NieR: Automata™ 🎸
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Channel Posts
| 2 |  #2B #Nier_Automata | 166 |
| 3 |  Beloved anime and gaming voice actor Atsunoko Tanaka passed away on this day 2 years ago at the age of 61 🥺
Best known as Motoko Kusanagi in Ghost in the Shell, Tanaka spent nearly three decades giving the Major a presence that became inseparable from the character. She passed away on August 20, 2024, at the age of 61.
Her extraordinary career also gave us:
• Bayonetta — Bayonetta
• Konan — Naruto: Shippuden
• Lisa Lisa — JoJo’s Bizarre Adventure
• Medea / Caster — Fate/stay night
• Hanami — Jujutsu Kaisen
• Trish — Devil May Cry
• Kainé — NieR Replicant
• Flamme — Frieren: Beyond Journey’s End
• Chun-Li — Street Fighter III: 3rd Strike
• Lara Croft — Tomb Raider
• Yennefer of Vengerberg — The Witcher 3: Wild Hunt
From Ghost in the Shell and Naruto to Bayonetta, NieR, and Frieren, Tanaka left behind characters spanning multiple generations of anime and gaming fans.
Rest in peace, Atsuko Tanaka. Two years later, the characters she brought to life remain unforgettable. 🕊️ | 892 |
| 4 | See guys?
This is NieR, not just goon on Waifu within the game or reading like parrots what you've been told in Wiki | 780 |
| 5 | A2 The Disillusioned Soviet Veteran and the Brutalist Truth
Where 2B represents the sleek, ideological purity of a high-tech regime, A2 embodies the scarred, pragmatic reality of the Soviet Red Army during and after the Great Patriotic War.
A2 is an older prototype, stripped of her pristine white uniform, her porcelain shell cracked and blackened, operating entirely on survival instincts, raw rage, and a profound, cynical understanding of the Commander’s lies.
A2 survived the Pearl Harbor Descent mission—an operation where she and her squad were deliberately sent as sacrificial test subjects by YoRHa Command to collect combat data.
This experience mirrors the deep, systemic expendability of human life that defined Soviet military doctrine under Joseph Stalin, as vividly documented in Vasily Grossman’s masterpiece Life and Fate (1960).
Grossman, a Soviet war correspondent who witnessed Stalingrad firsthand, captured the brutal reality of a state that demanded total sacrifice from its soldiers while suspecting them of treason the moment they survived
The State does not need human beings it needs the power and purpose that humans can provide.
— Vasily Grossman, Life and Fate
A2’s reaction to this betrayal is not despair, but a brutal, anti-ideological pragmatism.
She abandons the glorious rhetoric of For the Glory of Mankind and sees the war for what it truly is
A pointless cycle of slaughter managed by corrupt figures in comfortable bunkers.
When she confronts 2B and 9S in the Forest Kingdom, her dialogue cuts straight through YoRHa’s propaganda machine
Command is the one who betrayed you.
This blunt, unadorned truth reflects the post-purged Soviet soldier who no longer fights for the Party or political commissars, but out of sheer survival and solidarity with dead comrades.
In Solzhenitsyn’s The Gulag Archipelago (1973), the author describes the profound psychological shift that occurs when a
soldier or prisoner realizes that the totalitarian regime they served views them as disposable trash
Unlimited power in the hands of limited people always leads to cruelty... Once you have taken everything away from a man, he is no longer in your power He is free again.
— Aleksandr Solzhenitsyn, The Gulag Archipelago
A2 is precisely this figure an android who has lost everything—her unit, her faith, her spotless appearance—and has consequently become dangerous to the system because she is free from its illusions.
While 2B clings to protocol to shield herself from the truth, A2 embraces the cold, harsh reality of her environment.
Her combat style is raw and reckless
Her activation of "Berserker Mode" directly mirrors the desperate, relentless grit of Soviet troops pushing through frozen battlefields, ignoring personal preservation to tear down the enemy.
----
The Clash of Two Totalitarian Tragedies
When 2B and A2 cross paths, it is not merely a clash between an active unit and a rogue deserter
it is a confrontation between two distinct phases of total war psychology.
2B represents the disciplined soldier caught inside the operational machinery of an ideological state, clinging to dogma because the alternative—realizing that her suffering serves a lie—is too horrifying to bear.
A2 represents the veteran who has already walked through that fire, seen the empty throne behind the propaganda, and adopted a rugged, brutal realism to survive in the wasteland left behind.
In the end, both figures are victims of the same central deception.
