Endless Myth and La Chinoise

— The Destruction and Reconstruction of Narrative Grammar, Godard’s Late Style, and Copyright —

The novel Endless Myth and La Chinoise both challenge conventional storytelling, but in fundamentally different ways.

La Chinoise, directed by Jean-Luc Godard, represents a radical attempt to question the very grammar of cinema.

One expands narrative through an omniversal structure,
while the other dismantles narrative into fragments of image, sound, and text.

This article compares them through narrative disruption, media reconstruction, and Godard’s later evolution—including the issue of copyright.

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1. Narrative Grammar: Expansion vs. Destruction

Endless Myth expands narrative grammar.
It layers multiple universes, timelines, and dimensions into a new structure.

La Chinoise destroys narrative grammar.
Plot is fragmented into conversations, quotations, and ideological exchanges.

In short:

Endless Myth: expansion of narrative
La Chinoise: deconstruction of narrative

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2. Reconstruction of Media: Text vs. Image-Sound-Word

Endless Myth constructs its universe through language.

La Chinoise separates and recombines media elements:

• Text appearing on screen

• Discontinuous use of music

• Theatrical, staged performances

It is cinema that goes beyond cinema—
a reconstruction of image, sound, and written word.

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3. Godard’s Artistic Vision: Redefining Cinema

Jean-Luc Godard spent his entire career redefining what cinema could be.

La Chinoise is an early example of his experimental phase,
but his later works push these ideas even further:

• Fragmentation of images

• Separation of sound and visuals

• Rejection of traditional narrative

In his late period, cinema becomes less a story
and more a collage of audiovisual thought.

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4. Copyright and Quotation: The Problem of Reconstruction

Godard’s work relies heavily on quotation and reuse.

Existing images, music, and ideas are reassembled
to generate new meanings.

However, this approach raises issues of copyright.

In the modern era, such methods are increasingly restricted,
making Godard-like experimentation more difficult to sustain.

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5. Form of Myth: Structural Myth vs. Deconstructed Myth

Endless Myth builds mythology through structure.

La Chinoise deconstructs myth.
It questions ideology, language, and representation itself.

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6. Experience: Understanding vs. Discomfort

Endless Myth invites the reader to understand its structure.

La Chinoise creates discomfort.
It destabilizes the viewer and forces reflection.

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Conclusion: Is Narrative Necessary?

Endless Myth and La Chinoise ultimately question the necessity of narrative itself:

Endless Myth: narrative expands into new forms
La Chinoise: narrative is dismantled

One builds a universe through structure.
The other breaks storytelling apart to reconstruct meaning.

And this comparison leads to a fundamental question:

Is narrative essential—
or must it be destroyed to create something new?

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Endless Myth and The Midnight Meat Train

— Cosmic Myth vs. Urban Horror, Japanese Directors in Hollywood, and Clive Barker —

The novel Endless Myth and The Midnight Meat Train may appear completely different at first glance.

Yet both works explore a similar idea: the moment when humans encounter something beyond comprehension.

This film is also based on a story by Clive Barker and directed by Ryuhei Kitamura, making it a compelling case of a Japanese director working within Hollywood while adapting a distinct literary vision.

This article compares them through cosmology, horror, authorship, and international filmmaking.

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1. Scale of the World: Omniverse vs. Underground Myth

Endless Myth presents an infinite omniversal structure.
Multiverses expand endlessly into higher systems.

The Midnight Meat Train presents a hidden myth beneath the city.
In the depths of the subway, something inhuman exists beyond ordinary reality.

In short:

Endless Myth: infinite outer cosmos
Midnight Meat Train: inner, hidden abyss of the city

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2. Nature of Horror: Structure vs. Physical Violence

In Endless Myth, horror comes from structure itself—
the uncertainty of existence within an infinite system.

In The Midnight Meat Train, horror is physical and visceral.
Violence, flesh, and ritual dominate the narrative.

Yet behind that violence lies something far greater and more unknowable.

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3. The Influence of Clive Barker

Clive Barker is known for treating horror not merely as fear, but as contact with another realm.

