ㅤㅤIt seems that 二次元 (Two-dimensional anime/manga style) really likes to engage in formalism, often promoting extremely decayed bourgeois ideas such as pornography, fascism, and others, but using various forms to beautify them to the point of absurdity, such as the extremely exaggerated glorification of bourgeois manipulation of women, like in White Album, where relationships are broken off after initial infatuation.
ㅤㅤAnother point is that when people mention 二次元, it is often associated with being very disconnected from reality and “beautiful,” which makes the extreme formalism characteristic of 二次元 the inversion of black and white—forcing black to be called white, propagating the idea that capitalism is pure and flawless, without any flaws, to the point of being so fake that small bourgeoisie individuals yearn to “transcend” into it, yet also have to admit that 二次元 does not exist in reality.
ㅤㅤCurrently, some ways 二次元 beautifies capitalism include, for example, in anime and manga, using extremely abstract drawing techniques to distort female characters into erotic images, and making all kinds of characters in 二次元 conform extremely to bourgeois aesthetic standards in appearance.
ㅤㅤIn terms of specific drawing techniques, female characters in 二次元 are often depicted as white, thin, with eyes so large they are almost grotesque, sometimes lacking noses or ears, and often emphasizing sexual features or exaggerated hair colors. They also tend to wear revealing clothing or dress in bizarre costumes, styled as prostitutes for others to play with, to the extent that their outfits are unfit for normal female attire in reality.
ㅤㅤMoreover, the plots often feature various “coincidental” scenes that are obviously fake, forcibly beautifying capitalism—for example, scenes where women are portrayed as desperately pursuing men, or the protagonist suddenly “explodes” with unlimited power, or various scenarios like “smoke without harm,” historical biases favoring the left, invincible protagonist halos, idiocy halos, blackening characters and then whitewashing them three times, or tripling their strength.
ㅤㅤIn terms of character personality, deliberately exaggerated and fake female characters are created to pursue personal gains, along with extremely disgusting bourgeois aesthetic standards based on appearance—what is called the “three views” (worldview, values, and outlook on life) following facial features. Also, as long as personal goals are achieved, other characters are either indifferent or are slaves willing to help the protagonist realize their selfish and personal ambitions, sacrificing everything.
ㅤㅤFurthermore, due to the extreme beautification of capitalism, 二次元 tends to downplay class struggle, and this downplaying reaches the extreme of denying all politics. Even when politics are involved, they are portrayed as extremely childish, so much so that in the bourgeois court intrigue narratives, they seem childish, like children playing house or some other trivial thing.
ㅤㅤIn music, 二次元 often features ethereal, disconnected sounds that serve to numb the audience, similar to how medieval Catholic churches used eunuchs and children with special vocal techniques and echo effects (church walls are often very thick, creating echoes) to sing hauntingly ethereal sounds to deceive and manipulate people. The vocal styles are often deliberately made very erotic, such as using “clipping” sounds that resemble servant-like voices. Even if not these, they tend to have other exaggerated or suggestive styles.
ㅤㅤOverall, 二次元 appears to be a systematic glorification of capitalism similar to Confucianism. In the categories I can currently think of, 二次元 has already extremely beautified capitalism in music, painting, plot, film, character portrayal, aesthetics, and political ideas, reaching a highly hypocritical level. It is like a form of bourgeoisie totalitarianism over the proletariat in the arts, openly denying the darkness of capitalist society and only acknowledging the light, effectively singing the praises of capitalist brightness.
Does the original poster have the popular outline of the second dimension romanticism that was widely shared online before?
Why can’t I open this link here? Has the article been deleted?
The harm of the second dimension is too great; it has eroded all aspects of life.
Indeed, this is the case. Moreover, a characteristic of 二次元作品 (二次元さくひん, “anime/manga works”) is that the backgrounds are very detached from reality. Many times, they are magical worlds or at least feature phenomena that are impossible in reality—such as extremely perverted physical qualities capable of fighting against machinery (like in certain fighting manga or fighting games), or “technology” that is actually magic in disguise under the guise of science (sci-fi novels, some superhero comics also count, installing a nuclear reactor on oneself to die early). In short, it is about creating a fictional environment that highlights bourgeois ideology but is different from capitalist society.
Speaking of music, there is actually an interesting aspect. When I was searching for some information earlier, I unintentionally discovered that many instruments commonly found in modern pop music, such as bass, electric guitar, and drum kit, had little recording or research during the socialist China period.
