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red-moon-at-night · 11 months

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An Analysis of Haruka’s MVs: Distance and Disability

Hello! I’ve recently fallen down the rabbit hole that is Milgram and I have been itching to make some completely normal and sane analysis posts. My silly alternate title for this was gonna be “Things About Haruka’s MVs That Just Make Sense: A Hyperfixation-fuelled Analysis”, because honestly my autistic brain has been having a field day over here.

I am in awe with just about every single music video in this project; the animation is incredible and each one packs so much carefully laid out information. But I have been rotating Haruka’s in my head constantly since I first watched them, and I have a lot of Thoughts. Not about whether he’s guilty or innocent/forgiven or unforgiven. Not about whether or not I can justify his murders. Just some straight up imagery and symbolism analysis, through the lens of disability.

Haruka’s disability has not been specified, but I am confident we can at least say he is neurodivergent. I feel like the cultural differences in names for several things e.g. ‘learning disability’ vs ‘learning difficulty’ will just invite unnecessary drama, and is a little pedantic. What does matter here is that Haruka's experience as a disabled person is heavily intertwined within his story and his motives.

So, without further ado... let’s get into this!

Trigger warnings/TW: I will be discussing ableism, eugenics and harm towards disabled people. Everything else will be related to the music videos ‘Weakness’ and ‘All Knowing and All Agony’, so any triggering content within them may also be mentioned. Read at your own discretion and stay safe!

Disability: some brief (important) historical context

It is only within the last few decades that those who are disabled have been ‘seen’ for the first time. A modern society is (ideally) expected to be built to include and accommodate for disability, and to acknowledge disabled people’s existence. But for many countries (even the ones making steps outlined above) this is still not the case. For a very, very long time, globally, that has not been the case.

For most disabled people, society makes it very clear that they are a burden to it and are better off not existing.

I’m going to make this section as succinct as possible because...it’s heavy stuff. But it’s important, and I want you all to get the gist of what I’m saying. The weight of it.

Let’s highlight a piece of history regarding IQ and eugenics, surrounding the publication and subsequent worldwide reception of ‘The Kallikak Family: A Study in the Heredity of Feeble-mindedness’ by Henry Herbert Goddard in 1913:

“In 1927, it was used as evidence in the case of Buck v. Bell, which culminated in a Supreme Court ruling that the involuntary sterilization of ‘mentally defective’ persons was not unconstitutional in the United States. By 1938, thirty-three US states had passed laws allowing for the forced sterilization of women with learning disabilities and twenty-nine had made sterilization compulsory for people who were thought to have genetic conditions. Many European countries followed suit: Denmark in 1929, then Norway in 1934, and after that Sweden, Finland, Estonia, Iceland, Czechoslovakia, Yugoslavia, Latvia, Hungary and Turkey.”

— Limburg, J. (2021) Letters To My Weird Sisters: On Autism and Feminism, p. 126

This history of a ‘sterilization law’ includes Japan, who between 1948 and 1996 enacted the Eugenics Protection Law which “authorised the sterilization of people with intellectual disabilities, mental illnesses or hereditary disorders.” According to the government, about 25,000 were sterilized.

SO. It’s important to bring this up. To establish how much disabled people are not wanted, just from their governments. Let alone society. To this day, disabled people are hidden away from the public by families that are ashamed of their existence.

Japanese culture values collectivism, and maintaining the harmony of a group...to the extent of excluding those that don’t fit into the mould. That are different.

The question is: where do they go? The ones that are publicly rejected?

Haruka and The Curious Case of Distant Waters

Okay that’s enough of the heavy real-world stuff! Time to delve into some...*checks notes*...heavy fictional stuff. Fun!

Haruka’s MVs prominently display themes of distance and separation through the motif of water, specifically being submerged underwater.

The name Haruka reinforces this concept as the specific kanji used (遥) translates to ‘distant’, ‘remote’ or ‘far away’. As there are many, many kanji choices for the name (including but not limited to: ocean/sea, eternity/permeance, clear/distinct/obvious, and spring/growth/cherry blossom) it feels like a particularly cruel and intentional choice to go with that one.

