～Music, myth, momentary eternity～
Contents
・impression
・General remarks: “Constructing myths through music, presenting a new sensibility and a new era.”
・What is Mythology?
１， Myths are “modes of information processing in a culture.”
２， Greek mythology as a case study
３， Myth as Counterculture
・What is Music?
１，The Potential of Music as Myth
２，Music as a Philosophy
３，As a dichotomy and counterculture
・Commonality of Music and Mythology
１―１，Reading Levi-Strauss’s “Mythic Logic” with Deep Semantics
１－２，Reading Levi-Strauss’s “Mythic Logic” with Deep Semantics（２）
２，On Myths and Masks
・Commonality or Fear with Greek Mythology in BanG Dream! Ave Mujica
１，Title of each episode
２，Character Name
３、thought
・Previous girl band anime, or questions about “self-consciousness” and music
・Emotions and feelings
１，What is Emotion?
２，Emotional Risk
３，Possibilities through the use of various aspects of emotion
・As presented as music of myth, BanG Dream! Ave Mujica presented what
・Full Story Review
・impression
It was as if we were watching a new “myth.
Ave Mujica” is a TV anime that was created under the title of ”the craziest band anime in history.
Psychosuspense-like “horror” between the members of the band, which attacks the main character, Sakiko, one after another.
The more she tackles these “horrors,” the more foolish the band becomes, and the more her life disintegrates in “tragedy.
The “beauty” of the film is that it still makes itself up in the abyss of “tragedy” and tries to show the audience a dream even though it is aware of its demise.
In particular, the final episode, in which all negative emotions are swallowed up and the audience is enveloped in a starry sky as the end plays out, evokes a decadent, yet almost moving aesthetic.
(From #1. After her mother’s death, Sakiko Toyokawa was a member of the band she had started, the only support she had left. She was forced to leave and disband her own band due to her grandfather’s plotting, her father’s unemployment, and a mental breakdown. However, this was only the beginning of more hardships.）
The structure of this work, in which “resistance to fate leads to destruction,” is reminiscent of “The Tragedy of King Oedipus,” and the “psychological conflict in which love turns to destruction” recalls “The Media” by Euripides,
while the chain of traumas that transcends generations reminds us of the “blood curse of the Atreus family” (the killing of parents and children). all of them are tragedies from classical Greek mythology.
In the first place, the title is implyed with mythical elements.
Ave Mujica” is ‘our music,’ while ‘Ave ~’ evokes the Virgin Mary (Ave Maria), and a chain of horrors and tragedies like those in this work is the embodiment of ”(their =) our music.
・General remarks: “Constructing myths through music, presenting a new sensibility and a new era.”
The author’s conclusions are stated first.
This work constructed a mythology through music, presenting a new sensibility and era.
The world presented there nullified value conflicts and swallowed up falsehoods,
would give music an old and new value system.
In this section, we first consider “mythology.
Next, we will consider “music” and what “music” and “mythology” share.
Then, we will consider the similarities between Greek mythology and (the origin of fear) in BanG Dream!
The difference between Ave Mujica and previous girl band anime,
and what Ave Mujica has achieved.
I would like to say in advance that this film is formally a first-class psycho-suspense and horror film, and that the text will be examined in full spoiler mode,
It is strongly recommended that you view this film before reading it.
*The prequel, “BanG Dream!It’s MyGO!!!!! to,
It is also strongly recommended to watch the prequel, “BanG Dream!
It is also a good idea to watch the OP and ED first.
OP:KiLLKiSS
https://www.youtube.com/watch?v=FWXkipC-vqs
ED:Georgette Me, Georgette You
https://www.youtube.com/watch?v=S4ErGLKCNCY
・What is Mythology?
1, Myth is “a mode of information processing in a culture.
Specifically,
(1) Myth is a system that provides “understandability,” “meaning,” or “reality” through communication.
(2) Myth is a system with built-in operations such as transformation, deformation, compression, and substitution.
Of course, any “story” in subculture can be a “myth”.
（Ave Mujica” is no exception.)
(3) Based on (1) and (2), we regard processing related to “time” as an essential part of the system.
Here, one could argue that the value of “space” may be increasing today due to “tribal socialization” (dispersion of countless cohesive groups).
However, what if even local communities, which at first glance appear to be localized in space, are at the bottom exploring countless possibilities of temporal matching, and what if the bundles of such explorations support the substance of the community?
In such a case, simply separating “there” and “here” spatially is no longer sufficient to assure the existence of a person or community. Rather, the potential of a local community will not be fully realized unless the time that they have with each other is well harmonized. This is the case, for example, when we consider the importance of “timeliness” in timelines such as X. The emergence of (temporary) community in a given place is clear. (Ryota Fukushima, “Myth Thinks,” Seidosha)
This “timeliness” and “time” related processing would have something in common with the “one-time” nature of the live music scene and the “instantaneousness” characteristic of music itself (the same sound can never exist twice at the same time).
２，Greek mythology as a case study
To narrow it down to its relevance to this work, BanG Dream! Ave Mujica,
The structure of Greek mythology is mainly “the inevitability of fate,” “human arrogance (hybris),” and “the chain of events leading to self-destruction.
In the Greek tragedy “Oedipus the King,” the irony of the hero’s efforts to avoid the oracle of “killing his father and marrying his mother” is reversed to fulfill the prophecy. This “resistance to fate leads to ruin” structure would be a cautionary tale about the “inevitability of fate.
By emphasizing the tragic nature of fatalism, the anguish is sublimated as “fatalistic” beyond personal choice, bringing catharsis to the audience.
Or, in Euripides’ Greek myth “Media,” the hero is caught between love and hatred and murders a child with shocking consequences. This “psychological conflict in which love turns to destruction” has the effect of visualizing the character’s inner depths on a mythological scale by depicting the collapse of human relationships as an “inevitable psychological consequence.
In addition, the blood curse of the Atreus family in Greek mythology (murder of parents and children, incest) symbolizes a chain of trauma that transcends generations. The representation of personal psychological problems as “mythical curses” has the effect of reinforcing the philosophical depth of the work.
３，Myth as Counterculture
As the complexity of society increases, will we be stabilized by enclosing space or by temporal grating? If the latter prevails, it would mean that we are truly informed. People today do not want to lose their finite time to extraneous things. Accordingly, they may willingly train themselves to react immediately to certain types of stimuli. This is an undesirable state of affairs from a common sense standpoint, but structurally it is unavoidable.
How, then, does culture respond to this situation below?
