sylvia standing up, as the truck comes back down to rest on its wheels, and we see the wheel land in the frame. And finally, when Heero gets out of the truck, his injured arm is at his side, held stiffly. For once in an anime, a character's bandages continue past one episode. Ninety percent of the time, it seems, characters heal amazingly fast from one episode to the next, and they're not even named Heero Yuy.
When Heero meets with Sylvia at the gravesite, he sets the flowers at her grandfather's grave but promptly seems to forget the grave is there. He dismisses it, it seems to me; the man is dead, and Heero's rather pragmatic about that aspect. The only forgiveness for him is from the living, and his focus is quickly transferred to Sylvia. His expression is almost placid, determined, but when he speaks her name, in that shot his eyes are opened wider, although he bears a slight frown when he speaks, as though he's a little surprised. When she takes the gun, he closes his eyes and bows his head; he's ready.
Her words are some of the sharpest and best in the series so far, when it comes to dealing with Heero. We've seen Relena be amazed at his strength, while Duo thinks he's going overboard, and Trowa is fascinated with Heero's determination. Sylvia's not fooled in the least: "you just want to take the easy way out!" It's hard to tell if Trowa understands this aspect of it; if he does, he doesn't say so – his compassion may be blinding him in that sense. But Sylvia has no such starry-eyed preconceptions about Heero. In her eyes, her grandfather was a hero, living and dying for what he believed in, while Heero is just a coward. But Heero doesn't even flinch, nor does he look up. His continued acceptance of her decision – whatever it may be – is the only answer (or solution) he has. When he tells her he's going to see the rest of the families, it's almost as though he's throwing her words back in her face, telling her that though she may think she's saved his life by not shooting, someone else may not agree. And in that, he would've gotten his way, getting what he wanted even if she sees that as a despicable act.
I didn't note Sylvia's line in the official translation, but in the amateur version, she says, as he starts to walk away: "War is just killing people. Why do you think that war is a beautiful thing?" He replies, "It's the only way I can live." And then we get a long shot, of Heero walking towards the audience POV, with Sylvia behind him, but he's turned a bit towards her, as if half-looking over his shoulder. And whether it's bad inbetweeners or on purpose, he looks distinctly startled: the eyes are opened significantly wide. In the amateur version, the verb is the same – living – so I think the irony is on purpose, and not the result of translation. He's asked her for a means to die, and says it's the only way of life he knows. The stark contrast seems to strike him for a moment, as if he understands the bass-ackwardness of what he's saying. But then just as quickly he bows his head, closing his eyes, and walks off. Once again he's retreated into passive fatalism, accepting that whatever happens is what happens, and willing to let that be his fate. I'd say that's one of the first flashes of a recognition that his logic is skewed.
This fatalistic acceptance – and even outright search for – death is echoed in Zechs' scenes, when the inspector comes looking for proof that the rebuilt Gundam has been destroyed. It's emphasized several times that Zechs loves mobile suits, which are the episode's stand-in theme for the means of war (if not the end). When yet another of Zechs' supporting staff, a mobile suit technician, says no one can beat Zechs in the Tallgeese, Zechs simply says, "there is one who can." His tone is almost pleased at this, and I'm reminded of his reluctance to let Noin tell Relena of Zechs' true identity (and his own unwillingness to say such, himself). He feels himself responsible, to some degree, for the current bloodbath, as someone who assisted OZ into its position of power via the coup. Like Heero, he's seeking redemption through a final, decisive act; for Heero, it's death at the hands of a civilian, for Zechs, it's death at the hands of someone with a purpose strong enough that it may rub off on him. And with Relena echoing Heero as well, down to her eyes carrying the same look as his upon self-destruction, I think the writers are finally smacking us over the head with the echoes set up in the first episode with all three entering the earth's atmosphere at the same time.
mastery: gwing analysis, episodes 14
I've been thinking more about this episode than the other ones, though I'm not sure that'll come through in the commentary. As some of you may already be aware, I do tend to keep my eyes on the political field, since I live near enough to the Nation's Capital that our local news is everyone else's national (or world) news. We are in a time of what I'd call half-war, since although it's on the news, it has not significantly changed our culture in ways that I would identify as being part of "being at war" – rations, victory gardens, and suchlike. But the rhetoric espoused in this episode does bear resemblance to some of the more extreme voices currently at work in the US (and a few in Europe). So in terms of GW's applicability and relevance, that's one thing that struck me.
