Bone Flowers: Global Folklore of The Living Dead

Death is as common a theme in the world of the arts as it is an event in everyday life. The point where a single, living being is separated from other living souls has become as common a subject of literature and art as any other aspect of human life. It has also inspired in countless cultures various concepts on what happens beyond the mortal coil. This is understandable, as the dying tend to feel anxiety at the idea of death. The bereaved, for their part, go through a period of grief and separation anxiety. Arguably, this aspect of human psychology regarding death can be used as an explanation for the widespread – nearly universal, by some accounts – tales of the “undead.”

Achieving or stumbling upon tales of life after death appears in almost every major continent. Ghosts are prominent players in these tales, naturally. These incorporeal beings generally are attributed to have a form of separation anxiety, fundamentally attached to something they valued or held dear in life. The unwillingness to leave also grants them the ability to manifest in the mortal world on a variety of levels. While Western concepts of ghosts are incapable of influencing the mortal world on a physical level, they are more than able to damage the mental health of the living. In contrast, Chinese ghosts come in a variety of forms, but all invariably are capable of visiting physical harm upon the living.

It is not only the spirit that is subject to being turned into one of the “undead,” as the living tend to attach emotions to the body as well. Zombies are corpses brought back from the dead through arcane and occult rituals, are a prime example of this. The drauger of Norse mythology also fits into this category, as they are corpses that resist being brought to the burial mound or refuse to stay buried. Some analysts of the literature and mythology surrounding these beings have noticed that most people regard these creatures with fear and anxiety. There are some that theorize that this stems more from cultural and religious norms about death than society at large. Most people have come to believe that a the bodies of the departed should be incapable of motion, so an animated corpse is something to be feared.

However, this apparent idea does not extend to forms of “un-death” that are both spirit and flesh, such as the Romanian strugoi – more commonly referred to as vampires. These creatures are often seen as having both the body and the soul of the deceased, but require something else to continue corporeal existence. This is apparently a prevalent phenomenon among various cultures, though the substance varies from culture to culture. Europeans consider the blood as the sustaining factor in the existence of vampires, while most African equivalents of the creatures subsist on human feces or bones. Regardless, these creatures are traditionally regarded with fear and anxiety by mortals, particularly the ones that are being used as “food.” While the vampire image popularized by Hollywood's version of Dracula has become a creature of wonder and sensuality, most other variants are still objects of horror.

One interesting tangent to the “vampire” category above would be the variations to be found in Chinese and Japanese culture. The jiang shi (hopping corpses) of China, for example, are comparable to their Western counterparts, except that it is not the blood in and of itself that feeds them. Rather, the jiang shi are said to lack something called chi – the essence of life – and require taking it from the living to stay extant. Most often, the strength of human chi is concentrated in the blood. The end result is that the victim is drained of all blood, as consequence of the feeding. The gaki of Japan are similar creatures, but are often described as being more human in countenance than the jiang shi. Also, they take the chi directly, leaving a body that appears to have died while asleep.

Regardless of what form or variation is taken, the state of “undeath” is a prevalent one in the various cultures of the world. The fear and anxiety associated with death often attaches itself to these mythical creatures, even if pop culture has made some forms more appealing than others. In some ways, the undead are considered a means of coping with the separation anxiety people experience around dying people. At the same time, they also act as allegories for what could happen if certain cultural and religious norms are ignored in life.

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Anno's Evangelion: A Study In Mental Disorders

Hideaki Anno's magnum opus of an anime, “Shin Seiki Evangelion” has long been the subject of debate for anime fans. There will always be conflicts on whether the show reinvigorated a stagnating industry or if it was all hype. There will be fans arguing one way or another about the validity of the countless revivals and reinterpretations of the original material, including the latest CG-heavy movie project entitled “The Rebuild of Evangelion.” The debate on whether one of the female leads is better and more attractive than the other is likely never going to end. However, the fact that all of the characters exhibit some extreme examples of severely stunted mental health is a point of great interest to the fans. The latest installment can be viewed as a protracted case study into just how warped a human mind can become.

For a good introduction into this facet of the show, there's always the lead character, Shinji Ikari. The boy exhibits signs of incredible social anxiety, being completely unwilling to engage in social activities at the onset of the show. In some ways, his politeness and tendency to apologize repeatedly for things that are not his fault, as well as apologizing for his earlier apologies, can also be seen as a link to his performance anxiety. Indeed, throughout the bulk of the show, he exhibits signs of performance anxiety when tasked with piloting the massive bio-mechanical constructs known as “evangelions.” The fact that his social anxiety prevents him from truly opening up to anyone makes it difficult for him to find ways to release his tension and fear, even to his trusted guardian. There are a few fans that have theorized that Shinji's myriad of psychological issues also contains Oedipus complex, though the show merely hints upon this.

An interesting mirror to Shinji is one of the female leads, Asuka Langley Soryu. She has suffered the same trauma as Shinji, mainly the death of the mother and rejection by the father. However, her social anxiety seems to have taken the opposite route as Shinji's, giving her a more extroverted and vocal personality but pushing away people when she subconsciously feels that they are getting too close. She also exhibits extreme status anxiety when piloting the “evangelion” units are concerned. She is highly concerned with maintaining her status as the most effective pilot, going to great lengths to stay that way. However, when the data reflects Shinji's performance as being superior to hers, she goes berserk and insists that such an event is impossible. The situation was worsened when Shinji invariably rescued her, as she was rendered incapacitated by a mental attack that forced her to deal with her myriad of issues, all of which she had pushed under the surface. Her mental health eventually collapses in the wake of those events, causing her to rapidly progress from self-doubt, to depression, and finally to a complete mental and emotional breakdown. In the original incarnation, she never actually recovered.