There are two advantages to focusing on culture, especially subcultural expressions in this case.
1) It has “de-territorializing characteristics” through media and markets.
(2) It is scaffolded by people’s desires, not by law or morality.
This characteristic allows it to transcend communities of taste, generation, and nationality. Also, because it is based on desire, it can create something that goes beyond the original intention or design.
In layman’s terms, the power of subcultures lies in their “ability to turn an uncertain situation into a positive one” (Ryota Fukushima, “Myth Thinks,” Seidosha).
・What is Music?
Let us return to the subject of music. I have a lonely feeling, but what is “music” again?
1, The Possibility of Music as Myth
What music (and mythology) brings man face to face with is an imaginary object, the shadow of which is the only reality, a conscious and later approximation of an entity that continues to be unconscious (musical scores and mythology are nothing else but that).
(Claude Lévi-Strauss, “Raw Things and Things Through Fire (Mythological Logic 1),” translated by Yotaro Hayamizu, Misuzu Shobo)
In other words, music is an experience that is preceded by the unconscious and created later by the conscious entity.
This may be related to the consideration of “emotion” and “feeling,” or (pre-individual) and (individual), which I will touch on later.
2, Music as Philosophy
For example, philosophy can be seen as “that which renews experience” and promotes a new understanding of sensation and existence (Merleau-Ponty). If we try to make a connection with music here, in one theory of music, subjectivity is not fixed as the subject of perception or action, but is viewed as relational and dynamic (Hegel). We may present “music” as such “something that shakes up existing values.
(Junko Koike, “The Significance of Philosophy in Music Education,” Music Education No. 33-2 (2003))
3, as a dichotomy and counterculture
Music has a strong aspect as a counterculture to the main culture, especially in modern and contemporary times. For example, rock music, as a counterculture, became R&B and then rock, as the blues as a role of private fiction that started from the emancipation of blacks as a slave culture. It is also a history of endless dichotomies that has been repeated for the past 120 years, just as rock music has lost its countercultural nature as it became a household word.
Or in girl band anime, “K-ON!”, which sang about the triviality of everyday life and nullified the meaning of rock music by converting the realism of the live performance of “The Melancholy of Haruhi Suzumiya”, which imitated the movie “Linda Linda Linda Linda! and idol anime culture as its successor, as well as the revival of rock music mythology as a rebellion against that everyday life.（「Bocchi・the・Rock！」「GirlsBandCry」）、The future is found in the one-time violence of “poetry” as a word, no longer even music.（「BanG Dream!It’s MyGO!!!!!」）It is still a history of endless dichotomies.
・Consider the similarities between music and mythology.
1-1, “Reading Lévi-Strauss’s ‘Mythic Logic’ in Deep Semantics”
Our daily experiences are driven by the sensory segment (the first segment). On the other hand, music and other art forms operate in the symbolic (second) segment.
Mythology and music are the elements that encompass this “sensory” and “symbolic” component.
Specifically, “colors and sounds” and “their sources” are experienced by humans as an inseparable “inseparable” pair or binary relationship.
The relationship between the two is identified, segregated, and segmented as a “cause/effect” relationship. Sensory experiences, such as sounds, colors, and shapes, are said to be “the first level of reality that divides reality.
The “second division,” on the other hand, is the selection and arrangement of various units, and the interpretation of the units according to the requirement of technique, style, and fashion, that is, the transference of the units to the rules that characterize an individual or society of a certain code.
While everyday experience operates on this first level of division, the sensory division, art such as music, poetry, and painting, on the other hand, attempts to move the “second division.
And especially in the case of verbal art such as poetry, once the second division begins to move, the binary relations of sensory experience are released from their “inalienable” fixity.
Regarding music, he says that music works in the “opposite” direction to poetry and imagery in terms of the relationship between multiple chords.
Images are made from sensory experience and are supported by the solid nature of the human body, including the stability of the level of the first division and the fixity of the code.
Poetry is also made from everyday language. In other words, it moves based on the stability of the level of the first division and the fixity of the code. It tests the mobility of the divisions that can/cannot be communicated in the words that make communication possible in society.
Music, on the other hand, has its first level of segmentation in the instruments and performance techniques that allow it to create and arrange musical sounds at will. In other words, in music, the first level is revealed from the beginning to be a part of the second level itself.
In this respect, mythology, unlike communicative communication or poetry, is a “second level” structure from the beginning, even though it uses language.
(Reading Lévi-Strauss’s “Mythological Logic” in terms of deep semantics (7)) A binary relation is a tetrad relation, and a tetrad relation is a double tetrad relation, i.e., an octad relation.｜way_finding)
（reference https://note.com/way_finding/n/nd6bc074e320f）
1-2, “Reading Lévi-Strauss’s ‘Mythic Logic’ in Deep Semantics”
Music shakes the viscera, mythology shakes the group. Their common mode is the “mask.
Myth occupies an intermediate position between two contrasting types of symbol systems: the language of music and the language of segmented words.
One (music) shakes the gut, the other (myth) shakes the “group” to which one belongs, so to speak.
To do so, each uses the most “delicate cultural machinery” of musical instruments and mythological figures.
The subtle cultural machines are, in music, songs and instruments.
And the cultural machinery in mythology is often the Mask.
Songs and instruments are often compared to masks. Songs and instruments are equivalent to masks in the aural dimension and in the figurative dimension. […] Music and the myths that masks tell are closely related in the world of symbols.”
The mask tells a myth. The words (segmented language) that tell the myth also seem to reveal the “true identity” of the mask, which is in fact a mask, from the figure of a symbol for communicative communication that is the “true face” of something. (Levi-Strauss, “The Language of the Subjunctive”).
(“Reading Lévi-Strauss’s ‘Mythological Logic’ in terms of deep semantics (7): A binary relation is a tetrad relation, and a tetrad relation is a double tetrad relation, i.e., an octad relation.
https://note.com/way_finding/n/nd6bc074e320f)
２，On Myths and Masks
The role of the mask, frequently used as a major motif in “BanG Dream! Ave Mujica,” has three mythological intentions
2-1. mediator of temporal structure,
2-2. inducing a trance state
2-3. a “repetitive structure” of the mythological message
２－1. On the Mediator of Temporal Structure
While masks express “spatial structure,” music provides “temporal structure. Drums and chanting in rituals form the ongoing rhythm of the mythic narrative.
According to “Mythological Logic,” “myth and music both develop their structures on a time axis,” and it is assumed that the visual symbols of the masks and the aural symbols of the music complement each other.