The Bunker’s propaganda slogans—much like the totalitarian mandates of the 20th century—promised ultimate victory and collective purpose.
Yet, as A2 understood long before 2B, the machine does not care about the soldiers who maintain it
it requires only their obedience, their sacrifice, and their quiet disappearance once their operational purpose is fulfilled. | 729 |
| 6 |  +2The Iron Machinery of Faith and Desolation2B, A2, and the Echoes of Totalitarian Realities by Namless King
In Yoko Taro’s masterpiece NieR Automata, the unending proxy war between androids and machines serves as an existential playground to examine human ideology, memory, and destruction.
While the surface narrative centers on automated soldiers obeying the dictates of YorHa, a deeper political and psychological parallelism emerges when viewing the characters through the historical lens of 20th-century totalitarian states.
Specifically, YoRHa No. 2 Type B (2B) embodies the disciplined, highly compartmentalized soldier of National Socialist Germany, caught within a pristine technological and ideological machine.
In stark contrast, YoRHa Type A No. 2 (A2) represents the hardened, disillusioned Soviet veteran—weathered by betrayal, survival, and the brutalist pragmatism born of a system that views human life as expendable fuel for historical necessity.
----
2B The Duty-Bound Executioner of the Third Reich
To understand 2B as an allegory for Nazi Germany’s military ideal, one must look closely at her behavioral subroutines, her unflinching posture, and her absolute adherence to protocol
2B operates not out of sadism, but out of absolute, compartmentalized duty (Pflicht).
She is designed as the ultimate soldier of a clean, high-tech war effort, wrapped in an aesthetic of order and perfection.
Her blindfold (visually functioning as a tactical visor) serves as a direct metaphor for deliberate, systemic blindness—a refusal to witness the broader monstrous reality of the war machine she serves.
This mentality directly mirrors the psychological framework analyzed by political theorist Hannah Arendt in her landmark study Eichmann in Jerusalem A Report on the Banality of Evil (1963).
Arendt observes that the defining characteristic of the totalitarian soldier or bureaucrat is not inherent malice, but the complete surrender of individual judgment to the rulebook
The trouble with Eichmann was precisely that so many were like him, and that the many were neither perverted nor sadistic, that they were, and still are, terribly and terrifyingly normal.
— Hannah Arendt, Eichmann in Jerusalem
Throughout NieR Automata, 2B continuously repeats her operational mantra
Orders are orders.
She buries her personal horror beneath an icy facade of duty.
When 9S expresses curiosity about the machines displaying human emotions or asking questions about the nature of their war, 2B repeatedly cuts him down with cold military dogma
Emotions are prohibited
This constant suppression of empathy directly connects to the internal propaganda of the Third Reich.
In Heinrich Himmler’s infamous 1943 Posen speech—later documented in fundamental historical studies such as Joachim Fest’s The Face of the Third Reich (1970)—Himmler praised SS soldiers specifically for their ability to execute horrific orders while remaining "decent" and maintaining discipline
To have stuck it out and at the same time—apart from exceptions caused by human weakness—to have remained decent fellows, that is what has made us hard.
— Heinrich Himmler, Posen Speech (1943)
2B is the tragic realization of this ideology.
She repeatedly executes 9S whenever he learns the truth about YoRHa, internalizing her horror into a quiet, fatalistic suffering.
She does not rebel against the Command she simply bears the emotional devastation as the price of her duty.
She is the German soldier at the front—convinced that order, sacrifice, and loyalty to the high command (Oberkommando) are the highest moral virtues, completely blind to the fact that the command structure itself is a deceptive, self-annihilating meat grinder. | 532 |
| 7 |  @NieR_Automata #2B | 797 |
| 8 |  @NieR_Automata #2B | 811 |
| 9 |  #NieR_Automata #2B | 880 |
| 10 |  #Nier_Replicant #2B | 812 |
| 11 | When the roots populus (people/nation) and dēvolvere (to roll down, transfer, or devolve) appear together or within the same conceptual context in classical Latin literature, they do not form a fixed idiomatic phrase.
Instead, they carry a specific, grave political and philosophical meaning central to Roman historiography
The transfer, decline, or collapse of sovereign power from the people.
Here is how these terms interact in classical Latin thought
Constitutional Transfer of Power (Devolutio Imperii)
In classical political writing—such as Cicero’s De Re Publica or Livy’s Ab Urbe Condita—the word populus (specifically the Populus Romanus) represents the ultimate legal origin of authority (majestas and imperium).
