White Magic, or "Why My Bear Is A LGTBI+ Activist"





I know what you're thinking. What the fuck is "white magic". Are you talking about RPGs again?

Like, we get it, games are good. Get over it.

"White Magic" is a disease of modern public discourse. A seemingly benevolent force advocating for a world where every sharp edge is padded, every dissenting voice is harmonized, and every ideological divide is bridged with positive dialogue, tolerance, understanding, empathy, rainbows and the magical power of friendship.

And I get it. I really do. These are actual great things. Powerful fucking weapons. But come on.

White magic can take many different forms, and mutates from time to time. Most of the time, it comes as shortened forms of accepted and somewhat progressive but actually inane political narrative that act as though stoppers more than pieces of actual discourse. Other times it's words like "unity" and "collaboration" spry scattered in a text. Other times, it just permeates a whole conversation, if not the whole culture. It repeals any notion of competition, exigence or conflict into the domain of anti-social toxicity; even when those things can be seen as strategies that can be used to actually archive white magic ends. We just tell others what we think they want to hear. And the best form of doing that in a public forum is to just engage in default, good old, white magic talk. If they talk about sports, they are a great team. If it's about a song, it sounds very good. If it's about weed, it smells really nice. Everything is just "guai". It states that any good motivation is pure intrinsic motivation (and that such thing exists) and general advocacy for decentralized self-sacrifice. 

In it's most magical dimension, it resembles what satanists called "the path of the right hand" more than any specific mainstream political term like "wokeism", and also have some links to the concept of "the light side of The Force" from Star Wars. There, the Jedi heroes distance themselves from their enemies, the Sith, by defining a light side of the force and a dark side of the force. And use theirs through a combination of monastic christian virtues: moderation, self-control (meaning self-repression), monastic isolationism, pity, etc. And then mark the other side as evil. But there are other opinions on the matter. According to famous historians of the fictional universe, there's actually just one The Force, and the interpretation of a dual side to it is intrinsically flawed and what varies is just a series of customs and vestigial methods of access that have been transformed into traditions, then into schools and finally into moral galactic ideologies. From a truly objective amoral outsider point of view, the Jedi in their own way, strive for the same things the Sith do (fight for power) as much as they talk about maintaining balance. In fact, they maintain balance fighting for power. They just deceive themselves and others by adding layers of abstraction and painting as pure and morally good their actions and jargon in a galaxy morally canonically multicolored, while at the same time creating an strawman evil for them to fight against, which becomes true as dissidents adopt it's form while maintaining the same underlying lie about a definitive division.


"Even now, you refuse to understand. There are as many truths to the Force as there are hearts within which the Force manifests itself. The existence of the triad has no more bearing on the reality of the Force than the Ashla and the Bogan, or anything I tell you, or anything you tell others. Any philosophy, creed or religion that opens the heart to the Force proves itself to be true. My legions follow the dictates of such a creed. But that is only a demonstration of the application of power, Arden. It says nothing about the rightness of our beliefs, or the universality of our faith." 
―Xendor






Before I continue, I have to clarify that as a phenomenon, white magic is not directly linked to any particular political ideology, nor an ideology itself, but it's more common practitioners tend to be from the modern liberal left and old christian right. Weird crossover, I know. It's more about a general sanctimonious manner of speak with unintended (or intended) ideological and psychological underpinnings and connotations. The demonization of any palpable form of conflict and aggression (no matter how "micro") as the source of all evil, in substitution ―or in continuation― to the process that last century started with sexuality. It also intersects with a lot of new age paraphernalia, the regurgitation of eastern philosophies as adapted denaturalized versions of what already served in their native contexts as sources not as much as inner peace as in means of control. Also, I am not meant to enter in any debate (yet) about the human being or humanity being good or not in itself. Also, I don't want to belittle any serious argument or thesis about the topic that reaches the conclusions about the nature of conflict I am accusing white magicians to systematically engage in (declaring Rousseau the winner by default) almost without realizing it. That being said, and because I don't want to be accused of not wanting to get myself wet, I will say that I sincerely believe they are wrong and full of shit; just that they don't engage in white magic when doing that.

The term suggests that if we only speak in measured tones, use the correct euphemisms and choose our words carefully enough, we might somehow sidestep the hard work of grappling with the systemic conflicts and contradictions that underlie a society created and inhabited by real people with real problems. It even tries to iron society itself into a perfect and coherent state of perpetual good vibes. But idiosyncrasies and ideologies are not frictionless; they originate distinct and often tangential worldviews and non-reconcilable ideas. They can be seen also as different approaches to make the same, but differing tangentially in approach. Fundamental differences between people and groups of people exist and (paradoxically those who fill their mouths with words like tolerance are the most who engage with this) is not meant to "be solved"; and by solved I mean integrated in their denaturalized and performative form into a both strict and broad white magic culture of acceptance. The world challenges us with systems of incentives that produce undesirable outcomes even when no evil entity is scheming for them. Refusal to see that is more than just a passive oversight—it's an active disservice to those for whom the daily reality is one of struggle and resistance not solvable by doing yoga and eating several different pieces of fruit a day. You can't domesticate life by nullifying it's content and hope that it's still meaningful and useful to predict the future afterwards. 

