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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2026年4月18日土曜日

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.

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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2026年4月17日金曜日

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.

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.

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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2026年4月16日木曜日

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.

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

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

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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2026年4月15日水曜日

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.

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

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

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.

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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2026年4月14日火曜日

Endless Myth and Hana no Keiji

— Cosmic Myth and the Aesthetics of the “Kabukimono” —

The novel Endless Myth and Hana no Keiji may seem completely different at first glance.

One is a multiversal cosmic mythology, while the other is a historical story centered on the life of a single warrior in the Sengoku era.

Yet both works share a common pursuit: pushing the question of existence to its extreme.

This article compares them through myth structure, character, aesthetics, and the meaning of life itself.

1. Form of Myth: Cosmic Structure vs. Individual Myth

Endless Myth is an infinitely expanding mythology.
The universe itself becomes the narrative.

Hana no Keiji turns an individual life into myth.
Maeda Keiji becomes the embodiment of the story itself.

In short:

Endless Myth: myth of the cosmos
Hana no Keiji: myth of the individual

2. Worldview: Cosmos vs. Historical Reality

Endless Myth operates in an abstract realm of time, space, and infinity.

Hana no Keiji is grounded in historical reality—the Sengoku period.
Yet within that reality, human life is elevated to a mythic level.

Thus:

Endless Myth: abstract universe
Hana no Keiji: myth within reality

3. Characters: Conceptual Entities vs. the Kabukimono

Characters in Endless Myth often embody elements of cosmic structure.

In Hana no Keiji, the protagonist Maeda Keiji represents the ideal of the kabukimono—
a figure who lives outside convention, guided only by personal aesthetics and conviction.

4. Aesthetics: Structure vs. Way of Living

Endless Myth finds beauty in structure.
The infinite system itself becomes an aesthetic.

Hana no Keiji finds beauty in how one lives.
Every action—how one fights, lives, and dies—becomes an expression of style and philosophy.

5. Life and Death: Infinity vs. the Moment

In Endless Myth, existence extends infinitely.
Even death is part of a larger structure.

In Hana no Keiji, life is fleeting.
Its value lies in how intensely that brief moment is lived.

6. Essence of Myth: Existence vs. Resolve

Endless Myth presents existence itself as myth.

Hana no Keiji presents resolve as myth—
the determination of how to live and how to die.

Conclusion: Does Myth Exist in the Cosmos or in Human Life?

Endless Myth and Hana no Keiji represent two extremes of mythology:

Endless Myth: myth as the cosmos itself
Hana no Keiji: myth as human life

The former finds meaning in infinity.
The latter creates meaning within a single fleeting life.

And this comparison leads to a fundamental question:

Does myth exist in the vast structure of the universe—
or is it born from the way a human being chooses to live?

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2026年4月13日月曜日

Endless Myth and The Multiversity

— Infinite Myth vs. Structured Multiverse —

The novel Endless Myth and The Multiversity both explore the idea of the multiverse.

However, they differ fundamentally in how that multiverse is constructed and understood.

One embraces infinity as its foundation, while the other presents a carefully designed and structured multiverse.

This article compares them through the lenses of structure, worldview, characters, and the meaning of the multiverse itself.

1. Form of Myth: Infinite Structure vs. Designed Universe

Endless Myth is built upon infinite expansion.
Its multiverse extends endlessly into higher layers of existence.

In The Multiversity, the multiverse is deliberately designed.
Each universe has a defined role and identity, forming a coherent system.

In short:

Endless Myth: infinite hierarchical structure
The Multiversity: structured multiverse

2. Worldview: Unstable Infinity vs. Mapped Reality

In Endless Myth, the universe continuously expands and can even collapse under its own complexity.
It is not meant to be fully understood.

In The Multiversity, the multiverse is mapped and organized.
Readers can grasp its structure and the relationships between worlds.

