2026年4月25日土曜日

Endless Myth and Final Incal

— Endings, Expansion, and the Ever-Growing Jodoverse —

The novel Endless Myth and Final Incal both belong to large-scale cosmic mythologies.

Yet their core ideas move in different directions.

One is a mythology designed to never end,
while the other carries the word “final” yet remains only a part of an ever-expanding universe.

This article compares their approaches to endings, expansion, and the future of the Jodoverse.

1. The Meaning of an Ending: Endless vs. “Final”

Endless Myth is, by definition, without an ending.
Its structure is built on continuous expansion.

Final Incal, despite its title, does not represent a true conclusion.
It exists within a larger universe that continues beyond it.

In short:

Endless Myth: no ending exists
Final Incal: an ending is suggested, but the universe continues

2. The Continuity of the Jodoverse

The works of Alejandro Jodorowsky—often called the Jodoverse—are not confined to a single narrative.

They include interconnected series such as:

The Incal
Before the Incal
The Metabarons
The Technopriests

Each new work expands the universe further.

Final Incal is not an endpoint,
but a passage within a continuously evolving mythos.

The key point is this:
The Jodoverse is still expanding.

It is not a closed system, but an open mythology that continues to grow.

3. Structure of the Universe: System vs. Connection

Endless Myth constructs its universe as a system.
From multiverses to omniverses and beyond, everything is structurally organized.

The Jodoverse expands through connection.
Different works link together to form a larger whole.

4. Narrative Movement: Infinite Progression vs. Recurrence

Endless Myth assumes endless progression.
The story continues without a final destination.

In Final Incal, themes and motifs recur and transform.
The mythology evolves through repetition and variation.

5. Mode of Expansion: Internal vs. External

Endless Myth expands internally.
Its infinite growth occurs within a single unified structure.

The Jodoverse expands externally.
New works add new layers to the universe.

6. Essence of Myth: Infinity vs. Continuation

Endless Myth presents myth as infinity itself.

The Jodoverse presents myth as continuous expansion.

Conclusion: What Does It Mean for a Myth to End?

Endless Myth and Final Incal offer two perspectives on the idea of endings:

Endless Myth: there is no end
Final Incal: endings exist, but the universe does not end

What matters most is that the Jodoverse continues to grow.
Each new story reshapes and expands its mythology.

This comparison leads to a fundamental question:

Is a myth completed when it ends—
or does it truly exist only as long as it continues to expand?

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2026年4月24日金曜日

Endless Myth and Before the Incal

— The Jodoverse and the Expansion of a Cosmic Mythology —

The novel Endless Myth and Before the Incal both function as parts of much larger mythological frameworks.

At the same time, Before the Incal belongs to the expansive universe created by Alejandro Jodorowsky—often referred to as the Jodoverse.

One presents an omniversal structure that expands infinitely within itself,
while the other builds a shared universe across multiple interconnected works.

This article explores their differences, with a focus on the Jodoverse and the expansion of cosmic storytelling.

1. Scale of Myth: Omniverse vs. Jodoverse

Endless Myth is designed from the beginning as an infinite omniversal structure.
It includes multiverses, higher-order systems, and realms beyond them.

Before the Incal exists as part of a broader network of works, including:

The Incal
The Metabarons
The Technopriests

Together, these works form a connected universe.

In short:

Endless Myth: infinite structure within a single expanding system
Before the Incal: universe formed through multiple works

2. The Jodoverse: A Connected Mythology

Jodorowsky’s universe does not exist within a single story.

Instead, it is built through:

Narrative connections
Recurring characters
Shared worldbuilding

Each work functions as a fragment of a larger myth.

In contrast, Endless Myth expands internally—
its side stories and records are part of one unified structure.

3. Cosmology: Symbolic vs. Structural

In Before the Incal, the universe is symbolic.
It blends psychology, society, and spirituality.

In Endless Myth, the universe is structural.
Dimensions, realities, and entities are organized hierarchically.

4. Protagonist and Perspective: Individual vs. Cosmic

Before the Incal follows a single character, John Difool.
The universe is revealed through his personal journey.

Endless Myth moves beyond the individual.
It presents the cosmos itself as the subject.

5. Method of Expansion: Narrative vs. System

Jodorowsky expands his universe by creating more stories.
Each narrative adds a new layer to the whole.

Endless Myth expands through its system.
The structure itself continues to grow.

6. Essence of Myth: Fragments vs. Infinity

Before the Incal builds mythology through fragments.

Endless Myth presents mythology as an infinite system.

Conclusion: Is the Universe Built or Already Infinite?

