Chapter VIII
Between the two Wild Boar Makeovers - MuZumi and the possibility of detachment from the mobilization game
Anatomical determinational mobilization game = battle royale
Using "determinationism" as the key word, this book examines the changes in the imagination of works in the 00s. What is determinationism in this context? That is, the attitude towards the postmodern situation of phased development after the 1970s; especially the attitude towards the leapfrog development that occurred in the country in 1995 and 2001. At this point, the premise that the postmodern value suspension state does not hold in principle (if so, survival is impossible, and the guarantee of meaning is impossible) has become a consensus, and the attitude of "even if there is no basis in the end, it is still necessary to choose (decide) a particular value". This is decisionism, that is, in a postmodern situation, something that must be forced to choose when it wants to assert something, as if it is an unavoidable condition. For "not claiming anything" is impossible in human existence.
And for this "value that is chosen even if unfounded", the legitimacy of which is ensured must depend on political victory. For this reason, in modern society, games of antagonism between decision-makers abound. This is the mobilization game of decision-making = battle royale.
Here, the weak seem to be unconsciously escaping into it, while the strong are as if they are convinced of the crime for the purpose of mobilization, and they choose core values to participate in the game as players, and sometimes as designers to construct the rules of the game. Since it is impossible for humans to "claim nothing", this kind of game is inevitable.
As we have seen, taking the Koizumi Reform in 2001 and the many terrorist incidents suffered by the United States in a short period of time, many stories can be found in Japan that have been set as "decision-oriented". The subject confronted by the modern imagination is to overcome this "decisiveness" and nothing else.
For example, in the first chapter, I characterized DEATH NOTE as a work that represented the decisionism of the zero-zeros. The protagonist of this game, Luna Moon, is premised on the post-1995 excess fluidity, that is, "it is not clear what is the right world", and his worldview believes that true value is temporarily determined by the political domination of the winner of the battle royale (game), in other words, "what is correct is determined by the politically victorious person", which also guides his actions.
What about the masses who believe in the Moon of the Night = Kira? They are indeed afraid of "not knowing what the right world is (excess liquidity)", and they are decisive in choosing Kira = Night God Moon. It can be said, however, that they are in a relatively unconscious state of the "game" construct of "what is correctly determined by the politically victorious man".
It can be pointed out that Junichiro Koizumi's media strategy and the logic of the movement, which draws on the flow of cultural studies, have the same structure, and the basic character of decision-making battle royale can be extracted from it. That is, there is a phenomenon that the strong player who is conscious of the construction of the game = (meta/ironic) decision-maker, by mobilizing the unconscious weak player = the decision-maker, forms a community (island universe); and the mobilization game that points to its own island universe forms a battle royale (game).
The point is that there is no clear distinction between (メタ, 元/ironic) decision-makers and generally adopted decision-makers. Although the distinction between the two is the existence or absence of the game structure, the judgment of this conscious existence or non-existence, that is, the judgment of "whether it is playful (ネタ)" or "sincere (ベタ)", is theoretically impossible, and its boundaries are blended (アナログ). From the perspective of the New History Textbook Movement, especially in the early days, to what extent did Kobayashi realize the structure of this game? I'm afraid I can't tell for sure if I come here. The Night God Moon is also, regardless of his stubborn belief in his ideology, but he is also premised on a pure belief: in order to promote his ideology to the world, there is no other way but to achieve political victory.
Since it is not possible to clearly distinguish between "banter/sincerity" in principle, such an understanding is appropriate. For the decision-maker, the better the player, the more conscious of the structure of the game.
As we said before, the imagination of the Zero Zero has portrayed this decisive mobilization game = battle royale in many genres and angles. More often, however, their depictions of decision-free battle royales are not affirmative, but rather an object to be overcome.
