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#can you tell that all of my english/literature classes make me analyze media like beating a dead horse?
twynte · 1 year
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The way Hikaru ga Shinda Natsu is a gay allegory with gay people!!!
Like,,, with Hikaru and his “otherness”, the body-horror, the strong desire to belong. It’s layered. Hikaru (and possibly Yoshiki?) are queer and yet that’s hardly on their radar, hardly something they’re trying to hide (possibly they haven’t even realized it themselves). What they’re really worried abt is people finding out about Hikaru’s.. situation. There’s naivety to it. They’re only focused on what’s in front of their faces.
Mokumoku uses Hikaru’s possession as a means to illustrate the uncomfortable situations and fears that most queer ppl experience at least once without having to directly tie the situations to the queer community. His queerness and his hauntings are separate, and yet they run parallel.
Where there is creeping dread there are two boys trying to hide an extreme monstrosity from their small town…
Some notable scenes in which i am referring to:
1. When Hikaru was overwhelmed with the fear of Asako asking him “Just what are you?”. The manga panel that follows where Hikaru’s features are covered by his obsessive thought “how does she know”. —Hikaru’s fear of being found out, called out
2. The notion of the hauntings spreading, the town “growing strange”.
3. Hikaru and Yoshiki visiting the summer festival, where Yoshiki can pass under the arch while Himaru cannot. —Having to hide yourself while surround by strangers. Trying to keep yourself safe.
4. Again at the festival when they’re sitting on the ground with shaved ice and Hikaru is pleased that Yoshiki doesn’t recognize him as Hikaru. “It’s because you know I’m not the real Hikaru”…
5. The dragonfly scene where Yoshiki is explaining the slight difference in dragonflies. “Natsuakane and Akiakane look pretty much the same, but they’re entirely different species”. —An obvious jab at Hikaru’s possession, and further, a homophobic sentiment.
6. After becoming more Familiar with Hikaru, Yoshiki transitions from calling him an ‘it’ to a ‘he’.
etcetera etcetera . . .
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