Wasted Worlds:
Reading Gatchiakta as an Allegory of Global Power Relations
I have worked on this scene as an excerpt from the anime Gatchiakta, where the act of the “celestials” throwing their waste into the “pit” mirrors the practices of major world powers—most prominently the United States and Britain—when they displace their crises and residues onto the Global South. This mechanism reflects an excessive self-interest: the center strives to preserve the purity of its environment and the comfort of its citizens, while the peripheries are burdened with the material and symbolic debris of the system. At the heart of this scene stands “Rudo,” embodying resistance and revolt, a figure of the revolutionary human who challenges the prevailing order and recognizes that forgotten communities are forced to shoulder burdens deliberately constructed to exhaust them.
The narrative architecture of the anime offers a powerful allegory for contemporary international relations.
The division between the well-regulated “celestial” world and the marginalized “pit” parallels the global division between a capitalist center—dominant in law, politics, and culture—and peripheral zones reduced to receptacles for its by-products. The center consolidates its position through discourses of legality and morality, depicting the peripheries as dangerous or deficient. The act of casting individuals into the “pit” thus reflects the very logic of exclusion that governs the modern world order.
In this symbolic framework, “waste” emerges as a multi-layered metaphor. On one level, it points to the physical dumping of refuse into southern lands, as exemplified by the 2020 case in Tunisia where Italian municipal waste was illegally shipped to Sousse, or the flows of toxic electronic waste directed toward Kenya and Nigeria. On another level, it signifies the ideological and cultural discards projected from the center onto the periphery—such as campaigns of “exporting democracy” or the “war on terror”—which, instead of fostering stability, generate new forms of violence and fragmentation. Just as the discarded matter in the anime mutates into uncontrollable “monsters,” these exported policies evolve into crises that deeply destabilize local societies.
Within this horizon, Rudo becomes a symbol of resistant consciousness. His presence signifies not only the refusal to accept inherited burdens but also the potential emergence of collective forces that challenge systemic inequities. His struggle reflects an awareness that oppression stems from a deliberately organized order, and his revolt gestures toward the possibility of reshaping it.
This reading of Gatchiakta underscores how its allegorical structure resonates with the contemporary world system: a structure that channels its waste toward the margins under the guise of legality and order, while producing new monsters out of exclusion and neglect.
The anime thereby operates as a critical lens, enabling reflection on the unequal relations between North and South, center and periphery, those who generate crises and those compelled to live with their consequences.