From the pioneering works "Infinity Unknown(無限のリヴァイアス)" and "Battle Royale(バトル·ロワイアル)", to the later "Real Devil Game" It is important that kamen riders (リㄆル鬼ごっこ) and Kamen Rider Ryu rider (仮面ライダー龍騎) create a determinist worldview on the one hand, and also nurture a critique of systems that reinforce chains of violence. This has been the case even in recent years in works such as Death Note and The Rebellious Luluxiu (コードギアス).
In these later works, although the protagonist is set as a decision-maker with great power, the story still does not go beyond the structure of the picaresque novel, which is rather aimed at overcoming the protagonist = determinationism. The history of the so-called survival system is the history of stories that accept the premise of decisionism but still focus on overcoming.
In this way, relative to the early protagonists of Infinite Unknown and Battle Royale, who are only (sincere) decision-makers who have to make decisions "in order to survive" in response to conditions, in contrast, in recent years, characters such as Lulu Xiu in Death Note and LuLu Xiu in Rebel Lulu Xiu, and Akiyama in "Liar Game", are portrayed as self-conscious (meta/ironic) decision-makers about the game structure itself, and the meaning should also be important.
If you want to mediate the mobilization game of decisionism = battle royale, as a (unconscious) decision-maker in a system of forced confrontation, it is impossible to simply say that there is a sense of violation. After all, there is a lack of understanding of the structure of the game, and therefore no resistance to the (meta/ironic) mobilization of decisionists. For example, in the first half of the 1900s, no one beat Junichiro Koizumi, which is basically the case. It is necessarily insufficient to rationalize and solve the judgment doctrine without starting from the model of "mobilizing the unconscious players to fight between powerful self-conscious players such as the Night God Moon and LuLuxiu".
Thus, works such as Death Note, Rebel Luluxiu, and Deception Game, which can also be called late-survival productions, all set the key people in the game as (meta/ironic) decision-makers. This understanding can be seen as a result of the development of the zero-zero survival system from overcoming the theme of decisionism. Battle Royale is characterized as a mobilization game of (meta/ironic) decision-makers who combine the game's powerful players and limited designers. This is the foreword to the supergram of decision-making.
This time, we will select the works that best express this (meta/ironic) decision-making mobilization game structure, and which were widely supported by young people in the first half of the 00s, as the material for discussion.
This is Shirayo's 2004 youth novel Wild Boar Transformation (野ブタ. をプロデュース) (i.e., "Wild Boar" in the title, which will not be marked later), and the TV series based on the screenwriter Kibanquan.
The "little world" that can be rewritten, depicted in "Wild Boar"
As mentioned in the second chapter, the term "role" is rather strangely applied in modern times.
After the zero-zero era in Japan, the personal image of a person who can be shared in a specific community such as a classroom, office, and family is called a "character". This, of course, is derived from the fact that the characters in the story are called characters. The widespread penetration of such a mode of thinking is the context in which the small community (family, grade, peer group, etc.) as a place of daily life is interpreted as something like a "story", and the (relative) position given in it is interpreted as something like a "character", and it is precisely the background in which this "Washi-ed English" (キャラクター) takes root.
Why does this consciousness penetrate? In short, social mobility has risen during this decade. Consider the example of an online community. In the past, the leftover women in the workplace were praised as popular "princesses" when they entered the male-dominated circle; while the first-class students in the school class were inseparable from their friends when they entered the extracurricular classes - this is all a matter of course. However, the collapse (suburbanization) of the village/shopping street community of the past, and the spread of the Internet and mobile phones also reflect the diversification of communication options, which have been irreversibly solidified in the part that was previously regarded as "the person's indelible personality" and interpreted as "the position given to him by the community to which he belongs = role".
Replacing the "role" in the above explanation with "core value" can basically be applied to decisionism. It may be a bit of a twist to say that the most personal part of the decisive mobilization game we face = battle royale is the struggle around the characters in the "small community" as a daily place.
And the story of the battle royale that occurred in the "small community" of the school is probably the story of the battle royale that everyone has experienced.