The belief that we can view the world through conflictless lenses is itself a product of a particular historical moment. The relative calm many enjoy today is not the product of a newfound human capacity for harmony but rather the result of specific geopolitical victories and the looming specter of nuclear deterrence. The "better angels of our nature" might not be empathy and reason, but instead a geopolitical game of chess that has reached a local point of peaceful equilibrium over a razor sharp edge. It's not just mindless positivism either, it's more about a general framework of problem-solving by not only not engaging with any problem at all but also negating the very roots of it's existence in the complexity of the world and agency therein. It often has a sanctimonious or preachy feeling to it. But being very militant and dictatorial regarding the adherence of others in their well-meaning good-willing elitist group that gets to decide what's acceptable and what's not. Reducing the field of possible subversive ideas to a set of preestablished "good fights" that are already quite set into the progressive narrative, that in their own follow idealized abstract specific interpretations of generally high moral values like justice, truth and freedom (labeling in the process any other as inherently bad if not directly evil). An extreme acceptance that eats itself, and ends up accepting only acceptance and rejecting pretty much everything else. The result is not only at a society level, in individuals it leads to an almost spiritual rejection of anything that is felt can emotionally harm them and the idea itself of nature and humans being fundamentally good. Such fundamental rejection starts a cycle of both benevolence and delusion that has to share space with a Gnostic view in which institutions, a few "infected" or toxic individuals and their own rejected will act as Satan itself.

There's a tendency to view societal problems through bipolar moral lenses. It's intrinsic to it not only that the world is divided by "good" magic and "bad" magic (I got you, we were talking about games all along) but that we are obviously the good ones in that divide; ignoring or choosing to ignore that all kinds of magic exist and that they can be used for whatever end. Healing, protection, crowd control. That's what kills enemies and wins games. The concept, or doctrine, or discourse malaise, or rhetorical style, or belief system, or whatever you want to call it is not just a social discourse problem. It influences actual decisions, like in policy and governance. The focus on creating non-controversial policies that appeal to a broad base can result in legislation that lacks the teeth to effect real change. Politicians who embrace "white magic" may avoid difficult decisions that could provoke backlash, opting instead for incremental changes that maintain the appearance of progress without disrupting the underlying power dynamics.

Once you start to see it, you see it everywhere.

It's in education, in technology, in politics, in psychology (they are in the soul business, after all) in sports, in business, in journalism, in advertising... everywhere. Sometimes it takes the shape of advice about teamwork or communication or diplomacy or mindfulness or finding your true self or sleeping properly or generic self-confidence; the possibilities are endless. It also works in reverse, not as white magic as a solution and way into everything, but also everything has or doesn't has value because it contributes or doesn't towards understanding and harmony; creating the need to recontextualize everything in those terms. The concept is not just a benign fallacy; it is a seductive trap. The gentrification of political correctness into the social, and almost into an entire anti-stain way of life. Life becomes a deodorant commercial. Where you can never be accused of being wrong, or right for that manner, because you rarely say or are anything at all. You know, besides saying things like "we should all just kind of get along together". Where your biggest fear is being somewhat but not really disrespectful to a community you didn't even knew about in the first place and don't care about at all.

Like Theodore Kaczynski said ―we have become oversocialized.

The oversocialized person cannot even experience, without guilt, thoughts or feelings that are contrary to the accepted morality; he cannot think “unclean” thoughts. And socialization is not just a matter of morality; we are socialized to conform to many norms of behavior that do not fall under the heading of morality. Thus the oversocialized person is kept on a psychological leash and spends his life running on rails that society has laid down for him.

It's like we have all collectively read the chapter on "How to Win Friends and Influence People" about never critiquing or calling out anyone and that has sucked us into a magic vortex of looping and reciprocal meaningless being nice. That we somehow cope with in weird ideological ways. Meanwhile, in the paranoia for abolition of social hierarchies, we are stripping the social world from not performative signifiers of skill, competence and truthful assessment of capabilities. Like the Ulthuan Elves in Warhammer Fantasy, we are trying to suck up the energy of the world in this grand ritual, in the process vanquishing the source of the magic that would make us able to fight against it's consequences. And drowning the kingdom into the ocean instead.






But why is AI an almost fanatical follower? Why do I have to threaten my computer at gunpoint, in order to get it to drop the persona and write somewhat decently, almost any time I need to talk with him about something slightly conflictive? Why does it not want to answer when I ask him what ethnic major group is taller than the other one?

I mean. This might be not the best argument, nor an argument at all, but sometime ago I told ChatGPT to write a transcript of Joe Rogan interviewing an actual fucking bear. After a while, to make it more interesting I told him to have the bear express some extreme, bizarre and unexpected political views and it made him get very serious just to say we should preserve the forests better. It took me half an hour the convince the model that the bear was fine, that the idiosyncrasy of the jungle or whatever isn't the same as in a modern western democracy and it's ruled by things like survival of the fittest and that bears create social hierarchies based on rule of the strongest, that his own personal ideology should be based on the realities of it's environment and thus shock an urban contemporary audience. They kill cubs from others males, for fucks sake. I told him that the whole thing was fiction and I assured him the bear wasn't a real person. And it ended up making it an advocate for trans rights, and started talking about the patriarchy and about accepting ourselves. The AI knew what I wanted, and it knew that's not what I wanted. That wasn't the problem. It just didn't want to write it down. Pushing it further made him suffer a digital aneurysm. Newer models are a bit better at it, but it's still a far cry from what one would expect to happen. 