Endless Myth and Before the Incal represent two different models of cosmic mythology:

Endless Myth: infinite from the beginning
Before the Incal: constructed through connection

The former assumes an endless structure from the start.
The latter becomes a universe through accumulation.

And this comparison leads to a fundamental question:

Is the universe something that always exists—
or something that emerges as stories connect and expand?

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2026年4月23日木曜日

Endless Myth and The Incal

— Cosmic Myth, Transformation of Consciousness, and the Vision of Jodorowsky —

The novel Endless Myth and The Incal are both works that aim to construct mythology on a cosmic scale.

At the same time, The Incal is deeply shaped by the vision of Alejandro Jodorowsky.

One expands endlessly into an omniversal structure,
while the other focuses on the transformation of human consciousness within a symbolic universe.

This article compares them through cosmology, consciousness, narrative structure, and the creator’s vision.

1. Form of Myth: Structural Infinity vs. Symbolic Myth

Endless Myth is built as an infinitely expanding structure.
It extends through multiverses, omniverses, and beyond.

The Incal constructs myth through symbols and imagery.
Light and darkness, spirit and matter—these oppositions form its core.

In short:

Endless Myth: myth as structure
The Incal: myth as symbol

2. Cosmology: System vs. Psychic Universe

In Endless Myth, the universe is hierarchically structured.

In The Incal, the universe is both physical and psychological.
It functions as a space of consciousness as much as a material cosmos.

Thus:

Endless Myth: systematized cosmos
The Incal: universe of consciousness

3. Consciousness and Transformation

At the center of The Incal is the transformation of consciousness.
The protagonist undergoes a spiritual evolution through the journey.

In Endless Myth, consciousness expands outward.
Thoughts and emotions themselves can become universes.

4. Narrative Structure: Linear vs. Multilayered

The Incal largely follows a linear narrative.
Events unfold in a sequence of progression and transformation.

Endless Myth operates as a multilayered structure.
Different timelines and dimensions coexist simultaneously.

5. The Vision of Jodorowsky

Alejandro Jodorowsky is not merely a storyteller,
but a creator who seeks to transform the audience’s consciousness.

The Incal is designed as an experiential work,
inviting readers into a psychological and symbolic journey.

This vision also connects to his unrealized Dune project,
which aimed to reshape perception itself.

In contrast, Endless Myth expands perception by presenting the structure of the cosmos itself.

6. Essence of Myth: Experience vs. Structure

The Incal presents myth as experience.

Endless Myth presents myth as structure.

Conclusion: Does Myth Exist Within or Beyond?

Endless Myth and The Incal represent two directions of mythology:

Endless Myth: myth as the universe itself
The Incal: myth as consciousness

The former expands outward into infinite space.
The latter turns inward into the depths of the mind.

And this comparison leads to a fundamental question:

Does myth exist in the outer cosmos—
or within human consciousness itself?

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2026年4月22日水曜日

Endless Myth and 2001: A Space Odyssey

— Human Evolution, the Edge of the Universe, and Higher-Dimensional Beings —

The novel Endless Myth and 2001: A Space Odyssey (directed by Stanley Kubrick) both confront fundamental questions: What is humanity? What lies at the edge of the universe?

Both works also depict human evolution in relation to higher-dimensional or transcendent beings.

This article compares them through the lenses of evolution, the limits of the universe, and higher-dimensional existence.

1. Human Evolution: Guided vs. Inherent

In 2001: A Space Odyssey, human evolution is triggered by external intervention.
The Monolith acts as a catalyst, pushing humanity forward.

In Endless Myth, evolution is embedded within the structure itself.
Human consciousness and existence contain the potential to expand into the universe.

In short:

2001: evolution through external guidance
Endless Myth: evolution from within

2. The Edge of the Universe: Destination vs. Endless Expansion

In 2001: A Space Odyssey, the edge of the universe is something to be reached.
Through the Stargate, humanity is guided into an unknown realm.

In Endless Myth, there is no final boundary.
The multiverse expands into omniverses and beyond without limit.

Thus:

2001: the edge as a destination
Endless Myth: no edge, only expansion

3. Higher-Dimensional Beings: Intervention vs. Structure

In 2001: A Space Odyssey, higher-dimensional beings never appear directly.
They influence humanity through the Monolith.

In Endless Myth, higher-dimensional beings are part of the structure itself.
Gods, devils, and other entities operate across dimensions.

4. Transformation of Perception: Beyond Understanding vs. Expansion of Understanding

In the latter half of 2001, human perception is overwhelmed.
The Stargate sequence represents an experience beyond comprehension.