His works often explore:

• Beings beyond human comprehension

• The fusion of beauty and horror

• Transformation of body and mind

The Midnight Meat Train reflects this philosophy—
it is not just a slasher story, but a gateway into the unknown.

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4. Japanese Directors in Hollywood: The Case of Ryuhei Kitamura

Ryuhei Kitamura built his reputation in Japan with dynamic action and intense visual style.

In this film, he brings that sensibility into Hollywood while adapting Barker’s unique tone.

This highlights a recurring challenge for Japanese directors working abroad:

• How much of their own style can they retain?

• How much must they adapt to the source material and studio system?

The Midnight Meat Train exists at the intersection of these forces.

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5. Transformation of Perception: Expansion vs. Descent

In Endless Myth, perception expands outward into the cosmos.

In The Midnight Meat Train, perception descends inward—
into the hidden layers beneath everyday reality.

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6. Form of Myth: Infinite Myth vs. Urban Myth

Endless Myth is an infinite myth.

The Midnight Meat Train is an urban myth—
a hidden narrative embedded within modern society.

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Conclusion: Is Myth Above Us or Beneath Us?

Endless Myth and The Midnight Meat Train present two opposing locations of myth:

Endless Myth: myth exists in the vast cosmos
Midnight Meat Train: myth exists beneath everyday life

One reaches toward infinity.
The other uncovers darkness below.

And this comparison leads to a fundamental question:

Is the unknown something far beyond us—
or something already waiting beneath our feet?

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Endless Myth and The Sons of El Topo

— Myth Born from Sequel Concepts and the Structure of the Omniverse —

The novel Endless Myth and The Sons of El Topo (often referred to as Fang Solo) are both works that expand mythology beyond an original foundation.

Crucially, The Sons of El Topo is a product of Alejandro Jodorowsky’s unrealized sequel concept to the film El Topo.

One is an omniversal mythology designed to expand infinitely from the outset,
while the other emerges from the continuation of an earlier work—transforming an unfinished vision into a new myth.

This article compares them through sequel logic, mythic structure, and the idea of creative regeneration.

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1. Point of Origin: Independent Myth vs. Sequel Myth

Endless Myth is constructed as an independent mythological system.
It begins already infinite in scope.

The Sons of El Topo originates from a sequel concept.
It extends the narrative world of El Topo into a new form.

In short:

Endless Myth: independent mythology
Sons of El Topo: mythology born from a sequel

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2. Jodorowsky’s Creation Method: From the Unfinished to the Mythic

Alejandro Jodorowsky is known for transforming unrealized ideas into new works.

The Sons of El Topo is a clear example:
a film sequel that was never produced becomes a comic narrative instead.

This reflects a broader pattern also seen in his Dune project—
unfinished visions do not disappear, but re-emerge in different forms.

In Jodorowsky’s process:
unrealized ideas are not failures—they are seeds of new mythology.

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3. Cosmology: Omniverse vs. Spiritual Desert

Endless Myth presents a structured omniverse.
Multiverses expand into higher and higher systems.

The Sons of El Topo presents a symbolic, spiritual landscape.
Deserts, violence, and religious imagery create a psychological cosmos.

It is less a physical universe,
and more a universe of the mind.

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4. Transmission of Myth: Structure vs. Bloodline

In Endless Myth, mythology continues through structure.
The system itself evolves.

In The Sons of El Topo, mythology continues through lineage.
The legacy of the father passes to the sons.

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5. Mode of Expansion: Internal vs. Derivative

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

The Sons of El Topo expands through derivation.
A new story emerges from an existing one.

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6. Essence of Myth: Infinity vs. Regeneration

Endless Myth defines myth as infinity itself.

The Sons of El Topo defines myth as regeneration.
An unfinished idea transforms into a new narrative life.

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Conclusion: Is Myth Infinite from the Start, or Reborn from Fragments?

Endless Myth and The Sons of El Topo present two models of myth-making:

Endless Myth: myth exists as infinite structure from the beginning
Sons of El Topo: myth is reborn from unfinished visions

What stands out most is Jodorowsky’s ongoing creative process.
His universe continues to expand—not only through completed works,
but through the transformation of unrealized ideas into new forms.