Thus:

Endless Myth: incomprehensible infinity
The Multiversity: understandable multiverse

3. Characters: Conceptual Entities vs. Variations of Heroes

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

In The Multiversity, heroes are central.
The same hero appears in different forms across different universes.

In short:

Endless Myth: conceptual beings
The Multiversity: variations of heroes

4. Meta Structure: The Reader and the Story

One of the defining features of The Multiversity is its meta-narrative.
The act of reading itself becomes part of the story.

The relationship between the reader and the narrative is embedded within the structure.

In Endless Myth, the narrative itself becomes a cosmic structure.
The story is not just told—it exists as part of the universe it describes.

5. Meaning of the Multiverse: Narrative Device vs. Ontology

In Endless Myth, the multiverse is not just a setting—it is existence itself.

In The Multiversity, the multiverse functions as a narrative device.
It allows multiple stories and variations to coexist.

6. Essence of Myth: Infinity vs. Organization

Endless Myth presents myth as infinity—limitless and expanding.

The Multiversity represents an attempt to organize and define the multiverse.

Conclusion: Can Infinity Be Understood?

Endless Myth and The Multiversity offer two contrasting approaches to the concept of the multiverse:

Endless Myth: infinity beyond comprehension
The Multiversity: structured and interpretable multiverse

The former presents infinity as it is.
The latter attempts to give it form and meaning.

And this comparison leads to a central question:

Can infinity truly be understood—
or is the attempt to understand it itself a limitation?

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2026年4月12日日曜日

Comparing Endless Myth and Ha Road: Expansion Beyond Limits and Narrative Collapse

Comparing Endless Myth and Ha Road: Expansion Beyond Limits and Narrative Collapse

Introduction

Endless Myth and Ha Road are both works driven by an extreme ambition: to go beyond the limits of their original frameworks. While they differ in genre and structure, both attempt to expand their worlds to a scale that challenges the stability of storytelling itself.

Ha Road: Surpassing Romance of the Three Kingdoms

Ha Road begins as a reinterpretation of Romance of the Three Kingdoms, one of the most iconic historical narratives in East Asia. However, it does not remain bound to history.

As the story progresses, it escalates far beyond its origins. Characters gain overwhelming power, conflicts grow larger than history itself, and the narrative transforms into something closer to myth or abstraction. In this sense, Ha Road attempts not just to retell Three Kingdoms, but to surpass it.

The Problem of Expansion and Collapse

Yet this expansion introduces a critical issue: structural breakdown.

By pushing beyond its narrative foundation, Ha Road begins to lose coherence. The story’s scale becomes so vast that it destabilizes its own structure. What was once grounded in a recognizable framework becomes fragmented.

This is the paradox of ambition in storytelling—expansion can create something new, but it can also lead to collapse.

Endless Myth: A Structure Without Limits

In contrast, Endless Myth is built on a fundamentally different premise.

From the beginning, it is not tied to a single historical or narrative base. Instead, it operates across multiverses, omniverses, and even realms where logic and mathematics no longer apply. Expansion is not something that happens to the story—it is the story itself.

Because of this, what would be considered “collapse” in other works becomes part of its design.

Expansion as Stability

Where Ha Road risks breaking under its own scale, Endless Myth avoids this by removing the concept of limits altogether.

It does not attempt to preserve a stable narrative structure. Instead, it embraces instability, turning it into a core theme. The story remains coherent not because it resists expansion, but because it is defined by it.

Conclusion

Both Ha Road and Endless Myth explore the same fundamental question: what happens when a story exceeds its own boundaries?

Ha Road shows both the power and the danger of such ambition—how a narrative can transcend its origins, but also risk disintegration. Endless Myth, on the other hand, represents a model where expansion itself becomes the foundation, avoiding collapse by design.

In this contrast, we can see two different answers to the same creative impulse: to go beyond.

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2026年4月11日土曜日

Endless Myth and Susano-Oh (Shuten Dōji)

— Cosmic Myth and the Revival of Indigenous Mythology —

The novel Endless Myth and Susano-Oh (Shuten Dōji) by Go Nagai differ greatly in scale and subject matter, yet they resonate in their shared goal of reconstructing myth.

