Link to article: Ipsy 04.
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{{__anime[https://scp-wiki.wikidot.com/ipsylon2x99 /ipsylon2x99]/analysis.html__}} @@ @@ @@ @@ ++ Analysis [[size 150%]]##003E20|**ANALYSIS -- HUH? WHAT WERE THEY THINKING?**##[[/size]] Ipsylon2X99 (though primarily Kirishima and Ichinose) is often criticized for having vague thematic throughlines and mostly relying on aesthetic spectacle, as well as its seeming lack of care for its own setting despite clear effort in presenting it. So what gives? A lot of the thought behind Y2X99 can be gleaned from its name: it's named after the American slang of the millennium bug, "Y2K" (Uppercase Y is the Greek letter Upsilon). Once you realize this, many of the other pieces start to fit in. Its supposed "lack of care" for its semi-far future setting is shown by characters' outfits. For example, if you compare the fashion in Y2X99 to other sci-fi works set in similar time periods, like Blame!, there is a real sense of tonal disparity. Despite this, I believe that this is actually intentional. The characters visual look (and by extension the characters themselves) contrasts with its near-dystopian and downright post-apocalyptic surroundings. This work being named after the millennium bug becomes clear: its representative of the feelings of stepping into a new, unfamiliar century (the millennium bug, for those who live in a shed in the woods, was a very real possibility of international web communications and technology going kaput from the year overflow of 99 to 00). Reference documents also mention explicitly a world impacted by a lack of usage of electromagnetic waves, which is explicitly clear in the OAV -- Menqet's whole reason of being initially is coming up with a new form of communication that isn't reliant on technology to foster. It's the reason why Rechs and Gardonne exert so much effort into trying to control this. Humanity in whatever years have passed since the Exodus Plan have either stagnated poorly or have regressed and re-progressed to exactly the same point they were at in 1997. It's a criticism of the new millennium being bolstered on new technologies and "futureproofing" that ultimately doesn't see a marked improvement of the human condition. It's also simultaneously a praise of humanity to keep moving forward despite what seems like only worse and worse times ahead. Juxtaposition and contrast are some of the key pillars to the ideologies of the characters in the OAV. One weird thing in regards to the naming scheme (thanks to user hime2hime for pointing this out) is the firearm and horse name usage in its five biggest characters. Laeru and Rechs are named after popular racehorses: Reru du Temps/L'Air du Temps and Alpha Rex respectively, while Cal and Gardonne are named after manufacturing markings on firearms: "MODEL 75 CAL.9 PARA" (CZ 75) and "PIETRO BERETTA GARDONE V.T. - MADE IN ITALIA" (Beretta handguns). Menqet interestingly is neither, instead being named after the Kushite goddess Menhit. Connecting these names to the story proved difficult. After going through interviews with Ichinose -- as the characters had different names in the magazine serial -- I think my conclusion is what Metolow staff was going for. Cal and Gardonne, despite their own claims, are characters who are ultimately fairly passive despite their large capacity to induce real change. Just like a gun, their immense power must be utilized and wielded by others for it to become a reality. In contrast, Laeru and Rechs are characters who are always pushing, always moving forward, and always dictating to themselves how their lives must be lived. They are much like horses. Regardless of their short tempers and propensity towards violence, they are the people who allow for others (potential riders) to guide them as they dictate the rules and measures of what lies ahead. A horse must allow itself to be ridden for a rider to benfit. If the horse decides to not run, a jockey is quite useless. A cavalryman is just a lowly human, after all. The horse makes cavalry, cavalry. These names that expose the 'true nature' of the characters while being seemingly contrasting to how they portray themselves is another decision that bolsters the idea of Y2X99's contrasting themes: past v. future, technology vs 'realspace', fear v. hope. Researching into Menhit, the goddess has both been called "she who massacres" or "she who sacrifices". Her place in the world of Y2X99 as one of the first non-direct non-tech based forms of long-distance communication, and her decision what to do with this potential power comes into play. A sacrifice is an offering in a plea to a higher power, whereas a massacre is an indiscriminate, brutal snuffing of life. It is her choice to decide whether to sacrifice herself and her autonomy in the quest of bettering the human condition or to decide to pick her own self over the irresponsible wants of the many. Of course, I am not here to pick sides. Menqet is Menqet and her choice is whatever she feels she wants to pick! It's her privilege. I hope this short section made you think about how the series's unique aesthetic is actually a lot smarter than you might realize. [[div style="mix-blend-mode: hard-light;"]] [[image https://scp-wiki.wdfiles.com/local--files/ipsylon2x99/sweep.png]] [[/div]]