#I really loved that show and the manga and the allegories fit the characters so well I love it sm

[charkyzombicorn]

Au based of fruit baskets

The straw hats (plus sabo and vivi) turn into animals based on the chimes zodiac when hugged by the opiate gender

Rat, Nami (Rats have specialized brain cells in the striatum that provide them with a map of their surroundings)

Ox, franky

Tiger, zoro

Rabbit, usopp

Dragon, sabo

Snake, Jinbe

Horse, vivi

Goat, sanji

Monkey, luffy

Rooster, brook

Dog, chopper

Pig, robin (they are one of the smartest animals)

ANON I GONNA KISS U ON THE MOUTH

So since fruit's basket is a piece abt rigid tradition and psychological abuse I'm making Ace the cat (if yk yk) and idk who I want to make God yet, I might switch the rabbit for Carrot and make Usopp god but it doesn't make a huge amount of sense so don't quote me on that

At the beginning, since all of them are very distant relatives and it's near impossible to know the whole family, they fall into little support groups that change over time - before the story, Luffy was being raised by his grandfather with Ace and Sabo, who Garp adopted because Ace's parents died and Sabo's parent abandoned him.

(I'm going on a bit of a rant here Major fb spoilers) Ace was considered cursed from the second he was born the cat and the whole family made that clear. Since being born the cat means he can turn into a monster, he was shunned but also heavily pressured to never leave the village the entire soma family was based in (I don't remember what a gated community for one large family is called) since at 18 he would be locked away for everyone's "safety". Ace hates this fate so much so he's trying to figure out how to break the curse so he can be free. Ace and Sabo are also trying to do this

There needs to me some sort of catylist outsider looking in or else Luffy won't get the perspective outside the family that he needs to break the curse. I think I'll make this Coby because cobylu nation rise - also I'm being a little wonky with ages because Luffy needs to be old enough to do things without Ace being 18+

So Luffy, 15 and freshly split from Ace and Sabo, finds 15 y/o Coby who was kicked out of the house by his foster mom. Luffy leads him back to the house he got to keep in the split since he was the youngest and Coby starts staying there when Luffy starts befriending the other animals while trying to find a way to break the curse. I'm kind of iffy with Usopp being god for this reason but it fits So Well later. Coby is having the basic early-fruits basket shenanigans, I might make the turning into an animal less and opposite gender thing and more a 'anyone outside the family' thing because it still works. He's kind of trying to meet the whole zodiac but he's mostly using living with Luffy as a way to get Trained so he can hopefully join the police force. Luffy doesn't mind this at all, he thinks Coby's cute and he's got the Chutzpah so Luffy thinks he's amazing

Slowly Zoro, Nami, Usopp, Sanji, Robin, Franky and Brook join up, but then the matriarch over Usopp doesn't like how independant they're getting from the rest of the family even if they're still interdependent so reels them back just in time for New years. Ace's eighteenth birthday. It isn't a war that takes him, Ace has known his whole life what would happen and Ace gets willingly locked in that house while Luffy claws at the confines and begs Ace to just break free because Luffy know he can. He just won't.

[iridescentscarecrow]

I saw on twitter that you caught up with mtefil and i'm so glad since so few people know about it. What do you like about it? Personally I love it's rendition of the fallen angels, so vile and pathetic yet human.

hello!!! i kind of regret keeping the small liveblog thread i did on my priv and not posting on main, since i ended up having a lot more things to say than i expected. i'm still sorting out my thoughts right now, and i want to go back and reread some stuff with context, but here's a quick summary of what i felt:

i like the fallen angels a lot too, but my favourite aspect of mtefil is probably the depiction of the sins, it's wonderfully clever. i think the order of my interest goes lust (aria arc specifically ) > sloth > gluttony > greed > envy.

for lust, i feel like i might appreciate it more than other people because i was very interested in the "agelessness" associated with "sexiness" vis a vis idolhood and the creation of aria as someone "bottomless", as these are themes consistent with some of my favourite things in fiction. asmodeus is one of the characters i ended up liking the most because of this. her inflicting violence onto priest as a expression of her love for sarah, and the propertyship there was very good. asmodeus is constantly seeking worth & dignity! her connecting with priest through like a shared sameness really got to me. i liked how imuri was the audience proxy for our knowledge that aria was actually priest's assaulter, it made for some really horrifying moments of tension, i was kind of shaking through it, also, i think it contributes to my idea that imuri is the protagonist (the first page of the manga is literally her painting) and priest is the "love interest" - also a fun concept because of how bel frames him as a romcom protagonist later on? but that's just extended thoughts. the ending scene of the arc with him fantasizing about imuri and then throwing up was very powerful to me, because i think the gendering of priest is essential to the series. him being disgusted with himself because he feels like a predator, and immediately giving up the caregiving role (of gendered labour) that he assumed over imuri earlier stuck to me.

i like how gender entwines with every aspect of MTEFIL, tbh. its very well planned, even if it does end up beating you over the head with its themes at time lol! the sins are one thing - most of the male ones are dimensions of patriarchal abuse, and the two female ones we've seen are leviathan with her ill fitting motherhood, and asmodeus, who like i said, is focused on Worth through sexual conquest. the church refers to the "father, the son" & the witches to "evil" feminine figures. a lot of the manga discusses how the witches are alienated & considered inhuman, and their struggle is a tussle over humanity. verge literally brought up "storytelling" !! and this makes sense because imuri's Role is the "femme fatale", that she constantly refers back to and describes herself with, and that's essentially story trope.

sloth was the depiction i was most impressed by when it came to inventiveness. i was reading through the files intently before he was revealed since they're all written very well, so when he showed up, i assumed he was writing the child's room ones almost immediately. the scapegoating of women, paired with the eternal childhood of it all and priest's own exhaustion is all very fun.

gluttony being a grooming allegory is honestly insane. i often feel like depictions of gluttony end up imagining it as a kind of Greed Lite - but with a focus on food, which is boring TBH. the manner in which the sin of taste is presented as experienced/practiced by the abused & the way this connected to leah's "forbidden love" as described by the files... i really liked leah in this arc. beelzebub talking with her and saying,, this is just human nature,, centering her shame... it made me feel very ill if i'm being honest.

greed is a typical depiction but the way it's fleshed out connects really well to the manga's themes, although im more interested in tachibana than the actual character of greed. i feel she represents it in a more nuanced way than him, although that's probably whats intended. the file about her with the line referring to "the womb" and the one file conversation she has with verge really sticks to me. she's obviously portrayed as the sole woman in a room full of men and the way she revels in her success when it comes to The Meritocracy fascinates me. i hope we get more of her

envy is probably the one i have the least thoughts on: leviathan as the state & the sea monster connect to motherhood is kind of apparent but i wish i had more to chew on with respect to how that ties to the sin of envy. but that's a minor nitpick, and i'll probably understand more later.

overall, i'm kind of happy with how these themes are being tackled in a shounen manga, and i had tons of fun with it. i wish it had more attention! i like priest a lot, i think he's incredibly well written but my particular tastes in characters mean that my favourites right now are imuri, asmodeus, leah, and verge. the latter is probably biased by the fact that i'm deeply invested in the weird yaoi he and dante have going on, it's so fun?

this is everything that i could think of for now, but i'm considering talking about newer chapters when they drop on my main, perhaps? thank you for the ask, it gave me the opportunity to go on about it a little :D i liked it very much!!