This comparison leads to a fundamental question:

Is myth something that always exists in infinite form—
or something that is endlessly reborn from fragments of imagination?

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Endless Myth and Castaka

— Origins of Bloodline Mythology, Omniversal Structure, and the Expanding Jodoverse —

The novel Endless Myth and Castaka can both be understood as parts of larger cosmic mythological systems.

At the same time, Castaka occupies a foundational position within the universe created by Alejandro Jodorowsky—the so-called Jodoverse.

One represents an infinite, self-expanding omniversal structure,
while the other represents the origin point of a bloodline mythology that shapes an entire saga.

This article compares them through origin, lineage, cosmic structure, and the ongoing expansion of the Jodoverse.

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1. Position in Myth: Infinite System vs. Origin Myth

Endless Myth is constructed as an infinite system from the beginning.
It expands through multiverses, higher dimensions, and omniversal layers without limit.

Castaka, however, functions as an origin story.
It depicts the beginning of the lineage that will later become The Metabarons.

In short:

Endless Myth: myth as infinite structure
Castaka: myth as origin point

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2. The Jodoverse: A Connected Mythological Network

The Jodoverse is not a single work, but a network of interconnected narratives, including:

• The Incal

• Before the Incal

• Castaka

• The Metabarons

• The Technopriests

Within this system, Castaka serves as the genealogical starting point of the Metabaron bloodline.

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3. Bloodline vs. Structure

In Castaka, mythology is defined through lineage.
The origin of the warrior bloodline establishes a destiny that continues for generations.

In Endless Myth, mythology is defined through structure.
Existence itself expands beyond individuals, families, or even civilizations.

Thus:

Castaka: myth as lineage
Endless Myth: myth as structure

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4. Scale: Family Saga vs. Cosmic System

Castaka begins at the level of a family.
Yet this family becomes the foundation of an entire cosmic saga.

Endless Myth begins at a cosmic scale.
It never relies on individuals or lineage as its primary framework.

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5. Jodorowsky’s Artistic Vision: Origin as Myth

Alejandro Jodorowsky is known for transforming origins into mythology.

Castaka is not merely a prequel—it is a mythological genesis.
It turns violence, ritual, and inheritance into sacred narrative material.

This genesis then extends into The Metabarons and beyond, forming part of the larger Jodoverse.

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6. Expansion of Myth: Beginning vs. Infinity

Endless Myth has no beginning or end—it is infinite by design.

Castaka defines the beginning of a mythological chain.

Yet the Jodoverse continues to expand today,
with each new interpretation or work reshaping its internal mythology.

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Conclusion: Is Myth Infinite from the Start, or Born from Origins?

Endless Myth and Castaka present two different foundations of mythology:

Endless Myth: myth as pre-existing infinity
Castaka: myth as an origin that generates continuity

And the Jodoverse exists as a third model—
a mythology that continues to expand through connection and reinterpretation.

This comparison leads to a fundamental question:

Is myth something that exists infinitely from the beginning—
or something that grows endlessly from its origins?

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Endless Myth and The Metabarons

— Bloodline Mythology, Omniversal Structure, and the Expanding Jodoverse —

The novel Endless Myth and The Metabarons are both works of vast cosmic mythology.

At the same time, The Metabarons is one of the central pillars of the universe created by Alejandro Jodorowsky—commonly referred to as the Jodoverse.

One constructs an endlessly expanding omniversal structure,
while the other builds mythology through bloodline, inheritance, and fate.

This article compares them through mythic structure, lineage, and the expanding nature of the Jodoverse.

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1. Axis of Myth: Structure vs. Bloodline

Endless Myth defines the universe as structure itself.
Multiverses, dimensional hierarchies, and omniversal layers expand infinitely.

The Metabarons defines the universe through bloodline.
Each generation carries the weight of destiny, violence, and inheritance.

In short:

Endless Myth: universe as structure
Metabarons: universe as bloodline

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2. The Jodoverse: A Myth Built Through Connection

The Jodoverse is not a single unified story, but a network of interconnected works, including:

• The Incal

• Before the Incal

• The Metabarons

• The Technopriests

Each work functions as a fragment of a larger mythology.