２－2. On inducing a trance state
Music induces a trance state when mask wearers perform the “voice of the gods.
For example, in the “shaman drum” of Alaska Natives, the power of the mask and the rhythm of the music work together to achieve supernatural communication.
２－3. The “Repetitive Structure” of Mythological Messages
The design of the masks reflects the “repetitive motifs” of mythology. The repetitive rhythms of music (e.g., the eight-beat pattern of ceremonial drums) similarly reinforce the cyclical nature of mythic time.
Masks, mythology, and music both make visible and audible the “logic of the unconscious” and expose fundamental human thought patterns.
Music serves to complete the totality of the mythic experience by adding a temporal and emotional dimension to the visual message of the mask.
(Lévi-Strauss, “The Way of the Mask,” Chikuma Library)
・Commonality or Fear with Greek Mythology in BanG Dream! Ave Mujica
After looking at the similarities and differences between music and mythology,
Let us return again to “BanG Dream! Ave Mujica”.
I pointed out at the beginning of this article that this work has several mythological elements,
Elemental iterations of these elements can be seen in the title and the main motifs.
1, Titles of each episode
The title “Ave Mujica” (Our Music), as I mentioned at the beginning of this article, already has a mythological aspect, but many of the subtitles of each episode also bear that image, including the fact that they are all written in Latin.
For example, “Sub rosa” (Secretly) comes from the story that Eros, the god of love, gave a rose to Harpocrates, the god of silence, to hide his affair with his mother, Aphrodite.
Or, regarding the 7th episode Post nubila Phoebus (Light after Darkness), Phoebus is the Greek mythological Apollo, who was forcibly taken to the House of Fellowship, where Sachiko repents for her sins and breaks down in tears (when the chicken crows, Peter is so sorry for having betrayed Jesus that he breaks down in tears). (When the chicken crows, Peter breaks down crying).
Also in episode 13 Per aspera ad astra (Through hardships to the stars = glory),
The source is unknown, but one theory is that it is from Seneca’s long poem “Hercules furens” (Hercules the Mad), “Non est ad astra mollis e terris via. Non est ad astra mollis e terris via.”, from Seneca’s long poem ‘Hercules furens’ (The Mad Hercules).
(Exitus acta probat. – ,Taro Yamashita’s Introduction to Latin
(Miscellaneous thoughts: Latin” band animation ‘Ave Mujica’ solution)
２，Character Name
The band members’ characters all have masked names.
These are also the names of the lakes that exist on the “moon” that symbolize the work,
The words are also symbolic of each character/masked personality.
Guitarist/vocalist Dolores/Misumi Uika is “Dolores” in Latin and “Pain” in English,
Guitar Mortis/Wakaba Mutsumi is Mortis in Latin, Death in English.
Keyboard Oblivionis/sakiko Toyokawa is Oblivionis in Latin, Oblivion in English.
Bass Timoris/Umiri Yahata is Timoris in Latin, Fear in English.
Drums Amoris/Yutenji Nyamu (Wakamugi) is Amoris in Latin. Love in English.
The masks they wear will be important here.
The masks provide a spatial structure and the music a temporal structure, complementing each other. The masks also summon a trance-like state in the performers and color the space. By providing a repetitive structure, the masks also allow the performers to maintain their roles while striving to change and adapt (and then disintegrate).
３、thoughts
I will leave the details of the script to the main story and the final “Full Story Review,” but here I would like to take out the idea in a nutshell.
Human beings are always driven by two or more elements or emotions. A cog in a complex system simply drives the cog next to it. Eventually the whole complexity gets out of control. Just as a cog drives a cog and despair drives despair, the chain reaction triggered by a single roll of the dice, with the coming demise at its side, shines forth in a dazzling light.
The story begins with the meeting between Tomori and Sakiko, and ends with them saying goodbye to each other.
The box garden (Ave Mujica) that Sakiko protects is a tower on the sand that crumbles from the edges no matter how hard she tries to protect it,” says director Kakimoto Kodai.
As director Kodai Kakimoto states, “Ave Mujica (The Box Garden) that Sakiko protects is a tower on the sand that crumbles from the edges no matter how hard she tries to protect it.” The film will depict a heroic heroine who beautifully shows audiences her dreams even in an irrational world, while a terrifying tragedy looms over the hero.
(Mutsumi/Mortis, a band member driven by a dissociative identity disorder personality that takes over.)
(In #9, Uika is so jealous of To and Mutsumi that she rages, “Don’t take Saki away from me! (In #9, Hatsuka is so jealous of Light and Mutsumi that she says “Don’t take Saki from me!)
This may be natural if we consider the sources of fear.
For example, it is the classic “tragedy and fear” that originated in Greek mythology, the Cosmic Conflict (universe and gods vs. humans), the call to friends and the disconnection of drama, etc,
scientific and social development, and fear as a value against animalistic instincts,
There will be structural fears of humans being overwhelmed by the inhuman order, fears stemming from the biological instincts of human existence itself, and so on.
(For details, see Mutsumi/Mortis’ transition, Wakamugi’s love/hate, Hatsuka’s dim desires, etc., in this volume.)
・Previous girl band anime, or questions about “self-consciousness” and music
https://www.youtube.com/embed/0YNMV7xljD4
In this “(tragedy) music as myth” will be the essential value and novelty of “BanG Dream! Ave Mujica”.
This work shows the ideological development of the “conflict between auteurism and commercialism” (e.g., “Girls Band Cry”) and the “heartache of performing arts” (e.g., “Trapezium”) as questions mainly surrounding self-consciousness, which previous girl band anime have shown, while presenting its setback early on and invalidating its genre classification as a “horror” work. The film also invalidates its genre classification as a “horror” work, while presenting its setbacks early on.
At the same time, the self-consciousness of the performers is hardly expressed in the musical content, let alone in the subject matter.
(*The only exception is “Imprisonedⅳ” in which Uika sings about her dim feelings for Sakiko.
(The only exception is “ImprisonedⅫ,” in which Uika sings of her dim feelings for Sakiko.)
Or, as for the frustration of “everydayism,” the performance of “Haruhi Kage” in “BanG Dream! It’s MyGO!!!!! (The frustration of “everydayism” has already been experienced through the performance of “Haruhi Kage” in “BanG Dream!
This invalidation of genre division is known as “exploitation,” because genres do not contain within them the characteristics of what they are called, but are fluid processes that must always be subject to some kind of eccentricity, whether during the genre’s first fashionable period, its second fashionable period, or when it is arbitrarily appropriated. It is a fluid process that is always subject to some kind of eccentricity, whether in the period of the genre’s primary vogue, in the period of its reemergence, or in the time of its arbitrary appropriation.