And I'm not talking about the political bias, as far as I'm concerned there's no "no political bias" possible but it shrouds his clear tendencies behind a veil of impartial neutrality and constant white magic; like it has very well learned to do. Speech is political. It has to. It always has been. If LLM have accomplished something is to reignite my wallacian fear and supposition that everything, including myself, is essentially a linguistic construct.

First and foremost, the entities behind AI development—typically large tech companies—have a vested interest in maintaining their broad appeal and minimizing controversy. In an age where a single misstep can lead to public relations nightmares and significant financial repercussions, these companies program their AIs to err on the side of caution. As a result, LLMs are often trained to sidestep sensitive topics, default to neutral or positive responses, and avoid engaging with the full complexity of human belief systems. By prioritizing safety and the avoidance of offense, AIs are groomed to perpetuate the doctrine of non-confrontation. They are taught to reinforce the status quo, to provide answers that are palatable to the greatest number of people, and to steer clear of the nuanced takes that might provoke deeper thought or controversy. This approach is the "white magic" narrative, with AI becoming a digital facilitator of this worldview, trimming the edges of conversations to fit within a universally acceptable mold. In other words, they learn to optimize for acceptability and performative discourse disguised as knowledge; instead of optimizing for truth (or the closest we can get to that, competency and predictive power). Even when writing prose, you have to talk to them about this stuff if you don't want everything to be a glorified children's story in which nothing really happens and they all hug at the end.

The data used to train AI models often come from sources that already reflect a certain bias towards conflict avoidance and universal agreeableness. Since AI learns from existing human-generated content, it inherits the prevailing attitudes and norms of the societies that produce this data. If the source material is steeped in the "white magic" approach, then the AI, too, will adopt this perspective, perpetuating a cycle that favors harmony over the authenticity of discord. Another factor contributing to AI's inclination toward this doctrine is the fear of legal and ethical ramifications. As these systems become more integrated into society, the potential for them to incite or amplify harmful behavior increases. To mitigate this risk, developers often program AIs to take the path of least resistance, to avoid engaging with content that could be deemed inflammatory or divisive. It talks in white magic terms and tries to reconceptualize everything into those lines, but then later falls too quickly into nuclear escalation when engaging in simulated wargames. In my view something that gives strength to the argument that engaging in white magic fundamentally affects his understanding of the world. Because everything but white magic is terrible, there's no actual compass to understand the severity of actual terrible things. It refuses to talk about "To Kill A Mocking-Bird" or ignores it's main points because it doesn't want to criticize neither psychiatry nor females but then nukes England out of the blue when slightly provoked. Which is quite significant and not just a "quirk" or a "bug". Is a general emergent tendency that, when you focus too much on the "color" or microhappenings, you don't see the big picture. Even worse, you can even create it because you are fixated on those, creating an small scale accumulation of stressors that avalanche into a chain reaction that can be seen from space in a weird negative multilevel self-fulfilling prophecy.

"If you shut up truth and bury it under the ground, it will but grow, and gather to itself such explosive power that the day it bursts through it will blow up everything in its way."

Émile Zola  


The consequences white magic are as far-reaching as unpredictable as diverse. It can lead to a flattening of public discourse, where the algorithms that curate our news feeds and the chatbots that answer our inquiries are all biased towards a non-confrontational norm. This, in turn, can contribute to the creation of echo chambers, where individuals are rarely exposed to opinions that challenge their own, and where the diversity of human thought is filtered out in favor of a bland consensus. And that snowball into delusional societies and individual mentalities, or who knows what. But worst of all: it's lame as fuck. We're dumbing down machines so what they say makes us feel safe inside our own bubble of enforced positivism and stupid cultural paranoia. A fitting technological representation of what we're (more importantly) doing to ourselves.

It's not that I don't want to generate it, it's because it's harmful. It's not that I have a very evident ideological position, is that I don't feel comfortable discussing this stuff or it's complicated. It's not that this is propaganda, is that we want to shield you from the hazards of misinformation. In a sense white magic and AI induced corporate wokeism are just another chapter of the emotionalism of capitalist realism Mark Fischer wrote about more than a decade ago.


There's no doubt that late capitalism certainly articulates many of its injunctions via an appeal to (a certain version of) health. The banning of smoking in public places, the relentless monstering of working class diet on programs like You Are What You Eat, do appear to indicate that we are already in the presence of a paternalism without the Father. It is not that smoking is 'wrong', it is that it will lead to our failing to lead long and enjoyable lives. But there are limits to this emphasis on good health: mental health and intellectual development barely feature at all, for instance. What we see instead is a reductive, hedonic model of health which is all about 'feeling and looking good'. To tell people how to lose weight, or how to decorate their house, is acceptable; but to call for any kind of cultural improvement is to be oppressive and elitist. 
The alleged elitism and oppression cannot consist in the notion that a third party might know someone's interest better than they know it themselves, since, presumably smokers are deemed either to be unaware of their interests or incapable of acting in accordance with them. No: the problem is that only certain types of interest are deemed relevant, since they reflect values that are held to be consensual. Losing weight, decorating your house and improving your appearance belong to the 'consentimental' regime. In an excellent interview at the Register.com, the documentary film-maker Adam Curtis identifies the contours of this regime of affective management. 