One builds a mythology on a multiversal scale, while the other reinterprets Japanese myth and indigenous traditions.

This article compares them through the lenses of myth structure, worldview, character, and the recreation of myth.

1. Form of Myth: Infinite Construction vs. Reinterpretation of Ancient Myth

Endless Myth is a mythology of infinite expansion.
It constructs new myth through multiverses, omniversal layers, and conceptual systems.

Susano-Oh (Shuten Dōji) reinterprets existing mythology.
Drawing from Japanese myth—particularly the figure of Susanoo—it transforms traditional narratives into a new form.

In short:

Endless Myth: newly constructed myth
Susano-Oh: reimagined ancient myth

2. Worldview: Cosmos vs. Indigenous Landscape

Endless Myth takes place across the cosmos.
Its foundation lies in abstract, layered structures of existence.

Susano-Oh is rooted in an indigenous worldview.
Japanese myth, folklore, and the memory of the land shape its narrative.

Thus:

Endless Myth: abstract cosmos
Susano-Oh: grounded mythic landscape

3. Characters: Conceptual Entities vs. Reinterpreted Gods

Characters in Endless Myth often embody elements of a cosmic structure or conceptual roles.

In Susano-Oh, gods themselves are reinterpreted.
They are not distant, perfect beings but entities with human traits, violence, and raw emotion.

4. Violence and Myth: Creation and Destruction

A defining feature of Go Nagai’s works is the expression of raw energy and violence.

In Susano-Oh, myth is not static or serene—
it is forged through intense conflict and destruction.

Similarly, in Endless Myth, the universe is not stable.
It fluctuates, collapses, and is rebuilt continuously.

Both works suggest:

myth is not fixed—it is something that constantly transforms

5. Recreating Myth: Universality vs. Individuality

Endless Myth universalizes myth.
It presents a structure that applies across all existence and realities.

Susano-Oh personalizes myth.
It reshapes Japanese mythology into a distinct and individual vision.

6. Essence of Myth: Structure vs. Primordial Energy

Endless Myth presents myth as structure—
a system of infinite existence.

Susano-Oh presents myth as primordial energy—
a force of violence, life, and instinct.

Conclusion: Is Myth Created or Revived?

Endless Myth and Susano-Oh represent two different approaches to myth:

Endless Myth: myth as construction
Susano-Oh: myth as revival

The former expands myth from nothing into infinity.
The latter brings ancient myth back into the modern world.

And this comparison leads to a central question:

Is myth something we create—
or something we rediscover and awaken?

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2026年4月10日金曜日

Endless Myth and the Works of Pier Paolo Pasolini

— Cosmic Myth and Art as Critique —

The novel Endless Myth and the body of work by Pier Paolo Pasolini belong to vastly different domains.

One constructs a multiversal mythology on a cosmic scale, while the other engages directly with society through poetry, literature, film, essays, and cultural criticism.

Yet both confront a fundamental question: how do we interpret and represent the world?

This article compares them while tracing Pasolini’s life as a poet, novelist, filmmaker, essayist, and public intellectual—along with his relentless criticism of modern society and his mysterious death.

1. Form of Myth: Infinite Structure vs. Mythologized Reality

Endless Myth is a mythology of infinite expansion.
It develops through multiverses, omniversal layers, and even beyond.

Pasolini, in contrast, mythologized reality itself.
Through depictions of marginalized communities, religion, power, and sexuality, he transformed contemporary society into a form of myth.

In short:

Endless Myth: myth of the cosmos
Pasolini: myth of reality

2. Domains of Expression: Cosmos vs. Society

Endless Myth operates in abstract domains—
time, infinity, and the structure of existence.

Pasolini worked across multiple forms:

Poetry: inner life and social tension
Novels: marginalized and subproletarian realities
Film: religion, power, and the human body
Essays: sharp critiques of modern civilization

His work was not merely artistic—it was a direct interrogation of society.