The other thing that really stood out is the definite possibility that so many people writing Treize in the fandom must've caught the good-looking guy being charming on the stage, in this episode, and ignored his words completely. I fail to see how anyone could register him as anything other than a manipulative, chillingly ruthless (and completely self-aware) bastard. When he's introduced by Dermail – to a room full of elegantly if archaically dressed people smacking somewhat of a spoiled bunch of prom-goers – Treize is described as "a brave knight fighting an endless quest for world peace."
My response, this time around: say what? How can one fight endlessly for peace? Doesn't that rather defeat the purpose of peace? Questing endlessly, striving on behalf of, etc. But the translaters most definitely picked 'fighting', and this is one of the few times I doubt it was a mistake. Given that Treize, at this point in the story, is already embroiled in overseeing an outright war between the Alliance and OZ, the concept of 'fighting' is no longer a theoretical one, but a fact. From the amateur translation, this is the transcript of Dermail's speech:
In the past, the World Federation asked for our financial help and to provide for the defense of Earth. We did our best to cooperate with them to achieve peace. They came to want a peaceful world as a result of our suggestions. This planet Earth has many problems which can't be solved by suggestions alone. What we need is a system of control. Control is achieved by ruling. Ruling will keep a peaceful society. The World Federation didn't try to rule. When you rule a society, you are required to bear much responsibility for it. They tried to remain free of this responsibility. We have returned to the traditional way of ruling society. The obscure ideas of equality and freedom collapsed in their society. It is time for us to begin to rule society once again. Our way.
This is the rationalization of dictators.
And consider Treize's words, in their entirety, from the official translation:
Some think OZ's military power and mobile suit forces may result in excess rule. "Rule" is commonly associated with oppression and arrogance. I think it's a way to keep ambitions under control. God let humanity run free. So what humanity needs is a system over and above God's. God couldn't have predicted this world of neverending wars. I'm sure God would understand the steps we're taking.
I'm not religious and even I can see that as immense hubris. Treize makes Une look like an amateur.
So it's no surprise when Noin tells Relena – and mildly ironic, at the same time – that these people cannot be reasoned with, and cannot discuss the matters rationally. In an animated story (or any other story), we can look at the notions expressed and ridicule the logic: creating a peaceful world of free and equal peoples allows conflicts, some of which cannot be settled through dialogue. Therefore, because wars must be fought, the 'free' and 'equal' elements of peace are obviously a flaw. To remove the flaw in peace, remove freedom and equality. Stomp on it, if necessary: fight war to achieve peace, which fundamentally, I think, is the conflict at the entire heart of the Gundam series. Can you – and how can you – achieve peace through war?
While researching my side-essay on Japan's pre-WWII history and mindset, I discovered that Japan's original elite – the Samurai – had created a series of underground organizations dedicated to returning Japan to its imperial strength through subjugating all of Asia under Japan's plan for Co-Prosperity. Really, that boils down to "do what we say, and you will proceed into greatness with us." If there were any way for the writers of this Gundam series to tell us that Dermail, Treize, and their ilk are the bad guys, I don't think you could get much clearer with the code than what I've quoted above. On top of that, for the Japanese audience, it's not just "these are the bad guys" but also a broad commentary on Japan's reasons for entering WWII: subjugation and domination of their area of the world, as a God-led (via the emporer) blessed people whose traditions, once imposed, would bring peace and prosperity to Asia. Given Japan's tradition, post-WWII, of refusing to see itself as the instigator but as a helpless victim, I'd say this sub-message is pretty damn gutsy.
