In 2014, in the fifth and sixth grade of elementary school, I secretly watched "My Fox Fairy Girlfriend" with my classmates in the afternoon nursery department. In the scorching summer, the ignorant teenage years bloomed coolly on the square-inch screen.
Maybe from that point in time, if I count the animation into the pit, I am considered an old two-dimensional. But luckily, I have never become a "two-dimensional". Most of the Amway that the classmates around me fed me were mostly I turned around and left after watching a few episodes. But it happened to originate from this attempt-it was not until this summer vacation that I had the "parasitic beast" that I watched for the "first time" in the true sense.
Every first time of a person is very precious and always fresh in memory. From what I know from my classmates, although "Parasite" is not considered a masterpiece, it is definitely a masterpiece recognized by many people. So, it's actually pretty good to use it as my first ray of light on the ACG culture I've never spied on. It deserves this first time.
In my eyes, the parasitic beast is a work that has half a foot on the "altar". Also, as someone mentioned, "it's generally excellent, but the details are debatable". The director dares to think, the painter dares to draw, and even puts it out to see, which in itself is quite remarkable. However, it still falls into the "Hero's Journey" in terms of plot, and even the twelve paragraphs can be completely matched. And it seems very thin in the shaping of some characters. In order to advance the plot and ensure the ups and downs of each episode, a lot of narrative filling and sacrifices have been made. One thing worth mentioning about this drama is that it handles several major plot twists very well, such as the death of the mother, the detective line, the Kana line, the death of Tamura Ryoko... These sub-plots very well reflect the transformation of the protagonist, It also makes the series climax one after another, which is fascinating.
However, this theme itself has a very strong digibility, and it is a conventional routine for art works to present the small to the big. That's why, as a fan of science fiction, I was also brainstorming with my friends about "One Hundred Ways of Occupying the World by Parasitic Beasts" when I was watching the drama, and found that the subject matter was "God". only foot". When you think about it, this is actually quite ironic—
Throughout the whole play, one of the issues that has been discussed is actually the "existence of living things" and "the existence of human beings". The series tries to compare the relationship between humans and other creatures through repeated hints and thinking, and wants to put them in a position of equality and mutual benefit, but to judge the pros and cons of creatures, it is indeed only "God", That is something that only the Creator can do. But "people" are not gods. When the screenwriter tries to explore this point, he will naturally be kicked off by the creator. But this kick can't be that deep, and the show is really good, so it's "half foot".
Discussions on these issues are actually not uncommon in works of art for a long time. Each form of expression has its own pros and cons, and so does Japanese manga. The gentle and warm-hearted "Little Right" who is cute and jealous, the passers-by who will lend a helping hand at any time, the lazy home, the concerned eyes and smiles on the street, the girl, the cherry blossoms, the sunset... all kinds of beauty and romance , so that this supposedly serious biological and philosophical proposition, which should have been rejected by the general public, has become sensual and hazy. Uncle Nakata in "Kafka on the Sea", the water-like courtyard in "Thousand Cranes", the girl with a warm swimming fish table in "Crystal Silence"... Japanese elements seem to have given them magic power, and they also belong to the other side of the ocean. cultural symbols. Therefore, unlike the "weapon of love" promoted by Dumbledore in "Harry Potter", the parasitic beast is not a demon who wants to express the loss of human and human nature, or compared with other "ordinary creatures", the love it possesses is How sublime, how great. It chose a completely different way - to let the "creature" have emotions through the human body.
So, the DNA of walking has a hot heart. But they are parasitic creatures after all, and it is difficult to master this magic in a short period of time. This group of outsiders not only have to take over the control of the body that has evolved over hundreds of thousands of years, but also learn the bricks and tiles of the civilized edifice built by mankind for thousands of years. emotion". Nothing here is easy. Therefore, some of them choose to become a fighting machine with specialization, and some of them get lost in the search for the meaning of existence. Although they failed, the ability they showed in just a few months has been on par with, or even slightly better than, humans—at least, humans have traveled through these paths of failure, and it took longer and the consequences were worse.
However, parasites cannot develop a huge civilization on their own. This way of strengthening the cells makes it impossible even to reproduce their own offspring. If they want to do it, they will learn from the yogurt civilization in "Love, Death and Robots", but the number and time of parasitic beasts can't support that. Even with such limitations, the answers they handed over were enough to dwarf humans.
So, going backwards like this, after losing the human body, isn't human beings just "walking DNA"? Parasitic beasts feel that humans are not worthy of death, but why do parasitic beasts keep saying that the nest is dilapidated after occupying a magpie's nest? Parasitic beasts can think independently and express their emotions, is it also because humans are the highest animals? And the parasitic beast that expresses the so-called "higher" in this way, is it still called a parasitic beast? Did they also choose this kind of host most "worthy of their status" because of selfishness? The series did not give an answer, but chose to end with "symbiosis of all kinds".
The universe is infinite, and human perspective is ultimately limited. After all, what can constitute DNA is CHNOP, and no matter how big the universe is, the Fermi paradox cannot be escaped. The basic principles are simple and visible, and human emotions are complex and changeable. Perhaps it is precisely because of this that we can deduce countless creative propositions. Outside the play, we will still live selfishly and contemptuously as in Dawkins' book, in front of the so-called "prince of all things". But at least, "Parasite" gave each of us a "little right" in our hearts, so that we have an eye to see ourselves clearly and see into dreams. Perhaps in the dreams we forget repeatedly, a unique will sleeps.
Let's live leisurely, this is at least the advantage we can grasp.
Therefore, be a walking DNA, and don't forget your hot heart~ Because it (it should be it) has filled our hearts.
View more about Parasyte: The Maxim reviews