When paired with dēvolvere, the combined concept signifies the delegation or surrender of authority
Power\ Devolves\ from\ the\ People
It describes a legal mechanism where supreme power, originally residing in the populus, rolls down or is transferred (devolvitur) to a magistrate, a dictator, or eventually, a single Emperor.
Devola and Popola are this figure
---
Tacitean Nuance
In later imperial historians like Tacitus, the passive form (imperium ad unum devolutum est—power devolved unto one man) marks the tragic end of the Roman Republic.
The collective body of the populus loses its active sovereignty, which slides down into the hands of an absolute ruler.
---
Moral and Civil Decay (Devolutio Morum)
For classical authors like Sallust (Bellum Catilinae) and Seneca, Roman history was viewed through the lens of moral degeneration.
Here, the coupling of these terms takes on a fatalistic tone
The Downward Spiral of the State
When applied to the state, dēvolvere conveys a moral collapse.
The populus, once characterized by virtus (virtue) and disciplina, slides downward (devolvitur) into luxury, civil strife (discordia), and inevitable ruin.
Inevitability of Fate
Roman stoicism often used dēvolvere to describe the wheel of fortune or the unstoppable flow of time.
A populus that enters the process of dēvolutio is a nation trapped in irreversible decline, cascading toward its ultimate extinction.
---
Summary of Classical Resonance
If a Roman scholar were to read Popola and Devola together in a classical context, the pair would immediately evoke the core trajectory of Roman political tragedy
Populus (The People / Sovereign Entity)
Dēvolvere (The Descent / Transfer of Power)
Together, they signify The Degradation of the Sovereign Body or Power Transferred Away from the People unto Ruin
It is the exact linguistic reflection of a civilization shifting from a living, self-governing population into an automated, declining system whose power has lapsed forever. | 1 004 |
| 12 |  The Twin Sister's real significance by Namless King
The Latin Roots and Etymological Meaning
Popola
The linguistic profile of Popola is overwhelmingly Romance and deeply anchored in the Latin noun populus, meaning people, Nation, or community.
In Italian, popola is an authentic, grammatically correct verb form translating to she/it populates or inhabits.
Etymologically, it carries the core essence of life, demographic growth, and the sustaining of a human collective.
Devola
In contrast, Devola presents a much more ambiguous and dark trajectory.
Its closest Latin relative is the verb dēvolvere, meaning to roll down, to tumble, to devolve, or to transfer/pass down.
Through its descendant concepts like devolution or devolutionary decay, the root implies a descent from a higher state to a lower one, or a process of decline and delegation.
Curiously, in French, dévola exists as the exact past simple form of the rare verb dévoler (flew down or swept down), adding an eerie sense of rapid descent
---
What the Twins Truly Represent
When viewed through the lens of their Latin undertones, Devola and Popola cease to be just names and become a structural allegory for Project Gestalt and the tragedy of humanity's final days.
---
Guardians of Population and Devolution
Popola, true to populus, represents the preservation of humanity.
As the administrative supervisor of the village, her duty is to nurture, organize, and sustain the Replicants—the physical vessels meant to keep the human spirit alive until the Black Scrawl is cured.
She is the anchor of the community, literally populating and maintaining the artificial society.
Devola, true to dēvolvere, embodies the inevitable fall and transfer of authority.
She is the wandering bard who sings of ancient legends, acting as the bridge between past glory and present ruin.
Her connection to devolution reflects the gradual decay of Project Gestalt, the collapse of the Replicant system, and the fatal descent of humanity into extinction.
---
The Paradox of Dual Functionality
Together, the twins represent the ultimate system failure of administrative love.
They are observers bound by immutable programming, forced to watch the very population (Popola) they were created to protect devolve (Devola) into chaos through the actions of Nier.
They are not villains, but tragic caretakers of an automated doomed protocol.
Their names form a perfect thematic cycle
Popola is the act of fostering human life, while Devola is the tragic, cascading decline when that fosterage inevitably collapses.
Even if Yoko Taro picked the names on a whim, the European linguistic roots hauntingly capture the twin androids' burden as the final guardians and undertakers of mankind. | 652 |
| 13 | When a modder revealed a seemingly impossible secret room in Automata that captivated the entire internet, rumors swirled as investigators pointed out that the creator's IP footprint allegedly traced right back to Yoko Taro's own sphere.
Whether directly orchestrated by him or spiritually aligned with his philosophy, it proved one thing
Yoko Taro has become the ultimate puppet master, mocking a community that searches for superficial secret rooms while completely missing the existential room right in front of their faces.
He is laughing at our collective ignorance, and most people are too oblivious to even realize they are the punchline.