Through the exploration of this motif, we can see the extent in which Otherness/the state of being ‘Other’ drives Haruka to great lengths to close the distance and escape it.

What I noticed throughout both MVs (particularly AK&AA but note the beginning scene of Weakness), is that whenever Haruka looks at himself in a reflective surface (e.g. the vanity mirror, the fish tank), water either begins to rise and overwhelms him, or is already there and he appears submerged:

I think this is the “All-Knowing” part of AK&AA. He knows he’s different, and he knows there’s a huge ocean between him and his peers, his family, everyone. A disconnect when trying to listen and understand, but also when trying to be understood by others and listened to himself.

You know when you submerge your head in water, and your hearing gets all muffled and incomprehensible? And have you ever tried speaking underwater? You can’t, because if you open your mouth you’ll drown. It’ll just come out as bubbles rising to the surface.

I also think the bubbles symbolise rising tension, between what he wants and what he currently has. Bubbles are everywhere in these MVs, even in places where they shouldn’t logically be? Such as this scene, following the line “don’t wipe me out, don’t wipe me out”:

Immediately pans up to Haruka gasping for breath, droplets of water rising from...somewhere. For about a split second, and they’re gone.

This boy is really going through it. I’m getting an ‘emerging from the ocean before I drown’ vibe from this one folks. When the line that follows this scene is “I can’t stop, I can’t stop”, what I’m REALLY hearing is “I can’t stop (killing) or I’ll drown”. This is his lifeboat, pulling him out from the depths of being neglected and hidden away, into the spotlight.

Some interesting images from Weakness in relation to that (of spotlights):

Anyways, onto the next point:

Blue to Orange: Water to...Nectar?

So, the orange liquid. It’s clearly representing blood, but I don’t think this is just a “danganronpa pink blood” situation of censoring/getting this video onto youtube without restrictions.

I think it’s most likely honey, specifically nectar.

The etymology of the word nectar shows its compounds translate to “death” and “overcoming”. Nectar is also called the drink of the gods, so it would make sense for it to be a ‘death-defeating’, immortalizing liquid.

For Haruka’s victims to contain nectar is very interesting. It reinforces that necessity to kill, to take the life of another, to sustain himself. To overcome the ‘living death’ he is experiencing by being hidden away from society.

This is his means of escape from drowning.

However, as we all know, things don’t turn out great for him. By the end of AK&AA Haruka is rejected once again by his mother, after which the door is shut (the light with it is gone too) and we’re met with this imagery:

The nectar floods the room, engulfing him much like the water from earlier.

There are many things we could take from this. One being that the nectar-gathering/killing-spree has clouded his vision; it’s so sweet, so sickly sweet and he’s addicted to the taste of attention, even if it’s very bad attention.

Who else has honey imagery in their MV again?

Oh, right.

Anyway, the nectar/honey situation could also be representing submerging into an even further level of distance. All that murder is gonna push people away, despite his motive being to close the gap between him and normal people. The 'ocean’ has lost clarity and become a maddening, delusional substance. After all, there is a type of honey literally called ‘mad honey’ known for its medicinal and hallucinogenic properties.

That’s enough about honey, though. Let’s move onto less unfortunate... oh, sorry, what was that? *checks notes*...Ah, yes. I meant to say, let’s move onto even more unfortunate symbolism:

The Necklace

So, this necklace. Haruka steals it from his mother’s belongings, and is his only material, physical connection to her. It is taken on the declaration of “making (her) love me again” and getting her attention once more, now he is no longer a child but a teenager closer to adulthood (at least, that’s what I consider the ‘shirt with a vest sweater and tie’ to represent. child him = the blue polo, teenager him = this one, adult him = an amalgamation of his teenager clothes).

I wasn’t sure if this was an opal or pearl/mother of pearl, but I’m leaning towards opal from the other depiction of it in Weakness:

Opals are fun because they can symbolise both good luck and bad luck, usually to do with whether it’s your birthstone. There’s something to be said of Haruka’s belief in his ‘misfortune’ and the superstition surrounding these gemstones.

