Mi_Mang's ideological issues

free discussion
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When writing self-criticisms for myself, I always make harsh conclusions, putting a big bunch of labels on myself, thinking that saying things like “confused, your xxx behavior is harmful to the revolution” is enough. I do not specifically analyze how my lustful behavior, opportunistic behavior, lying behavior, etc., bring harm to the revolution. In the end, the self-criticism is full of big labels, with no effect at all, and everything remains the same. There is an element of not wanting to expose my own erroneous thoughts here, thinking that these “minor issues” do not affect my support for the overall direction of the revolution, so I am unwilling to do a detailed analysis of myself, thinking that writing some abstract words will be enough to “pass.”

Moreover, I deceive myself seriously, thinking that I have already let go of my discrimination against the proletariat, but when I really have to go to the factory to interact with workers, I worry about my parents’ views on this matter, thinking that doing this won’t lead to any success. My parents think that success means becoming a civil servant, teacher, etc., having a well-paid and effortless “iron rice bowl.” When I am lustful, I also think whether my previous decision to go to work in a factory after junior high school was too reckless, and I envy my sister’s monthly salary of over 8,000 as a history teacher. I still bow down to spontaneity, wanting to ride on the heads of the people and live a crazy lustful life. If I keep thinking like this, I estimate that I will soon be separated from the comrades. However, being punished by the teacher, used as free labor, being heavily pressured in opportunistic academic work, and the school’s high standards (attendance rate) all prevent me from fully immersing in lust. They tear apart the false peaceful escape from struggle that I painted for myself and expose the reality nakedly.

I am very conflicted. On one hand, I want lust; on the other hand, I want revolution. I am very attached to those bourgeois pure music (“daylight,” “Floating Light,” etc.) and rock (Wan Qing’s “Big Stone Breaks Chest” and Cao Dong’s “But,” etc.) as well as virtual vocalists (this jqr should be quite familiar, having seen his materials on Shanghai Heniang at People’s Square before). I also often fantasize about oppressing women, wanting to have a family slave, pursuing so-called “pure love,” etc.

Comrades, please offer any suggestions and criticisms. I welcome criticism; I don’t want to muddle through life anymore.

My current ideological state. I have a fever, and my mind is a bit confused, so I just copied the content from the post sharing the materials.

image

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In confusion, you should think about how the so-called salaries of these civil servants and staff are derived from exploiting the blood and sweat of the working people. Your sister, as a veteran, is just oppressing students like you to exchange for her bonuses and reputation. Can you really abandon the proletarian stance and collude with such people?

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Uh, it’s not because I’m looking for similar ones, but to understand your way of thinking. Do you prefer virtual singer music mainly from Japan, China, or are they all similar?

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Chinese. Other comrades don’t bother searching for the following toxic terms: Shi An, Stardust, Luo Tianyi, Hatsune Miku; mainly these four.

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Are there any specific creators of virtual singers that you really like, as well as their representative works?

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Works include “Dystopia,” “Spring Breeze Comes,” “Leek Spin Song,” “Ninety-Nine Eighty-One,” “Ordinary Disco,” and “To the Deeper Space.” I haven’t heard of the others. My favorite creators are Araragi Ken and Utopia_Utopian P.

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Ah, is it really just these few?

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I have a general understanding of the reactionary songs and virtual singer creators you mentioned. I believe that many times, after studying Marxism, people can still listen to this music partly because ideology has relative independence; old ideas cannot disappear instantly. On the other hand, it is because Marxist analysis has not been applied to these reactionary cultural works. Often, people adopt a pragmatic attitude toward these reactionary songs based on their personal preferences, thinking that these align with part of their petty-bourgeois worldview and allow them to indulge themselves. As a result, they abandon the Marxist standpoint and instead succumb to the spontaneity of the petty bourgeoisie.

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I will divide this into two parts: one is to discuss the nature of these reactionary song creators and their ugly history, and the other is to analyze some of the works you mentioned that I am familiar with.
First is Araragi Ken, one of the earliest reactionary creators of virtual singer art. He early on, based on his keen counter-revolutionary intuition, perceived the reactionary role of virtual singers, that is, a new emerging musical field of pornographic art. Therefore, many of his early works are very explicit prostitute songs, and his disgusting, reactionary face can be seen from the lyrics and PVs. For example, “Dependency Syndrome” depicts the virtual singer Luo Tianyi as a frivolous, love-obsessed prostitute who unconditionally depends on men, saying things like “I’m addicted to you,” “You’re like a germ, making my dependency syndrome incurable,” etc. The PV also contains sexually suggestive scenes.