The protagonist of the story is Shuji Kiritani, a male high school student. He is the red man in the class, and can be said to be the ruler of the King's Landing. As the core of the class, there is a reason for a happy life. This is because he is only a high school student, and he has insight into the fact that "in the decisive mobilization game = battle royale, the conscious player is also the designer", which can be said to correctly grasp the basic core of modern communication.
In modern times, the so-called school is a place where people with different beliefs are forcibly sealed into a box. Depending on their relative position in the classroom community, students are given their respective "roles." Just like the protagonists and supporting characters in the story, the good and the evil, everything about them is determined by the position given = the character.
Most students unconsciously accept this structure and adopt a self-preservation strategy (decisionism). In fact, the relative position in the small community of classrooms can be rewritten (replaced) ... Yes, Shuji, as a (meta/ironic) decision-maker, plays that are staged in the classroom can be controlled (transformed) to some extent.
In the story, Shuji prepares to transform the bullied transfer student Shinta (known as "Wild Boar") into a popular person in order to confirm his abilities. Shuji flexibly uses his abilities as a (meta/ironic) decision-maker to charmingly present The role of Shinta in succession, but at the end of the story, he loses the trust of his classmates due to some minor mistakes, and even his ability cannot be recovered, and eventually he leaves the school.
It can be said that here, the author Bai Yanxuan reveals the possibility and danger of decisionism at the same time. The feasibility of rewriting the small world is both a possibility of the world (the successful transformation of Shinta) and a danger (shuji's loneliness). The end of the self-conscious decision-maker who is finally eaten by its violent nature is exactly the realistic cognition that Bai Yansong wants to point out to the reader.
This work is a story that reflects excellent realistic cognition, but also acknowledges a certain failure to overcome the subject of decisionism. At the same time, Sue-no-Tsuneko's "Life (ライフ)" with the theme of "bullying", as well as "Death Note", which cannot stop the violent chain after the defeat of the Night God Moon, have also made similar criticisms. The imagination that revolves around determination, the more late it is, the more conscious it is about the game, the less it pays attention to the hints of substitutes, and the more it gives up. For this reason alone, it can be said that overcoming decisionism is extremely difficult. The "Infinite Unknown" and "Battle Royale", which depict the survival struggle of the unconscious decision-makers, only put forward the decision-making disgust that cannot hit the system itself without understanding the structure of the mobilization game; on the contrary, the more the later works that are conscious of the structure, the more they care about the actual cognition and the problem of raising \ revealing.
But is there really no way to overcome the decisive mobilization game = battle royale? The answer, of course, is "existence." At least one, no, two, to be precise, "two into one" can be cited, and the writer challenged the subject head-on, proposing a charismatic model. He also portrays shuji Kiritani as the protagonist, but succeeds in coming up with a very different answer from the previous story.
The lengthy introduction is finally over, and we are finally able to get to the subject of this chapter. This writer is the screenwriting group of the TV drama version of "Wild Boar The Great Transformation" that was released in 2005 and caused a wave at the time of the storm - MuPan Quan.
"Watermelon" and Muli Spring
"MupanQuan" is a writer's group consisting of a man (1952) and a woman (1957). At the beginning of his debut, he mainly active in the Kansai region, and established his status as a sitcom master with works such as "Sure enough still like cats (やっぱり猫が好き)", although it was only familiar to some fans, but the TV series "Watermelon", which was released in the Nikko series in 2003, won the praise of TV series fans in the case of dismal ratings, and won the 22nd Xiangda Kuniko Award.
This "Watermelon" is also a very important work in the subcultural history of the 000s. In the process of the "squatting/psychological system≈ world system" in the second half of the 1990s to the "decisionism/survival system" in the first half of the 1900s, strictly speaking, there was a phenomenon of the popularity of "healing system" works.
Hinyokusakamoto Ura BTTB (1999), Keiwa Koda's "Their Time" (1999) Wa's "Chura-san" (2001), Natsuki Takaya's "Fruit Basket" (2001). ?s Watermelon ?t Natural ya in this column.