At the same time, Relena's appearance is an anomaly. If you look at her in the rest of the series, she's always wearing skirts (at least so far), or a pretty dress, or a school uniform. When she appears in Sanq with Noin, she's dressed as a page-boy. Not, as the other women present at Romafeller are, in a long ballgown. She's taking on a masculine role, as is Noin. It's not only the flip-side of the 'peaceful, nurturing female role' where she shot a gun while wearing a ballgown, and now comes as a pacifist while dressed in masculine garb – but also the fact that she tried war (the gun) and now resorts to peace, where normally violence is the last resort, not the first. The other thing I noted is that Relena remains somewhat laconic; when Noin asks her what's bothering her, Relena simply points. A nice touch of characterization, and one often overlooked (including by me). Relena observes that "a frenzied death [in battle] is the most honest way". I'm not sure that translation is quite the right sense; as a writer, I think comparing it to the amateur translation and the English version would be somewhere in the middle, implying a passionate death is the most honest, one in which emotions rule one's actions. That echoes Heero's remarks in the previous episode, of following one's emotions being the rule of thumb for leading a good life.
The bottom line is that war, as viewed through Romafeller's lens, is both a game – making massive suits that mimic humans in order to make war more 'personable' – and not a means to an end, but an end in and of itself. OZ, Noin comments, wants to remain at war, because Treize only has strength when he's leading an army. In peace, he'd be right out of a job. And Romafeller has no problems with war, so long as they're fighting wars they can win. I am reminded – of all things – of Rhett Butler's observation in Gone with the Wind, that there is much money to be made from the destruction of a civilization. (Echoed later, actually, in Star Trek's Ferengi.) And thus with the military finding excuses for its existence, the elite can use continued war as the rationalization for their control, and through control, take over the economic and fiscal aspects of civilization as well.
Relena nails the difference between Treize and Heero: that Treize will sacrifice others' lives to gain power for himself, while Heero sacrifices his own life to gain safety for (protect) others. I've commented before on the kamikaze-like nuances of some scenes, such as Wufei and Trowa slamming into the convoy, or even Heero's own suicidal tendencies. But where the kamikaze struck as last-ditch 'this is all we've got left and we'll give everything to attack', the Gundams are operating on a derivation of the concept, but one step removed. The Gundams attack, but when OZ presses, the Gundams fall back, preferring to destroy themselves rather than be used – either as a weapon if captured, or as a pawn to justify hurting civilians. Although much of this would probably miss a Western viewer not exceedingly familiar with the ins and outs of the Pacific Theater during WWII, I wonder how much was obvious to Japanese viewers. If the kamikaze had not continued their attacks – along with the rest of Japan – would the US have struck with such final force? In other words, the strike upon civilians could be seen as exacerbated by the military's refusal to back down. In the Gundam world, the militaristic side backs down (or, at least, the Gundams do, and if they represent the good guys, they also in some ways represent, perhaps, what Japan should have done).
The writers continue to use Relena as an echo of Heero, but I think where some viewers interpret this happily as a sign of the beginnings of "twu wuv" or at least some kind of fated destiny, I think it's more a literary/storytelling maneuver. First, Relena puts away the dresses and takes on a masculine role. Second, when she stares down Treize, he sees Heero self-destructing, which harks back to her observation of Heero accepting death to protect civilians from OZ's retribution. A direct comparison by the animators, telling us in no uncertain terms that Relena is figuring out she'd make the same choice, as well, and that Treize recognizes this determination. He seems a bit shaken by it at first, but recovers, twisting her words into something political advantageous. And finally, Relena remarks while still at Romafeller that she could torch the entire building, but admits she's not ready for such scorched-earth tactics. Her reluctance for all-out war, at all costs, highlights her humanity and underlines Treize's (and Romafeller's) inhumanity.