In some ways, Shinji's guardian, Misato Katsuragi, has also experienced stunted mental health. The death of her father traumatized her, such that she was unable to speak for several years after the incident. Her attraction to a co-worker, Kaji, is an overt sign of Electra complex. Characters within the show have pointed out that Misato's attraction to Kaji stems from his resemblance to her father, both in appearance and personality. She has also exhibited some signs of separation anxiety, as evidenced by her unwillingness to sacrifice Shinji in battle, even if it would cost potentially thousands of other lives to save him. Her constant worrying over this fact is taken as evidence of the problem. Her outgoing and happy personality is also hinted to be her way of coping with some form of social anxiety, which manifests by her refusal to allow herself to get emotionally close to her. It is also implied that she understands this, as she notes that any attempt to develop her parental relationship with Shinji would only result in both of them getting hurt. Even the parental nature of her relationship with Shinji is questionable, particularly due to her statements implying that she will sleep with him if he does as she says and saves the world in the “End of Evangelion” movie.

Rei Ayanami, another of the lead characters, is generally viewed as a “poster child” for a number of stunted mental health. She is often seen being incapable of feeling emotions, or at least incapable of expressing the emotions she feels. However, this lack of emotion from her has only added to the speculation on what her myriad of psychological issues are. She exhibited Thanatos, the so-called “death instinct,” on one occasion. Her lack of friends and social contacts has been interpreted by some as being a product of her own social anxiety, which is in turn aggravated by her apparent lack of emotions. Indeed, it is generally assumed that the other students tried to initiate social interaction with her, but that she herself prevented it from going further than that. However, unlike Shinji and Asuka, she does not seem to exhibit anxiety problems regarding her ability to pilot an “evangelion,” though whether this is because she does not feel it or she is incapable of expressing her frustrations is debatable.

All of the other major figures in the show exhibit signs of mental health problems in most incarnations. It has often been stated that the characters are motivated and controlled by their anxiety disorders and psychological issues, with most of them being where they are because of their problems. The anime was heralded as revolutionary because of its psychological and religious themes, as well as showing that the mecha sub-genre could have a deeper meaning than “giants robots fighting other giant robots.” The point is arguable but, even a decade after the show was first released, it is arguable that no anime has had characters as psychologically warped as “Evangelion.”

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A Garden Of Roses: Character Relationships In “Marimite”

While Japanese animation is better known for having flashy special effects and obscenely choreographed fight scenes, there are other shows out there that offer a very distinct visual treat. Some shows become sleeper hits, never really making the headlines but having special places in the hearts of more...discerning anime fans. Among these shows is “Maria-sama ga Miteru,” (affectionately called “Marimite” by fans) which is a show that focuses heavily on the characters' everyday lives, relationships, and personal complexities. Unlike most other anime, “Marimite” has no plot to follow, with the story instead taking time to examine each character in turn. The focus often falls on the relationship a character has with their closest companion, but can also delve deeply into the themes like how their connection with others gives them emotional stability. Some episodes highlight the depth of the devotion that the characters have for each other.

For example, several different chapters delved deeply into the emotional trauma that one of the major characters experienced. The story is one that is told in every high school, with two lovers being forced apart for some reason. In the case of “Marimite,” it could be boiled down to one-sided anxiety in the affair. One of the girls in question, Shiori, was afraid of what would happen if she let go of her lifelong dream and decided to abandon her budding romance with Sei in favor of the stability of pursuing a goal. The nature of the relationship and the ominous end was studied in an early chapter but her recovery, thanks to her friends, was examined more deeply later on in the story. For most fans, that collective “story arc” is considered to be among the chief highlights of the show and is cited as among the most emotionally stirring moments in the history of anime.



Much more prominent, but arguably less dramatic, is the growing relationship between the main character, Yumi, and her idol, Sachiko. The pair, as noted by observers who are close to them, seem to be rather different from one another. Yumi is an ordinary girl who often sees herself as normal in every way, with more than her fair share of fear and anxiety at being in such close proximity to girls whom she saw as the “royalty” of the school. Sachiko, on the other hand, was every inch a princess bred for the sole purpose of fulfilling a role and maintaining appearances. Their growing ties with one another, along with just how much they influence and cherish one another, is the most prominent among the running threads of the show. As the story progresses, Sachiko slowly starts to open up more and learn to let go of her mask of emotional stability when needed. At the same time, Yumi is learning to become more confident with herself, along with learning to get better control of her emotional outbursts.

Ultimately, there are several other relationship threads and emotional connections than the ones presented above. The friendships between girls of the same year-level, their interactions with those that are ahead of them, and the recurring visits of girls who have already graduated offer glimpses into the depth of the closeness the cast shares. As some fans of the show have said, each girl is a window in every other girl's soul, often appearing as either a reflection of something inside them or as that unidentifiable piece that is missing from their lives. The show certainly lacks the capacity for epic drama, but then again, it is a show about ordinary lives and ordinary girls. Really, how much “epic drama” does the average girl have to look forward to, anyway?

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