The story takes place in the attached guest house "Happiness Three Teas" of the Sanxuan Tea House. The heroine, Kiko Hayakawa, lives a "get by" life, works in a credit vault, and is not married. It is the kind of "loser group" OL that looks like, "never-ending (and therefore desperate) everyday" is her worldview, losing the meaning of survival, and life is stagnant.
Taking the absconding of his only friend in the workplace, "Racecourse Sauce", and the quarrel with his mother as an opportunity, such a base left home and lived in the "Happiness Three Teas". Kiko has formed wonderful friendships with manga artistSukayama, University Professor Natsuko Sakitani, and other people with distinct personalities, and in the unworthy exchanges with them (he loves もない), she once again discovers the richness of daily life.
"Don't you know? The Earth will perish in 1999. ”
"I don't know, where did this kind of thing come from?"
"What Nostradamus said, middle school students don't know yet."
"That kind of thing must be a lie."
"It's not a lie, the grown-ups say the same thing. (Why like winning) I heard that everyone is going to die. ”
"Everybody, what, this, that, everybody?"
"What this and that —absolutely!"
(Omitted)
<二十年后的2003年夏。地球还存在着。>
—— The first episode of "Watermelon", "The Woman Who Ran Away, the Woman Who Stood Still"
"Watermelon" depicts a world in which the Great Judgment has not yet come. That is, what Kyoko Okazaki calls "a flat battlefield," or what Shinji Miyadai calls "a daily routine that never ends." Things like the end of the world will never happen, but the boring day after day of "having things and no stories", "the meaning of survival" and "the value of survival" is nothing—Kiko is so tired every day.
But what Kisengi depicts is the story of Kiko in this state who realizes that the world is not boring.
The reason why The base has come to a standstill is not because the world is extremely boring. Rather, because I can't extract meaning and stories from the world, in everyday life, and from human communication, I can't do anything about it. However, after moving to Happy Sancha, in the quiet and idyllic life, she was also unconsciously convinced of one thing. What is it? Everyday life itself is a confrontation with death, that is, a story. At first glance, Watermelon is an everyday story where nothing happens. However, in such a daily life, they sometimes confront death, sometimes think about love. Yes, this is not a "flat battlefield" or an endless routine. In fact, this is the daily life of "having an end", a space full of stories - happiness three teas, a closed world cut out from history and society. It is for this reason that people living here are able to confront the everyday, the narrative, which was obscured by the "grand narrative" of the past, and the narrative of life and death, which is on its extended line.
Yes, like Kisarazu in the previous chapter of "Kisarazu Cat's Eye (Kisaratsu キャッツアイ)", the happiness micha in this game is also the kind of stage where "there is an end (and therefore full of possibilities) of everyday life".
We are only alive to have access to stories. It's just that we're used to the world giving it directly to us, forgetting our ability to find stories. Rather, when we lose the grand narrative, we will recall the survival of the small narrative.
The title of the final episode of Watermelon is "Reasons for Their Separation"—in this episode, Kiko and "Racecourse Sauce" meet briefly and then separate.
The racecourse is also the basis for an intolerable "never-ending routine". At the beginning of the story, in order to escape the flat battlefield, to escape the daily life that the world cannot give the narrative, the racecourse absconded with money and disappeared with 300 million yen.
Now tired of the life of the fugitive, he appears in front of his only former friend, Kiko.
The racecourse persuaded Kiko: "Let's go to a place where no one knows about us and live in a two-person world" or something like that - the racecourse forces Kiko to choose. She held a ticket for going abroad in one hand and a note to buy dinner in the other—Kiko chose the latter. The racecourse said this to Kiko, saying that he had not seen Umegan's core for a long time in his life of escape, and he cried out when he saw it.