3. Role of the Creator: Builder vs. Critic

In Endless Myth, the creator functions as a builder of worlds.
The narrative constructs a vast, structured universe.

Pasolini, however, positioned himself as a critic and provocateur.
He consistently challenged political systems, consumer culture, and dominant ideologies.

His essays and public statements were often confrontational, placing him in tension with his own era.

4. Limits of Expression: Conceptual Exploration vs. Social Provocation

Endless Myth pushes the limits of conceptual understanding—
infinity, existence, and what lies beyond.

Pasolini pushed social and ethical boundaries.
Through themes of religion, sexuality, and power, his works frequently provoked controversy and censorship.

His art did not merely depict reality—it challenged the audience to confront it.

5. A Life of Relentless Criticism

Pasolini spent his life in continuous critique of modern society:

Criticism of consumerism
Skepticism toward mass culture
Opposition to institutional power

He refused to conform to dominant cultural narratives, maintaining a position outside mainstream acceptance.

In this sense, he was not only an artist, but also a thinker deeply engaged with his time.

6. A Mysterious Death

In 1975, Pier Paolo Pasolini was found dead near Rome under violent circumstances.

The details of his death remain controversial, with ongoing debates about what truly happened and whether deeper forces were involved.

His death has become part of his legacy—
transforming him into a figure of myth as much as history.

7. Essence of Myth: Structure vs. Critique

Endless Myth presents myth as structure—
a system of infinite existence.

Pasolini uses myth as critique—
a way to expose and question the realities of society.

Conclusion: Does Myth Build the World, or Expose It?

Endless Myth and the works of Pasolini represent two fundamental functions of myth:

Endless Myth: myth as construction
Pasolini: myth as deconstruction

The former builds a universe.
The latter dismantles reality.

And this comparison leads to a fundamental question:

Is myth meant to create worlds—
or to reveal the hidden truths within them?

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2026年4月9日木曜日

Endless Myth and Ahsoka

— Cosmic Myth and the Expanding Galactic Narrative —

The novel Endless Myth and the series Ahsoka both take place on a cosmic stage, yet they approach the idea of the universe in fundamentally different ways.

One begins as a fully realized multiverse mythology, while the other has traditionally been confined to a single galaxy—only now beginning to expand beyond it.

This comparison explores their relationship through the lens of cosmic expansion and emerging multiversal possibilities.

1. Form of Myth: Multiverse vs. Expanding Galaxy

Endless Myth is built on a multiversal foundation from the start.
Its structure assumes infinite branching realities and layered existence.

Ahsoka, by contrast, originates within the framework of a single galaxy.
However, the narrative is beginning to move beyond that limitation.

In short:

Endless Myth: infinite structure from the beginning
Ahsoka: expansion beyond a single galaxy

2. Cosmology: Multiverse vs. the Emergence of a New Galaxy

In Endless Myth, multiple universes and dimensions coexist as part of a defined structure.

In Ahsoka, a major shift occurs with the introduction of another galaxy.
This marks a significant evolution in the Star Wars cosmology.

It suggests a transition from:

single-galaxy narrative → multi-galaxy framework

3. Characters: Observers vs. Explorers

Characters in Endless Myth often function as observers or participants within a vast cosmic structure.

In Ahsoka, Ahsoka Tano acts as an explorer of the unknown.
She moves beyond familiar space into uncharted territory, embodying the expansion of the narrative itself.

4. Signs of Multiverse Development

This is a key point.

Ahsoka has not fully established a multiverse concept.
However, several elements suggest the possibility:

The existence of another galaxy
Regions that may operate under different rules
Expanding interpretations of the Force

These elements begin to challenge the long-standing assumption of a single unified setting.

In this sense, Ahsoka shows early signs of evolving toward a multiverse-like structure.

5. Movement of Myth: Established Infinity vs. Ongoing Expansion

Endless Myth already operates within a fully expanded multiversal system.
It moves beyond even that, toward unknown outer domains.