But they are even more interesting for the powers they supposedly have; in medieval times the opal was considered the ‘patron of thieves’ for their ability to grant the wearer invisibility.

There is a deliciously sad irony to Haruka’s theft with that titbit of information.

Now, if this isn’t an opal, and it’s a pearl/mother of pearl there’s still some fun interpretation to be had! A little less sad, even. Pearls invoke strong imagery of the sea, of purity, and of a connection to the maternal. If this is the last thing he has relating to his mother, I can see this necklace representing a lifeline when he’s deep in the ocean. A reminder of why he’s doing all of this killing, and who it’s for.

His mother’s attention (or the idea of having a mother at all, any mother) is his driving force in life.

Speaking of that...

So We Really Need To Talk About That Fish Tank: AKA, Why Haruka’s Mom Wins ‘The Worst Parent of The Year’ Award

This fucking fish tank.

Okay, I’m gonna start by saying: I don’t think this is reading too far into things. When it takes an animation team months, sometimes years to create a 3-5 minute music video, and one as detailed as this...you don’t just wing it. There are storyboards, there are key frames and there are choices made down to the smallest of details.

From the sheer volume of animal/insect/fish décor that resides in the Sakurai household, you bet I’m gonna pay attention to what type of fish are in that fish tank.

For one thing, they live in saltwater. This is a marine tank, aka the harder choice of aquarium to have. I mean, way, WAY harder. For the experienced only.

These fish right here? One is a clownfish, and the other is a yellow boxfish.

Boxfish are a nightmare to keep alive. This article goes into more detail than I will, but all you need to know is: if there was ever a fish out of all the fish you could possibly want in your tank, this is the one to avoid like the plague.

They release deadly toxins when stressed, as a survival instinct. Boom. All your fish are dead. They need to eat a shit ton of food, but are notoriously clumsy swimmers and slow eaters. Boom. Starving, stressed out boxfish. Boxfish either dies from starvation or dies from stress and toxins.

For Haruka’s mom to have not just one of these fuckers, but a tank consisting ONLY OF MULTIPLE BOXFISH AND CLOWNFISH...

This is a high-maintenance tank. And it shows how much time and effort, how much care she puts into the things she loves.

How neglectful she is as a parent of a disabled child in contrast.

There’s something about the last scene between Haruka and his mother that reinforces this for me:

Haruka’s relationship with animals and himself: AKA, “why don’t I just become the damn fish tank?”

Let me backpedal a little bit. This subheading will make sense in a minute.

So, like I said earlier we have a lot of décor in this house relating to insects and fish. We also have a lot of pets. Both living and dead, taxidermized creatures in one household, proudly on display.

I think this may have created some confusion for Haruka regarding the value of animals being alive or dead, as in his perspective his mother values both equally. The fish in a tank may be full of alive creatures, but they’re still on display as if it’s artwork. Isn’t breaking the glass of a framed picture of a fish equal to breaking the glass of a tank with a ‘picture of living fish’?

(This isn’t to say Haruka is clueless to the impact of his actions, nor to justify any harm to animals. I just find the train of thought to be intriguing.)

So when considering these ‘objects’ are proud trophies of his work:

This is a carefully arranged display, which by the way, doesn’t contain a single fish. In fact the only piece of that moment visible here is the...large piece of driftwood? Okay. Keep that in mind.

We proceed into Haruka’s mother opening the door and seeing her son, for the first time in any of the MVs. Note the way they composed this shot:

I’m obsessed with this scene. The blue eye framing Haruka, with a literal fishbowl effect on him...

He is the goddamn fish in the aquarium now. His mother’s full attention is on him and him alone, with only the dead animals, the books, the lamp and the driftwood as window dressing to this wonderful display.

Doesn’t it just scream “Look at me! Look at what I did, mom!” to you?

That blue spotlight is on him once more. He is not just drifting deeper into an endless ocean, but contained in a vessel to be stared at.

One Last Observation

I didn’t know where to fit this in but I think the end feels appropriate.