"In the dishes of breakfast, there will be a umeboshi core — how to say it, and it feels full of love, and it feels like a kind of simplicity — and I cry at the thought that life is like this." 」
- Episode 10 of "Watermelon" "Reasons for Their Separation"
Seeing the core of the plum, the horse farm thought that as long as we have the heart, we can more or less lead to "stories" in the daily life of the big body.
The point is that the wooden dish clearly states that even such a utopia will "end".
The story plainly describes the day "Professor" Natsuko Sakitani leaves the happy three teas, announcing the end of the story. It also hints that Kiko will leave the matter one day.
The dialogue at the end of the story is almost entirely the final conversation between Kiko and the racecourse. The racecourse, which had not been chosen by Kiko, sighed and said, "Another similar day has begun." Then Kiko responded, "Horse Farm Sauce, although it is a similar day, it is also a completely different day." ”[1]
[1] There is such an account in Yuya Sato's Grey Diet Coke (grey のダイエットコカコーラ) (2007). "In six hours it will be over today, and tomorrow will come without any change." This kind of thinking is the product of the naïve idea that the world has given to narrative, and it is also the product of dull thinking that does not perceive the reality that this circuit has been destroyed. So I would like to respond like this: "Friends, although it is a similar day, it is also a completely different day." ”
The Challenge of MuLi Spring - Another Wild Boar
The TV drama version of "Wild Boar Transformation", which is discussed next, is a work that embodies the decisionism of the 00s. Using small stories from daily life as a loop, we confront Bai Yanxuan's original work.
Just as in the past, Miyato Kankuro incorporated death into (rediscovering) daily life, invalidating the worldview of "flat battlefield" = "everyday life that never ends", Kizumi also chose to build a story within the daily life.
It was only the teenager Kiritani Shuji who fell into his hands, too young to face "death". Unlike Abuchi, who is terminally ill, nor is he at a standstill like Kiko. Instead, he is a powerful decision-maker, enjoying this mobilization game = battle royale teenager.
The mission of Mu Liquan in the adaptation process is to save those helpless teenagers who will eventually fail miserably but cannot escape in the never-ending battle royale of the original work. How will this small but excellent (meta/ironic) decision-maker, obsessed with little cleverness and intoxicated by his own power, land – let's take a good look.
Shuji in the TV series is still the core of King's Landing's class, appearing as an excellent (meta/ironic) decision-maker who controls the overall situation. Also loyal to the original, Nobuko (who is called "Wild Boar", in the TV series sex turned into a girl) was fiercely bullied on the day of the transfer of school; Shuji extended his hand to Nobuko "to enjoy youth" in order to test his transformation ability. Unlike the original game, Shuji gained a game partner to fight with. Coincidentally, the writer of "merging the two into one", Mu Pan quan, arranged a partner for Shuji in the TV series - Akira. In this way, the relationship between the "rescued and the saved" in the original work was transformed into a "transformation" team (チーム) community of shuji, Akira, and Nobuko.
As the story progresses, this community grows, eventually becoming a "Kisarazu cat's eye", a community that opens up to the limits to the point of possibility.
Episodes one and two of the story are the process of Shuji "transforming" Shinko with his wits, while in episodes three or four, Shuji begins to question the way he exists. At a very early stage, the wooden dish pointed out the crux of the problem of decisionism. In the third episode depicting the Culture Festival, Shuji, while transforming Nobuko, realizes that the time spent with Tongaki and Nobuko that is actually cultivated in the game (although limited, but because of this) is what supports himself, rather than controlling the game. In the fourth episode, Shuji changes, even if he sacrifices his status as a red man, he must save Shinko from embarrassment. By the middle of the story, even as a strong decision-maker, the game is moving in a favorable direction, but Shuji is not satisfied at all, and gradually realizes his emptiness.
Here, as a triumph of decisiveness, something that cannot be obtained by a game victory is brought up by Mu Li Quan. Winning in the mobilization game and becoming the dominant player in the small narrative at the same time makes the player realize that this narrative is actually an empty thing that can be replaced. This is especially true if it is originally a player who is conscious of the fact that it is "rooted in the end and unfounded" to be woven into the digestion and hard-to-choose" decisionism.