Maybe this kind of musical instrument and socialist music content do not match, like a rock version of the Internationale.
These things all seem to be the noisy kind of stuff.
Not necessarily. In jazz music I’ve heard, these instruments are used to play soothing melodies. I think the music that these instruments can perform isn’t suitable for carrying socialist content.
Why can’t soothing melodies carry socialist content 
, because socialist society is full of struggle, is it more passionate?
You can’t really say that , during the socialist period there was music that soothed and expressed the people’s happy life; there was also music that was sad and expressed the people’s oppression in the old society; there was music with ups and downs that depicted intense struggles. However, socialist music expresses emotions very specifically, with clear purposes, and is not pretentious.
How would you evaluate Tang Dynasty Band’s “International Rock Song”? Previously, someone defended it by quoting Zhou Enlai’s words, “The masses enjoy it, what are you so special for.” Can comrades help analyze the issues with this quote and this song?
Does the common people refer to full-time parasitic petty bourgeoisie, workers, and bourgeoisie who can travel around the country to attend concerts? Zhou Enlai’s words actually negate the class nature of people’s thoughts and block people’s right to debate. Some people previously used this sentence to defend GalGame, “Black Myth: Wukong,” “Singing Turbulent Youth,” and similar works.
I think The Internationale by Tang Dynasty Band, like their other songs, is just expressing their bourgeois fanaticism and liberal ideas. This kind of rock music that pursues sensory stimulation cannot fundamentally express socialist content. When I first entered the leftist circle, I also liked listening to it, but after my ideological shift, I gradually grew tired of such songs because they always feel fake, holding concerts everywhere to make money, not engaging in revolutionary activities, and having no real resistance against the ruling class. Yet they insist on singing “The Internationale” in what looks like the most fanatic way. The more fanatic they are, the more it exposes their hypocrisy. Just like how “Jox Games” loudly proclaim “Revolutionary ideals above all.”
As for the criticism of rock music, I’m not quite sure how to explain it specifically, as I still have too little theoretical knowledge about music.
, recently when I listen to the Internationale, I also feel that this version doesn’t quite hit the right note, not as good as the 1968 version of the Internationale, but I can’t quite put into words what feels off. It seems to be what comrades refer to as a pure pursuit of sensory stimulation.
It is a manifestation of anarchist thought, barbaric and rude, full of the destructive desire of anarchists, reflecting the psychology of the hopeless bankrupt petty bourgeoisie.
Now it has developed to an even crazier level, with male-dominated game studios creating 二次元 (2D) pornographic games based on the Long March theme, while shouting slogans like “Revolutionary ideals above all.”
To give a specific example, I think of the plot from the rhythm game “Ancient Tree Melody” I played in the past. A girl and her brother, who is a pianist, are hit by a car on the road. Her brother shields her, and in the end, her brother dies. She is hospitalized in a coma and falls into a strange dream. In the dream, she meets a black little creature. They play piano together, causing the ancient tree to grow taller. In the end, the tree fully grows, and she discovers that the black little creature is her brother. He places her on the tree and lets her go back, then she wakes up from the dream. Afterwards, it is said that the girl also begins to learn music and play the piano like her brother.
This plot is highly unrealistic. In capitalist society, musicians and pianists generally come from the upper middle class or wealthy bourgeoisie. Or they are directly children of the bourgeoisie. In patriarchal societies, women are treated as private property of men within the family. Many proletarian families also operate this way, not to mention families of the parasitic classes. There are countless cases of women being abused or even murdered by their families. The more parasitic the class, the more brutal they are towards their wives and daughters. However, in the plot, these parasitic male classes are glorified, portraying them as deeply loving and willing to sacrifice their lives for women, which is a complete inversion of black and white.
The focus is not on the inheritance system and Confucian利益关系, but on the fact that women are actually oppressed by men, especially by men of the exploiting class. However, this 二次元 (2D) form of bourgeois art is detached from reality, beautifying the exploiting class of men and portraying them as noble individuals who selflessly sacrifice their lives for others, which is a complete distortion of reality.
I think the “speciality” you mentioned somewhat overlooks class distinctions; whether it’s “sibling bonds” or “romantic feelings,” both are influenced by class.
What are the specific differences between the sibling bond of the bourgeoisie and the feelings between lovers? I don’t quite understand