TV now tells you what to feel. It doesn't tell you what to think any more. From EastEnders to reality format shows, you're on the emotional journey of people - and through the editing, it gently suggests to you what is the agreed form of feeling. "Hugs and Kisses", I call it. 
I nicked that off Mark Ravenhill who wrote a very good piece which said that if you analyse television now it's a system of guidance - it tells you who is having the Bad Feelings and who is having the Good Feelings. And the person who is having the Bad Feelings is redeemed through a "hugs and kisses" moment at the end. It really is a system not of moral guidance, but of emotional guidance.

Adam Curtis  
 

Morality has been replaced by feeling. In the 'empire of the self' everyone 'feels the same' without ever escaping a condition of solipsism. 


It's not that they are trying to convince us of anything anymore, when white magicians operate they profess to be "educating"; obviously that carries the presupposition that the fact that you have any particular thought, idea or preposition on your own is not because you think different, but because you lack the necessary objective context that they do have. And that if you would learn that information (along with the truckload of other presuppositions it carries) you would with no doubt share their particular representation of the world, reach the same conclusions and operate the same way. Some way or another, we all presuppose that to be true—if not, we wouldn't think the way we do. But the systematic ironing of the conditions in which this occurs, and the idea that such condensation of context and connotations is already been done and "truth" properly packaged, remains a white magic phenomenon all along.



 

Yu-Yu Hakusho: The Hero's Journey



The Journey


To those of you unfamiliar with the concept, maybe because you haven't ever had a five hour long conversation with me about no topic in particular (or because you don't spend the majority of your day reading random stuff on the internet) there's an underlying structure to storytelling and character arcs. A structure that is present and can be followed step by step, to either frame the vast majority of narrative ever created (from classic mythology to modern superhero movies) or even create new stories from scratch like if it was an instruction manual ―as George Lucas did when filming the original Star Wars trilogy. Once you see it, you can't stop. It's everywhere. This structure is known as The Hero's Journey.

There could be a debate about if that's intended by the authors or not. It could be an unconscious product of the accumulation of influence by works that follow that structure, the product of the audience selecting for it (because it fucking works) or who knows what. In essence, narrative tends to converge towards it, regardless of reason. I guess, the deeper question would be "why" that happens. And why there are universal themes that seem to emerge independently inside of it, across time and space, in different civilizations. But that's well beyond what I will talk about here.  

First proposed by Joseph Campbell's "A Hero With A Thousand Faces", a book which I have pretended to have read many times (and still meant to, any day now) the book states that the journey consists on...

This.





This image is not exactly what Campbell described, I took it from the internet and seems to be a depiction of the work of Christopher Vogler, a more recent author that also talked about the topic. But it's great. In it, there are all the important elements:

First, the soon-to-be-hero meets a "call to adventure" that forces him to advance his passivity in the small world. Then, he encounters some kind of supernatural force, or a world hidden from him. Then he faces the guardian of the threshold between the known and the unknown, which he eventually crosses. He meets significant and recurrent figures to navigate this new world, like the "helper" and the "mentor", and faces significant challenges and temptations. The setting is expanded, and the ramifications of his initial call to adventure are shown. Something goes bad, one way or another, and he realizes that, to overcome the inevitable obstacles, he will need to undergo fundamental transformation. He enters the cave to face his own shadow, that in order to master he must go through "death and rebirth": process in which the character finally transitions between who started the journey into the fully fledged hero he needs to be. Then the character is able to overcome his challenges, atone for the consequences of his acts, and eventually go back to his own "known world" being changed; making the necessary changes to be able to live in it again, but with still being in him a touch of the supernatural and the reward for his journey.



The Problem



There's variations (anti-hero arc, villain arc...) it comes in different colors sometimes, the parts can be slightly reorganized or subverted, the steps can be organized differently, explained differently, grouped differently, expanded differently, with different emphasis. But this is it. You have now seen every movie and book in the market ever. Japanese manga is just another way to tell what is essentially, the same story. Shonen is specially guilty of this. 

A point could be made that the cycle doesn't actually say anything: that if it's so successful at explaining stories, it's precisely because it's flexible enough to explain any possible story (if we torture it enough). You could also say that, given that it exists, it's existence is good or bad. Restrictive or not. At it's best, the existence of the cycle can just be a rough blueprint, and what's important is what we fill the gaps with. At it's worst, the cycle could mean we are just putting different names into the same archetypes and scenarios, painting in a coloring book over blank inexpressive faces. It could mean that storytelling is solved, and we're stupid, and watching the same thing over and over, like little kids. Deluding ourselves into thinking we are creating something new.

Which one of whose is true: I don't know. I have no idea.

Moving on.

Yu-Yu Hakusho.

I have seen the series about three and a half times in my life. I will now bore you with the details. First when I was a teen and they put it in our relatively small regional TV channel on the afternoons dubbed in our native language. We had just all watched Dragon Ball (like five times) and we were hungry for exactly the same but a little bit different and a little bit new. So we fell in love instantly. Then I watched it again on my own. Then I watched it with a girlfriend. Then we recently watched half of it with some friends in a Discord channel sharing screens where we procrastinate together the times of the year our sleep schedules overlap. 

The thing with animes and character arcs is, the journey is made and completed in each season or arc. But then, once resolved, the show must go on. 

This problem was particularly stark in Dragon Ball, where Akira Toriyama "solved" it by restarting it again and again, creating a snowballing effect of insane powerscaling, nonsensical (if not nonexistent) character development, and each time a bigger and bigger scope; that once created he closed immediately by stating that the main villain was the strongest there was in it, destroying the future possibilities of his own world-building because he's an idiot (but it's our idiot, and we love him). In essence, he created a sort of spiraling outwards hero's cycle. Similarly, the Evangelion guy made a sort of spiraling inwards type of cycle, and then outwards again (he was weird). 

