Mesmerizer is a satire of TikTok, YouTube Shorts, and the rest of the modern short-form vertical video format
A brief thematic analysis.
I'm sure there are countless people already interpreting the imagery and details in this wonderful song & MV, like here and here, so I won't spend too much time retreading that ground. Miku and Teto are dancing. Miku gets hypnotized. Teto signals for help, but gets hypnotized at the end as well.
That part is obvious enough, but that's still pretty surface-level. What is this seemingly hyperspatial horror scenario supposed to mean to us?
While checking to see if anyone before me's already come to the same conclusions as I did and if I should bother not writing this text post at all (lol), I came across udin's great analysis video. She comes to the conclusion that the song tackles themes of disillusionment with reality and the ways we indulge in escapism to relieve ourselves of the pains of the world.
I agree with that reading! From practically the very beginning, we have Miku call to us - the viewer - to push away our true feelings. Teto comes in to peddle a solution, inviting us to surrender and empty our minds - in her words, "pretending to know nothing."
You, the viewer, are a critical character in this masquerade. For nearly the entire video, Miku and Teto's eyes are unfailingly trained on you. Or, well... perhaps they can't actually see you, but they can see a camera, or whatever other aperture the point of view is supposed to be from. And they know they're being watched. (Who else would Teto be sending distress signals to?)
Let's put a pin on that for later.
udin notes very early on that Miku and Teto are, conspicuously, kept in vertical frames - very similar to the video formats of TikTok (and Instagram Reels, and YouTube Shorts, and whatever other clones of the format exist.) You know, just like the animator Caststation's Rabbit Hole fan MV that went viral some months ago.
Hey wouldn't it be crazy if the song's producer, 32ki, released Mesmerizer shorts too haha. Wouldn't that be crazy.
Wow, wild.
These short-term vertical videos are captivating & alluring. If you're reading this, it's more likely than not that you've also found yourself caught up in them at least once, scrolling through the infinite algorithmic slurry and forgetting about the real-life issues you have at hand. Would you say, then, that you felt hypnotized? Mesmerized, even?
And so these two invite us to join their world and focus on the... uh... rectangle.
Their dances are repetitive, following the same loop. Their outfits are distinct, but their choreography isn't. They're copying the same formula, repeating it ad nauseam to the best of their ability.
They're doing a fucking TikTok dance.
Back to the pin I told you about earlier, with Miku and Teto looking at a camera.
Miku sways with the camera, eyes looking directly at it like a swinging pocket watch. She's been looking at it the entire time, after all. We've been seeing her via our screen this entire time, but, again, she doesn't necessarily see us. She's beholden to the camera, which she dances for day after day, caught up in its spell. She's hypnotized by it. Eventually, she breaks.
Teto, on the other hand, resists. For a while, anyway.
Despite her being the one jumping to us with the "solution" at the beginning of the MV, there's very quickly good reason to question how much agency she has in this. She dances for the camera as well, but she doesn't want to. She's signalling for help. She wants out.
Many content creators (as much as I personally loathe the non-specificity and soullessness of the term) have struggled with the adaptation to the short-form video format, and the preference the algorithm has had for these captivating, bite-sized videos. They're catchy, and easily drive up metrics. Practically anyone who's publishing their work via video format online needs to learn to adapt or fall behind, even if that means whittling their content down to fit the frame, the time, and people's shortening attention spans. Sometimes, that means compromising on specificity and completeness... or, in other words, the true representation of a full work.
The song's writer, 32ki, has been releasing songs on YouTube for several years. Their first YouTube Short, however, was posted only a year ago: a short, whittled-down segment of their previous song, CIRCUS PANIC!!!, hoping for it to win the ProsekaNEXT song contest. It was their first song to achieve widespread popularity and hit a million views.
The shorts, however, aren't the "true" versions of the song. The full song just won't fit.
We're being mesmerized as consumers of this endless stream of content, rather than appreciators of music and art. However, that relationship isn't completely symmetrical across the plane that is the 4th wall. Miku and Teto are trapped not by their attention spans, but by a compulsion to project their "truthful acting" and peddle that window into a colorful, problem-free world.
We, as the collective audience, need not dwell on any one thing for too long - we need only swipe, and move on to the next video. However, Miku and Teto are trapped behind the screen for eternity, day after day.
They're the only characters we get to see, of course. There's no evil 3rd voice synth character that's plotting to keep them trapped in there. We can't put a face to whatever force is hypnotizing them and trapping them behind the screen. It's faceless - like the inscrutable algorithms of YouTube recommendations or the TikTok For You page, or the impersonal corporations that develop & maintain those aforementioned apps. Miku and Teto's likenesses, on the other hand, are being exploited and extracted from for their entertainment value, being strung along by that metaphorical hypnotizing force like puppets on a string.
Many people, represented by Miku, enjoy their success on such platforms. It's freeing and liberating to throw oneself wholeheartedly into such an endeavor, of course! Others, represented by Teto, harbor their doubts of the emotional veracity of such a medium, but know they have little choice lest they face destruction... perhaps not literally as a person, but as an idea.
Wouldn't it be easier just to let oneself be swept away by it and give in?
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I find it incredibly interesting and absolutely buck wild that the criticism surrounding an independent animation studio's works are directed entirely at the singular creator, as though the entire entertainment industry and medium itself is not a constant collective and collaborative effort of multiple writers, storyboard artists, animators, and studio heads.
Instead, it's just one specific person who is horrible and awful for creating whatever it is they make and how it is received by a seemingly very small minority holding a megaphone to everyone’s fucking ear canal.
Half the criticisms are entirely baseless and lacking nuance, too. Which is interesting. Its like they just hate this one person for being successful and breaking into an incredibly gatekept industry as an independent artist and studio.
Like no one in that group is capable of understanding just how groundbreaking and historical it is for an independent studio to garner this amount of success in this era of entertainment.
Or understanding the limitations put on independent studios that are carving out the future of the entertainment industry.
Of course viewership of a nearly entirely crowdfunded passion project being released once every few months is going to feel as though the pacing is slower, or as though the story isn't being laid out as clearly.
It's being released episodically once every few months.
And of course a series created by the same studio being overseen by a massive corporate streaming service beholden to shareholders and major studio mandates is going to feel rushed and dramatically different from the aforementioned passion project.
It is being overseen by the exact same kinds of corporate business practice that forces writers and creators of entertainment to work in sharp deadlines with no guarantee of continuation.
Like. Yes, have criticism. But be cognizant of the drastically different influences that exist in these two avenues of entertainment and production. And be aware, at the very least, of basic media literacy and competency.
One of those shows is clearly an episodic character driven drama, while the other is specifically plot driven. They are going to manifest different methods of storytelling because they are different stories and might i remind you, one of them is overseen by a corporate entity with the ability to just cancel its "investment" on a whim.
I think it speaks very loudly to the state of consumerism in our current age, and the way audiences receive art. It is no longer art but "content" and we must only consume "content" which is "morally pure" in every possible way.
But criticism can't be given to the corporations in control of that decimination of "content" one one person is to blame, is at fault.
Anyways. Just my observation. Interesting.
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