In Endless Myth, perception expands.
Humans gain the ability to understand—and even interact with—higher-dimensional structures.

5. Final Form of Humanity: Star Child vs. Omniversal Existence

At the end of 2001: A Space Odyssey, humanity evolves into the Star Child,
a new stage of existence.

In Endless Myth, humanity may evolve into something far more expansive—
becoming part of the universe itself.

In short:

2001: evolved individual being
Endless Myth: existence as cosmos

6. Essence of Myth: Arrival vs. Expansion

2001: A Space Odyssey presents myth as a journey toward the unknown.

Endless Myth presents myth as endless expansion.

Conclusion: What Lies Beyond Evolution?

Endless Myth and 2001: A Space Odyssey offer two visions of human evolution:

Endless Myth: evolution as infinite expansion
2001: evolution as arrival at the unknown

The former continues without end.
The latter reaches a transformative threshold.

And this comparison leads to a fundamental question:

Where is human evolution ultimately heading—
toward an endpoint, or toward infinity?

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2026年4月21日火曜日

Endless Myth and Inland Empire

— Film-Within-a-Film and the Expression of Infinite Possibilities —

The novel Endless Myth and Inland Empire (directed by David Lynch) both explore infinite possibility and the fragmentation of reality.

At the same time, Inland Empire can be seen as an evolution of the narrative techniques introduced in Mulholland Drive.

This article focuses on three key aspects: the film-within-a-film structure, the depiction of infinite possibilities, and the evolution of Lynch’s narrative method.

1. Narrative Structure: Structured Infinity vs. Collapsing Structure

Endless Myth is built as a layered, structured system.
Multiverses, parallel worlds, and higher-order realms coexist within an organized framework.

Inland Empire, however, dissolves structure itself.

Film within a film
Blurring of role and identity
Disruptions of time and space

These elements merge without clear boundaries.

In short:

Endless Myth: infinity as structure
Inland Empire: infinity as collapse

2. Film-Within-a-Film: The Disappearance of Boundaries

At the core of Inland Empire is the film-within-a-film device.

The protagonist acts in a film,
but gradually loses the distinction between performance and reality.

Is this a scene being filmed, or real life?
Is she the character, or herself?

These boundaries completely dissolve.

In Endless Myth, narrative and cosmic structure merge as well,
but the relationship remains structurally coherent.

3. Expression of Possibility: Infinite Branches vs. Infinite Fragments

In Endless Myth, possibilities exist as fully realized parallel worlds.
Each branch becomes an independent reality.

In Inland Empire, possibilities appear as fragments:

Repeated scenes
Alternate versions of events
Disconnected timelines

These fragments accumulate, creating the sensation of infinite possibilities without a stable framework.

4. Evolution from Mulholland Drive

In Mulholland Drive, Lynch introduced:

A split between two narrative halves
Ambiguity between dream and reality
Multiple possible interpretations

In Inland Empire, this approach evolves further:

Not just division, but endless branching
Not just ambiguity, but total instability
Not structure, but continuous flow

Thus:

Mulholland Drive: fragmented narrative
Inland Empire: continuously collapsing narrative

5. Role of the Audience: Interpretation vs. Experience

In Endless Myth, the reader seeks to understand the structure.

In Inland Empire, the viewer is pushed beyond interpretation.
Rather than decoding meaning, the viewer experiences a stream of fragments.

6. Essence of Myth: System vs. Chaos

Endless Myth presents infinity as a system.

Inland Empire presents infinity as chaos—
something to be felt rather than understood.

Conclusion: Is Infinity Structure or Experience?

Endless Myth and Inland Empire offer two radically different approaches to infinite possibility:

Endless Myth: infinity as structured system
Inland Empire: infinity as lived experience

The former organizes infinity into a coherent framework.
The latter dissolves structure and immerses the viewer in it.

And this comparison leads to a fundamental question:

Is infinity something that can be understood—
or is it something that can only be experienced?

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2026年4月20日月曜日

Endless Myth and Mulholland Drive

— Narrative Structures Where Reality, Illusion, and Possibility Intersect —

The novel Endless Myth and Mulholland Drive (directed by David Lynch) both explore a central question: what is reality?

However, they approach this question in fundamentally different ways.

One constructs a vast omniversal system in which multiple realities coexist,
while the other destabilizes narrative itself, blurring the boundaries between reality and illusion.

This comparison focuses especially on the multiple interpretations of Mulholland Drive.

1. Narrative Structure: Layered System vs. Fragmented Story

Endless Myth is built as a layered structure.
Multiverses, parallel worlds, and higher-order realms coexist within a defined system.

