Eren Yeager é o Super-Homem do Nietzsche — e é por isso que ele é o vilão #filosofia

Summary

The video argues that Attack on Titan begins by making viewers believe they are watching humanity fight monstrous Titans, then steadily complicates that view until the audience must confront its own capacity for hatred, certainty, and violence.

Main Ideas

• The story initially invites a simple “humans versus monsters” interpretation. Eren watches his mother die in a Titan attack, and viewers are encouraged to identify with humanity as the victim. The narrator argues that this perspective is deliberately incomplete: the series makes the audience accept the same limited account of reality that people inside the walls have been given.

• The walls represent class divisions as well as physical protection. In the video’s interpretation, people nearer the outer wall are poorer and more exposed to danger, while the elite live in the safest central area. When territory is lost, refugees are sent on a nearly suicidal mission—not primarily to reclaim farmland, the government’s stated reason, but to reduce the number of people it must feed. The narrator presents this as an example of the powerful treating the poor as expendable.

• The state can use an external enemy to distract from internal injustice. Drawing on Carl Schmitt’s idea that politics is organized around the distinction between “friend” and “enemy,” the narrator explains how fear of an outside threat can unite a population and discourage scrutiny of those in power. But this reading is only part of the story: the series later reveals that the enemy beyond the walls is real, not merely invented by the government.

• The basement revelation turns the conflict into a cycle of competing historical grievances. The people inside the walls are Eldians, and the wider world sees them as descendants of a people who once used Titan power to dominate and massacre others. Titans are not simply mindless forces of nature; they are tied to human history and Eldian identity. The outside world has its own reasons for fearing and hating the island, while people on the island have reasons to fear the outside. The video emphasizes that both sides have histories of violence and blame.

• The audience is made to experience how hatred reproduces itself. Reiner and the other warrior children attack the island believing they are saving the world. Reiner’s later guilt makes him more than a straightforward villain: he is someone who committed an atrocity while believing it was heroic. Gabi, a child raised to hate the island, mirrors the young Eren. When she kills Sasha, viewers may hate Gabi—then recognize that she embodies the same convictions and inherited hostility they once accepted in Eren. The series, the narrator argues, makes the audience feel how quickly it can become a participant in the same “us versus them” thinking it condemns.

• Eren’s pursuit of freedom becomes catastrophic. Freedom is Eren’s defining desire: he wants to see the world beyond the walls and escape what he sees as a cage. The narrator connects this to Jean-Paul Sartre’s idea that people are “condemned to be free”: people may not choose their circumstances, but they remain responsible for their actions. Eren’s knowledge of the future does not excuse his choices; in the narrator’s reading, it makes it harder for him to claim ignorance. He proceeds with the Rumbling, killing most of humanity. His quest to escape a cage turns him into someone who imposes a vast cage—and destruction—on others.

• There are no entirely innocent sides, and hatred has no clear starting point. The video describes generations inheriting grievances and passing them on, with each massacre becoming justification for another. Searching for one original culprit fails: the cycle reaches back through centuries of violence. Eren tries to end the threat by destroying the people he fears; his friends instead stop him and attempt to preserve the possibility of peace.

• The ending rejects an easy “dialogue wins” resolution. Eren is killed, the Rumbling stops, and survivors make peace. But the series then jumps forward to show that the island is eventually devastated in a later war. For the narrator, this ending suggests that the peace did not permanently break the cycle; new generations and new conflicts can repeat old patterns.

• Nietzsche’s Eternal Return frames the recurring cycle. The narrator invokes Nietzsche’s thought experiment of having to live the same life again and again. Attack on Titan adapts that image through the final child approaching the tree where the story began. The implication is that freedom, fear, violence, and the creation of new enemies may recur.

Central Takeaway

The video rejects the comfortable conclusion that Attack on Titan is simply a warning about fascism or bad leaders. Its stronger challenge, according to the narrator, is that viewers can be drawn into the same hatred and certainty they criticize in others. The ending leaves an open question:

Can someone pursue freedom without turning that pursuit into another person’s imprisonment?

Speakers and Sources Featured

• Speaker: An unnamed narrator or host; no other speaking presenter is identified.
• Primary work discussed: Attack on Titan, created by Hajime Isayama.
• Philosophical sources cited:
  • Carl Schmitt, especially The Concept of the Political and the friend–enemy distinction.
  • Jean-Paul Sartre, especially the idea that people are “condemned to be free.”
  • Friedrich Nietzsche, through the idea of Eternal Return.
• Characters discussed as examples: Eren Yeager, Reiner, Gabi, Mikasa, Sasha, and Armin.