This is not a small narrative = a "character" identity that disappears when the community disappears, but a existence that will inevitably emerge as long as it does not destroy itself–the methodology adopted for this purpose is not to deny shuji's decision-makingism, but to carry it through to the end, thus exposing its boundaries.
In the first half of the TV series, Shuji is a complete decision-maker. I am afraid that he is more radical than the absurd Night God Moon, who believes in his ideology to some extent—that the [values] in the world are "replaceable" and "rewritable." Based on this worldview, it is no longer enough to limit one's own operations, and it is also necessary to control the lives of others. The result is the discovery of things that cannot be rewritten and replaced by one's own strength. This construction underpins the whole story.
For example, the "love" in the fifth episode and the "currency" in the sixth episode are examined, and the two are screened one by one to determine whether it is something that can be replaced after the game is won, or something that cannot be replaced even if it is won. And this, the everyday life that sooner or later leads to death, is the ultimate and grandest story that we absolutely cannot escape.
Then in the seventh episode, Shuji himself realizes that "he is a lonely human being".
The recognition obtained through the mobilization game = battle royale is the self-image of "what/what is not" = the identity of the character. Shuji's practice proves that this "role" is exactly what can be rewritten and replaced.
However, communication constructed by the act of "doing something/doing something" creates an irreplaceable relation. In the battle of mobilization game = battle royale, Shuji realizes that this "transformation" team is the first time he has obtained a relational community = irreplaceable thing.
In modern societies where publicness cannot give meaning to the individual's existence, the daily construction of such relationships is by no means based on history or society, but can only be the largest and final narrative that continues to the death. We will eventually grow old, and in our death-focused lives, it is inevitable that we will be attracted again and again by this mobilization game = battle royale. But one time the game ended, our characters in it were wiped out, and our lives went on.
Shuji, who has a thorough self-consciousness of the game, realizes that there is something that cannot be replaced" by winning the mobilization game = battle royale victory. It should be said that he realized this from his own relationship with Akira and others who fought together in the "transformation" operation.
Mu LiQuan denies the inevitability of decisionism. For the high mobility of this postmodern situation (suburbanization) is rather a possibility, a necessary condition for seeing it as hope. Shuji Kiritani in the TV series is a radical (meta/ironic) decision-maker, and because of this (and it is through this), it is possible to discover things that cannot be obtained by winning the game.
This game is the coming-of-age story of the decision-maker Shuji. Its growth is naturally not an enhancement of its ability as a decision-maker. Such as the end of the chain of violence in Nia, which led to the fall of the Night God Moon, or the liberals who criticize the "New History Textbook Compilation Committee" can only let the children pursue other pseudo-histories; this is impossible to overcome decisionism.
Changing the role is not to win in the game, but to change the self who plays the role, and turn your eyes to the foundation of the game that is lined up—this is the possibility that Kizaizumi gave this Shuji. This is an absolutely unconstructible reproductive relationship, in other words, a family, which is fundamentally its own "death".
In other words, the TV series Wild Boar prompts the possibility of gaining a (limited and irreplaceable) relational community that cannot be exchanged even if the game wins by joining a (infinite and replaceable) game of decision-making.
Escape the possibility of battle royale
Like the original, at the end of the story, Shuji also makes mistakes in the endless game and loses the trust of his classmates. The difference is that Shuji is saved by two partners, Sho and Nobuko. The three then confront Shinko behind a series of bullying that prevent Shuji's remodeled teenage girl Aoi from dueling. Kasumi Aoi can be said to be "another Kiritani Shuji". Just as in the last episode of "Watermelon", the existence of a community like Kiko who is lost but has not been able to get happiness Sancha = the confrontation between Baba and Kiko, Kibazumi also arranges a decision-maker with the same ability as Shuji in "Wild Boar", and a duel between Aoi and Shuji, who also controls the class situation. The showdown ended in Aoi's defeat. Rather, Aoi has made it clear that she is jealous of Shuji, jealous that he is clearly equal to his own strength, and also holds a decisive worldview, but has a rich relationship with Akira And Nobuko; she becomes self-destructive and self-destructive.