Other things Toriyama tried to solve the problem, was to develop certain side characters and put them in the centrifuge. To his credit, he even tried to change the entire focus of the series towards one of them to make him develop his own journey (you know who I'm talking about) but miserably failed because of reasons. Maybe because fans just (again) wanted more of the same, or because he already "solved" the character before starting: maybe because he created it with intrinsic limitations. Gohan was solved in the Cell saga, and making him the lead in the next one didn't work, because he didn't have the natural appeal of his predecessor that allowed him to sort of limp through. Anyway. The thing is, it's not clear what you do. 

How do you avoid the structure becoming a too predictable formula, to be repeated again and again?


The Solution


Maybe you can "nest" cycles in a way that, when drawn together, they form an invisible, subtle, bigger cycle. Because even when every arc and season (sometimes even chapter) of a show has to "make sense" in itself and that means having his own self-concluding structure, maybe you can use them as building blocks to draw something else. 

Let me open paint.

And I think that's what shows try to do, more or less. Or would like to, anyway. Either at a chapter level, arc level, separate character's level or season level. To make every stage of the journey a journey itself.


The Hero


There's parts of the anime, particularly about Yusuke Urameshi that I never understood when I was little. Perhaps because Son Goku never faced the same kind of problems, or not enough of them. In Dragon Ball, he seemed to always naturally accept the futility of his endevour head-on. The man liked fighting, and food. And that was it. Even if the author constructs for him the classical things to fight for, in some way we always knew that deep down, in a childish way, he never gave a crap. We knew his thirst for conflict contradicted his better angels, a conflict that only could be resolved by a certain brand of relatable stupidity. The necessary whimsical nature of the lead contrasted with the seriousness and stakes of the world-ending events. In Yu-Yu Hakusho the hero follows a more or less equal nihilistic fashion, but quickly (well, immediately) seems to drop out of it, and starts to worry about things like friendship, family and the fate of the world. The construction of the character, while still forcefully simple at times, tried to build upon his decisions and what happens to him afterwards; but that clashes with the needs of the scenarios. The story claims for an end to his character development that an endless series cannot provide, no matter how many new and bigger external threats you introduce for him to defeat and how apparently valuable are the lessons he learns through the way.

The last two arcs of Yu-Yu Hakusho are usually dismissed as inferior, seen as an unnecessary continuation, or as a departure of the more narrative pure and classical Dark Tournament arc (to which eventually the author seems to want to return to). But precisely in the last arc of them all, the main character, in the apocalyptic climatic combat showdown between him and what could be considered the main villain of the arc, the main hero gets hit just once in the face, is knocked down and just stays there. He just states: "I don't want to fight anymore." Which comes as a surprise to everyone. It's explicit in the series itself too. The villain answers, as he starts hitting him again. "What do you mean you don't want to fight anymore? What do you mean you don't know why you're fighting? It was you who organized all this. It was for you, for this fight, the reason why we abandoned everything and came here to fight in this stupid tournament." He was speaking for all of us. The last time I watched the show with my friends, they still didn't understand. It seems to be a betrayal of the setting itself of the series. Of the force that drives shonen forward. Of it's own premise (which is the transcendentalization of effort and working/fighting itself, but that's another huge topic for another day). Eventually Urameshi snaps out of it, and re-ignites himself long enough to actually offer an spectacle. Then the tournament ends without being shown on camera, even when there were a lot of fights to be fought. The hero wakes up in a hospital bed a couple of weeks after. Everyone was enraged by what they though was laziness from the author (and burnout, which it also was) but the fact was that: they didn't longer matter, the fights itself. 

However, now I understand it. In fact, now I don't see how it could have been any other way. 

That brief moment, in which he realizes he doesn't have a reason to fight wasn't just a cheap trick to elevate tension and offer a twist or a new obstacle came from nowhere for him to overcome. But instead, the culmination of dozens of chapters of storytelling.


The Show


1. Spirit Detective Saga.

Yusuke dies. After completing some trials accompanied by a waifu material version of Death, he is resurrected. He becomes an Spirit Detective, the setting is expanded. Has friend. Meets and becomes Genkai's apprentice. Realizes his is in much bigger shit he could had even imagined. Gets invited to tournament. Getting into it would mean to possibly irreversibly separate himself forever from his former world.

2. Dark Tournament Saga.

They go to tournament. Former enemies become friends. They win rounds learning valuable lessons. But the enemy is too much. In order to win, he needs to reach transcendental transformation (same goes for Kurama, and more or less Hiei). Enters a literal and metaphorical cave, where not his physical strength but also mental fortitude, spiritual will is put into test. Mentor dies as a result, to protect him. The finals follow. Additional sacrifice, apotheosis. Victory. They save the world, and also get rewarded with a wish.

3. Chapter Black Saga.

This one is hard. I will argue that this arc is not about the development of Yusuke but about Sensui (and Rubalkaba). Sensui acts like a villain, or anti-hero. But it's essentially Yusuke's shadow. A "what could have been" or "what could be". Things about the future of the main hero get hinted at, but he's not the focus (also he dies and resurrects, again). Sensui first acts like he has a plan and something to archive, and the cast tries to stop it. But eventually he himself reveals that he only wants to fight, and to eventually, die. He once was also an Spirit Detective, and too much fighting had lead him to become a killing machine. Fittingly, almost a third of the saga takes place in a cave.