Among them, The Metabarons stands out as a pure bloodline epic,
where lineage itself becomes cosmic destiny.

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3. Fate: Open Infinity vs. Closed Destiny

In Endless Myth, existence expands endlessly.
Even fate can branch into multiple possibilities.

In The Metabarons, fate is rigid and absolute.
Violence, duty, and inheritance pass from father to son in a closed cycle.

Thus:

Endless Myth: open, infinite destiny
Metabarons: closed, inherited destiny

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4. Characters: Conceptual Beings vs. Tragic Heroes

Characters in Endless Myth often function as conceptual or cosmic entities.
They represent structures of reality itself.

In The Metabarons, characters are tragic, mythic warriors.
They are superhuman, yet defined by loss, trauma, and inheritance.

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5. Jodorowsky’s Artistic Vision: Violence and Myth

Alejandro Jodorowsky is known for combining:

• Mythic scale storytelling

• Physical and psychological intensity

• Symbolic imagery

• Violence as a spiritual language

The Metabarons represents one of his most extreme expressions of blood-and-myth storytelling.

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6. Expansion of Myth: Omniverse vs. Network

Endless Myth expands from within a single system.
The structure itself grows infinitely.

The Jodoverse expands through connection.
Each new work adds another layer to the mythology.

Importantly, the Jodoverse is still expanding today.
It is not a closed canon but an evolving mythological network.

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Conclusion: Structure, Bloodline, or Connection?

Endless Myth and The Metabarons present two different foundations of myth:

Endless Myth: myth as infinite structure
Metabarons: myth as bloodline inheritance

And the Jodoverse itself functions as a third model:
myth expanded through interconnected works.

This comparison leads to a fundamental question:

Is myth something that exists as structure—
or something that is born through lineage and continuation?

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Endless Myth and The Strange Tale of Alan Mangel

— Jodorowsky’s Artistic Vision and the Myth of Fragmented Reality —

The novel Endless Myth and The Strange Tale of Alan Mangel both depict realities that go beyond ordinary perception.

At the same time, this work strongly reflects the artistic vision of Alejandro Jodorowsky.

One expands reality through an omniversal structure,
while the other destabilizes reality through the fragmentation of consciousness.

This article compares the two while focusing on Jodorowsky’s artistic approach.

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1. Treatment of Reality: Structure vs. Fragmentation

In Endless Myth, reality exists as a structured system.
Multiverses and parallel worlds are clearly defined.

In The Strange Tale of Alan Mangel, reality fragments.
The protagonist’s perception collapses, and multiple realities overlap.

In short:

Endless Myth: reality as structure
Alan Mangel: reality as fragmentation

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2. Jodorowsky’s Artistic Vision: Symbolism and Inner Worlds

Alejandro Jodorowsky is known for blending symbolism with psychological and spiritual exploration.

In The Strange Tale of Alan Mangel, this appears as:

• A fusion of reality and illusion

• A succession of symbolic imagery

• A narrative experienced rather than logically explained

This approach connects to his films and works like The Incal.

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3. Depiction of Consciousness: Expansion vs. Collapse

In Endless Myth, consciousness expands outward.
Human thought has the potential to become cosmic.

In The Strange Tale of Alan Mangel, consciousness collapses.
The boundaries of the self dissolve, destabilizing reality.

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4. Narrative Structure: System vs. Fragments

Endless Myth is built as a structured system.
Multiple layers are organized coherently.

The Strange Tale of Alan Mangel is fragmented.
Scenes and events flow without a single consistent logic.

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5. Form of Myth: Cosmic vs. Internal

Endless Myth is a cosmic mythology.

The Strange Tale of Alan Mangel is an internal mythology.
The individual psyche itself becomes the myth.

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6. Art and Myth: Understanding vs. Experience

Endless Myth invites understanding through structure.

Jodorowsky’s work invites direct experience.
It does not explain meaning—it confronts the audience with it.

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Conclusion: Is Reality Structure or Experience?

Endless Myth and The Strange Tale of Alan Mangel present two approaches to reality and myth:

Endless Myth: reality exists as a structure
Alan Mangel: reality collapses as an experience

The former systematizes the universe.
The latter deconstructs reality itself.