Although Aoi can murder Shuji's character, he cannot destroy the "transformation" team that is not based on character identity, but is built by trust in relationships.
The loss in Cangjing Xia's heart is not far-reaching, nor is it special. It is nothing more than "you can't eat grapes and say that the grapes are sour". Aoi hates the Xiu two or three people, and it is nothing more than "envy and jealousy and hatred".
As The Racecourse in Watermelon says, even if one pursues the ultimate narrative toward death, which is directly confronted with the everyday, it is precisely those who are afraid of it who are hurt by not being able to get it, and only by the idea that they are a special group that can only be satisfied by non-everyday romanticism" (unfounded) to ensure their self-esteem. But their necessities are by no means "non-everyday romanticism", nor "transcendence". Rather, it is a kind of humility that abandons inflated self-evaluation and is open to one's own desires. This is by no means an unfortunate one, but rather the greatest possibility that can be given to us.
In the final episode, Shuji travels to the next stage.
The community depicted by Mu Li Quan is definitely not eternal. This new community, which is not based on role identification, but on the accumulation of relationships and trust, must accept mismatch and its own end. It is the mismatch and its own termination that ensures its irreplaceability.
Unlike the original, Shuji in the play transferred schools because of his father's work. In front of the new game stage = school, he confidently said: "You can live wherever you go." "It's not that he's become the strongest meta/ironic player he can win in any game. He understood the boundaries of the game and learned how to derive the value of existence on the outside of the game. This is the "live wherever you go" approach.
For this ending, the original Bai Yanxuan said that this was something he "couldn't do", and for this, Mu Pan Quan expressed it as "can do it", which can be said to be the greatest appreciation. "Wild Boar Makeover" takes on the challenge that has been challenged by many genres and writers - overcoming the decisive battle royale, and proposes a charming model. It can be said that it is one of the most important works of the 00s alongside "Kisarazu's Cat's Eye".
The Physema, Weak Self-Defeat: "Shichisai Otoka Wakanami (Sexy Voice and Robo)"
The overcoming of determinationism proposed by Kizumi in Wild Boar is a model for detachment as a (meta/ironic) decision-maker like Shuji, someone who can actively intervene in the game. This is like not denying the "family squat/world system" and overcoming it as a precondition, giving birth to the "decisionism/survival system"; the model is quite straightforward by virtue of the radicalization (meta/irony) of decisionism and thus the determination to overcome it.
But come to think of it, this is a medicine for the Night God Moon (the self-conscious player), not for kira believers (the unconscious player). Like Shuji in Wild Boar, the pattern of implementing determinationism to the end and thus perceiving its boundaries (external) is ultimately premised on the player's own humble and open intellect, otherwise it will not work.
Also in "Wild Boar", Kasumi Aoi, just to protect herself, to use the power of a strong decision-maker that she possesses in order to spread her own envy and jealousy, can only be miserable self-destruction. The demands on player spontaneity are too harsh, and it is the weakness of the mode of overcoming decisiveness proposed by the TV series "Wild Boar".
"Colorful Sounds and Wakami" (2007) can be seen as a work in which Mu Liquan challenges this "residual subject". The protagonist of this work is the young girl Nicole, who does not have the intelligence of Shuji and is a mediocre decision-making mobilization gamer.
The story begins like this. Like a junior high school girl, Nicole, a young girl who is tired of the battle royale in the classroom and unable to grasp her sense of distance from the world, wanders the streets in search of shelter and suddenly begins to look around the alley. On the right is the new type of religious site, and on the left is the telephone club. Readers who can read the book here can easily find the symbolism of these two places.
