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Mythological model of the animated television series "Attack on Titan"

Year: 2026
Type: article
Abstract: The study is dedicated to the analysis of the neomythological model of the anime series "Attack on Titan" (Shingeki no Kyojin, 2013–2023) within the framework of A.F. Losev's work "Dialectics of Myth" and the concept of neomythologization proposed by O.V. Stroeva. The aim of the research is to demonstrate how contemporary screen forms create new mythological structures through processes of demythologization and remythologization, helping the viewer to rethink and accept the historical-political and cultural context of a traumatic past. The empirical basis of the study consists of four seasons of the animated adaptation of the eponymous manga by Hajime Isayama. The units of analysis include specific scenes, recurring visual motifs, character storylines, and ritual-initiation sequences that shape the narrative dynamics. This approach allows for a precise examination of the components of the mythological model and its reinterpretation. The methodological foundation of the research is based on the concepts from "Dialectics of Myth" by A.F. Losev, as well as the notion of neomythologization proposed by O.V. Stroeva. The theoretical framework also includes Jungian concepts of archetypes, Aristotelian principles of tragic narrative construction, and the ideas of van Gennep and C. Lévi-Strauss regarding rites of passage and the deep structures of mythological thinking. The novelty of the research lies in the interpretation of "Attack on Titan" as a neomyth that does not assert heroism but demolishes its classical setup: the "great goal" and overcoming obstacles become a trap, with the core value emerging as creation, harmony with the world, and the moment of "here and now." This effect is achieved through the redefinition of symbols and roles: walls, titans, and "chosenness" lose their obviousness. The archetypes of hero, victim, and monster shift places. The motifs of learning, trials, titanization, and sacrifice function as initiations that are repeatedly disrupted, launching a new cycle of war. The series starts with the binary of "order/chaos" but reveals the false narrative of the island people, portrayed as evil by the external world. Militarism and ambition are shown as a repetition of the trauma of war. The work resonates with the experience of modernization and westernization of Eastern cultures: a rejection of contemplation and humility is replaced by a cult of strength, grievance, and struggle for resources. The cyclicality of conflicts provides a cathartic release through the destruction of the dichotomy of "grievance from the past" and "fear of the future," where the value of peace becomes visible only after collapse.
DOI: 10.7256/2454-0625.2026.1.77635
Language: English
Open Access status: diamond
OpenAlex ID: W7119785066
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