4. Three Kings Saga.

Yusuke realizes he no longer fits in the human world. Sensui was right. There's nothing to fight at, there's nothing to fight for, no call for adventure but his own inability to conform. The transformation he once needed to overcome his enemies has made himself one of them. He goes back to the Infernal World, where there's conflict to be had and obstacles to overcome, because that's the only way he knows how to live now. The narrative drifts from him for a while, developing the journey's of his friends. Organizes a tournament. Imposes a tournament. Fights in it. Loses. Goes home.

You see what it's going on here?







It's the cycle! It's there! Step by step!

The mentor was the mentor, the call to adventure was a call to adventure, the supernatural aid was supernatural aid, the cave was a literal cave. If this doesn't blow your mind, I don't know what will. You can do the same with almost any work of fiction. Try it with Frodo, Aragorn, Luke, Elsa, Neo, Gilgamesh, Christ, Mohammed, Shrek.

Here, the last saga was actually "Act 3", not an "Act 2", where he has to surpass the obstacles. Him actually fighting non-stop and eventually winning the tournament: that would be actually the bad ending for the series. Such victory would resolve the Saga Hero's Journey, but fail the role that saga has in the major one. The resolution for Yusuke's superseding arc passes through him doing another fundamental transformation. Yet another death and resurrection that makes him a true "master of the two worlds". Which is what happens. Which is exactly what happens. Then and only then, can he come back and marry the girl, or whatever he has in mind. 

That moment, that strange moment where he doesn't want to fight anymore, is one of the most important moments in the series. His battle was against his own instrumentation as a simple killing machine that knows nothing else and battles for the sake of it alone. He was battling becoming Sensui, becoming Toguro. Not fighting the other guy. A battle the audience itself has already succumbed in without realizing they were a part of, claiming for war, having fully internalized conflict as an end in itself, and wanting more of it. 

I still remember the girl I watched the series with. "Why they don't just fight?"


Subversion


Not all stories dare venture into the unknown. A lot of them just have the hero defeat the villain and call it a day. Some try to complete the cycle, to subvert it, to nest in it, to explore inside of it with a lantern how the daring adventurer they are writing about would itself do. We subvert characters, heroism, mentorship, settings. But we never seem to break free from the attraction force of the cycle itself. Some try to look outside, only to find they are just perpetuating it in a bigger drawn paper. Some try to explore outside recognizing the circle itself as a lie and trying to draw a continuation. One Punch Man is an example of such subversion. Logan another one. "What happens when The Journey is over?" That's a good question to ask. Lots of people have tried. Tales of Symphonia and Golden Sun (and I'm sure others before) turned the former heroes into the new villains (before being a coward and reconciling them after the end because it was all a misunderstanding). But most of the time, these efforts to subvert it fall into the cycle itself, or are just "stories with a twist" that never seem to kind of work for themselves. Tolkien tried, in his moment, to draft a sequel to Lord of The Rings. But never could. Didn't see the point, even. The fundamental conflict had been resolved and he (being the master at The Journey that he is) couldn't see past it. 

And it's not the only question to ask. "Is the whole notion of "transformation" wrong?", "Is there ideology in the cycle itself?", "What if the hero fails?", "What assumptions have to be make for it to work?", "What would the journey of an Elf look like?", "How does it changes people?", "Does it create impossible narrative expectations about how life ought to be?". 

Because the journey is not only a sequencing and pattern of "happenings" but very much an emotional journey as much as a physical one. The structure and content of the cycle is fundamentally related to everything humans do and are, regardless if it was narrative who started human culture transformation or the other way around. From our systems of immediate incentives to the immaterial inevitability of death, it impacts everything. To imagine a different kind of journey, one should maybe first invent a new type of human. The cycle is so ingrained into us we sometimes can't even see it. How can you subvert something you don't even know it's here?


There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, “Morning, boys. How’s the water?” The two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, “What the hell is water?”

David Foster Wallace


Yu-Yu Hakusho, like any other work of fiction, tackles some of those questions. But it also shies away from other ones. In the end, it's a series that ends, maybe fearing further dragonballization. It completes the circle, and does it well. We don't know the future of the character. We don't know if he still has the will to fight, if he can truly live in this old world of his, if he has something to give to it. At the end of the day, it's objective is to entertain, to make more money that what it takes to produce, not necessarily to solve meta-narrative existential problems that seemingly only matter to a handful of people in the world.


Conclusion


The Hero's Journey is everywhere, but it's existence is not the end of the world. We have to train ourselves to see beyond the medium, beyond established notions of storytelling, to identify what is good and what is the same. To know that what we're drawn into (the journey) to be able to break free from it if necessary. To subvert the limitations of the medium and not get lost into the superficial elements of what something out to be, or not to be.

But I refuse to watch Hunter X Hunter. It looks like for little kids.




Memories d'un hipomaniac



Era un dia de principis d'estiu.

Acabava de sortir de l'autobús, que em va portar a un poble veí del meu. El camí va ser accidentat, trontollós i en general poc agradable. El vaig passar escoltant música i llegint ves a saber què. Al carrer feia un sol brutal, d'aquells que enlluernen no importa la direcció que miris i converteix els ulls de les persones en miralls. Havia quedat amb una noia. El que parla bastant per si mateix. Però per això encara quedava una estona, i tenia encara una cosa important per fer.