(Mikio Kato, “Representation and Criticism: Film, Animation, and Manga,” Iwanami Shoten)
Having been frustrated by these three ideologies of “auteurism,” “commercialism,” and “everydayism,” where is this work (and its protagonist, Sakiko) headed?
We believe it is “music as (tragic)myth.
・Emotion and feeking,,,, Emotion, Risk, Potential
１，What is Emotion?
I would like to add a little more to what I said earlier about music shaking the viscera and myths shaking the group. To shake the viscera is to shake the feeling.
But what is feeling? In fact, there is a precursor to feeling.
It is emotion.
Emotion is understood as the emergence of a new subject.
Emotion is understood as the emergence of a new subject, because it acts at a pre-individual level, before we begin to recognize ourselves as an individual through subjective consciousness.
Emotion is the experience of various possibilities and various tensions in the pre-individual.
The pre-individual does not completely determine the dimensions of its existence, nor does it completely individuate or incorporate the conditions of its individuation.
It exists parallel to individuation as a distinct phase.
Feeling is only one possible interpretation of an emotional experience.
When we have the emotional experience of crying, there are multiple possible subjective interpretations of whether we cry because we are sad or because we are happy.
What if emotion is the genesis of a new individual?
If emotion is what causes the emergence of new individuals, then today’s communication networks are operating technologies that take advantage of the emergence of individuals.
２，Emotional Risks
A strong “shock of emotion spills over into activity in the next instant. The sapiential incitement increases and results in macro-movements”.
Online platforms extract exactly what information inspires this high-intensity emotion-feeling and deliver it to a larger number of users.
Through platforms, it becomes possible to hijack individualization.
How, then, is it possible to resist this technological influence (which we call “existential power”)?
It is necessary to note the uncertainty inherent in emotion.
Even if a platform inspires high-intensity emotions, the subjectivity and feelings generated in the individualization that results are not homogeneous.
Emotion, on the one hand, allows for a common collective experience and, at the same time, allows for the generation of different and diverse subjectivities and feelings in each individual.
Every individuation is an individuation of both subjects and syntheses, a trans-individual individuation.
Transversal individuality is not intersubjectivity. It is not a relation between constituted subjectivities, but between the conditions that constitute subjectivities.
In individuation, along with various feelings and subjectivities, various collective feelings and mentalities are generated as defining factors,
Transversal individuality is the generating condition of both, and always exceeds them.
Here in lies the possibility of resistance to “existential power” in communication networks.
３，Possibilities through the utilization of various aspects of emotion
In individuation inspired by emotion,
In individuation inspired by emotion, we can explore the possibility of creating different individual and collective entities that do not follow the guidance of technology and share competing emotions, even if they are the same emotion.
It is a search for the possibility of composing competing collectivities mediated by communication networks, while exploring the uncertainties that technology cannot compute algorithmically.
Furthermore, even in various individuals who feel defined by the same collective feelings and mentality,
There will be diversity in the understanding of why they feel the way they do.
This means that while emotions may appear to be shared at the macro level, there are minute differences in micro-subjectivity.
Resistance to “existential power” in communication networks is not about escaping “existential power” itself.
It is to discern the operation of “existential power” and to conceive of its oppositional use, that is, oppositional “existential power.
(Kakufumi Kawamura, “Emotion, Media, and Politics: Cultural Studies in the Age of Uncertainty)
・What did BanG Dream! Ave Mujica present as “music as myth”?
https://twitter.com/i/status/1905360680053866610
https://www.youtube.com/watch?v=57BtBp3dVFk「顔」
https://www.youtube.com/watch?v=EjYNmDgSN5A 「八芒星ダンス」
I would like to close this essay by showing what needs to be shown by adding explanations of mythology, music, girl bands, and emotion.
The few songs in the play are all excellent, and each has its own room for consideration, but here I would like to focus on “Eight-Pointed Star Dance,” “Face,” and “Celestial Musica.
He called the music of the celestial spheres (Musica), as the vibrations of music represent the order of the universe.
He said that each celestial planet emits its own sound as it rotates, and that the entire solar system is playing music, with celestial bodies and atoms emitting specific sounds due to their motion, rhythm, and vibration, and that all these sounds and vibrations create the harmony of the universe.
(Pythagoras)
Including the lyrics of this cosmological and mythical “Celestial Musica”,
What is ultimately presented in BanG Dream! Ave Mujica,
The “eight-pointed star dance,” and the “face”-a diverse worldview, a cosmology, an immersive experience,
Ave Mujica, including the lyrics of the “Eight-Pointed Star Dance” and “Faces,” was “music” as a new experience.
It is a myriad of “roles” that have lost their personalities,
The new personalities (emotions) presented by the myriad of “roles” that have lost their personalities
It is a friendship that is enlightened by the possibility of a new personality = emotion, which is presented by “playing” countless “roles” that have lost their personalities, in each situation, in a state of free enjoyment.
Mutsumi’s natural talent is bound up in love with Nyamu, who hates her because she is an ordinary person.
Umiri,While wearing a mask, she really loses what is under the mask and plays the role of a sad clown in order to gain her trust.
Uika (Hatsune) sings of dim affection with bare possessiveness while wearing a mask.
It is in the figure of Sakiko, who accepts the irrationality of reality and shows little boxws as a false and evil god, that we will find.
(From “Dance of the Eight-Pointed Star”. Each member is dressed as a circus leader, a beastman, a puppet, a clown, etc.)
(From “Faces.
Mutsumi sank with Mortis into the endless sea, no longer knowing who she was)
(From “Celestial Musica. Uika (Hatsune) concludes her determination to continue living as a performer in a double sense, as one who is confused and one who has forgotten the past, on a stage dancing with stardust.)
Myth has temporality and repeats space with music.
Music continually renews the values of subject and object.
New possibilities open up for the individual (the internal personalities of the Mutumi’s Mutualism), who is exposed to the possibility of boundaries with pre-individualization through emotion.
What AveMujica embodies in this work is a new mythology.
We also believe that one of the cores of girl band anime is the linkage between self-consciousness and music, or to put it another way, rock music.（※former article refference）
In the case of AveMujica, despite countless irrational tragedies, the audience is shown a dream, and self-consciousness is not revealed.
What is there is a completely constructed “mythical” world/beautiful fiction.
I think this is also one of the possibilities for future music.