A quick note about Zechs and Noin. I know there's often the impression that Noin follows Zechs about like a schoolgirl, crushing on him with a strong dose of hero-worship, but I'm still not seeing that. In private, she's willing to question him, but only so far; she seems to swing between two difficult roles, that of old school classmate and military subordinate. A subordinate would not ask her commanding officer when (or if) he'd come clean to his sister about their connection, but when he avoids the question, she lets it go, unlike a classmate would. The same pattern happens when she asks whether he'd destroy the rebuilt Gundam if Treize ordered. Her question is enough to indicate that she's aware of what's going on, and doubts him just enough to think he needs to have it pointed out, but won't overstep the boundaries completely. Their dynamics, frankly, are odd, and much of that is due to the school classmates vs. subordinate/commanding officer element.
And now, over to Trowa for a bit. When episode 14 begins, Trowa and Heero appear to be in a dark library, using the computer system to locate Sylvia Noventa. Heero drops a disk, and Trowa not only tells him to be more careful, but feels the need to clarify: "[take better care] of your body". Trowa put him back together, in some ways; he's not inclined to see Heero mess that up right away. And what I find curious is that Heero appears to assume that Trowa will accompany him on his personal quest, now that he's Gundam-free and able to act without his albatross.
In Marseilles, I noticed Trowa still has a strong punch to the gut, taking down an OZ soldier. Thinking ahead, this foreshadows his use of that move with Duo, who also gets punched in the gut by Heero. To the best of my knowledge, neither Trowa nor Heero ever punch anyone anywhere but in the gut. (Heero tends to strike men from behind, at the neck, when on attack, if I recall correctly.) This may be unrelated – and if anything, probably working on the level of the writers' and illustrators' subconscious at this point – but in the Asian world, the gut is the source of instinct/emotion, not the heart. In English, we say, "I have a gut feeling about this," or "My gut's telling me this is a bad idea." If you add in love and lust to that "gut sense" location, you've got the Asian concept of things, for the most part. So it's curious to me that Trowa and Heero strike to the gut, while Duo strikes to the face/intellect.
After taking out the soldier, Heero listens in on the headphones while Trowa waits. He's too aware that if OZ finds them, the Gundam is more of a liability than a help. What's odd is that while watching this bit, Trowa distinctly has a ka at the end of his line, which would indicate a question. In the official version, he says: "Can't let them find the Gundam," but in the amateur translation he asks Heero, "You don't want to let them know about my Gundam?" I honestly can't think of any reason he'd ask that; his expression is deadpan and thoughtful, not snarky or suspicious.
A minor note about the mobile suits in Marseilles: when Une had asked to take 'a few' mobile suits to kill Relena, Treize had suggested taking five. She'd reacted with surprise that he'd permit her to have that many. Now compare to how many are deployed at Marseilles – ten or fifteen, I think. When you consider that these are probably supposed to be million-dollar suits, equivalent to today's fighter jets in terms of cost – it says something about the all-out aspect.
Trowa ends up taking on the OZ suits in the tunnels below the city, rather than let them live having seen the Gundam. (It's also the first time we've seen any acrobatic-like action from him.) At the same time he's decimating the OZ attackers, he's reluctant to get between OZ and the Alliance. Technically, he's the enemy of both. Later while Heero talks to Sylvia, Trowa also discovers Heero's name – like Duo – by way of another person. I'm not sure whether Heero sees girls as less of a threat and so can know his name, or what, but I think that might be part of it. However, while Trowa observes Heero and Sylvia, he seems annoyed, even envious: "everything he does is thought-out". Seems like a bit of projection to me, since so far I've only really seen Heero being goal-oriented but a bit rash, while Trowa's constantly got a delayed reaction (Duo, Cathy) before he acts decisively.
Heero is sharp contrast to Trowa, and again I think the fandom perception of Heero as 'the perfect soldier' is possibly due more to Trowa's verbalizations than anything else. In fact, Heero is anything but, as I've said before, but it's Trowa who really insists the most on the idea that Heero is something above and beyond all expectations. Duo didn't; he seemed to swing between Heero being a few fries short of a happy meal and pretty damned amazing.