His clothing here:

Is a frankenstein-esque mash up of clothes from his younger years. He wears this throughout AK&AA, and as I mentioned before it signifies him as an adult. However, I should clarify what I mean here as Haruka says “he thinks he’s 17″ and “doesn’t care about his age”. So... not an adult, but on the cusp of adulthood.

But I think he actually does care about his age, and quite a lot too.

This outfit feels symbolic of refusing to let go of the past, and of himself as a child. He’s literally grown out of his clothing, but he still clings onto it. He’s attached to the past because it not only contains his happiest moments, but the change from being loved to becoming neglected.

As a disabled person, you’re often treated with a lot more forgiveness when you’re younger. That is to say, some people don’t realise that children with disabilities grow up into adults with disabilities. There is a point where even support from medical and social services drops off like a cliff edge once you turn 18.

The ill-fitting clothing in this context becomes more than a reflection on Haruka’s feelings, and extends to reflecting society’s feelings on disabled adults ‘refusing to grow up’.

I don’t blame Haruka for holding onto his childhood like this. He’ll be even less publicly visible and seen once he is no longer a pitiful child, but a ‘weird’ adult in ill-fitting, children’s clothes.

#milgram #haruka sakurai #analysis #weakness #all-knowing and all-agony #symbolism #disability #*drops this onto the fandom like a ton of bricks* hi i'm new here pleasure to meet u #oh man I finally finished it... this is a very (and I mean a VERY) long post asdfghjkl #I'm pretty happy with how it turned out though! I got most of the things I wanted to say and point out down #believe it or not there was actually MORE I could've said but I think tumblr may have crashed on me if I did that lmao #particularly to do with Weakness as I focused more on AK&AA here. but anyways #I love how morally grey everyone is in this series! It makes for some really fun analysis!#it's so so nice seeing a disabled character in such a position too and not just 'is a cinnamon roll' or 'the devil reincarnate' yknow #I debated leaving in the real-world history stuff but I think it sets the tone of my analysis pretty well and shows the importance of--#--haruka's disability not as a justification of his actions but as a vital backdrop to his environment and struggles

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thebluestbluewords · 2 months

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Spike Time! Because I got inspired by this post:

“Question for you, Auradon boy,” Mal demands, thumping her bag down on the lunch table with more aggression than she should probably show at school. “I need info and none of my usual losers are available to get it for me.”

Doug looks up from his book slowly than is strictly necessary, in Mal’s opinion. It’s not like she’s threatening him, she’s just pursuing an unusual avenue for information. Never mind that she doesn’t actually like Doug, because he’s the most likely source for the info she needs, and she’s going to get it out of somebody one way or another.

Doug frowns at her. “What do you need?”

“You’ve been to the city.” Mal says, swinging one leg over the bench so that she’s at least pretending to sit with him. They’re sharing a girlfriend, or whatever, so she can at least try and look friendly. “And you’re like, a nerd about buildings and stuff, right?”

Doug’s frown crumples into a more puzzled look. “Sure. I wouldn’t call myself a nerd, exactly, but—“

“You care about the history of stuff,” Mal interrupts. “Right?”

“Sure.”

“So,” Mal starts, and then realizes that the hand she’s got resting on the table is shaking. She clenches it into a fist. She can’t afford to show weakness. “You know why the FUCK there’s spikes and shit all over every fucking flat surface in the city?”

Doug blinks. “Spikes?”He echoes, sounding puzzled. “The anti-pigeon spikes are only on the top of buildings. They’re a tool the city planners use to keep the streets clean. If the birds can’t land, they can’t leave, ah—droppings. Everywhere.”

“Bird shit.” Mal repeats, flatly.

“Yes.”

“The spikes are for bird shit.”

Doug squints at her. “Yes,” he says slowly. “They’re designed to keep away birds and other pests. That’s what the city planning guides say.”

Great. Perfect.

“And there’s no other reason they might put spikes at ground level,” Mal says, just to be sure that she’s not the one going insane here. “Like, on every flat surface you could possibly want to sit on.”

