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PELICULA JAPONESA en VERSION ORIGINAL SUBTITULADA en ESPAÑOL

No puedo decir que me gustara o disfrutara mucho la película, pero debo confesar la vi hasta el final por una obstinada curiosidad, solo para ver cómo terminaba. En lo que a mí respecta, hay dos cosas que destacan de esta película: te hace reflexionar y, de una manera extrañamente sádica, es intrigante. Esto me lleva a mi pregunta central: ¿qué llevó al director Tetsuya Mariko hacer esta película que aparentemente esta inspirada en anécdotas de la vida real?

Destruction Babies (2016) es una película japonesa dirigida por Tetsuya Mariko y escrita por Mariko y Kōhei Kiyasu, con actuaciones de Yūya Yagira, Masaki Suda, Nana Komatsu y Nijirō Murakami. Ambientada en el distrito portuario de Mitsuhama y en la ciudad cercana de Matsuyama, en la prefectura de Ehime, la historia sigue a Taira Ashihara, un adolescente que abandona su hogar de forma repentina y comienza a agredir a desconocidos sin motivo aparente. Su violencia atrae a Yuya Kitahara, quien primero graba los ataques y luego participa en ellos, intensificando la brutalidad. Mientras tanto, el hermano menor de Taira intenta encontrarlo y comprender su comportamiento. La película destaca por su fotografía de Yasuyuki Sasaki, la música de Hidenori Mukai y su negativa a ofrecer explicaciones psicológicas o marcos morales.

Mariko ha señalado que la película se inspiró en anécdotas reales de violencia callejera espontánea que presenció o escuchó durante su estancia en Matsuyama. En lugar de dramatizar un caso concreto, buscó retratar la violencia como un impulso vacío y sin dirección, una fuerza que se propaga por imitación más que por motivación. La crítica ha subrayado su representación de la violencia como un vacío, su exploración de la alienación juvenil y su inquietante uso de espacios cotidianos como escenarios de brutalidad repentina.

VEASE A CONTINUACION LA PERLICULA VOSE

ENLANCE https://ok.ru/video/2847744657946

Tetsuya Mariko ha explicado en varias entrevistas que Destruction Babies nació de su interés por la violencia repentina y sin motivo que puede estallar en espacios cotidianos. Aunque no cita un caso concreto, señala que la película se alimenta de anécdotas reales y de situaciones que presenció o escuchó durante su estancia en ciudades regionales como Matsuyama, donde no era raro que jóvenes se enzarzaran en peleas espontáneas en plena calle. En lugar de reconstruir un hecho específico, Mariko quiso capturar la sensación de imprevisibilidad: ese momento en el que la vida cotidiana se quiebra sin aviso y la violencia aparece como un impulso puro.

El análisis del Harvard Film Archive subraya que gran parte de su obra gira en torno a personajes atrapados en ciclos de conducta antisocial extrema, transformando espacios públicos comunes en escenarios de estallidos súbitos de agresión. Destruction Babies encaja plenamente en esta línea: la violencia no funciona como motor narrativo, sino como un vacío contagioso, una fuerza que se propaga por imitación más que por intención. En conjunto, estas fuentes muestran que Mariko destila un patrón real —peleas sin ideología, brutalidad banal, jóvenes absorbidos por la inercia del golpe— para construir una película que refleja la textura de esos episodios más que la historia de uno solo.

Looking out for Jamie - and a nice body for myself.

That one with the basecap either is already Jamie or is heavily checking me out.

This is... a Becquerel.

That energy is unmistakable. This is a troll, or possibly a human, who has been spliced with the MEOW code, creating a being with Bec’s powers, and what seems to be a devious, intelligent mind. 

And that mind has been tasked with the destruction of the universe. 

He also seems to be located in the Intermission’s manor. The guy doesn’t just share an employer with the Felt - he’s their missing cueball. 

He might not fit the Lord English coat, but he’s certainly higher in the power hierarchy than any Felt member we’ve seen before - I’d like to see Slick try to kill this guy. 

You try to be the white text guy, but fail to be the white text guy. No one can be the white text guy except for the white text guy.

Is this the first time a character has been completely immune to the comic's ‘commands’? I know Dave resisted one, and John resisted WV, but this is a Hussie-submitted reader command, which feels like a bigger deal. 

The white text guy is known as Doc Scratch.

Sounds like a DJ. Well, he’s dressed in all white, so maybe he’s an actual doctor - a researcher, or laboratory scientist. 

His intelligence isn’t a ruse, I’m pretty sure. This guy is legitimately a brainbox, which makes me wonder if that’s the MEOW code at work. If it is, just how much does Bec really know? 

He is an officer of an indestructible demon known as Lord English. His job is to pave the way for the arrival of his master, who will be summoned upon the termination of the universe. He has worked at this task for many centuries, and will continue to do so until THE GREAT UNDOING.

This is mostly just a confirmation of what I’ve already suspected. It’s notable, though, that unlike the billion-year-old Bec, Doc Scratch seems to have existed for mere centuries. I guess there’s no reason the Frog Temple can’t have been deposited that recently.  

Scratch is Alternia's FIRST GUARDIAN. Every planet destined for intelligent life has such an entity meant to protect it, and facilitate the planet's ultimate purpose. A first guardian is typically almost as old as the planet itself, and each has a unique, circuitous origin through the knots of paradox space. They can be born into a great diversity of forms, though they all share a common, especially potent genetic sequence. The code grants them near omnipotence, and when merged with a host of great intelligence, near omniscience as well.

This, however, is one of the densest infodumps in the entire comic. Allow me to summarize:

Every planet that will ever have intelligent life, will also have a First Guardian. They’re usually deposited on the planet shortly after its creation. 

Every First Guardian is created in a different way, but they all come into being through ‘the knots of paradox space’, which I’m interpreting to mean that they’re all created through time travel. 

First Guardians do not have a set appearance, but they all have DNA - and their DNA always contains the MEOW sequence. 

MEOW grants them what is dubiously described as ‘near omnipotence’. We know they at least get teleportation, size shifting, portals, enhanced speed and immortality. 

Provided the genetic base is sufficiently intelligent, it also grants them extreme clairvoyance. The implication seems to be that Becquerel does not possess this trait.

First Guardians are supposed to facilitate their planet’s ‘purpose’. This purpose is not specified, but seems to require intelligent life. 

That’s what we’re told, but there’s also a chilling implication here, hidden slightly under the surface. 

Bec was created in a Veil facility seemingly designed to create him, and the code used to do so was implanted in a Player. Plus, these things are created by time manipulation, which is Sburb’s bread and butter. First Guardians seem to be closely tied to Sburb, even if they’re not formally ‘game constructs’. 

A First Guardian is spawned on every world with intelligent life. In other words, they show up on every world that will develop the tech to run Sburb. 

It sounds a lot like a planet’s ‘ultimate purpose’ is to generate Sburb sessions.