The former, reminiscent of Aum Shinrikyo, symbolizes the circuit of self-image = character recognition, and the circuit from the world system to determinism; the latter symbolizes the circuit of communication and the intention to build relationships. Just as Kiko Hayakawa once chose a note for dinner instead of a ticket to go abroad, Nicole also chose the left. As a result, she meets the otaku youth Wakami and becomes acquainted with the members of the mysterious organization Jizodo. She is active as a spy for the organization, allowing her to step out of the world outside the classroom (Battle Royale). No, the term "outside" is inappropriate. The adventures and dilemmas that Nicole encounters are, in the final analysis, "small adventures" that unfold in the daily life and relationships of the elderly. No matter how "outward" you are, you can't elicit stories from everyday life. Rather, it is deep inside and the story is established.
Shuji has been a strong decision-maker since the beginning of the story, gaining a strong community from the outside of the game when he participates in the game that gives him strength; Nicole, unlike Nicole, can only live as a mediocre decision-maker, whose pace is overwhelming, so stupid. Sometimes her wrong choices can even kill her important people. However, Nicole accepted this stupidity and sin and lived on. We, who can only become mediocre decision-makers, have to swallow the violent sins and responsibilities bred by decisionism, collect the scattered things in between little by little, and move towards the relationship that the game cannot recover. Although this mode is not as powerful as "Wild Boar", it is also acceptable to even weak people (like Aoi Kasumi).
Naturally, the story ends with Nicole and Ruobo's parting. It is precisely because it is not eternal that it has irreplaceable value, and the confident aesthetics of Mu Li Quan bear fruit here. This can be called a parting as a possibility, a severance of hope.
As long as you are still pursuing the self-image of "what" = character identification, you will pursue eternity in this community. After all, as long as the role identity is lifted, it will disappear in an instant. To that end, we want to make the limited commonality eternal, and thus choose violence called determination.
However, the trust in relationality of "doing something" can persist even if commonality is eliminated.
The separation of Nicole and Jobo is definitely not an over-packaged dramatic event. After the end of the spying activities at Jizodo, the two people, who always felt that they had lost their reason to meet, gradually stopped meeting, and eventually broke off communication.
Nicole and Ruobo are also ordinary beings between each other. Rather, it is the opposite. It is precisely because they have trust in strong relationships that they "always feel that they don't need to meet ("なんとなく会わななった").
Why? Nicole and Jobo are not in a state of mutual identification (interdependence), but rather, they have a different relationship. Seeing each other every day, confirming each other's role identity, having to "all" each other, these things are completely non-existent between the two of them.
Indeed, two people are in a "nothing" relationship. If you are in love, the age gap is too large, and the age gap between father and daughter as a quasi-analogue is too small. To be brother and sister, there is not enough time to live together. In the play, Mu Li portrays the ambiguous and gray relationship between the two as "friends". In the case of self-image like "what/what is not" = role setting identity, it is impossible to get such an ambiguous "relationship". This is the result of a continuous exchange of "do something/do something" and is also the appropriate state for two people.
Ambiguous but exceptionally wonderful relationships in the gray area, this kind of "friend" – what about this kind of consideration? Maybe that's the best ending.
Original author: Tsuneki Uno
Translation: hood
Proofreading: For some people who insist on making reflective "leapfrog criticism" into unreflective "leapfrog affirmation", insisting on ignoring the basic problems of "Zero Zero" awareness and position is "how to overcome decisionism", "how to fight against elite players in battle royale = Night God Moon's manipulation of the game and players", "how to escape the battle royale = mobilization of the game, that is, the late postmodern cruel situation of neoliberalism", It is hard to practice the original to praise the decisive narrative circuit of the night god moon or the victory over the night god moon and the role of the family, and the characters feel speechless and resentful, and humbly ask some people to give the original and the translator Of course, as well as the intellectual person's own thoughts, the first four chapters of the translation proofreaders The main force of the proofreading, the main force of the proofreading, the people Gillang, the shizuki kushiro
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