Tangential note: the animators did a good job on the almost-hitting-Sylvia segment, with the angles of the shots. Close-up on Heero jerking the wheel, which I take as a sign of his tunnel-vision. And then Sylvia standing up, as the truck comes back down to rest on its wheels, and we see the wheel land in the frame. And finally, when Heero gets out of the truck, his injured arm is at his side, held stiffly. For once in an anime, a character's bandages continue past one episode. Ninety percent of the time, it seems, characters heal amazingly fast from one episode to the next, and they're not even named Heero Yuy.
When Heero meets with Sylvia at the gravesite, he sets the flowers at her grandfather's grave but promptly seems to forget the grave is there. He dismisses it, it seems to me; the man is dead, and Heero's rather pragmatic about that aspect. The only forgiveness for him is from the living, and his focus is quickly transferred to Sylvia. His expression is almost placid, determined, but when he speaks her name, in that shot his eyes are opened wider, although he bears a slight frown when he speaks, as though he's a little surprised. When she takes the gun, he closes his eyes and bows his head; he's ready.
Her words are some of the sharpest and best in the series so far, when it comes to dealing with Heero. We've seen Relena be amazed at his strength, while Duo thinks he's going overboard, and Trowa is fascinated with Heero's determination. Sylvia's not fooled in the least: "you just want to take the easy way out!" It's hard to tell if Trowa understands this aspect of it; if he does, he doesn't say so – his compassion may be blinding him in that sense. But Sylvia has no such starry-eyed preconceptions about Heero. In her eyes, her grandfather was a hero, living and dying for what he believed in, while Heero is just a coward. But Heero doesn't even flinch, nor does he look up. His continued acceptance of her decision – whatever it may be – is the only answer (or solution) he has. When he tells her he's going to see the rest of the families, it's almost as though he's throwing her words back in her face, telling her that though she may think she's saved his life by not shooting, someone else may not agree. And in that, he would've gotten his way, getting what he wanted even if she sees that as a despicable act.
I didn't note Sylvia's line in the official translation, but in the amateur version, she says, as he starts to walk away: "War is just killing people. Why do you think that war is a beautiful thing?" He replies, "It's the only way I can live." And then we get a long shot, of Heero walking towards the audience POV, with Sylvia behind him, but he's turned a bit towards her, as if half-looking over his shoulder. And whether it's bad inbetweeners or on purpose, he looks distinctly startled: the eyes are opened significantly wide. In the amateur version, the verb is the same – living – so I think the irony is on purpose, and not the result of translation. He's asked her for a means to die, and says it's the only way of life he knows. The stark contrast seems to strike him for a moment, as if he understands the bass-ackwardness of what he's saying. But then just as quickly he bows his head, closing his eyes, and walks off. Once again he's retreated into passive fatalism, accepting that whatever happens is what happens, and willing to let that be his fate. I'd say that's one of the first flashes of a recognition that his logic is skewed.
This fatalistic acceptance – and even outright search for – death is echoed in Zechs' scenes, when the inspector comes looking for proof that the rebuilt Gundam has been destroyed. It's emphasized several times that Zechs loves mobile suits, which are the episode's stand-in theme for the means of war (if not the end). When yet another of Zechs' supporting staff, a mobile suit technician, says no one can beat Zechs in the Tallgeese, Zechs simply says, "there is one who can." His tone is almost pleased at this, and I'm reminded of his reluctance to let Noin tell Relena of Zechs' true identity (and his own unwillingness to say such, himself). He feels himself responsible, to some degree, for the current bloodbath, as someone who assisted OZ into its position of power via the coup. Like Heero, he's seeking redemption through a final, decisive act; for Heero, it's death at the hands of a civilian, for Zechs, it's death at the hands of someone with a purpose strong enough that it may rub off on him. And with Relena echoing Heero as well, down to her eyes carrying the same look as his upon self-destruction, I think the writers are finally smacking us over the head with the echoes set up in the first episode with all three entering the earth's atmosphere at the same time.