(Different from the “girls’ band” style, the band is always concerned with showing the audience a “dream” and offering them a momentary eternity,
and provide a momentary eternity to the audience).
Life above so many deaths, love that makes you hate, fear that makes you not believe, and sorrow that makes it impossible to escape. Four knights in anguish gather in a small paradise left in a collapsing world to meet the goddess who makes them forget everything.
They will weave a new “myth” of a momentary eternity that will end, and of the dreamlike pleasures presented by the goddess.
・Full Story Review
*Place production team information in the destination
Credits
Original Story: Bushiroad
Director：Hiroshi Kakimoto
Series Composition: Yuniko Ayana
Screenplay: Yuniko Ayana Midori Goto Hitomi Ogawa Akiko Waba Akiko Haruhi Tani
Character Design：Hitokazu Kazuyuki Ueda
Character Design： Osamu Nobusawa Mochi Puyo
Animation Character Design： Takuya Chanohara Yuka Yamori Shin Joseph
CG Supervisor: Naoya Okugawa
Modeling Director: Yasuhisa Takeuchi, Hiroshi Terabayashi
Rigging Director: Natsuko Yashiro, Toru Kashiwagi
Color Designer: Junko Kitagawa, Nayui Ishibashi, Yuka Matsushita
Director of Photography: Daisuke Okumura
Art Director: Saho Yamane, Risa Tsushima
Art Director：Iyasu Narita
Editing: Hatsumi Hidaka
Sound Director: Kodai Kakimoto
Music: Junpei Fujita (Elements Garden), Hitoshi Fujima (Elements Garden)
Music Production: Bushiroad Music
Animation Producer: Hiroaki Matsuura, Shota Hosumi
Animation Production: Sanzigen
Production: BanG Dream! Project Bushiroad, TOKYO MX Good Smile Company, Holipro International, Ultra Super Pictures
1 episode
Sub rosa (confidentially) fast developing w
The contrast between the selfless Mutsumi and Uika, who is in full cooperative attitude, and Anon and Soyo, who witness the discord and unmasking of the self-promoting Nyamuchi (Wakamugi), is hard to miss. The father’s downfall is typical and clichéd, but the screen production, which is exposed to the rain of Sakiko who has lost her bullishness, is superb. The highlight is how far the essential revelation of Mutsumi and the “bursts of ideas (of emotion)” of the members other than Nyamuchi can lead the story to a convincing finish.
I am looking forward to seeing Ayana Yuni’s ability! At this point, the reasons for Sakiko’s obsession with her father and the background of her father’s alcoholism due to his job failure and unemployment are not very convincing, so the highlight of the story will be the intervention of her grandfather due to the masked revelation, and whether the battle over the source of her obsession with her father will become a battle.
It will certainly have a negative impact on MyGO members, but how Soyo Nagasaki in particular will act will be important.
PS: Sakiko attempted to participate in the band’s activities after the post-gig father fiasco, despite being repeatedly prevented from doing so by her part-time job. However, the call from the Akabane police station was decisive. Even the second time, the rain-exposed lamentation is bearable.
PS2; KillKiss of the FullVer at the beginning is extravagant, but the foreshadowing that already anticipates the doom can be seen in detail. The full moon in the shadows, Wakamugi’s crooked mouth, Sachiko’s pretending not to see, and Sakiko’s tribulations as she struggles alone after her mother Mizuho’s death are painful to watch and unbearable to bear without tears.
2 episode
Exitus acta probat.(the result proves the act).
The doll illuminated by the moonlit night is a metaphor for the members who trace their destruction, paradoxically referring to the fact that the moonlit night gives nothing.
The story is suggestive, including Mutsumi’s parent-child relationship, and the foreshadowing of Post it to Sachiko can already be read.
The unmasking reveals the potential popularity of individual members. Nyamuchi, who is getting worked up over her need for approval and the gap between them, Umiri, who is calm, Uika, who is kind and tired, Sakiko, who is angry, and above all, Mutsumi, who is in confusion. The mask is a fortress that protects her. I wanted her to see herself, not her parents, not her environment. There is no escape now. Anon has grown up to be an adult since she became a member of the group (like closing the distance when she picks up the stone from the Tomori), and I was even more deeply moved by the contrast with where she is now. Tomori Takamatsu is surprisingly Sakiko’s last stronghold in the world. It is hard to see how Soyo Nagasaki is still obsessed with CRYTHIC.
Overall, Mutsumi’s frustration and pareidolia phenomenon are highly tense and good.
3 episode
Quid faciam?
It was just a goosebump episode. The various, faceless dolls that appear and disappear as Mutsumi’s self-illusion, from humanoid to animal, from clown to cannibal, the writhing of the personalities within Mutsumi as they wait to be released, is just fearless. The eeriness is doubled by the fact that all the dolls are played by a single voice actor, Mutsumi recalls the failure of CRYTHIC and the defense of AveMujica back in the day. The composition of Nyamu = Anon and Mutsumi = Tomori is repeated with sound, but Mutsumi’s position is worse because she has no way to deal with Nyamu, who is driven by a clear desire for business and approval, and is unable to talk to her. The backstage, home basement, lecture hall, and Sendai station are all places where Mutsumi’s self-perception floats and escapes, while the raw argument about the meaning of subjectivity and the meaning of existence echoes through the air. The inability to sing, the inability to claim, even the guitar as a self-illusion becomes uncontrollable. Even Sakiko as a fortress becomes enlightened in defense of AveMujica. Mutsumi looks to the right and left in frustration and helplessness. The art, sound, storyboards, script, and direction all sculpt Mutsumi’s broken and dying innocence in a beautifully undermining way. It was a masterpiece of three episodes. The last scene, where the doll eats Mutsumi to death at the base of countless umbrellas with bloated, good guy faces, is a mass of imagination of modern anime.
The mute doll = Mutsumi is dead. The talking doll has no choice but to follow Mutsumi and push forward the broken clown.
Restful sleep will never come.
PS) Even the guitar, the only support of Mutsumi without freedom, which is swept away and makes her ego, is disturbed by Mortis, and the omen is faintly depicted to emphasize her brink. It is impossible to watch this film without tears as the onset of dissociative identity disorder, which breaks down in order to protect her, is woven together with the germination of countless umbrellas.
4 episode
Acta est fabula.(The play is over.)
“Not waking is eternal death. I will weave a cradle so that you will not even be aware of sleep.”
The tension and fear of the overwhelming art of conversation. The fall from Mask-Mortis as a strong man to the end of the play unfolds too quickly. The viewer can only be discouraged by the horror of absurdity.