[herrscherofmagic]

finally caught up with the current HI3rd event, the Luna one! so time to share lots of random thoughts, hehe

It felt a bit surreal first seeing this conclusion to the Captainverse story, but now that I've gone through the whole thing I can say that I really liked the way Mihoyo handled it. Of course there are details that I'm still iffy on, like the whole Luna-aged-over-10,000-years thing is pretty clearly fan service-y; but even that doesn't bother me too much.

More than anything else, I appreciate how the Captainverse gave us a happy ending for the "holy trinity of depression" in HI3rd's main story: Kallen, Himeko, and Sirin. All three of them suffered so much in the main story, after all.

Even if these bubble-world versions of them aren't the originals, it's still heartwarming to see them looking forward to a brighter future, instead of being faced with certain doom in the face of powers beyond their understanding.

Himeko especially hits me in the feels, not just because of Final Lesson but all the way back in her late teens when she lost her father, as we saw in the Alien Space manga. It was a completely life-changing event for her, and if she hadn't lost her father there then Himeko could've followed her passions and lived a very different life.

The Captainverse Himeko isn't the same Himeko, but it feels like she's carrying on that same dream. It's almost like a different version of the Kiana-MemoryHimeko reunion in the Flamescion arc; but instead of a mature Himeko seeing off her student, it's the young Himeko starting a new adventure and following her dreams...

I also loved how well Mihoyo wrote the Captainverse cast. The way everyone interacts w/ each other felt so natural imo, it was really nice seeing all the different connections that started popping up. The rivalry between Luna and Kongming, the budding friendship between Bronie and Sirin, Himeko & Captain, and so on. There was very little technobabble or convoluted plot stuff (at least in my opinion) for most of the Captainverse events. All these fun character interactions were the center of attention, and it was an absolute blast! ^.^

There's two final thoughts I have about the Captainverse, and I know that Mihoyo probably isn't going to explore either of these possibilities, but I'll choose to dream that it'll happen someday >.<

First: The Main Story showed us that HoFi Kiana has the power to stabilize an entire bubble world. Even if she didn't, the Earth civilization is still pretty advanced thanks to the Divine Keys (1st Key and 2nd Key especially). So if the Captainverse Hyperion crew ever encountered Earth and met our Main Story cast... wouldn't that be the perfect solution to the bubble world dilemma? After all, much of the pain these characters have gone through was the result of the inevitable decay and collapse of unstable bubble worlds (which is nearly all of them).

I doubt it'd ever happen in the story, but I'd still love to see how the Hyperion crew would react to meeting their "real" selves, and to discovering that there's a way to save all these worlds. Of course there's probably countless bubble worlds so not ALL can be saved, but every world saved is still a massive achievement!

And I'm curious how they'd react to the existence of the Imaginary Tree. As far as I can tell, none of their bubble worlds seem to have any idea that the Imaginary Tree exists. They likely have no clue that there is a Cocoon of Finality, or that Earth is a thing and that it's part of a solar system, and so on. So learning about all these things would probably be a huge revelation for them. Kinda like a Plato's cave allegory. Which is quite fitting tbh, since bubble worlds are basically shadows of the "real worlds".

Second: I genuinely believe the Captainverse cast would fit perfectly in the setting of Honkai: Star Rail.

One obvious point is that the Hyperion crew is a clear candidate for a Path of Trailblaze faction. Instead of traveling across the Imaginary Tree with the Astral Express, they travel through the Sea of Quanta on their own Hyperion. They don't connect "real worlds" and I don't think it's accurate to say they connect bubble worlds, but they're still able to travel between them and transfer people and ideas. Surely with enough time they could come up with a way to truly bridge the gap between different bubble worlds, and then they'd be a near perfect thematic parallel of the Astral Express- just in the Sea of Quanta instead of on the Imaginary Tree.

Then there's also the fact that most of the Hyperion crew members have a strong ambition to travel, explore, adventure, and so on. Bronie and Himeko want to see what lies in the countless worlds of the Starry Sea, Captain wants to continue traveling between worlds and helping people, Sirin wants to grow stronger and learn how to better protect her own world, and so on. Almost any of these characters could feasibly join the Astral Express if given the opportunity (and if they weren't already part of Hyperion).

I also feel like their character dynamics would fit HSR's balance of sillyness and seriousness. The Captainverse crew can all get serious when they need to, but they're also capable of plenty of fun shenanigans. I could imagine them getting into trouble and engaging in a bit of tomfoolery just as easily as I could imagine them facing down the Antimatter Legion and fighting to save a world from its impending doom.

Again, there's basically 0% chance of this happening... but I'd still love to see it someday. The Captainverse crew might be a bunch of familiar faces but they all have their own unique origins, ambitions, skills, personality, and so on. They're not just mere copies of the "real" versions of themselves, but they've become their own characters through this story.

It does hurt a bit, knowing that this cast is ultimately going to be relegated to side stories and temporary events. I believe that if you changed some of the terminology and character designs a bit, then the story of the Captainverse could probably stand entirely on its own as an independent piece of media. The concept of traveling between unstable and decaying worlds in the Sea of Quanta, the use of consciousness mapping and how it affects both the world & the user, the Ether Anchors; all these ideas are well-developed and they're conveyed in a story with a lovable cast. There's so much potential here, and this story doesn't really need the rest of the HI3rd story to give context to these characters and the setting they're in.

If this is truly the end of the Captainverse, I'd still be satisfied. If we still get Captainverse content but it's just minor stuff, I'd still be satisfied. I think this event did a great job of answering questions, tying up loose ends, and leaving things open for the future.