And this comparison leads to a fundamental question:

Is reality something to be understood—
or something to be directly experienced?

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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.

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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

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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.

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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.

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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.

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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.

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6. Essence of Myth: Infinity vs. Continuation

Endless Myth presents myth as infinity itself.

The Jodoverse presents myth as continuous expansion.

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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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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.

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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

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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.

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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.

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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.

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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.

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6. Essence of Myth: Fragments vs. Infinity

Before the Incal builds mythology through fragments.

Endless Myth presents mythology as an infinite system.

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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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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.

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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

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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

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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.

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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.

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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.

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6. Essence of Myth: Experience vs. Structure

The Incal presents myth as experience.

Endless Myth presents myth as structure.

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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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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.

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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

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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

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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.

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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.

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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

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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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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.

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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.

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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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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.

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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

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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

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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.

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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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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.

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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

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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

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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.

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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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Endless Myth and A Wild Last Boss Appeared!

— Different Approaches to the Omniverse and Narrative Structure —

The novel Endless Myth and A Wild Last Boss Appeared! both explore large-scale worlds, yet their approaches are fundamentally different.

One treats the omniverse as a structural foundation, while the other gradually expands toward that scale through storytelling.

This article compares their approaches to the omniverse, methods of depiction, and narrative structures.

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1. Approach to the Omniverse: Premise vs. Destination

Endless Myth begins with an omniversal structure as its premise.
Multiverses, higher-order realities, and external domains are part of its initial design.

A Wild Last Boss Appeared! starts from a single world and expands outward.
Its scale grows progressively as the story unfolds.

In short:

Endless Myth: omniverse as premise
Wild Last Boss: omniverse as destination

---

2. Method of Depiction: Structural Presentation vs. Gradual Revelation

In Endless Myth, the structure of the universe is presented directly.
Readers are immediately confronted with its immense scale.

In A Wild Last Boss Appeared!, information is revealed step by step.
The world expands alongside the reader’s understanding.

Thus:

Endless Myth: structural presentation
Wild Last Boss: discovery-based expansion

---

3. Narrative Structure: Nonlinear vs. RPG Progression

Endless Myth employs a nonlinear structure.
Multiple layers of time and reality coexist simultaneously.

A Wild Last Boss Appeared! follows an RPG-like progression:

• Encounters with powerful enemies

• Reunions with allies

• Gradual uncovering of the world’s truth

This creates a clear sense of progression and escalation.

---

4. Characters: Conceptual Entities vs. Evolving Beings

Characters in Endless Myth often embody abstract concepts or cosmic roles.

In A Wild Last Boss Appeared!, characters grow and evolve.
Their roles and relationships change as the story progresses.

---

5. Handling of Scale: Infinity vs. Expansion

Endless Myth operates at maximum scale from the beginning.
Infinity is its baseline.

A Wild Last Boss Appeared! expands its scale over time.
Readers gradually come to understand the full scope of the world.

---

6. Essence of Myth: Ontology vs. Narrative Experience

Endless Myth presents myth as ontology—
the nature of existence itself.

A Wild Last Boss Appeared! maintains narrative engagement while reaching mythic scale.
It balances storytelling with expansion.

---

Conclusion: Is the Omniverse a Starting Point or a Destination?

Endless Myth and A Wild Last Boss Appeared! represent two distinct approaches to the omniverse:

Endless Myth: omniverse as a starting point
Wild Last Boss: omniverse as an endpoint

The former exists within infinity from the beginning.
The latter arrives there through narrative progression.

And this comparison leads to a fundamental question:

Is the omniverse something that exists from the start—
or something discovered through the journey of a story?

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Endless Myth and Final Fantasy XV

— Inherited Media Mix and the Unfinished Narrative —

The novel Endless Myth and Final Fantasy XV may seem very different on the surface.

However, both can be meaningfully compared through three key aspects:
large-scale conceptual expansion, inherited media mix strategies, and narrative completeness.

One is an endlessly expanding mythology, while the other is a project shaped through a long and complex development history.

This article focuses on the inheritance of media mix, its drawbacks, and the idea of an unfinished story.