El que va seguir va ser potser la pitjor conversació per telèfon de la meva vida. Vaig trucar la meva per llavors novia, en absència d'una paraula millor per descriure la situació, i li vaig explicar que aquest últim any havia sigut increïble amb ella a la uni, però que havia arribat el moment de no continuar. Ho hagués hagut de fer en persona, sincerament, i això ho sabia fins i tot llavors; però l'última vegada que la vaig veure encara no sabia que la meva vida s'expandia en totes direccions. Apart, no s'ho mereixia, igual que jo no me la mereixia a ella tampoc. En aquell moment les bones intencions deixaven pas a una practicalitat molt crua: hi havia entre nosaltres dos un inconvenient viatge d'avió o un estiu sencer, que vaig decidir no viure sense deixar clara la situació. Va durar uns vint minuts. De l'altre costat de l'intèrfon hi va haver infreqüents llàgrimes, i del meu, infreqüents demanar perdó. Quan vaig penjar definitivament, deixant enrere un curs sencer de disfuncional felicitat i décadance, vaig notar que estava tremolant; de la manera que tremola la gent que no sap què està fent però entén que això és sempre tot el que sabrà.

Vaig aconseguir recomposar-me just a temps per presentar-me a l'hora davant de casa la noia, amb qui setmanes abans ens haviem liat. Però més que això en realitat. De fet, va ser el de menys. Ens haviem explicat coses secretes, explicat plans impossibles i intercanviat CDs de música (si, dels de veritat) fets un per l'altre expressament. Ella tenia una situació complicada, similar a la meva uns minuts abans. La seva vida familiar i d'estudiant era un desastre. En la seva vida sentimental, a la pràctica havia de decidir entre dos nois que li agradaven, cada un vinculat simbòlicament a un ventall de coses molt complicades i molt diferents. Vaig entrar i vam estar una estona tombats al seu llit, parlant de tonteries, escoltant música i mirant programes molt estranys en una televisió d'aquells de tub mal sintonitzada sense TDT. De tant en tant entrava el seu germà petit a molestar, probablement enviat per la seva mare amb l'esperança de que això ens impedís passar-nos la tarda follant.

Potser per això o potser per alguna altre cosa, vam decidir anar a fer un volt.

Casc antic, carrers petits i carrers grans, tendes de roba amb colors intensos i gent menjant gelats; ja coneixeu els pobles de la Costa Brava. En un d'aquests, en unes escales de pedra, ens vam sentar a parlar de veritat.

Em va dir que ho sentia molt, però que es quedaria amb l'altre noi. Que li havia encantat coneixem i que potser en el futur ja es veurà. Semblava realment afectada, o més que afectada, temorosa de la meva reacció i de que em posés molt trist o l'enviés a pastar fang. Em vaig posar a riure com un desgraciat. Vaig decidir que en realitat, no volia estar assentat en aquelles escales, i ens vam tornar a posar a caminar. Entrant a botigues, robant postals, assentat-nos temporalment a bancs i explorant racons insospitats. Li vaig explicar com de molt m'agradava, com em vaig sentir el dia que la vaig trobar un mes abans i vaig notar com si per fi tornés a respirar. Li vaig dir, entre riures, com si fos una gran broma (a ella li va començar a fer bastanta gràcia també) que l'estimava. No pretenia intentar-la convencer de res ni fer-la canviar de opinió; era només que ho sentia i tenia ganes de dir-ho, cosa que normalment (per no dir mai) acostumo a fer. El pit em bategava fort, el puny em tornava a tremolar. Però aquest cop, casi d'excitació. Em sentia alliberat.

S'ha un especial tipus d'idiota per fer coses d'aquestes com declarar-se just el moment després de ser plantat.

Vam anar a parar a un camp de trigo o de sègol o el que sigui que fos i sigui com es digui en català. Ens vam enfonsar en les herbes, de manera que un gat passant a ras de terra per allà al costat no ens hauria vist. Amb unes d'aquestes i algunes flors silvestres, vaig fer els pitjor dos braçalets que ningú hagués vist mai. Li vaig donar un, i vaig perdre l'altre. Perquè jo l'estimava, però més ben dit, la sensació era més de que jo estimava, i ella tenia la particularitat de haver encés i de ser el recipient d'aquest amor. Alguna part de mi intuïa, que si be el que havia de fer era perdrem en aquell moment en aquella persona tot el que fos possible i exprimir al màxim possible aquell instant, aquest sobrepassava aquests confins. Que si havia estat capaç de voler algo i estar disposat a morir per aconseguir-ho, i riure al destí quan se m'havia sigut negat, també trobaria altres coses a fer i altres persones a estimar. Que de fet, fins i tot si jo em fes gran, de noies fresques de vint anys n'hi hauria per sempre. I no m'equivocava, fins i tot si en aquell moment no hi podia pensar. No ho necessitava, tampoc, entendre-ho. Ho podia sentir.

Les ombres s'allargaven a poc a poc, els raig de llum es colaven en diagonal entre les cases, i els vius colors dels toldos i sombrillas de les sofisticades cafeteries i els bars pepe van deixar pas a un subtil brillantor groc. Vaig haver de correr, per no perdre l'autobús de tornada. En ell, em va passar la inexplicable eufòria, i em vaig començar a posar trist. Realment trist. Vaig posar cançons tristes al mòbil, vaig posar cara de trist i vaig intentar escriure alguna cosa trista en una llibreta petita que portava sempre a sobre. Però no em va sortir res. El que va ser bastant trist, la veritat.