But despite that, I still wish we could see more of this cast. I want to see Bronie reuniting with Ciora and Theresa, Sirin growing stronger with time as she explores the Sea, Himeko's excitement in traveling across worlds, Kallen & Luna bonding and growing past their troubled past.

at this point I probably care about the Captainverse as much if not more than the Main Story. I'm excited about Mars, don't get me wrong... but the Sea!!! the bubble worlds!! Himeko & Sirin & Kallen & everyone else!! >~<

[mysticdragon3md3]

Yes, I love Frozen. Yes, I'm still sore about Frozen 2. ;_;

I don't understand everyone's sickened complains about oversaturation, but that's only because I usually stick to anime/manga spaces. I wasn't inundated with Frozen or "Let It Go" the way everyone else was. I *still* sing "Let It Go" to myself (in Japanese). I'm not sick of it.

But it's usually so hard to find people who can critique Frozen 2 without tinging it with how sick they've become of the whole franchise. I found some. But I had to wade through some pre-judgmental dismissive vids first. As soon as a video essay starts with dismissing even Frozen 1 because they got sick of oversaturation, I'm gone. Frozen 1 was very good. I don't need to hear nitpick arguments about Frozen 1.

But Frozen 2... I'm not crazy, right? That movie was disappointing, wasn't it? It wasn't just me? Events, all the way up through the ending, felt like they were being presented as resolutions to---something. But whatever that "something" conflicts were, didn't feel like they were presented. They were told through song, but not experienced along with the characters, through scenes. Like, "Into the Unknown" talks about how Elsa wants to go out of her known world, but we never feel that longing. All the scenes beforehand felt very cozy in her environment as-is. What justifies the triumphant tone of "Into the Unknown" as if that was something she wanted? The only thing the previous scenes established the audience feeling she wanted was to stop being freaked out by that weird singing so she could be present with her family, these lovely characters around her. I often think back to Frozen 1's scenes before "Let It Go". So many scenes just establishing the feeling of anxiety, repression, tension, and fear, and how trapped and under pressure Elsa felt in her environment, where she felt she needed to hide her powers. So when the movie finally got to the "Let It Go" song, our emotions were right along with her relief. That was showing, not telling. So much of Frozen 2 is telling, not showing. Telling through good songs, but still, just telling. Up through the very end, until it felt like just a bunch of stuff happening with no emotional investment, stakes, or payoff. Like, what is Anna becoming queen supposed to payoff? What is Elsa living in the forest supposed to pay off? We never got the sense that Elsa wanted to be in the forest or even away from the castle. We never got the sense that Anna was way more suited as queen or that things would fit better if Anna was queen. There are lots of relatable real life emotions in feeling like you don't belong, even in a place that's perfect, surrounded by people who care about you. Frozen 2 could have used some of that for Elsa. Maybe they should have consulted with people with depression. But instead of showing scenes like that, to make the audience feel along with Elsa (and Ann), we got told she wants to go into the unknown without feeling why. Same for everything else.

I was just so disappointed, after how much I loved Frozen 1, that I couldn't even buy anymore Frozen Nendoroids. I LOVE Nendoroids. I bought both of the Frozen 1 Nendoroids. I almost bought Elsa's Figma. But despite how pretty the F2 Nendoroids are---and there are FOUR of them!---they just reminded me too much of how disappointing F2 was. And now I'm sad.

But I understand that the production team didn't have time. Investors and executives wanted a movie on time, more than a movie done well. Like they always do, often ruining everything. And now F2 is the way it is, for all time. And now I'm even more sad. ;_; Because who knows how great F2 could have been if they had time to rework the story until it was polished to perfection!??? ;o;!!!!!! We could have had both the important anti-imperialism/anti-historical revisionism allegories AND meaningful emotional experiences along with the characters!...But nothing really hit for me. ;____; It's all stuff just said but not felt. ;________________;

[qworflordking]

Thoughts on The Yaois

When it came to my attention that Mister Wrflrfyfcrs most popular yaoi slash pairing was with the target of his hate crime, I was surprised. When I asked The Quoll regarding this, he slid beneath my kitchen sink (I store the trash there, he enjoys it) and did not remove himself for three entire days. After much examination of the existing Yaois, I came to the conclusion that most of it relies on the same misread of the very political allegory of Meteor City - essential to understanding the character, as our main representative - that I noticed in both anime adaptations (which I haven’t even seen in full, sue me.) There is also the worrying issue that the Chimera Ant Arc isn’t on Netflix yet, and many people haven’t read the manga past the anime or Volume 0 of the manga - which never saw an English release. I understand and sympathize with the Weeb Struggle, however, and will do my best to elucidate on my confusion in the following points.

1. My Man Did a Hate Crime

Look, you don’t need to take polisci classes to know what genocide is. Considering the Spider’s existing canon attitude towards children (see: showing Gon and Killua mercy, their care of Kalluto, the fact that Meteor City is indeed the city that cares for the abandoned infants of the entire HxH universe) and contrast it with Chrollo killing the children of the Kurtas first. Consider that they showed no regard for whether an individual exhibited the Scarlet Eyes or not. When Uvo says he just figured the Boss liked the color, consider that he’s one of Chrollo’s hand-raised cult kids and not just him but even Hisoka’s information about Chrollo and the Spider are actually wrong. It’s likely he had no idea - the Head gives orders, the Legs follow. 

Chrollo wanted to wipe that entire tribe out so badly, he left the same message the suicide bombers of Meteor City leave behind. (No, but really, I was even told that the suicide bomber aspect was downplayed in the anime, whereas in the manga it ran me over like a damn mack truck so hard I deliberately constructed my own religion that had nothing to do with Islam.) (I bolded this because I am Fucking Internet Old)

2. It Wasn’t About the Eyes

Seeing Chrollo being entranced and waxing poetic about the beauty of Kurapika’s eyes is just kinda lol to me. Chrollo kinda represents the rage of the oppressed turned sour. The violence of an oppressed group (don’t tell me the people who absorb the world’s trash and live in a hostile polluted desert aren’t) is fundamentally different from your standard violent bloody personal revenge character arc (see: Kurapika) but Chrollo is an example of carrying it too far. I don’t think he was traumatized by a harsh upbringing (on a more personal, standard level, but the existing state of Meteor City is harsh) but that he sees the outer world as explicitly evil and even though he learned about it and walked there, he still hates every aspect of it. In his battle with Hisoka he shows us what he sees outsiders as: mere objects for him to use as weapons. 

Hmm. Compare that with his state of belief in the soul and his genuine love for his friends. 

3. Suicide Bombers, No Shit

The ideal of martyrdom is actually one of the few and most prominent facts we know about Meteor City. The Sun and Moon, anyone? Chrollo himself has done his best to carry this prioritization of the collective and the cause above all. He has struggled to dehumanize himself to fit this ideal of martyrdom and has spent his life assuring the members of his own little personal cult that he is no more important than any of them, that any of them could fill his shoes. Huh, much different than most cult leaders. As a character, you learn more about him by reading into his Spider than reading into the man himself, he doesn’t say much. But what he says does hit. His first priority, and something essential to writing his POV, is the Spider comes first above anything else. It’s some fucked up primitive communism/typical cult shit for sure.