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1. Origins: Infinite Myth vs. Transforming Project

Endless Myth is built from the beginning as an infinite structure.
Expansion is not a side effect—it is the foundation.

Final Fantasy XV originated as
Final Fantasy Versus XIII,
part of the larger
Fabula Nova Crystallis Final Fantasy.

Over time, the project underwent major changes and was eventually restructured into Final Fantasy XV.

---

2. Inherited Media Mix

Final Fantasy XV inherits the media mix strategy established by Final Fantasy XIII.

Its story is spread across multiple formats:

• The film Kingsglaive: Final Fantasy XV
• The anime Brotherhood: Final Fantasy XV
• DLC episodes and later novelizations

As a result, the narrative does not fully exist within the game alone.

Endless Myth also expands across multiple formats:

• Main narrative
• Side stories
• Observational logs (X Documents, WhatsApp records)

However, in Endless Myth, this expansion is structurally intentional and integrated into the work itself.

---

3. Development Time: Twelve Years of Transformation

The development of Final Fantasy XV, including its earlier form, spanned roughly 12 years.

This prolonged production involved:

• Technological changes
• Shifts in development teams
• Revisions of core concepts

These factors significantly affected the consistency of the final work.

In contrast, Endless Myth treats the passage of time itself as part of its expansion.

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4. The Drawback: Fragmentation of Narrative

This is the most critical issue.

In Final Fantasy XV, the distribution of the story across multiple media resulted in:

• Incomplete understanding when playing only the game
• Missing character development
• Key events occurring outside the main medium

This creates a fragmented narrative experience.

---

5. The Unfinished Story

Final Fantasy XV does not present a fully complete narrative within the game itself.

Canceled DLC and later novel adaptations attempted to fill in missing elements,
but the original vision was never fully realized.

Thus:

FFXV: an unintentionally unfinished story

In contrast:

Endless Myth: a narrative designed to be unfinished

---

6. Essence of Myth: Design vs. Transformation

Endless Myth is designed as an infinite structure from the outset.

Final Fantasy XV is a work transformed through long-term development and shifting direction.

In short:

Endless Myth: expansion by design
FFXV: structure shaped through change

---

Conclusion: Is Incompleteness a Failure or a Possibility?

Endless Myth and Final Fantasy XV present two different meanings of incompleteness:

Endless Myth: incompleteness as structure
FFXV: incompleteness as outcome

The former embraces incompleteness as its foundation.
The latter arrives at it through circumstance.

And this comparison leads to a central question:

Should a story strive for completeness—
or can incompleteness itself hold meaning and potential?

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Endless Myth and Final Fantasy XIII

— Expanding Media Mixes and Their Byproducts —

The novel Endless Myth and Final Fantasy XIII belong to very different mediums.

However, both are connected through a shared phenomenon: the expansion of a massive conceptual project and the byproducts that emerge from it.

One is an endlessly expanding personal mythology, while the other is a large-scale media mix project developed across multiple works.

This article compares them with a focus on expansion and its consequences.

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1. Scale of Concept: Personal Myth vs. Project Myth

Endless Myth expands from a single core idea into an infinite structure—
multiverses, omniverses, and beyond.

Final Fantasy XIII was conceived as part of the larger project
Fabula Nova Crystallis Final Fantasy.

This was not a single story, but a shared mythological framework across multiple titles.

In short:

Endless Myth: internally expanding mythology
FFXIII: externally expanding project mythology

---

2. Worldbuilding: Structural Cosmos vs. Shared Myth System

In Endless Myth, the structure itself is the world.

In Final Fantasy XIII, concepts such as fal’Cie, l’Cie, and divine entities are shared across multiple entries.
Each title contributes to a larger myth system.

Thus:

Endless Myth: structure as world
FFXIII: shared mythological system

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3. Media Mix Expansion

Final Fantasy XIII expanded through multiple sequels and related works:

• Final Fantasy XIII-2
• Lightning Returns: Final Fantasy XIII

Each entry added layers to the overarching mythology.

Endless Myth also expands across multiple formats:

• Main narrative
• Side stories
• Observational logs (X Documents, WhatsApp records)

Both works demonstrate how a single concept can evolve into a network of interconnected narratives.