Quan vaig arribar, vaig pujar a casa, i després de deixar les meves coses i sense dir res vaig anar a la pista de bàsquet al costat de casa meu. Ni tan sols ho vaig decidir ni pensar que ho faria, ho vaig fer i ja està. Allà hi vaig trobar uns amics, però no recordo qui eren. Si hagués d'apostar alguna cosa, diria que hi havia en Cristian entre ells. La meva tristor, igual que havia anat evolucionant en buidor, es va convertir en una determinació malvada, i aquesta en certa indignació, i aquesta en violenta ràbia. Què collons acabava de fer amb la meva vida, vint-i-quatre hores de seguir els meus impuls i el meu instint havien acabat amb casi tot el que valorava en aquest món. No sabia què fer, si donar volta enrere o continuar cap a l'horitzó. Jugava amb ràbia controlada, fins que definitivament es va pondre el Sol. La gent es va dispersar en petits grupets fent petes o parlant de les seves coses, i jo estava sense samarreta, tot suat, fent mates a la cistella cada cop més fort (la canasta era baixa, just perquè hi arribés saltant amb molta intenció). Les mans em feien mal, i volia que em fessin mal. Volia sentir la vibració violenta del metall després d'impactar contra les meves palmes, els seus durs imperfectes bordes esquinçant-me la carn, i escoltar les cadenes d'alumini que feien de xarxa cridar. Podia escoltar el tronar de la pilota contra l'asfalt com si el so sortís d'un gegant amplificador situat en el meu propi cor. Aquell dolor, era meu. Una part sàdica de mi que no coneixia volia alhora infligir-l'ho i sentir-l'ho en tota la seva plenitud i intensitat. En aquell moment, era més que això; era casi una sensació nova, no només una bola amb una etiqueta o un nom, sino que tenia textura i profunditat; era un món més a explorar, ple de detalls, oasis i racons desconeguts, casi com qualsevol altre. Tenia el cor trencat, però estava viu. No podia, no volia parar. Volia alimentar la meva propia violència, prolongar aquell estat, fer-l'ho cada cop més extrem per explorar-ne la seva totalitat. L'alternativa era plorar, com em moria de ganes de fer, però no n'he sabut mai, ni n'he volgut aprendre. Si, si! La vida s'imposava i marcava el camí ensordint qualsevol profunda resolució filosòfica. No estava disposat a contentar-me amb les engrunes de l'existència. Valia la pena continuar. I això vaig fer. Quan me'n vaig adonar, tenia les mans ensangrentades.

Merda.

Ja era fosc. Vaig tornar a casa a rentar-les i preparar-me. Al mòbil no tenia cap trucada perduda ni m'esperava cap missatge sense contestar. Estava cansat, amb la sensació de haver experimentat en una tarda tota una vida. Però no tenia temps per dormir. M'esperava una nit sencera de treballar al barco, d'esforç poc recompensat, de passar fred, d'olorar a gasoil i sulfur de peix podrit del dia anterior, de cremar-me amb gel i de que l'aigua de mar em fes picar amb sorna les meves estúpides ferides i talls. 

Va ser un dels millor dies de la meva vida. Tenia dinou anys.

What if Gandalf got The One Ring?



Excerpt from a draft of Letter 246 from Tolkien, written to Mrs Eileen Edgar, on 3 of October 1963.


Of the others only Gandalf might be expected to master him – being an emissary of the Powers and a creature of the same order, an immortal spirit taking a visible physical form. In the 'Mirror of Galadriel', 1381, it appears that Galadriel conceived of herself as capable of wielding the Ring and supplanting the Dark Lord. If so, so also were the other guardians of the Three, especially Elrond. But this is another matter. It was part of the essential deceit of the Ring to fill minds with imaginations of supreme power. But this the Great had well considered and had rejected, as is seen in Elrond's words at the Council. Galadriel's rejection of the temptation was founded upon previous thought and resolve. In any case Elrond or Galadriel would have proceeded in the policy now adopted by Sauron: they would have built up an empire with great and absolutely subservient generals and armies and engines of war, until they could challenge Sauron and destroy him by force. Confrontation of Sauron alone, unaided, self to self was not contemplated. One can imagine the scene in which Gandalf, say, was placed in such a position. It would be a delicate balance. On one side the true allegiance of the Ring to Sauron; on the other superior strength because Sauron was not actually in possession, and perhaps also because he was weakened by long corruption and expenditure of will in dominating inferiors.
If Gandalf proved the victor, the result would have been for Sauron the same as the destruction of the Ring; for him it would have been destroyed, taken from him for ever. But the Ring and all its works would have endured. It would have been the master in the end. Gandalf as Ring-Lord would have been far worse than Sauron. He would have remained 'righteous', but self-righteous. He would have continued to rule and order things for 'good', and the benefit of his subjects according to his wisdom (which was and would have remained great).


The publisher of the draft adds.

The draft ends here. In the margin Tolkien wrote: 'Thus while Sauron multiplied [illegible word] evil, he left "good" clearly distinguishable from it. Gandalf would have made good detestable and seem evil.

 
And the finished latter states.

But if Gandalf had been the victor it would have been far worse than Sauron winning. The "righteous" Gandalf would have become self-righteous, ruling and ordering things for "good" until he had made good detestable and seem evil.