Rau Le Creuset Quotes

By now Rau has kidnapped Flay from the Earth Forces' Alaska base; three episodes later she is put into a lifepod with a disk of the Neutron Jammer Canceller data. A viewer who knows nothing else about him could take it as compassion. Two episodes later he tells Mu La Flaga that he is a defective clone of Mu's father, made to order, aged prematurely, and kept alive on medication, which retroactively turns this sentence into the most personal thing he says all series. He was, in the only sense that matters to him, born as a weapon. The line is also a precise description of Kira, Flay, and every other teenager on the Archangel, none of whom chose the cockpit, and Rau's contempt for humanity does not stop him from being the character who notices that most clearly.

The question is the same one Lacus asked in episode twelve, and Kira asks Murrue in episode thirty-six, and Athrun will hand to Shinn in the sequel, which tells you the writers considered it the spine of the show. Rau asking it is the interesting version, because he already has an answer: everyone, on every side, since humanity itself is the thing to fight against. It is sound advice; what is missing is that the man giving it will soon hand the Neutron Jammer Canceller data to the Earth Forces through Flay. The scene rewards a second viewing more than almost any other in the series. On the first pass it is a mentor's counsel; on the second it is a man telling children to look for a target while he stands directly behind them.

The genocidal villain's manifesto in a Gundam finale is a fixed institution, and Rau's is more interesting than Gihren Zabi's because he is not proposing to rule anything. He wants the species to finish what it started. What he says here is a theory of history: that GENESIS, nuclear missiles and the artificial womb that produced Kira are not aberrations but the same appetite reaching its logical end, and that stopping it would be dishonest. The delivery, to Mu in the middle of a fleet battle, is theatrical, and the dub leans into it. But the argument is not stupid, and the series has spent forty-nine episodes providing evidence for it, which is why Kira's rebuttal in the final phase is a stammer rather than a speech. A villain the story can prove wrong is a weak villain. This one it can only kill.

Rau's neighboring reflections describe opposing armies invoking different accounts of justice and people turning uncertainty about differences into hatred. The dove image supplies a compact way to connect those claims: a symbol associated with peace becomes a participant in a prolonged fight. That is an argument he constructs, not a zoological fact the scene establishes. Its persuasive trick is to make destructive conflict seem compatible with the absence of obvious predatory equipment. The analogy denies the comforting inference that people who lack a monster's appearance must behave humanely. But it also narrows the imagined situation before drawing its conclusion. These birds have already been placed in combat. Why they were placed there, whether they could stop and who benefits from the struggle fall outside the picture. Rau makes the symbol do explanatory work by beginning after the choices most worth examining have been made.

Within this episode, Rau asks Flay to deliver a key to the Earth Forces, promising that doing so will end the war. That concrete errand should remain beside his declaration that nobody can alter the catastrophe approaching. He names himself the person opening the door while presenting the destination as the inevitable expression of everybody else's desires. The contradiction does not invalidate every accusation he has made about exploitation. It does invalidate the innocence available to a mere observer. A man who arranges a delivery to advance his preferred ending is intervening in events, however accurately he describes the conditions that make intervention effective. His account tries to reserve agency for the achievement while distributing blame across humanity. The messenger exposes the evasion: if the end needs someone to carry something to a particular side, it is still being worked for, not simply watched as it arrives.