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Araragi Ken is also morally corrupt, which can be seen from his social circle, Zhihu avatar, and other matters.
As a pornographic literary creator speculating in the virtual singer industry, Araragi Ken has not only accumulated a large number of pornographic fanatics but also established networks of personal relationships and chains of interests with many other morally corrupt virtual singer creators. He has close ties with Yuli, a reactionary writer who comes from a bourgeois family, openly directs his fans to cyberbully others, exploits the petty bourgeois dissatisfaction with capitalist society to engage in political speculation while creating pornographic literary works; and with Ilem, a reactionary creator who exploits the weakness of the petty bourgeoisie, relies on spreading Japanese nationalist ideas, promotes pessimism, and has thus gained recognition from the Chinese imperialists. Moreover, he once openly mocked petty bourgeois students who suffer under the Chinese imperialist education system and fail the high school and college entrance exams. He jokingly posted on his Bilibili account that he would harshly ridicule students who fail these exams, which caused strong dissatisfaction among many petty bourgeois students. Additionally, his Zhihu avatar is very reactionary, depicting a character from the notorious American fascist anime parody group.

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Moreover, Araragi Ken is very sinister and cunning. Since last year, he has been exploiting the peculiar situation of Chinese virtual singers (because the situation in China is unique, the actual influence of Chinese virtual singers is not significant and cannot be compared to the popularity of Japanese virtual singers. At the same time, the Chinese virtual singer official circles have always been keen on purifying crystal powder, creating conflicts, and inciting fan infighting to generate hype, stimulate consumption, and have consistently failed to produce a spiritual opiate that people accept). Under the banner of revitalizing Chinese V, he has been using his old personal connections to win over many prominent “big figures” in the Chinese virtual singer community, while also rallying emerging reactionary creators to form an interest group, portraying himself as a selfless benefactor, and holding concerts in Shanghai to make a huge profit.

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The song 普通disco is also very reactionary, but its expression is not as blatant. The author deliberately wrote many hollow lyrics that have little to do with real struggles, but the core of the work is actually quite clear: it is a philosophy of ordinary people’s lives, promoting the core idea of living a so-called normal, “ordinary” life, finding some “ordinary” music and entertainment to satisfy one’s spirit, which in fact means encouraging people to submit to capitalist rule and numb themselves daily with spiritual opium.
Although this author is very cunning, often using hollow, seemingly harmless lyrics to numb and deceive others, his extremely selfish and disgusting political views are exposed in another well-known work. That song is called 得过且过的勇者 (The Carefree Hero). This song blatantly promotes the author’s true ideas, which are the extreme individualism of the bourgeoisie. To avoid openly stating his reactionary views, ilem, as usual, uses hollow and unrealistic lyrics to deceive the petty bourgeoisie, but eventually his true colors are revealed.
In that song, ilem openly expresses opposition to women’s liberation, claiming that hooligans bullying women in the family is someone else’s private matter and “none of my business.” At the same time, the song depicts other seemingly completely unrealistic things, such as villagers being captured by monsters, villagers’ children setting out on adventures and going missing, etc. The hero protagonist, in order to live comfortably and at ease, adopts an attitude of avoidance or neglect toward these matters. On the surface, this seems unrelated to the real struggle against capitalist society, but in fact it is not. In reality, so-called science fiction and Western fantasy are reflections of real society. The villagers being captured by monsters and the children going missing actually refer to the tragic plight of the working people in capitalist society (this can be seen from the lyrics, as ilem places these two events in the same lyrical passage as the hooligans bullying women). The hero described by ilem actually represents the petty bourgeoisie in society. The so-called duties of the hero in the work actually refer to the conscience of the petty bourgeoisie. Under capitalist society, on one hand, capitalist private ownership is the basis for the existence of the petty bourgeoisie; on the other hand, the vast majority of petty bourgeoisie are also workers who suffer exploitation and enslavement under capitalism. Therefore, they have capitalist ideas but also tendencies toward the proletariat and sympathy for other working masses. Thus, when they see capitalist oppression and enslavement of the masses, they feel dissatisfaction and anger on one hand, but on the other hand they are very weak and afraid of struggle, because opposing capitalist private ownership would also cause them to lose their position as private owners. Moreover, because of their role in production relations, the petty bourgeoisie often only see their own strength and cannot see the power of the broad masses, so they often view the bourgeoisie as overwhelmingly powerful.
In ilem’s writing, the so-called hero does not defend “social justice” like in other clichéd Western fantasy stories (this does not mean those traditional Western fantasy stories have any merit or progressiveness, but only refers to the special nature of the hero image in ilem’s works), but chooses to escape and indulge in pleasure. For the sake of comfort, the hero can turn a blind eye to the suffering of others and act as if nothing happened. Combining the above analysis, what ilem actually wants to express is the idea that the petty bourgeoisie should firmly believe in extreme individualism, and for their own comfortable indulgence, conscience, morality, and duty are all irrelevant; anything goes as long as they can live comfortably, nothing else matters.

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And this song called “Dystopia” is also very stupid. Utopia originally referred to the British utopian socialist writings, which at the time had progressive historical significance. After the October Revolution, many bourgeois intellectuals used the banner of anti-dystopia; they distorted and slandered communist and socialist societies with bourgeois theories of human nature, portraying communist society as unrealistic, superficially beautiful but actually a dark hell on earth. Therefore, they opposed this communist utopia, which gave rise to so-called anti-dystopian literature, which in reality was anti-communist.

This author has poor literary skills and a very narrow perspective. Although the author probably does not explicitly equate anti-dystopia with anti-communism like other reactionary writers, the songs he creates still serve an anti-communist function.