Doug shakes his head. “I haven’t actually been to Auradon city since I was a kid. If there's spikes around on ground level, I don't know why they're there."

Ugh. Typical Auradon kid. They can list off every fact known to man about kingdoms hundreds of miles away, but when you need a tiny piece of information about your own backyard, they come up blank. "But you can look it up, right?" Mal pushes. "In one of your books, or something."

Doug lifts a shoulder. "I guess. Why?"

Mal grits her teeth. She's been independent since she was old enough to hold a knife. It's galling to need help from any Auradon brat, much less the one that she's lost half of Evie's time to. She's been the one protecting her crew for years, and it's best if she won't let outsiders know the specifics. Injuries are safest when they're secret, when nobody can tell that you're nursing a weak spot--

When you know the lay of the land and can keep it hidden until you're healed. When your puncture wounds aren't infected and oozing gods-know-what all over your clothes. When you have the barrer, thrice-cursed thing that it is, keeping you alive even when your body wants to die.

"We might've-- gotten hurt." Mal admits. "On the spikes. I need to know why they're there, so I can heal the puncture wound and then melt them down to a pulp."

"Metal turns into smelt," Doug says, and then looks almost horrified with himself. "Not a pulp. Not that it matters. Is Evie hiding a puncture wound?"

Ah. This is why Evie likes him.

"No." Mal snaps.

"Then--?"

"I have other friends."

"You don't." Doug points out, eyes big and wide and fully earnest. "And if it's not Evie, then it's one of the other Isle kids. I haven't seen you bleeding on anything lately, not that you'd show me if you were, and--"

"It's Jay. Happy?"

"No. Evie hates when people get blood on her clothes."

"She's not--" Mal sighs. This sort of questioning is exactly why she doesn't trust Auradon kids. With anything. They'll just talk about things, and not get anything useful done. "She doesn't care about the blood right now. I need you to tell me why the spikes are there. Can you handle that?"

Doug drops his chin into something almost like a determined expression. Mal's more used to seeing the look on the faces of little kids when they're challenging each other to jump off of something that'll definitely break their legs, but that's unmistakably what it is. "Yes. But I want to know why you're asking."

"I told you already. I'm going to melt them down. It's stupid to put spikes all over the place where perfectly normal people want to be. We can't be the only ones who want to run around the fucking city without pointless spikes getting in the way."

"You're from the Isle," Doug points out. "I thought you guys were all about pointless spikes."

"For ourselves, not for the ground. It's stupid to keep them around wherever for no reason."

"I'll look it up," Doug promises. "Can I report back tonight, or are you flying into the city to melt them before dinner?"

Mal's face twitches without her consent. Funny. He's funny. "I can wait until after dinner. But come by Evie's room after then. You can report back once we've eaten."

"Got it. Can I ask one more question?"

Mal forces a frown. She's got a reputation to uphold. "I suppose."

"Why are you asking me, and not Lonnie or Ben? You're friends with them, aren't you?"

Ugh. The real answer is that Lonnie's off campus, and Ben's too busy to worry with a little thing like oozing puncture wounds from spikes in the city that they weren't supposed to be visiting, but Doug's not going to stop if she tells him that.

"I'm friends with you," Mal lies instead. "Friends ask each other stuff. Normal questions."

"Like why there's spikes on the ground."

"Yeah."

"Lonnie's not here, is she."

Stupid perceptive boys.

"She's off campus for a ROAR tournament," Mal admits. "Evie's not mad about the blood because we had to rope her in so she could forge a nurse's note excusing Jay from the tournament for a minor, normal shoulder injury. We need help, and we need in from you, because you're the next in like of people who don't hate us. Are you going to help or not?"

"Oh, I'm going to help." Doug pushes his glasses up his nose in a way that Mal can only describe as ominous. "But you might not like whatever I find, and you can't rip my head off about it when I tell you what I've found."

Mal lets her eyes flash green. "Deal," she says, and sticks out a hand. "Fairy's honor."

#my fic #this is nonsense but I’m having fun #unfortunately this fic is more about the AKs than about Jay’s parkour adventures #which is not where i meant to go lmao

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