The answer does not lie in Square Enix's financial reports or developer roadmaps. It lies directly within our own collective consciousness.
When 95% of the global community views NieR as nothing more than a neat game with a cool soundtrack and attractive character designs, we lose the right to demand more.
People constantly whine at Yoko Taro, asking why he hasn't made another game, without ever daring to look in the mirror and ask why he chose to stop.
The uncomfortable truth that no one in the gaming world wants to admit is simple
We didn't understand what he gave us, we disrespected the medium, and we simply do not deserve another NieR. | 655 |
| 14 |  Does Humanity Even Deserve Another NieR?
When fans continuously demand to know why Yoko Taro hasn't announced a brand-new NieR title, they are asking the wrong question entirely.
The real, uncomfortable question we ought to be asking ourselves is
Do we, as a modern gaming culture, even deserve another NieR?
To reduce these games to mere interactive entertainment is to demonstrate a total misunderstanding of what Yoko Taro constructed. NieR and NieR Automata are not simple "hack-and-slash" RPGs crafted to fill a publisher's quarterly revenue quota; they are dense, agonizing, and intricate cultural artifacts.
They are woven together with explicit, deliberate references to the apex of European intellectual history—from existential philosophy (Sartre, Nietzsche, Kierkegaard, Simone de Beauvoir) and classic Russian, German, and French literature, to high-concept science fiction, systemic political tragedy, and deeply rooted Italian aesthetic and theological motifs.
Yoko Taro did not build a sandbox; he wrote a multi-layered moral tragedy detailing the inevitable, tragic decay of human consciousness and modern civilization.
Let’s dismantle the industry excuses immediately.
People love to hide behind corporate logistics, claiming that Square Enix has been too occupied allocating resources to massive projects like the Final Fantasy VII Remake trilogy or Kingdom Hearts IV. But let’s be entirely honest with ourselves
After the monumental, unexpected commercial success of NieR:Automata, Yoko Taro held all the leverage.
If he truly wanted full financial backing for a massive AAA sequel, Square Enix would have written him a blank check on the spot. The money was there. The executive green light was there.
Yet, nearly a decade after Automata, silence.
Why? Because the problem isn't the publisher.
The problem is us.
Look at what the global community did to a philosophical masterpiece.
After years of release, only a tiny, isolated fraction of the player base actually understood the cultural, historical, and existential gravity of what was presented to them.
And what happened to those few who actually engaged with its underlying thesis?
They were promptly marginalized, ignored, or mocked by a relentless, overwhelming wave of superficial "fans."
To the vast majority, NieR was reduced to an aesthetic trend.
The franchise was hijacked by a flood of low-effort consumerism, surface-level cosplays, and an endless stream of hentai centered around 2B and A2.
Countless "fans" online haven't even played through Ending E—many haven't even played the game at all.
They are posers and larpers who treat an existential tragedy on human extinction as nothing more than a pretty, disposable piece of plastic to pass the time before the next AAA release.
Imagine being Yoko Taro. Imagine pouring your soul, your knowledge of human suffering, and centuries of literary and philosophical tradition into a work of art, only to look online and realize that 95% of the global audience ignored the morality, ignored the historical dialogue, ignored the existential dread, and instead turned your artistic thesis into a hyper-sexualized meme.
Wouldn't you feel utterly betrayed?
Wouldn't you feel a deep, cynical contempt for an audience that refuses to evolve?
Yoko Taro is notoriously a auteur who refuses to treat art as a mindless commodity.
If he observed that the world treated a profound cultural monument like just another piece of disposable digital plastic, it is completely logical that he decided to hold back.
Why release another masterpiece into a void of illiteracy?
Why throw pearls before swine when the audience demands instant gratification over spiritual and intellectual engagement?
He may very well have decided that until the gaming community matures, evolves, and learns how to read art properly, they will get nothing.
We even saw a glimpse of his bitter, brilliant cynicism during the famous "Church Mystery" incident in 2023. | 555 |
| 15 |  #Kaine #Nier_Replicant | 1 013 |
| 16 |  #2B #Nier_Automata | 949 |
| 17 |  #A2 #A4 #Nier_Automata | 1 161 |
| 18 |  A nice cosplay of Lotus – a resistance soldier from YoRHa Boys
#YoRHa_Boys #Nier_Automata #Lotus #Cosplay | 1 210 |
| 19 |  #A2 #Pascal #Nier_Automata | 971 |
| 20 |  #Devola #Popola #Niet_Automata | 1 286 |