Hey, did you know the Christian Ideals of giving the entire self up for the Lord is like, actually plays a role in lot of fundie bullshit? I just thought that was interesting. Also, even with seat belts, hundreds of people die in car accidents a year???????

4. Yes, I Have A Kurokura WIP, How Fucking Annoying, Why Am I Like This, Send Help

Anywho, I went on my rant and avoided traumatizing my good twitter friends with my constant qwroflrord yelling! Good night. 

[dangermousie]

I swear to God, the above was like a horror movie scene. I know the scar is integral to Haru’s identity and memory and love for Dan Oh, but the tiny bit of glimpse we got into how he got it shows his face full of horror so it clearly is not a good or happy motivating memory. 

Speaking of the past (because I like to do my posts by topic, sorry), I find the mirror parallel that Dan Oh can see the future while Haru can see the past very interesting. The intercuts and similarities between the past manga and the present one are getting more and more. See this scene:

I find it super telling that when modern Dan Oh named Haru, she didn’t really name him - it was her subconscious remembering his past name somehow (because it doesn’t appear that they were self-aware in the past manga and this was the name he had been given by the author in the past; though the theory that she named him in the past manga also would be interesting.) And I find it interesting that the stories are beginning to converge and merge and even the lines are the same between the self-aware Dan Oh of today and possibly not self-aware Dan Oh of the past - to me it seems to indicate that there is a basic, innate bedrock to these people that no set up can shake and which is why as they are reverting to their true nature (whether initially given by the writer or somehow theirs though a more mystical concept like a soul), they act so similar - because that is their true selves and they will act a certain way in the same situation. The actions and words stem from an immutable personality traits and behaviors (and oh the metaphysics of how they came by that!)

It’s interesting whether they are dragging the story off kilter or whether it’s predestined to go like that, always and free will is illusory because certain characteristics will lead to certain behavior patterns will lead to certain actions. And the fact that their experiences tend t be the same over and over makes the new patterns set faster (which is certainly true in machine learning in RL.) I mean, Squid Fairy, who does appear to have a heart and just doesn’t want to see a bloody ending yet again for God knows which time, says that plain text:

And for the first time, I feel desperately sorry for Squid Fairy. Think what it would be like to be him - knowing everything, seeing what’s coming, and not being able to change over and over and over again. The characters’ various desires for oblivion make me think of when I was growing up as an atheist and was terified of death as a child and kept thinking “I wish my parents lied to me about there being a heaven; it would make me less scared and I wouldn’t know it was a lie until it didn’t matter.” There is a temptation in the comfort of self-delusion. 

This story has honestly become a truly fascinating religious allegory inside a funny shoujo package. Yes, I am saying that. Both a sort of Buddhist one about a never-ending circle of suffering defined as life that you are doomed to repeat over and over unless you can finally break the pattern and escape and a more general one about free will and self-knowledge and being bound to someone else’s whims - because the writer is their God. He is neither benevolent nor all-seeing, but that is what he/she is. And they can curse him or bless him or go along and rebel but ultimately the control they have over their world is too fragile. 

This brings us to this:

Well, we know where Kyung gets his temper and entitlement from - he used to be a literal king. (It makes me think of Gong, which was basically a Qing Boys Over Flowers and, for once, Domyoji’s violence and utter superiority made sense - he was a Qing royal prince!) Goes with the karma notion or reincarnation cycles also - if he was a bad king in the past, maybe that’s why his life is not so good now (that is a notion I don’t like because I find it unfair to punish people for sins they don’t remember, but it would certainly fit.)

Also, holy God, this is literally the slashiest scene I’ve seen all year, and I’ve watched The Untamed. Are we sure the original manga wasn’t BL somehow? 

I also find it interesting that so much of what Haru says here about self-determination and what Kyung yells about him being bound to him mirror what the characters say in the present - but in the present they say it while self-aware, while it appears that in the past it was not the case - the origins refer to Haru’s family not the writer’s background, the obligation to be with Kyung refers to being his servant, not some sort of character hierarchy. And once again, are they returning to their true selves (whether those selves were made by the writer or innate is an open question, as I mentioned earlier) or are they set in a pattern they can’t escape despite their self-awareness this time around?

And we end on period Squid Fairy, who I swear is the prophet Jonah of this tale, but with a less benign deity and hence a less happy ending.

PS Lee Jae Wook should s be in a Goryeo period drama for real. I dislike Kyung but that actor is on fire. 

[devintrinidad]

10 GIFs of Anime that You Love, Then Tag 10 People

Just got tagged by @chemicalflashes.

Durarara

One of the first few anime I watched. I adored how the intricate stories were intertwined with others; how a bystander in one scene could be a hero or a villain in another. A choice that one makes can easily have devestaring consequences. And of course, the mastermind himself: Orihara Izaya.

Death Note

Oldie, yes. Overrated, probably. Completely worth watching and still able to discuss a decade after completion? Along with a few movies, musical adaptations, and a live action remake? Oh, yes!

Favorite characters are Near and Misa. The former for his cool nature that resembles L’s, but ultimately serves as a better allegory for Justice because he doesn’t find Kira for fun. No, he captures and probably would have him imprisoned for life because it’s his duty as L’s successor. He’s also heavily under-appreciated by the fandom. The latter for her adaptability and unpredictability in situations. Did you guys watch the Yorsuba arc? The girl was calculating how cute she was going to be. Plus, she’s not mentally well (her parents were murdered in front of her), but she still managed to handle herself SO WELL during her time as a prisoner under L’s inhuman methods to seek out the Second Kira. Again, she’s under-appreciated.

Death Parade

Brilliant idea. Has a possible tie in to Death Note. The opening was laughably so misleading!

There are some flaws, like plot holes and unfinished storylines, but it held up pretty well. We learned about the characters through how they interact with one another—especially when put under pressure. The Arbiters are amazing in that they can’t question the system, and yet, in the end, Decim tries to understand and formulate how Chiyuki is going to be finally put to rest.

If nothing else, just watch for the skating scene and the opening sequence.

Cells at Work (Hataraku Saibou)

How could I not add this show??? I’m not that great science, but I have been intimately acquainted with how the body works (I’m frankly disappointed no one has called 1146 a granulocyte yet and we haven’t seen any neurons in the manga 😞). Also...3803 is basically me: I’m terrible at directions, I’m continuously learning new things because I moved away, and the way she met 1146...is kind of how I met my best friend, hehehe.

That said, I’m really in love with this anime/manga fandom and hope to continue writing for it. (Insert self promotion: please read my fanfics on my main platform which is ffnet!)