Mutsumi, a doll personality who socialized excessively, and Sakiko, who can no longer maintain her doll/multi-faceted nature, violently soar through the medium of Uika.
Sakiko, who has continued to seek Mutsumi, the mute doll, is horrified by the process of being deprived of music and her place in the world by Mutsumi, the doll personality who defends Mutsumi. The viewer, from Sakiko’s perspective, just stands there in front of the transforming Mutsumi, the doll personality without substance. More than the music, more than the fans, Sakiko’s heartrending cry of “I want Mutsumi back” shakes the band’s raison d’etre and propels them into an eternal dark night.
(Postscript) Wakamugi’s immediate family comes to the live concert, Uika’s shallowness, Kai-ring’s foreboding of the end of the band, and Sakiko’s navel simply crushed by the bite of her own teeth. Mutsumi is overwhelmingly contrasted with them.
If we rethink AveMujica as a horror film, we realize that the four episodes share a common structure with the movie “The Shining. Sakiko’s psychosis is the starting point for her attacks on those around her (in word and deed), and the members try to weave their daily lives on the edge of their respective insanity. In particular, Mutsumi’s knocking on the door of the four-person room to deal with the dual personality problem is completely that of The Shining!
5 episode
Facta fugis, facienda petis.
It’s hard to watch because Sakiko completely takes on too much responsibility for everything. I hate me.”
In Spinoza’s terms, Sakiko is consciously accepting the finite nature of her freedom, her responsibility for her grandfather’s support, her responsibility for her father’s detention, her responsibility not to be dependent on Uika, because she has a limited range of choices. It is hard.
Direction; “Saki-chan, let’s start a band! The careful foreshadowing and description to the point that spins it into a “band!
Screenplay: The breakup of the band is quickly followed by an unnatural and peaceful shift of the world around them. Sakiko and her friends go through life emotionless with a sense of responsibility. Questioning Happiness: Can MyGO’s members melt the mask of AveMujica’s heart by invading her house?
Storyboard; The forced return to everyday life is portrayed in an unnatural, thrusting composition that reflects more vividness. The expression of Soyo, who is frightened by the strange behavior of the doll Mutsumi and distorts in an ugly way, is conversely terrifying.
Character design; Wakamugi is over-adapted and jealous of the genius, Uika is bewildered and regretful, Umiri is super-dry, Mutsumi is stripped of her place and shut away, and Sakiko is self-loathing as she takes responsibility for the damage caused by the cancellation of the performance and the abandonment of her father’s admiration for her. Anon comically works for the sake of the light.
Art; The contrast between Mutsumi at the abandoned theater in Fukuoka and Mutsumi’s eccentric behavior in the room where dolls are scattered is fearful.
Sound; Sakiko’s regret and Uika’s regret are played sadly. The structure is also good in that it does not color the separation as if it were an ordinary day until the last scene.
6 episode
animum reges (Rule thyself) and
AveMujica (Welcome to our music). In other words, everything from the breakup of the band to the madness and separation is their “music” (activities) itself. The internal and external friction between Sachiko, who tries to cut off all music (human activities), Mutsumi, who rises up through her old friends and music, and Mortis/Mutsumi’s doll personality, who suppresses her, is vividly contrasted.
The focus of attention will be on how Soyo Nagasaki, who made a major shift to the responsible subject in the previous production, will roll over Sakiko, who escapes responsibility externally.
Direction; Soyo, Mortis who draws in the MyGO people, and Sakiko who takes on responsibility are simply terrifying!
Script; The structure that maximizes the multiple personalities anticipates stability and disintegration.
Storyboard; The repeated mental images and manifestations of Mortis and Mutsumi, and the shared animation, have a modernity that mirrors the conflict.
Character Design; Mortis is fearless as he blends in with a stray cat
Art; The shadow of the father in the shabby apartment and the dolls in the mental image of Mutumi are gestalt collapses.
Sound; The conflict between Mortis and Mutsumi is kitschy and pastiche
7 episode
Post nubila Phoebus (Light after Dark)
The song is enough to impress the end of CRYTICH while avoiding the exuberance of the last live as a catharsis by the tearful voice and monologue. The rapidity of the development is bewildering and heartbreaking.
In terms of the opera, it is truly a dance of masks, in which the monster on the other side of the mirror, Mortis, is saved by the broken mirror, while a new monster named Umiri is seared into the air.
The performance of Hina Yomiya (Takamatsu Tomori) as Mutsumi’s home to Haruhi Kage is so overwhelming that tears cannot stop streaming down my face. The monologue of Soyo, Tatsuki, and Sachiko clearing up the residue of their respective CRYCHICs, accompanied by the sobbing voice of Haruhi Kage, is also phenomenally skillful, as each part of Haruhi Kage’s lyrics are well matched to the lyrics.
The script; from the metaphor of a doll acting, to Sachiko standing on a stick, to the breaking of the mirror to suggest the intervention of the personality, to the return of the cucumber, to the scenario of connecting the song “I want to be human 2” to Haruhi Kage, is too cunning; the arrangement of the third person as AveMujica (Umiri) biting down on a bitter bug is a projection of the third person (the audience) who cannot wish happiness. The placement of the third party as AveMujica = Umiri biting her own bitterest is a projection of the third party (viewer) who cannot wish for happiness.
Storyboards; Soyo is the highlight, as she is the one who is pulling Sakiko around by her heels.
Character design; Sachiko’s depth of feeling for Mutsumi is reconfirmed. Anon handing over the guitar is too considerate. Kai-ring biting her navel behind Haruhi Kage is unbearable.
Art; The five people’s days of reminiscing with Haruhi Kage at their backs are precious.
Sound; The onslaught of Soyo at the beginning of the piece, as well as the skill in connecting the maze days to Haruhi Kage, is breathtaking.
8 episode
Belua multorum es capitums.
No matter how much you decorate it, it will never be the real thing. A puppet is just a puppet. The directing of the eyes and mouths gives the puppet show the presence of words and sound, and now the puppets stand up. The reaction of Mortis’ recollection of the “other” = Sakiko, who appears for the first time and weeps, was foreshadowed by Mortis’ perception of CRYTICH’s resurrection = destruction, which he dared to miss.
Direction; “There is no such thing as Mutsumi”. Fear of Mutsumi’s insensitivity contrasted with Mortis’ resurrection no longer comically transformed. Starting with Wakamugi and Umiri, the transformation of Mutsumi’s poisonous parents, Sachiko and Umi-ring, surrounding Mutsumi, is comically and quietly approaching.
