There is a foreshadowing and technique used very well in the first episode - the memory of Falco when he was in a coma and the "sense of sight" when he woke up. This content plays two roles: one is the role of perspective, and the other is the role of the plot.
Let's look at these two functions separately.
The first is the role of perspective. The most direct effect of Falco's "sense of sight" is to switch the perspective. It is suggested that there is another perspective and that perspective is brought up, while new perspectives are entered. From the plot, we can know that Falcon's "sense of sight" is related to the three-dimensional mobile devices of the Eldians and their blades in battle. Previously, the audience's perspective had been on the island of Parady and the related Eldians; but the opening chapter of the fourth season changed the perspective, shifting the audience's perspective to the people on the other side of the sea. Such a "sense of sight" not only directly points out the change in perspective, but also illustrates the director's performance ideas, and also lays the groundwork and preparations for the next plot performance. The audience's doubts about the new characters and new perspectives at this time are just like the question "Who are you" when Falco came back to his senses. This is exactly what is said. Through such a perfect background and point of image and language, the subsequent plot advancement and writing can become smoother, setting off the atmosphere, and enabling the audience to enter the story faster.
But the visual effect of this "sense of sight" is not just that. From the above, we can know that Falco's so-called "sense of sight" is actually a vision of us as an audience. So when this "sense of sight" plot appeared, the audience was connected to the story itself. As the audience, we were originally outside the story, but it seems that we have also entered the story and become one of the characters; it is as if we are also in the "road", walking on the "Tao". This also caused the audience and readers to think: Are we the people in the story, and are the people in the story us? Because of what Falco "saw" and "heard", Falcon's "questions" and "puzzles" are exactly what each of our audiences have seen and heard. Our perspective is the "road" perspective, and our perspective is the "Allen" perspective.
From then on, we can also see that both the original author and the producer of "Attack on Titan" have very big ambitions. Usually the author of every good story hopes that every reader can jump into the story, be in the story, and become a person in the story when he sees his own story; they hope that the readers can enjoy the story to the fullest. Joy and sorrow. If there is any extravagance, it is the hope that when the scroll is closed, the reader can take something with him when he walks out of that world - some answers, some ideas and ideas, even if it is just a few names.
But the original authors and producers of Attack on Titan aimed far beyond that. They not only hope that readers and audiences can jump into the story and become the characters in the story; they also hope that readers and audiences can jump from the story world back to the real world from the perspective of the characters, wondering about the characters’ doubts and thinking. The thinking of the characters brings questions in the story world. They want readers and viewers to continue the story in that world in another world; they want us to jump back into the real world with the world where the story ends. But rather than "hope", they have "seen" such a fact and saw such a result of "continuation". The readers and the audience are the people in that world, and the people in that world are the readers and the audience.
Then there's the role of the plot. Directly speaking, the role of the plot is to hint and pave the way for the content of the plot in the future. But what exactly lays the groundwork requires readers and audiences to think about it. What we can currently know is that the intelligent giant, or more precisely the attacking giant, can "reversely" pass the "road" to "reverse" the transmission of memory and perception. The "retrograde" mentioned here is in terms of the direction from the perspective of the "time" of the story.
But there is no evidence that only Attack Giant has this ability. It may be that we only see the successor of Attack Giant showing this ability. Therefore, it is also possible that the giants of wisdom, or even every Eldian, or even everyone in the story, may be able to acquire memories and perceptions passed on in "parallel" or "reverse" in some way, that is, "both visual perception". So could it be that in fact every person in the story is not a specific person, such as Falco, who has this "sense of sight", but we only saw Falco express it.
Combined with the previous analysis of the role of this "sense of sight" from the perspective, we can see that there is a certain space and possibility for the creative idea and performance idea of "everyone has a sense of sight". sexual. Such a plot setting can make the content of this "sense of sight" organically combine the role of the plot and the role of perspective.
Therefore, we can draw three hypotheses on the plot: 1. Falco inherits the Attack on Titan in the later plots, so he obtains retrospective memory and perception; 2. Falco inherits a certain wisdom giant, and at the same time retrospective memory and perception The acquisition is not limited to the successor of the attack giant; three, due to specific reasons and factors, the power of the giant disappears, and every Eldian is separated from the "road", so every Eldian gets The ability of retrospective memory and perception acquisition. That is to say, every Eldian can have a "sense of sight". At the same time, when the acquired ability takes effect, the ability will cover all time periods. That is to say, as long as the specific condition of the goal of "disappearance" is achieved and "disappearance" is finally completed, the ability brought by "disappearance" will appear before the occurrence of the event of "disappearance". Even on the basis of (3), we can still have: 4. Due to specific reasons and factors, the power of giants disappears. Not only the Eldians, but everyone has acquired the ability to "see already".
From the progress of the plot and the general idea, we can know that at the end of the entire story of "Attack on Titan", the power of the giant should disappear, and the world will restore peace in some way. This is a very high probability event. Of course, it is not ruled out that the author takes a slanted sword and creates an ending in which the tragedy repeats and continues indefinitely, but I think the possibility is very low. Because from the layout of the front part of the story, the operation of the middle part, and the idea of the ending part, you can roughly guess what kind of story the author wants to describe.
Therefore, the above hypothesis (1) is the least likely. Intuitively, the assumption (2) is that the complete story is a high probability time. The question is whether there are assumptions (3) and (4) on the basis of assumption (2). From the conception of the story, from the combination of the perspective effect and the plot effect, from the consideration of naturalness, scientificity and degree of thinking, I think there is also a considerable possibility. After all, if it's set like this, then the story is perfect, isn't it?
It should be mentioned that if (3) and (4) in the above plot assumptions finally appeared in the plot of "Attack on Titan", then the religious nature of this work is indeed very high. Because (3) and (4) in the plot assumption are very similar to some concepts in Buddhism.
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