Another reason why I love CAW...

The neutrophil squad.

...and wbc x rbc...and by that, I mean any or all of those wbc squad can get paired with 3803. Because I have a soft spot for reverse harems. *cough Ouran High School Host Club*

Hetalia: Axis Powers

This show made me love geography and my country so much. It’s funny, it’s hilarious, and it’s so heartwarming how the fandom likes to make all sorts of fanmade stuff to expand on what Hima-papa gives us. (YES, IN THE YEAR OF OUR LORD 2018, I SHALL REFER TO HIMARYU-SENSEI AS HIMA-PAPA. FIGHT ME.)

Is Hetalia dead? I don’t know, but the fandom and one particular FanFiction by @cultureandseptember really helped me out a few years back.

Bungou Stray Dogs

I love literature, good looking animation, and smarmy little know-it-alls who like to play the fool. Hehehe, I’m planning on reading No Longer Human when I get the time. Does that mean Osamu Dazai is my favorite character? Well...

Can you blame me if I said yes? He’s so charming and enigmatic that you can’t help but love him. However, I think I really love him because I struggle with dark thoughts and suicidal ideation from time to time. I haven’t actively sought it out quite like he has in the past, but well... hehehe! I can also relate because he’s kind of like an outsider in the Agency due to his past—he’s different because he can’t actively cancel out your abilities, which always makes him a threat.

Anywhoozles, I’m still waiting to see the movie...Le sigh.

K Project

This. This is not the best anime out there. Seriously.

The animation gets wonky here and there, they do the women in here a huge disservice, and they put too much emphasis on how great Mikoto Suoh. Like, he’s great and all, but the dude has no effect on the story except for the last season.

With that said, I think the main selling point here isn’t the anime, but the side materials like the manga/novels. You get to appreciate the backstories of so many of the characters and you get to feel for them because some of them have suffered so much! (Read: Fushimi Saruhiko).

I think you can get the same amount of enjoyment if you stick to the novels/manga.

Favorite characters: Scepter 4 Alphabet Squad. They are the best boys. Also, Lieutenant Awashima Seri. And Fushimi Saruhiko. You know what? Just put down Blue Clan here. They’re all nerds and they enjoy it.

Also: Domyoiji Andy reminds me of U-4989 from CAW. So...

Violet Evergarden

Remember how I said that I liked literature? This entire anime is about the power of not only the written word, but of also the act of writing, sending, and receiving those words. The anime may be episodic in nature, but you can really connect with the character through her terrible backstory and really feel for her when she realizes that she needs to face her past. PTSD is real and I think the anime really handled the post war aspect of this torn down world really well.

I’m also a sucker for typewriters, steam punk, and characters that don’t really know how to function in society (but learn over the course of the story).

Watch this if you want feels...and get ready for episode ten.

Samurai Champloo

This takes place in feudal era Japan.

But there’s rapping.

And breakdancing.

And guys spraying paint everywhere.

Also, there’s a sunflower samurai we gotta look for???

Hahahah, while episodic in nature, this was a joy to watch. You never get to know the characters really well and when we reach our mission’s end, it seems to fall short, but it’s not about that. The journey is what makes this anime worth it simply because the characters interactions are rife with hilarity and all three mains balance each other out. There’s a fanfic out there that describes them in detail, but in a succinct manner that had me melting. (https://m.fanfiction.net/s/2351750/1/The-Order-of-Things) check it out when you have the time.

Anyway, for those of you who have watched it, I sincerely hope that they meet again in the future.

(But, let’s be real. They probably didn’t).

Tokyo Mew Mew

Guys.

This isn’t a joke.

I have a soft spot for this anime because this was my first ever anime I watched where I realized that this was anime. This was like my gateway anime. Not Sailor Moon. Not Naruto.

This.

Looking back on this, it wasn’t the best—it’s your typical monster of the week deal with some environmental activism involved but for what it’s worth...it’s good??? Like, even the 4Kids dub (DONT CRUCIFY ME) even added some songs that were really great??? Bree Sharp’s Don’t Wake Me Up was my jam??? It fit better than the original Japanese counterpart???

TMM also introduced me to shipping, FanFiction, and amvs. That’s right, without this little gem, I would be writing/writing/thinking about FanFiction. I probably wouldn’t have been an anime watcher without this magical girl anime from the early 2000s.

So, yeah. This anime will always have a place in my heart because without it, I probably wouldn’t have become the person I am today. Thank you, Tokyo Mew Mew.

(This was also the birth of my first OTP before I knew what OTPs were: Kisshu/Ichigo...although nowadays, people are calling them Quiche/Strawberry? Hehehe, there’s so many things wrong here, I only like interactions, not the implications. That’s why I’m completely okay with Aoyama/Ichigo being endgame—and they’re actually really cute in the sequel manga???)

Honorable mentions (because I only thought of these now after I wrote analyses and gifs):

Five Centimeters Per Second

Ouran High School Host Club

Kimi no Nawa

Wolf Children

Psycho Pass

Trigun

(There’s like a dozen more, but nah. I’m good).

Aaaaaaaaaand that’s a wrap!!!

I’m tagging everyone who reads this! MWUAJAHAHAH!

I’m kidding; I don’t have that many friends here (if any) who are into anime so, umm...try it!

Thanks to @chemicalflashes for this amazing opportunity to find out why I love anime so much!

[lia-nikiforov]

Winter 2018 Anime Final Review

Why yes, pretty much all the Spring premieres are done (don’t even remind me haha I’m so far behind) and this is horribly late, I had a busy couple of weeks ;---; and am still struggling to catch up, but here’s my final rundown of this long slow winter! Worst to best, as always.

Dropped

Basilisk Ouka Ninpou Chou: Although I’d said I’d keep watching for the Nobunaga twist, given the onslaught of new stuff for Spring, it’s unsustainable to keep watching something so mediocre I don’t even find anything to say about it. Also Nobunaga hasn’t been mentioned in three episodes.

DUMPSTER FIRE

Darling in the Franxx: So we’re halfway through the show and still feels nothing of importance has happened, except we learned “lesbians are not viable, what a relief” and also KOKORO REALLY WANTS TO MAKE BABIES. The whole Kokoro business is very unsavory because on the one hand the writing is a dick to Walking Fat Joke Futoshi, but on the other hand Futoshi is an entitled Nice Guy who acts like Kokoro has some obligation to return his feelings, so basically everyone sucks lmao. Btw, does anyone know what happened with episode 13? I went to watch it but what I got instead was a Deadman Wonderland episode, complete with the story of Palurdo meeting Lab Experiment-turned-Beast Waifu as children and making a promise that would subsequently be forgotten until they meet again in their teenage years. Jesus, does Womenz are Beastz: The Anime have a single original idea?