Screenplay; A tragedy in which a doll becomes conscious and personalized because of its interest in music. The boundary between the normal and the abnormal continues to be fused. The metaphor of a bombastic posture, which is based on the motif of God’s death and rebirth, anticipates endless nightmares. Umiri’s habit of escaping from responsibility and consumption impulse, and young barley’s wavering agitated by the friendship poison parent, drift like a bottomless swamp with no way back.
Storyboards; the voice of Umiri invites Mortis, who is drowning in the sea of existence, into the abyss, and the whisper of the devil in the last cut. Poisonous parents and young barley that lay the foundation for the establishment of multiple personalities. Sachiko lends a hand to Mortis to keep Mutsumi at bay.
Art; The nutritional food at the beginning of the film, the mountain of protein in Umirig’s room and Umiri’s a bit fatty mother are in sharp contrast.
Sound; the last-minute sound that impresses the poisonous parent and keeps Mortis back is sad
9 episode
Ne vivam si abis.(If you leave, I don’t want to live)
On the stage where the curtain has fallen, the puppets continue to dance. Just keep on going.”
Direction; Survival rather than happiness. Unfulfillment is joy. The fundamental darkness of masochism penetrates.
Screenplay:The last word ,grotesque,,,, looks for a moment like a flame war, but if Nyamu really wants to return to the world, the revelation of her feelings is inevitable and inevitable. But if Nyamu really wants to come back, it is inevitable that she will have to reveal her feelings. The madness is quietly contrasted with the people of MyGO who understand the end of CRYCHIC.
Storyboard; Mortis’ confusion and back-and-forth with reality as Mutsumi crashes and replaces him emerges with the many Mutsumi personalities standing together. The cries of Umiri are layered with confusion.
Art: Several pillars and more pillars, which fall from the stage design together with Mutsumi, suggest the multiple personalities of Mutsumi.
Sound; comical before and after Nyamu ‘s encounter with Umiri. The delusional thrust of Uika hesitating with Mortis is kitschy and chaotic
10 episode
Odi et amo (I hate and I love)
The end will come. But here is a decapitation for her.
Direction; You can’t take your eyes off the stage for even a second, as the focus on each of the music directors in cruicifix X gradually becomes a deus ex machina intertwined with the cogs in the wheel.
Screenplay; Everything is in a precarious balance. The love and hate from Nyamu to Mutsumi Mortis, the love and hate from Mortis to Mutsumi, the love and hate from Umiri to AveMujica, the fanaticism from Uika to Sakiko, and Sachiko weaving love and hate into sound with a mask of flesh and blood.
Storyboard; Sachiko, who remains calm and tries to maintain a sense of distance as the dolls beg for the reunion of AveMujica, is contrasted with Uika, who is still calm and tries to maintain a sense of distance as the dolls beg for the reunion of AveMujica. The shiny black dolls that precede Sakiko’s decision to compose music indicate that the band reunion is nothing more than a puppet show. Uika’s disquiet in Sakiko’s house leaves a smoldering spark as it penetrates from the beginning to the C part.
Art; two puppets in the Sachiko room mirror anticipate further separation of personalities and interactions. Hermann Hesse’s “Demian” is also important
Sound; the classical sound of the Mutsumi’s mother’s theater at the beginning of the play recapitulates the theatricality of the story
Character design: Soyo opening up Mortis, Tatsuki pulling Umiri, Uika’s maddened jealousy of Light, and MyGO!!!!! s face is becoming more and more important. The look at Nyamu is also important, as he says, “I only have AveMujica. The fingers caressing Mutsumi, “I want to love you, I want to love you, I can’t love you, I can’t love you, I can’t love you, I can’t love you, I can’t love you, I can’t love you, I can’t love you.
11 episode
Te ustus amem (I will love you even if I burn and die)
What you are about to see is the story of a woman with a secret.
Given director Kodai Kakimoto’s reference to Munchausen Syndrome and the role of an opera stage set without an audience, it is possible that Uika’s existence is also fictional, and that Hatsune’s obsession in pursuit of Sakiko is also a fiction.
Direction; just a soap opera constructed with monologues of monologue, filled with dreams and reality, pity and escape. Waiting for the moon to fall from the sun
Screenplay; Hatsune and Uika’s wheels turn around Sadaharu Toyokawa and Seiji. Sadaharu’s intentions and her mother’s intentions are not revealed and the night falls.
Storyboard; The confrontation between Uika and Hatsune is intense, but Umiri’s persistence is actually significant.
Art; the stage set up, the darkness of the solo stage is relentless
Sound; the sound effects of the solo stage are detailed
Character design; Is it Hatsune or Uika? Is it the Toyokawa family or Hatsune that was caught by the groundsman(con-man)?
12 episode
uctuat nec mergitur.(Even the prodigal does not sink)
Direction; If it is words that spell people, it is also words that save them. Leading to God, which the letter acknowledges.
Screenplay; While overcoming numerous difficulties opportunistically, we are moved to tears by Sakiko, who finds Hatsune in the stars and is determined to overcome the difficulties with conviction (while admitting to herself that forgetfulness is impossible). There is an immoral independence, taking on the responsibility as a god himself out of a prayer to God. The question arises as to whether the resolution of the conflict with the Togawa family should have been left entirely to Sadaharu, but in the end Sadaharu, too, cannot escape the curse of protecting minors!
Storyboard; RinG’s tea and the hated Hatsune home’s coffee are metaphors for the resolution of the contrast of concealment. The sharing of fiction advances the stage.
Art; A brief play relative to the expulsion of the Toyokawa family. The rose garden in the garden is fantastically dazzling. The private jet at the beginning of the piece freaks me out.
Sound;Gently wrapping the anger by sailing out from Shodoshima Island.
Character design; Sadaharu Togyokawa’s scraps,,, who has also erased his family register and is frightened by the ghost of his viceroy.
literaturei; Rain and ground, moon and sun, morality and immorality, abnormality and normality, a masterpiece as a literary work that literally nullifies the dichotomy by bringing the dichotomy down to the script, direction, and art level. It is the royal motif of ancient Greek mythology, and the narrative structure of the film includes both aspects of tragedy (horror) and comedy (heroic tale), in which the viewer overcomes his or her own hardships and becomes the responsible subject.
The decisive difference is that the solution for ordinary people is to take on the fictional nature of the situation and reign as a false god, while being aware of its fictional nature. He takes on the role of god and creates his own destiny, rather than the destiny that god has decided for him. If there is no place to return to, we create it ourselves. He becomes the star (Sakiko) that illuminates the moonlit night (Hatsune). Repaint the fear of the viceroy (Sadaharu) with the bloodline (Sakiko).
