After I finished my analysis on "The Taste of Five Spoons of Sugar" yesterday, I felt like I forgot something. Remember, it was this episode that pushed me to finish over 70 episodes of Monster in the first place. Later, although I felt that this episode was as full of ignoring logic as the other plots in "Monster", it was a very interesting thought experiment anyway, and the assumption of a proper realistic background made this experiment quite humane. with infectivity. (Also, for me personally, this realist-style fantasy story, like Mary Shelley's Frankenstein, is the most fascinating aspect of Monster.) It turns out that writing and reading is A pair of opposite processes: I was first touched by the humanistic care and appeal as the texture, and then I realized the interest of the thought experiment as the structure and core. For creation, adding texture may be the most exciting process; however, for the reader (at least me), "reversing the will" is the most suffocating and fun experience, finding ideas from moving narratives Experimenting is like seeing the moon through the clouds, and the ideology in the story is like the bright moonlight in the dark night, which guides me to write out the waves in my heart. However, reality is always so paradoxical—perhaps the animation's visual effects and sensational soundtrack make me forget a key element of the thought experiment: guns.kills.death.
When Uncle Killer (Mr. Russell) aimed his sniper rifle at a coffee drinker, life appeared in his eyepiece as a being-with-Others existence that carried the meaning of life. Correspondingly, the "ordinary people", "Rivals" or "people" and other people with a prescribed nature are understood by Uncle Killer as the other at this moment, which is what I mainly talked about yesterday. However, we all know that sniper rifles are not made for eyepieces. The eyepiece can present the scene of survival at a certain moment, but in any case, the entire construction of the sniper rifle implies the future of killing and death from the moment of production - this is the element I forgot yesterday, a too commonplace. common sense. When Uncle Killer saw survival through the eyepiece, death was in his hand. So, to make a bold guess, when Uncle Killer felt his mouth full of the taste of his usual coffee, he actually found out that death was aiming his gun at him - just like he was doing at this moment. The mirror relationship between the self and the other is revealed through the sniper rifle in hand. The horror of this momentary mirror image is enough to keep anyone without a conscience from turning a gun at anyone again. (John is an exception, because at least in the narrative of the story, he never lived.) What's more, we see in the episode that even if he never saw his life, Uncle Killer was a man of conscience in life.
Unconsciously speaking of conscience, it is inevitable that I have to say a few more words. I think "The Taste of Five Spoons of Sugar" is a thought experiment, in large part because in reality the cessation of killing is not such a process. If the "flavor of five spoons of sugar" can be easily perceived in reality, how can war break out? Even if a similar situation does occur, it should be the following situation: After the gunman killed the opponent in the eyepiece, one day he recalled the "smell of five spoons of sugar" he felt at that time, and then he was depressed and remorseful. lifelong. Maybe that's why soldiers are great on the battlefield and somber when they return home -- especially after a pointless war. In fact, in a preventable killing, conscience often makes the gunman put down the dark future in his hands before he can survive, and it is often the condemnation of conscience and the past that bring pain to the shooter afterwards. Doubts about the moral standards held. Just to give an example in "Monster", Detective Liat went through the same process. Borrowing again from Kierkegaard's dialectics of life, in reality, giving death can often make a person leap from the "perceptual stage" to the "ethical stage", while in fictional works, one can often see the "perceptual stage". People suddenly rise to the "religious stage" full of absurdity through the baptism of death, or people who were originally in the "ethical stage" become Sisyphus who face the absurdity after a major blow.
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