How am I supposed to measure my own disinterest and contempt

This basically means I didn’t care for these shows. I don’t hate them but I was aggressively unengaged in them and I can’t really rank them from worst to best because that would imply me having any measurable emotional reaction to them

Violet Evergarden: I don’t think I have much to add about this one that I haven’t said before. Tryhard Sad Anime Girl stories rehashing old clichés with little novelty to them,  with a bonus of a super poorly explained and thought out child super soldier tragic backstory that still has me ?????? The final episode has the addendum of trying to redeem That One Asshole in a “he treats her bad because he’s sad about his brother dying sob sob sob he’s totally not a jerk” and i was very annoyed by that.

Koi wa Ameagari no You ni: It’s complicated to talk about this show. I really liked the first episode, hated the 4-6, then was mostly bored by the rest of it. The whole romance angle was completely dropped in the latter half, but I’m not even sure if that’s a good thing given how tastelessly it was being handled in some moments, or a bad one given how bland everything else was. It felt like Akira’s crush on Kondo turned out to be insignificant in the grand scheme of things. It also felt like Akira was profoundly underdeveloped, and it bothered me because Kondo was developed properly. His character felt more fully realized than hers. Like idk, I just cared so little for the last few episodes and it didn’t feel like Akira’s emotional progression was very connected with the first half of the show. 

Fate/Extra Last Encore: I don’t even have a screenshot. Apparently the reason the show started so late into the season is that it took a long time to produce, and apparently there are two more episodes that will be released at some point in July. But really, what matters is that I have no idea of what this show was trying to accomplish. The characters were a bunch of pieces of cardboard spouting pseudo nihilistic philosophical nonsense and I don’t even know how to describe the plot. It was generic in its Boss of the Week approach but the execution was often very flat. Definitely none of the fun from Apocrypha’s cool characters was to be had in this iteration of the franchise.

Too much iyashikei

This season we had too much iyashikei and I’m burned out. Here are the ones I didn’t hate but also wasn’t super in love with.

Miira no Kaikata: I think this show would’ve worked better as 3-minute vignettes. 20 minutes of it was a bit too much and I struggled to pay attention. I also felt the dragon and MukuMuku had very tangential roles. I don’t have a whole lot to say. It’s cute, if cute is your jam this show is for you. Connie is best smol monster.

Hakumei to Mikochi: Another cute show that gains extra points for its somewhat unique setting, beautiful color palette and picture book aesthetic and because the two main girls are great characters. I particularly liked the first and last episodes. It’s a relaxing, fun little show

Sanrio Danshi: The harbinger of feminism made into a toy commercial, while not quite iyashikei, is still a slice of life that just occassionally indulged in too much melodrama. It was nonetheless a fun little thing that managed to turn cynical consumerism into a positive message for boys: it’s okay to like non-traditionally-masculine things. One of the details I liked most was that none of the boys had to give up on their previous groups of friends even after “coming out”, Kouta’s friends and Shuu’s team were supportive of them and even participated in their dumbass musical play. Some may even read this show as a not-so-subtle allegory on homosexuality and while I don’t think this was Sanrio’s intent (their intent is to broaden their market, plain and simple) the fact that it works so well with that reading is honestly great. I had very minimal expectations for this show and I’m happy it turned out better than those.

Classicaloid 2: Classicaloid isn’t quite iyashikei either but it fits in the “didn’t love it, didn’t hate it” category. I’m a huge fan of season one, but unfortunately a big part of S2 failed to capture the magic. I think most of it was restored in the second cour, specially with brilliant episodes such as the one where Dovo-chan becomes a super-realistic painting of himself, and the last three episodes really captured what made Classicaloid great. I’ve really come to love this cast, so I wouldn’t complain if we got more seasons (please do Vivaldi!!!)

Shonen is a Good Genre, Actually

Shonen as a genre/demographic is much reviled for its repetitive clichés and childish stories, but I think we live at a time in which we can have well-executed shonen anime that, although falling for the same old clichés, have enough heart and sincerity that makes them enjoyable. This part also isn’t necessarily ranked, since my favorite one will change depending on which day you ask me

Nanatsu no Taizai: Imashime no Fukkatsu: As I have mentioned before, this second season seems to be the polar opposite of the first one’s rapid pace. It’s been a while since I read the manga, but I feel like it took a lot less to get to the mid-season cutoff point there than this anime would lead you to believe, especially the training part felt excruciatingly long. NanaTai has other various flaws including its 1000% not funny harrassment jokes and the dumb introduction of quantified “power levels” (why Suzuki), but characters like Diane, King and Ban give the show a unique flavor. And I’m not even gonna pretend to be unbiased, I just love everything involving Ban, even the weird and questionable choice of bringing Elaine back. I’m excited that we’re finally approaching Escanor’s arrival.

Yowapeda Glory Road: I also forgot to grab a screenshot lmao. Yowapeda is a very particular beast, and with its episode count already in the hundreds, it’s not something I’d reccommend unless you’re super into dragged out ridiculous sports anime. This second season of Onoda’s second year has not been without its flaws either, starting with the, imho absurd persistence in making Sohoku look like underdogs even though they’re reigning champions. It’s made a lot of the first two days of the Interhigh feel a lot grimmer than this cheerful show ought to. Kaburagi is still an insufferable character, and the fact that he drags the team down doesn’t help him either, and I just wish the writers would let Best Boy Teshima win anything. I hope the second day ends on a lighter note, because the gloom and doom is making this a less enjoyable watch than it should be

Mahoutsukai no Yome: I feel a little better about this one knowing the final was anime-original, but at the same time I’m beyond livid with how it was wrapped up. I loved the second half of the series because of how well-written and emotional Chise’s growth was, and everything up to her embracing of Cartaphilus’s curse was a beautiful display of her strength and will to live. What I’m not here for is that asspull wedding whatever that makes no sense in the context of the previous events, especially because after the fact, Elias’s attempt to kill Stella is swept under the rug. This could’ve been my favorite show of the season without that bullshit ending and while I don’t regret watching it, it leaves me with a sad feeling of what could have been

Best of the season

Hakata Tonkotsu Ramens: It had a slow start, but with its endearing cast and well-developed character relationships, HTR won me over, especially the last quarter. The animation was veeery barebones, but Lin and Bamba’s charisma and their organically developed relationship carried the show to be one of the most enjoyable of the season. I also really appreciate the fact that the series includes a gay couple with an adopted daughter and that Lin’s crossdressing is never used as a joke or treated as a character flaw or a “phase”. I love stories about found families and I’d love to see more of this gang fighting crime and doing shady business in their city of assassins.