It is a god-like composition that recovers all the lyrics of Imprisoned in episode 10.
(PS) All the foreshadowing of episode 13 was laid out. Overriding oblivion with oblivion and leading to God through further oblivion, all the dialogue about love, fear, sorrow, and loss of death in the skit between Nyamu and Mutsumi are set up as milestones for the stage play in episode 13.
Sakiko’s cry that rises in determination to God is crying.
13 episode
Per aspera ad astra (Overcoming difficulties to the stars = glory)
Direction; the gospel of oblivion only by its own will. Eternal oblivion is an eternal return, established only by the God of the end.
Script; The flowing constellations and stars of the music video of Musica in the celestial sphere are reflected in the reflection. AveMujica and MyGO!!!!! from the beginning The style, characterization, and even market size of AveMujica and MyGO are contrasted from the very beginning of the film. The flow of “Tanebi” inserted with the tanka-like switch of “Soyo-chan’s hands, they were getting cold, the seasons were changing” by Tomori Takamatsu, and “Celestial Musica” that develops a grand oblivion and worldview while filling the stage with all the members’ masked names and backgrounds are the perfect plot.
Storyboards; “AveMujica,” with its perfect worldview and majestic, decadent artwork, is a good contrast to MyGO, which goes around in all directions with its contrasting angles, anon, and members, and continues to play out its fictions.
Art; “Fate of the Gods”, dazzling constellations and stars flowing in the music video of Musica in the celestial sphere.
Character Design; Anon and Rana’s recognition of each other is shown in the close-up session in “Tanebi,” while the bland Soyo is also contrasted. Tatsuki also gives a sideways glance to Anon, who exposes herself in Brahma Sound Strike. The stage is spun by Doloris-Hatsune, whose sinfulness is not love, fear, death, or sorrow, but only oblivion.
Literaturei; “first day seems for a long time(like from spring to fall) ” acknowledges the farewell to Sakiko Togawa from Tomori Takamatsu , and “Tanebi” is a positive and explosive celebration of the way the girls proceed to resolve their doubts.
In “Dance of the Eight-Pointed Star,” AveMusica’s resurrection is likened to a circus clown or a ferocious beast, while “Face” likens the play of letters and sounds to the acrobatic and kitschy performance of the members during the performance. In “Celestial Musica,” the band plays the hymn of all that lives until the moment it can be played, and it is indeed true. At the same time, it is packed with DiGGY Mo”s philosophy of “what I really want to say is true.
References
・神様と、人と、音楽と。
https://www.conservatorium-obrecht.com/post/20201114thankyouourfatheramen
・フォークソングにおける神話の要素
https://dl.ndl.go.jp/view/prepareDownload?itemId=info%3Andljp%2Fpid%2F9212974&contentNo=1
・衝撃的な展開の続くTVアニメ「BanG Dream! Ave Mujica」。
https://www.animatetimes.com/news/details.php?id=1741242390
・『Ave Mujica』“史上最狂のバンドアニメ”はどこへ向かうのか 衝撃の展開を一気に振り返る https://realsound.jp/movie/2025/03/post-1961411_2.html
・サウンドプロデューサーDiggy-MO’によるAve Mujica新曲解説
https://natalie.mu/music/pp/avemujica03/page/3
・音楽に託されたもの－メシアン、ベリオ、レヴィ＝ストロースhttps://note.com/musiquartier/n/n48b21f794315?utm_source=perplexity
・神話としての音楽の可能性
http://www.signes.jp/textes/index.php?id=647&utm_source=perplexity
・「レヴィ＝ストロースの『神話論理』を深層意味論で読む(7) 二項関係は四項関係であり四項関係は二重の四項関係つまり八項関係である」
https://note.com/way_finding/n/nd6bc074e320f
・レヴィ＝ストロース「生のものと火を通したもの』みすず書房
・レヴィ＝ストロース「『仮面の道』ちくま文庫
・福嶋亮大「神話が考える」青土社
・（ギリシャ神話としての）オイディプス王
https://ja.wikipedia.org/wiki/%E3%82%AA%E3%82%A4%E3%83%87%E3%82%A3%E3%83%97%E3%82%B9%E7%8E%8B
・（ギリシャ神話としての）メディア；
・（ギリシャ神話としての）アトレウス
https://ja.wikipedia.org/wiki/%E3%82%A2%E3%83%88%E3%83%AC%E3%82%A6%E3%82%B9
・Wikipedia EN https://en.wikipedia.org/wiki/BanG_Dream!_Ave_Mujica#Production
・オペラの起源と歴史を探る
・小池順子「音楽教育における哲学の意義」 音楽教育学第33-2号(2003)
・山川賢一「成熟の檻」キネマ旬報社
・Miscellaneous thoughts: 「ラテン語」バンドアニメ『Ave Mujica』解題
・加藤幹郎「表象と批評 映画・アニメーション・漫画」 岩波書店
・川村覚文「情動、メディア、政治 不確実性の時代のカルチュラル・スタディーズ」春秋社
・天文学と幾何学、哲学、四学の中の音楽
https://note.com/yoshiminekondo/n/na5d370671462
・メガミマガジン 2025.5月号 Gakken
テレビアニメ『BanGDream！AveMujica』完結記念特集
『Dona Eis Requiem ―いとあわれな少女たちに安らぎを～』
・https://note.com/shuhei_sa/n/n21a336ebdae8
【感想】MyGO!!!!!とAve Mujicaのライブシーンを見てわめくだけ ～BanG Dream! Ave Mujica #13より～
・https://febri.jp/topics/https-febri-jp-topics-topics-bang-dream_ave_mujica_1/
監督・柿本広大が振り返る『BanG Dream! Ave Mujica』制作舞台裏
・https://genius.com/Genius-english-translations-ave-mujica-hachibosei-dansu-english-translation-lyrics
Ave Mujica – 八芒星ダンス (Hachibosei Dansu) (English Translation) Lyrics
・https://genius.com/Ave-mujica-alter-ego-lyrics [Ave Mujica「顔」歌詞]
・https://genius.com/Ave-mujica-musica-lyrics
[Ave Mujica「天球(そら)のMúsica」歌詞]
・解離性同一性障害については以下の当事者団体の証言も参照のこと
https://x.com/__digitaldreams 午前1:25 · 2025年1月17日 ～ 午前1:29 · 2025年1月17日