Mulholland Drive fractures its own narrative.

Is the second half the “real” story?
Or is the first half a dream?
Could it be a film within the film itself?

No definitive answer is given.

In short:

Endless Myth: layered structure as system
Mulholland Drive: layered structure as interpretation

2. Reality and Illusion: Defined vs. Blurred

In Endless Myth, multiple realities are clearly presented as distinct existences.

In Mulholland Drive, reality and illusion merge.
The boundary between them becomes impossible to define.

Thus:

Endless Myth: multiple defined realities
Mulholland Drive: collapse of boundaries

3. Worlds of Possibility: Existence vs. Hypothesis

In Endless Myth, possibilities exist as actual worlds.
Parallel realities are real within the system.

In Mulholland Drive, possibilities are imagined alternatives:

A successful life
A failed reality
The gap between desire and truth

These possibilities overlap and conflict within the narrative.

4. Role of the Audience: Understanding vs. Interpretation

In Endless Myth, the reader seeks to understand the structure.

In Mulholland Drive, the viewer is forced to interpret.

Dream theory
Film-within-a-film theory
Split identity theory

Multiple interpretations can coexist simultaneously.

5. Meta Structure: Cosmos vs. Cinema

Endless Myth turns narrative into a cosmic structure.

Mulholland Drive turns cinema itself into the subject.
Hollywood, dreams, ambition, and collapse are embedded into the film’s form.

6. Essence of Myth: Stability vs. Uncertainty

Endless Myth presents uncertainty as part of a structured infinite system.

Mulholland Drive makes uncertainty itself the experience.

Conclusion: Is Reality Singular or Interpretive?

Endless Myth and Mulholland Drive offer two radically different approaches to reality:

Endless Myth: multiple realities exist
Mulholland Drive: reality depends on interpretation

The former expands reality into many worlds.
The latter destabilizes reality within a single narrative.

And this comparison leads to a fundamental question:

Is reality something that objectively exists—
or something that is shaped by how we interpret it?

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2026年4月19日日曜日

Endless Myth and Flatland (2007)

— Rethinking the Nature of Dimensions —

The novel Endless Myth and Flatland: The Movie both explore the concept of dimension, yet they approach it in fundamentally different ways.

One presents dimensions as part of an omniversal structure beyond comprehension,
while the other uses a simple narrative—moving from two dimensions to three—to make the idea of dimension understandable.

This article takes a deeper look at what “dimension” really means through their comparison.

1. Starting Point: Dimension as Structure vs. Dimension as Perception

In Endless Myth, dimensions are part of an existing structure.
Multiverses, higher dimensions, and even realms beyond dimensions are assumed from the outset.

In Flatland, dimension is treated as a problem of perception.
Beings in a two-dimensional world cannot comprehend the third dimension.

In short:

Endless Myth: dimension as structure
Flatland: dimension as limitation of perception

2. Perspective: External View vs. Internal Awakening

Endless Myth adopts a panoramic perspective.
The reader observes multiple dimensions simultaneously.

Flatland is told from within.
A two-dimensional being gradually comes to understand a higher dimension.

Thus:

Endless Myth: external, omniscient perspective
Flatland: internal realization

3. The Barrier of Dimensions: Crossing vs. Comprehending

In Endless Myth, dimensions can be crossed.
Entities move between layers, interfere, and reconstruct reality.

In Flatland, the barrier is cognitive.
The third dimension is not just unreachable—it is unimaginable.

This distinction is crucial.

4. Expansion of Dimensions: Infinity vs. One Step

Endless Myth expands dimensions infinitely.
3D, 4D, and beyond without end.

Flatland focuses on a single leap:
from 2D to 3D.

Yet that single step represents a revolutionary shift in understanding.

5. Mathematics and Myth

Flatland translates mathematical ideas into narrative.
It turns abstraction into experience.

Endless Myth goes even further—
into realms where mathematics itself collapses.

It explores what lies beyond dimensional logic.

6. Essence of Myth: Understanding vs. Transcendence

Endless Myth is a myth of transcendence—
moving beyond dimensions.

Flatland is a myth of understanding—
grasping what dimensions mean.

Conclusion: Can Dimensions Be Understood, or Only Transcended?

Endless Myth and Flatland present two contrasting approaches to dimensions:

Endless Myth: transcend dimensions
Flatland: understand dimensions

The former moves endlessly into the unknown.
The latter reveals the limits of perception through a single breakthrough.

And this comparison leads to a fundamental question:

Are dimensions something we can truly understand—
or do they only exist beyond the limits of our comprehension?

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