Garo: Vanishing Line: This iteration of Garo had a somewhat slow start, but boy did it pick up steam in the second half. The action was great -the final fight against King had some incredible stylistic choices, the characters’ journeys felt complete and very human and the story was interesting and different enough from other Garo to not feel repetitive, yet with enough Garoisms that made it feel connected to everything else. Like I said, I love stories about found families, so the way Sophie found a home with Gina, Luke and Sword by the end was very touching. Watching Sophie’s journey has been a treat, and I’m immensely happy that this wasn’t a Guren no Tsuki disaster, but was more in line with the excellence of Honoo no Kokuin.

Gakuen Babysitters: This was the huge surprise of the season for me, I almost expected it to be pretty dull. Instead it turned out to be super cute and extremely heartwarming. It had a couple of duds here and there, mostly the not-actually-a-pedophile joke character and the early love triangle skits, but the former disappeared and the latter was vastly improved in the second half of the show. I wish Ryuichi’s grief had been dealt with a bit more, but I think what they did show was very well executed and empathetic. And the portrayal of the kids felt very realistic, including both children’s most adorable and most obnoxious behaviors. KIRIN IS BEST GIRL

Card Captor Sakura Clear Card arc: I have expressed some complaints and dissatisfactions with this sequel all through the season. Mostly in regards to the new cards and how the old ones seem to have been forgotten (also the lazy designs of the new cards). In spite of that, Sakura hasn’t lost any of its heart in these 20 years, the characters are still the kids we grew up with. It is an overwhelmingly cheerful and positive show, from Sakura and Syaoran’s shyly developing relationship, to the hopefulness of Sakura’s magic and just the simple day to day life of Sakura and her friends. In spite of all its flaws, Sakura is still my favorite show of the season and I’m happy we get to spend one more season with these characters. Just please give me more Yue??? 

Ooooof, finally I’m done with this! PLEASE LET’S NOT TALK ABOUT THE 20+ SHOWS I’M SAMPLING FOR SPRING AHAHAHAHA. There’s too much anime. Anime must be stopped, immediately. Don’t hesitate to send me your thoughts about the winter season, even if it seems I’m losing my mind a little Dx TOO MUCH ANIME

[maiathebee]

Comprehensive Bibliography Of BTS

This is just a list of material referenced, alluded to or related to BTS’s concepts, music, photobooks, albums and music videos.  This is not a fan theory, or an attempt at one! Anyways here’s the precursor to my scholarly paper, lolllll (I’m not joking though).  I’ll update it as we goooooo....

Also, I know almost nothing about the School trilogy, but it’s my understanding that there’s not a lot of outside source material.  I could be wrong though.  Does it reference mangas and stuff??? send me a msg if you know.

(just a reminder that while BTS is remarkably involved in the creative direction of the group, the formation of a kpop groups’ era/concept is made by a large team of people, and therefore the members probably haven’t even considered or explored upwards of half the material on this list).

(asterisks mean that these works are not directly referenced by BTS in their interviews, lyrics or imagery, etc, but which are still tangentially related)

BTS book club list is as follows:

Shim Cheong - a Korean Panseori tale (Dark and Wild)

Demian by Hermann Hesse (Wings)

Seven Sermons to the Dead by Carl Jung (Wings)*

The Collected Works of CG Jung by Carl Jung (Wings)*

Thus Spoke Zarathustra by F. Nietzsche (Wings)

Beyond Good and Evil by F. Nietzsche (Wings)*

The Ones Who Walk Away From Omelas by Ursula K Le Guin  (YNWA) 

The Moral Philosopher and The Moral Life by William James  (YNWA)*

The Brothers Karamazov by Fyodor Dostoyevsky (YNWA)*

Le Transperceneige by Jacques Lob (YNWA)

Then here’s the film club list:

She and Her Cat (dir. Makoto Shinkai)(short film) (HYYH pt.2)(this is according to Bang PD)

Lost River (dir. Ryan Goslin) (Young Forever)

Big Fish (dir. Tim Burton) (reason here)  (YNWA)

The Helpers/No Vacancy (dir. Chris Stokes) (YNWA)* (tbh this seems fairly coincidental to me, which is why it gets an asterisk.

Snowpiercer (dir. Bong Joon Ho) (YNWA)

BTS music playlist:

Wild For The Night by A$AP rocky (Dark & Wild)

Friday Night Lights by J.Cole (Dark & Wild)

2001 by Dr. Dre (Dark & Wild)

花樣的年華 - Zhou Xuan (HYYH pt.1/pt.2)*

Nevermind - Nirvana (HYYH pt.2)

Wasted Youth (HYYH pt.2)

Wish You Were Here - Pink Floyd (Young Forever)

Passacaglia in D minor (BuxWV 161) - Buxtehude (Wings)

You’ll Never Walk Alone - Louis Armstrong (YNWA)* (100% this isn’t a purposeful reference, but it’s a good song, y’all should listen to it)

BTS’s art history class bibliography:

Julius Caesar on Gold by Basquiat (Young Forever)

Tricycle by Basquiat and Warhol (Young Forever)*

Orange Sports Figure by Basquiat (Young Forever)

The Fall of the Rebel Angels - Bruegel the Elder (Wings)

The Landscape with the Fall of Icarus - Bruegel the Elder (Wings)

The Lament for Icarus - Draper (Wings)

La Pieta by Michelangelo (Wings)

Personnes by Christian Boltanski (YNWA)*

Further Analysis (and more fan-theory type stuff) in chronological order,  under this read more~~

I’m not sure there’s meant to be a single “correct” reading of the group’s narrative or story. Even in Wings, which drew its story fully from Demian, the ultimate narrative of the BST M/V is more vague.  While there might be a complete and overarching narrative that Bighit is trying to create with Bangtan’s concepts/mvs, I think it’s more likely that there are a lot of narrative threads running through the story, and some are maintained longterm, some are relevant only to as specific chapter, while others are merely aesthetic/cosmetic.  I have a feeling that even longterm narrative ideas are sometimes allowed to fade away for the benefit of moving the story forward at the pace they want. 

Dark and Wild

Shim Cheong is just a throwaway simile on hip hop lover.  I’m pretty sure it’s a reference to the idea that seeing Shim Cheong again allowed her blind father to gain the ability to see.

References like the one to Wild for the Night on hiphop lover (they also tweeted about the song back in 2013) don’t really do much except show that they genuinely like/listen to American rap and also it explains at least 66% of the dumb mistakes Rap Monster has made, probably, my poor problematic child.  Hip Hop lover references a ton of artists, but I just included the ones that are mentioned by more than just name.

The Most Beautiful Moment In Life (pt.1/pt.2)

Zhou Xuan is the first media reference point for HYYH (花樣年華)(It’s what the Chinese title for In the Mood For Love is based on). The lyrics refer to forgotten dreams.

