no trouble at all! here's an extremely rough diagram:

Snippets of the fic "Fast Car" commissioned by its author, @theallegoricalcavedweller

and we fell for it. we watched glee and we related to its characters and we fought its wars until it was too late. until it was nothing but a distorted picture of a parody of reality, a cracked mirror in which our souls were sucked and encased in glass. finn outed santana but it’s fine because he had good intentions. sam was supposed to be gay but we’re bringing blaine anderson in for that instead. the q in quinn is for queerbait. brittany was maybe raped but it was a one liner so who really knows. will schuester was a horrible fucking adult and should never have been allowed to care for children. finn, the white straight boy, did everything wrong but it was narratively presented as right. we turned on each other. klaine vs kum and finchel vs faberry. santana fought everyone so brittana stans fought everyone. character vs character, ship vs ship, blogger against blogger. we fucking hated each other. there was no glee fandom. there were character fandoms and ship fandoms and that is it and our mottos were all fuck glee.

we won every popularity contest, every online poll. we voted our fingers to the bone. we created art and wrote fanfic and made such excellent photo manips they were published in newspapers. we were prolific. we were consumers of the hell we created and we just kept producing more in a fucked up dystopian fandom chain of supply and demand. don’t get me started on the rpf. dianna wore a likes girls shirt on tour and made a statement an hour later revoking it. some people still say heya is real but it’s like a breath of the wind, a sound so bare i can’t quite make out the words. 

Lmao Utena fans in 2001 like 'the setting is an anachronistic western style of archi-'

Ohtori is an eternal grade school, right? A looping pre-adolescence that one only escapes from through internal growth. Stasis, in the shape of nostalgic beauty but teeming with rot under the surface.

Of course it's the mansion of a fascist who conmitted seppuku, who made big dramatic gestures about changing the world only to abandon it for an imagined idyll. Akio has abandoned the real world to live in a puppet territory of his own creation, where no one is happy but him no matter how he pulls the strings, but to him that's fine. Because he's got his. That's fascism babey.

End of the World claims to want to bring revolution, and we think of this in the sense of cycle-breaking; but the only revolution he's actually interested in is an eternal repeat of the past. Akio/fascists continuously try to recreate a time that they feel was perfect, even though it was really only perfect for them (if at all), at the expense of others' suffering.

Another early inspiration of his to both art and weirdness was experimental art and theater of that era, which was very much connected with the Anpo protests (and which, not incidentally, includes a company which is still going called the Revolution School), which was also following a wartime tradition wherein Shingeki (Western-style theater) which Angura reacted against, had been appropriated for propagandistic purposes by the military too.

I feel like I MUST bring up Tenjou* Sajiki here too because it was a fixture of the Angura (experimental/underground) movement listed above, and because much of its music was done by none other than J. A. Seazar. Also because:

the group has produced a number of stage works marked by experimentalism, folklore influences, social provocation, grotesque eroticism and the flamboyant fantasy (x)

So it totally makes sense to me that an aesthetic of modernist authoritarianism would represent the “shell” which is broken by a messy, adolescent group of weirdos (affectionate), and that the world-breaking happens to look a little like Ikuhara’s theatrical and artistic radicals (and their own egg shaped things).