---

4. Byproducts of Expansion

This is the most critical point.

Large-scale expansion inevitably produces side effects.

In Final Fantasy XIII, these included:

• Increasingly complex terminology
• Difficulty in understanding the full setting
• Dependence on multiple works for clarity

This results in a fragmentation of understanding.

In Endless Myth, similar tendencies can emerge:

• Infinite expansion of concepts
• Overgrowth of abstract systems
• Scale exceeding reader comprehension

---

5. Operation of Myth: Distribution vs. Proliferation

Final Fantasy XIII distributes its mythology across multiple works.

Endless Myth allows mythology to proliferate and expand continuously.

In short:

FFXIII: distributed myth
Endless Myth: proliferating myth

---

6. Essence of Expansion: Control vs. Overflow

Final Fantasy XIII represents an attempt to manage and control a massive concept.

Endless Myth includes the possibility of expansion beyond control.

Thus:

FFXIII: controlled expansion
Endless Myth: expansion beyond control

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Conclusion: Is Expansion a Success or a Side Effect?

Endless Myth and Final Fantasy XIII reveal the dual nature of large-scale storytelling:

Endless Myth: pure expansion toward infinity
FFXIII: expansion producing complexity and byproducts

Expansion creates new possibilities, but also introduces instability and fragmentation.

And this comparison leads to a central question:

How far should a story expand—
and are its byproducts a form of evolution, or distortion?

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Endless Myth and A Perfect Vacuum

— The Omniverse as Narrative vs. the Universe of Nonexistent Books —

The novel Endless Myth and A Perfect Vacuum by Stanisław Lem may seem completely different at first glance.

One is an ever-expanding omniversal mythology, while the other is a collection of reviews of books that do not exist.

Yet both are deeply connected through a shared idea: the possibility that narrative itself becomes a universe.

This article compares them from the perspective of the omniverse.

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1. Form of Myth: Existing Narrative vs. Nonexistent Narrative

Endless Myth is a narrative that actually unfolds.
It expands through multiverses, omniverses, and even beyond.

A Perfect Vacuum consists of reviews of books that were never written.
The stories themselves do not exist—only their descriptions do.

In short:

Endless Myth: an unfolding omniverse
A Perfect Vacuum: an omniverse of nonexistent narratives

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2. Worldview: Constructed Universe vs. Imagined Universe

In Endless Myth, the universe is explicitly constructed.
The reader experiences its structure directly.

In A Perfect Vacuum, the universe is never directly shown.
Through reviews, countless possible worlds emerge in the reader’s imagination.

Thus:

Endless Myth: presented universe
A Perfect Vacuum: imagined universe

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3. Characters: Conceptual Entities vs. Absent Beings

Characters in Endless Myth embody elements of cosmic structure.

In A Perfect Vacuum, characters may not appear at all.
They exist only as references within nonexistent works.

This absence paradoxically generates infinite possibilities.

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4. The Omniverse Concept: Reality vs. Potential

In Endless Myth, the omniverse is a structured reality.
Infinite layers of existence are actively constructed.

In A Perfect Vacuum, the omniverse exists as potential.
Every unwritten story becomes a possible universe.

---

5. Meta Structure: Beyond the Narrative

A Perfect Vacuum is fundamentally meta.
Its format—reviews of nonexistent books—is itself the subject.

Endless Myth also enters a meta dimension,
as the narrative itself becomes part of the cosmic structure it describes.

---

6. Essence of Myth: Presence vs. Absence

Endless Myth presents myth as presence—
a constructed, existing system.

A Perfect Vacuum presents myth as absence—
where what is not told creates infinite space for imagination.

---

Conclusion: Must a Story Exist to Be Infinite?

Endless Myth and A Perfect Vacuum offer two radically different approaches to the omniverse:

Endless Myth: infinity through existence
A Perfect Vacuum: infinity through nonexistence

The former builds an actual universe.
The latter allows infinite universes to emerge through absence.

And this comparison leads to a fundamental question:

Does a story need to exist to become infinite—
or does true infinity lie in the stories that are never told?

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