Ahsoka exists in a transitional phase.
It is expanding step by step—from one galaxy to potentially many.

Thus:

Endless Myth: already beyond expansion
Ahsoka: in the process of expanding

6. Essence of Myth: Structure vs. Exploration

Endless Myth presents myth as structure—
a defined system of infinite existence.

Ahsoka presents myth as exploration—
a journey into the unknown that gradually expands its universe.

Conclusion: Is the Universe Infinite from the Beginning, or Does It Expand Through Storytelling?

Endless Myth and Ahsoka represent two stages of cosmic mythology:

Endless Myth: infinity as a starting point
Ahsoka: infinity as a destination

The former exists within an already infinite system.
The latter is moving toward one.

And this comparison leads to a central question:

Is the universe infinite from the beginning—
or does it become infinite as stories continue to expand it?

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2026年4月8日水曜日

Endless Myth and Caligula: Ultimate Cut

— Cosmic Myth and the Limits of Misunderstood Expression —

The novel Endless Myth and Caligula: Ultimate Cut belong to entirely different genres, yet they intersect through themes of artistic limits and misinterpretation.

One constructs an ever-expanding multiversal mythology, while the other portrays the madness of power through a controversial historical narrative.

Both, however, raise the same question: how far can expression go—and what happens when it is misunderstood?

1. Form of Myth: Infinite Structure vs. Mythologized History

Endless Myth is a structure of infinite expansion.
It builds a mythology through layers of universes, dimensions, and conceptual systems.

Caligula, by contrast, transforms history into myth.
It takes the figure of a Roman emperor and amplifies him into a symbol of absolute power and human excess.

In short:

Endless Myth: infinite mythological structure
Caligula: history turned into myth

2. Domain of Expression: Cosmos vs. Power and the Body

Endless Myth operates in abstraction—
infinity, existence, and the structure of reality.

Caligula is grounded in the body and power.
Violence, sexuality, and domination are depicted in explicit ways to confront the nature of authority and corruption.

Thus:

Endless Myth: limits of conceptual reality
Caligula: limits of physical and political expression

3. A Misunderstood Work: Not Intended as Pornography

Caligula has long been labeled as pornography.
However, this interpretation is incomplete.

The original concept aimed to explore:

The corruption of absolute power
The extremes of human desire
The psychological collapse of authority

During production, however, major conflicts altered the film:

Additional explicit scenes were inserted by producers
The original artistic vision was disrupted
The final cut diverged significantly from the director’s intent

As a result, the film came to be widely perceived as pornographic, overshadowing its philosophical ambitions.

4. The Fate of Tinto Brass

Director Tinto Brass initially intended Caligula as a serious, artistic work.

However, he lost control over the final edit, and the released version did not reflect his vision.

This experience had a lasting impact on his career.

In later years, Brass moved more directly into erotic cinema—
a shift that can be interpreted as a response to, or consequence of, what happened with Caligula.

5. Limits of Expression: Controlled Expansion vs. Loss of Control

Endless Myth challenges the limits of understanding in a controlled, structural way.
Its expansion remains internally consistent within its own system.

Caligula challenges the limits of representation—
but lost control during production, leading to a fractured and controversial result.

This highlights a key issue:

How much control does an artist retain when pushing boundaries?

6. Essence of Myth: Structure vs. Exposure of Power

Endless Myth presents myth as structure—
a system of infinite existence.

Caligula presents myth as exposure—
revealing the raw nature of power, desire, and corruption.

Conclusion: Who Owns Expression?

Endless Myth and Caligula illustrate two realities of artistic expression:

Endless Myth: controlled expansion of ideas
Caligula: expression altered beyond the creator’s intent

The former expands within a defined structure.
The latter was transformed through external intervention.

And this comparison leads to a critical question:

Who truly owns a work of expression—
the creator’s original vision,
or the final form that reaches the audience?

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