Overall, the “anti-dystopia” in the lyrics actually refers to capitalist society, but due to the author’s narrow vision, more precisely it should refer to the oppressed petty-bourgeois students’ lives. Compared to other reactionary intellectuals, the lyrics are actually unoriginal, classic awkward and obscure words typical of literary youth. The main content is merely about how hard life is in capitalist schools and the inability to realize one’s ideal of indulging in pleasure without effort.

However, this work is quite laughable because, judging from the author’s class status and the ideas expressed in the work, I do not believe this is a song written by someone deeply oppressed by capitalist schools. The author spent about 1,400 yuan on the Stardust and Shi’an voicebank software, plus the cost of arrangement software and various MIDI keyboards filmed in the PV. Such a lifestyle is not something a typical petty-bourgeois student family can afford. The author is probably from a bourgeois or petty-bourgeois right-wing family. The lyrics, full of obscure words and self-pitying laments, also roughly show that the author is not really much oppressed by capitalism.

Incidentally, this person called Utopian P often likes posts by another P who openly flaunts his bourgeois luxurious life, Angel Salt (this person is outrageous, often posting on Bilibili about how he casually spends tens of thousands on gaming, virtual currency speculation, etc., and is morally very low, enjoying humiliating others). This further reveals the reactionary and disgusting worldview of this person. He outwardly shouts about ideals, freedom, and anti-dystopia, but in reality, he is lamenting and screaming because he has not achieved the exploitative bourgeois status.

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When feeling confused, one should carefully consider the nature of these songs and think more about how these reactionary literary and artistic creators use these things to harm people and cause moral decay. My mind is not very clear at night; I will reply more when I have free time during the day.

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So that’s how it is. I listen to very few songs (indeed, only these few; I haven’t looked for others), and I haven’t specifically searched for him. I didn’t know he had such a reactionary history. I just felt that the songs he composed really suited my taste (I really like things with a “literary youth” vibe; back in Chinese exams, I enjoyed reading the bourgeois-style readings the most). I would listen to a song more than ten times first, and after getting tired of it, I would deceive myself by hypocritically insulting it a few times, convincing myself that I had “criticized the virtual singer.” After adding this information, I feel I should cut ties with these things. The romantic ideas it promotes really made me prepare to flirt in real life, thinking how wonderful it would be to have a world just for two, which is truly harmful. (Ran out of time, will add more tomorrow)

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It’s too outrageous, brazenly promoting selfishness as justified

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Actually, what is this kind of decency? It’s just because teachers in bourgeois schools serve the bourgeoisie and educate obedient servants for the bourgeoisie, so these teachers, like the masters, talk big every day to poison the youth, taking the surplus value given to them by the bourgeoisie. Chairman Mao once said that before he joined the revolution, he was a student and thought students were the cleanest. Later, after joining the revolution and living with workers and peasants, he realized that although workers and peasants’ clothes are dirty and their hands have cow dung, they are the purest. When I worked part-time at those catering shops, I once again understood this sentence. Customers who come to these large shopping malls to shop are all carefully dressed, bourgeoisie and petty bourgeoisie students on outings. They do look clean on the outside, but every time they leave a pile of dirty leftovers, leftover food, and various trash, and it is us, the waiters, who have to clean up. For efficiency, we often ignore the dirt, and dealing with those scraps of food is a common thing. At that time, I realized that it’s not that these refined, property-owning classes are clean and the working people are dirty, but that all the dirty and tiring work is done by us, so these property-owning classes can dress up neatly and look decent.

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I used to leave a pile of leftover rice and bones, fish bones, etc., on the table when I ate at restaurants. I never thought about the hard work behind the service staff at that time, thinking “Eat as much as you want, the waiters will clean up anyway.” I just wanted to be refined, to let the waiters do the work. I rarely wash dishes or do housework in a year.

Indeed, my geography teacher always talks about how her son is so ambitious and outstanding, wanting us to be like her son, with eyes closed to the outside world and only studying the wise books.

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You might as well start by saying goodbye to virtual singers and bourgeois music. You can try listening to the audio version of Chairman Mao’s poetry, which is available on Bilibili:
【Central People’s Broadcasting Station - Recitation of 44 Poems by Chairman Mao - Bilibili】https://www.bilibili.com/video/BV1atNfe4EYm
These poems are easy to understand once you know the background. Once you understand them, you can feel the joy and experience that kind of resilient and upward life force — this vitality can surpass mediocre rock music and provide strong encouragement!
It should be pointed out that listening to poetry purely for entertainment is of course not revolutionary. Don’t let it take up time for practice and study. However, it at least won’t make people more distant from revolution.

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I suggest you edit that link and replace it with this one: https://www.bilibili.com/video/BV1atNfe4EYm/

Because you copied the short link directly, when expanded it will carry device privacy information, which poses a security risk.

The expanded effect :backhand_index_pointing_down:

This is a screenshot of a webpage showing the interface of Bilibili and part of the navigation bar. (Generated by AI title)
This is a screenshot of a webpage showing the interface of Bilibili and part of the navigation bar. (Generated by AI title)1624×239 47.1 KB

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