Our Youth Miseinen: We, the Mijukuna, Are Unwillingly Drawn In (2024)

Emanuelafriggi ~ 19 months Ago.

reply Log in to Reply

Rating: 10 The Japanese convey a sense of melancholy and strength in their stories; they manage to highlight—at least for us Westerners—their tendency to withhold communication. Possible spoiler This BL story sought to touch on the topics of domestic violence and alcoholism. These two scourges are often linked. Seeing what Hirukawa went through made me realize that many people in real life live in such circumstances. It pained me to see a young man superficially judged as a troublemaker. The question is whether the teachers were aware of his problem; if so, it would be a disgrace on their part. At the beginning of the series, Minase says there are three categories of people: the perpetrators, the victims, and the bystanders. Well, he has always been a bystander—he has always been at the mercy of the decisions of others and of society. He has repeatedly told Hirukawa that he doesn’t want anyone to know about their friendship at first, and later about their relationship. He’s suffering—it’s plain to see—yet he does nothing to become an “author,” even though choosing to remain a “spectator” and deciding to keep them in the shadows is a small move characteristic of an “author.” Hirukawa, on the other hand, possessed the strength that transformed him from a victim—of his father, society, and Minase—into an actor. He took control of his life again, even though the turning point came with his father’s death. But even though he was a victim of violence, he became an actor the moment he made the decision to protect his mother. I’ll definitely watch it again, because it’s worth it and because at the beginning I didn’t grasp the significance of those opening scenes. Thank you for your work.