Wong Kar Wai’s In the Mood For Love (花樣年華) is not listed, as RM mentioned in the interview that this was not associated with their album. 

Notes of a Desolate Man by Tianwen Shu is excerpted in a Taiwanese literary anthology by the name of  花樣年華, and I though think it relates thematically, it’s merely my own personal association~ There’s no indication that BTS or Bighit even knows it exists.  Tianwen Shu is greatly influenced by Lu Xun, who wrote the anti-confucian societal norms novel, A Madman’s Diary. 

Nirvana t-shirts are a go to for BTS’s stylists, probably MOSTLY because they fit their preferred grunge image, but the word “Nirvana” fits well into the ideas of tragedy/death, utopia/dystopia and idealism that BTS plays with, while Nirvana the band is obviously a good reference point for realistic portrayals of youth culture and music which speaks to young people, particularly the crazy popular Nevermind (ahem Yoongi’s intro song) with Smells Like Teen Spirit and Come As You Are.  (further fan theory here)

It’s crazy to me that Bang PD found inspiration in a five minute anime about a cat, but read the wiki summary and you’ll believe him:  “When it's over She cries and becomes depressed. Chobi does not understand what the conversation was about or what happened but concludes that it was not her fault. He stands by her and comforts her. Time goes on and it becomes winter. She continues going to work and moves on with her life. In the end Chobi and She are happy with their life together and say in unison, 'This world, I think we like it.’”

Fire (Young Forever)

Pink Floyd’s “Wish You Were Here” thematically deals with youth/nostalgia (Shine On You Crazy Diamond: "Remember when you were young, you shone like the sun").  It includes critiques of the music industry and the cliches that the group had to deal with.  The narrative of Wish You Were Here is very much in line with Bangtan’s overall group narrative.

Lost River (a phrase you can see on a wall in the Fire M/V) is a film about a poor community, and specifically a mother and her two sons, going through crisis.  The film includes a scene of a party in an abandoned high school and ends with both a house and a car on fire. The film has an open ending which leaves room for an improved future, but the film is primarily about the limited possibilities and opportunities

As far as I can tell, the “Basquiat” paintings in the fire M/V are just imitations rather than references to specific paintings.  They’re probably being used just as an aesthetic choice - Basquiat’s art was a synthesis of street art, outsider art, social commentary and post-expressionism.  However, his life is also relevant narratively: he died young at 27 and he first gained fame as a graffiti artist.

I’m not putting it above because the film is super inappropriate, but the phrase “enter the void” is used in the Run M/V, and could refer to the Gaspar Noe film of the same name.  The title of that film is, in fact, a reference to The Tibetan Book of the Dead.  However, the term “void” (and the images of the void in the M/V) could just be a reference to five elements in Japanese Buddhism (including fire), particularly the Book of Five Rings.  But this is me getting uber fan theory, lol.

Another graffitied phrase in the Run M/V is “wasted youth.”  This could be one of three things; a reference to the hardcore punk band, Wasted Youth, an allusion to Fast Times at Ridgemont High which also includes a scene featuring “wasted youth” graffitied on a wall, or the phrase isn’t an allusion, but merely a description of the M/V concept.

Wings

The relationship to Demian needs its own post, so I won’t even go into it itself, but the tangential references it spawned are as follows:

The paintings in the Wings video are all in reference to Demian but are also all biblical/mythological in nature, based on the book of revelations, Ovid’s The Art of Love,  and the crucifixion.  The religious references, however, are dulled down -- Jesus is not fully sculpted, leaving him to be a vaguely carved form and allowing the image to stand more as an allegory for the relationship between mother and “son” in Demian.  (some further fan analysis of the art here)(and more specifically on the use of icarus).

The Passacaglia is also a piece which is referred to in Demian in the part of the book where the narrator begins to find spiritual fulfillment through music and art, something BTS talks about a lot.

Demian draws lot from Carl Jung, particularly his ideas about symbolism, archetypes and psychoanalysis.  The book specifically alludes to Jung’s Seven Sermons, and the idea that Abraxas is the ultimate being, uniting both god and the devil.  Thematically, through Demian, this deals with themes of forming ones’ own moral code, and ideas of will and strength of character, with good and evil being both at odds but also simultaneously part of everything. This theory/concept in largely influenced by Nietzsche, most especially his Beyond Good and Evil.  Together these are all philosophies which pull away from the ideas of societal norms or strict social structures and place a premium on personal/creative expression.

Thus Spoke Zarathustra (quoted in the Wings photobook and BST M/V) also furthers this idea that good and evil are “a wheel.”  It posits that Truth (not morality) is the highest virtue and that idealists flee from reality (SEE: Icarus).  The novel also introduces the idea of the overman, which is a gross idea and super problematic, but I can it being applied thematically to BTS as the idea of a ‘fully realized self.’  Zarathustra is a figure Nietzsche borrowed from Zoroastrianism.  (this writer has more ideas on some connections to Nietzsche).

You Never Walk Alone

“Omelas” and the theme of walking obviously references the Le Guin story, which is inspired by the William James essay, which in turn borrows ideas from Dostoyevsky.

Namjoon’s reference Snowpiercer plays into the video’s visual narrative (an inescapable cycle, the train, the cyclical nature of seasons, laundry is a cycle [2mjjk theory speaks to all these, lol]) as the story is about a train which circles the globe, in a world stuck in perpetual winter. Unlike the more environmentally-focused graphic novel, Snowpiercer the (korean-directed) film is intensely focused on class inequality, a theme which runs through BTS’s albums (see particularly Baepsae, but it’s a concern relevant to their School series, since most pressures put on students are related to social class) and which is of incredible concern to Korean people, and therefore is a common concern of a lot of Korean art.  Bong Joon Ho’s other film works are all very heavy on social commentary  (the host deals with the american military and politics/activism, sea fog also talks about social inequality... etc...), so referencing one of his films is a pretty clear statement that you are making a critical commentary on something.  Like the Le Guin short story The Ones Who Walk Away from Omelas, the film is about a dystopia in which the upper class/middle class/general public is reliant on the continual suffering of another (in this class the lower class or last train) to survive.  Trains provide a very easy metaphor for class given their class divisions into separate carriages.  This was also applied in another Korean blockbuster from the last year, Train to Busan (dir Yeon Sang-ho), which included some pretty transparent commentary on the negative effect that an apathetic, self-serving, lazy (male) middle-aged, middle-class could have on the survival of families and younger generations.

Most fan theories agree that the clothes in the M/V are a reference to the sewol ferry disaster.  Here is the fan explanation for how that connects to Boltanski’s Personnes.