Such Sights to Show You向你展示这般景象

On Shintaro Kago, manga master of the ‘erotic grotesque nonsense’ genre. 评“情色、怪诞、荒诞”流派漫画大师驾笼真太郎。

By Daniel LukesSeptember 10, 2026作者：Daniel Lukes，2026年9月10日

• Comics漫画

• SF

• Gender & Sexuality性别与性

IN JULY 2025, Elon Musk announced new Grok AI companions, including a female anime chatbot named Ani, which tech pundits immediately identified as a “waifu”: an archetype of a compliant and submissive wife that’s popular in anime and manga. This was no surprise; misogynistic aspects of Japanese manga and anime culture have long been adopted as part of the online incel culture Musk and X thrive on, with East Asia frequently functioning as an imaginary patriarchal stronghold (where women are still stereotypically considered to be submissive).2025年7月，埃隆·马斯克宣布推出新的Grok AI伴侣，其中包括一个名为“Ani”的女性动漫聊天机器人。科技评论家们立即将其定义为“老婆”（waifu）：一种在动漫和漫画中广受欢迎的顺从妻子原型。这并不令人惊讶；日本漫画和动漫文化中的厌女倾向早已被马斯克和X平台所推崇的在线“非自愿独身”（incel）文化所吸收，东亚经常被想象成一个父权制的堡垒（在那里，女性在刻板印象中仍被视为顺从的）。

Japan, in particular, has functioned as the cultural emissary of this paradigm, primarily through manga and anime, and Korea is also increasingly becoming central to online gender war debates, as more becomes known about the industry practices of K-pop and awareness of the 4B movement spreads. But while pundits attempt to unpack the associations between incels, toxic masculinity, and East Asian popular culture—with Musk being “completely addicted to anime gooner AI slop,” as Rolling Stone succinctly put it—there’s an artist who has investigated this very terrain for decades: Shintaro Kago, manga master of the “erotic grotesque nonsense” genre.日本尤其通过漫画和动漫充当了这一范式的文化特使。随着人们对K-pop行业内幕的了解以及“4B运动”意识的传播，韩国也日益成为在线性别战争讨论的中心。尽管评论家们试图解析“非自愿独身者”、有毒的男子气概与东亚流行文化之间的关联——正如《滚石》杂志简明扼要地指出的，马斯克“彻底沉迷于动漫宅男AI垃圾”——但有一位艺术家几十年来一直在研究这一领域：驾笼真太郎，即“情色、怪诞、荒诞”流派的漫画大师。

Anime and manga have always had a dark underbelly of sex, violence, and sexual violence that has been key to cementing their reputation outside of Japan. Alongside the family-friendly visual narratives of Osamu Tezuka, Hayao Miyazaki, and Akira Toriyama, there is a whole world of sexual and violent manga and anime works that transgress aesthetic norms and explore taboos. Manga and anime series ranging from Fist of the North Star (1983–88), with its exploding postapocalyptic bad guys, to Urotsukidōji (1985–86), which introduced a whole new generation to Japanese tentacle porn (originally made infamous by Hokusai’s 1814 print The Dream of the Fisherman’s Wife), have long been sold to Western audiences as having such sights to show you.动漫一直有着性、暴力和性暴力的阴暗面，这对于巩固它们在日本以外的声誉至关重要。除了手冢治虫、宫崎骏和鸟山明那些老少皆宜的视觉叙事外，还存在着一个充斥着性与暴力、挑战审美规范并探索禁忌的漫画和动漫世界。从《北斗神拳》（1983–88）中那些爆炸的后启示录恶棍，到引入了日本触手色情（最初因葛饰北斋1814年的版画《章鱼与海女》而闻名）的《超神传说》（1985–86），这些作品长期以来一直被作为“向你展示这般景象”的卖点推销给西方观众。

Anthologies like Comics Underground Japan (Blast Books, 1996) and Secret Comics Japan: Underground Comics Now (Viz, 2000) also hooked readers on the notion that, beneath the mainstream, manga offered not just prurience and taboo but also aesthetic experimentation and avant-gardist creativity, helping position the medium in conversation with transgressive and alternative countercultures. At the same time, hentai (erotic manga and anime) became big business in the West, with series like Bondage Fairies and Super Taboo translated starting in the mid-1990s. “Ordinary Japanese manga often contain an enormous amount of sex and violence, and some of the so-called erotic or ero-manga for adults include stories that in other countries would land the artists in jail,” wrote Frederik L. Schodt in Dreamland Japan: Writings on Modern Manga (1996). The notion of Japanese mainstream culture being generally more permissive has typically been one of manga and anime’s main selling points. “But ero-manga themselves produce more than mere titillation,” Schodt continues. “They are a fertile breeding ground for some of the most talented artists in Japan today.”诸如《Comics Underground Japan》（Blast Books，1996）和《Secret Comics Japan: Underground Comics Now》（Viz，2000）之类的选集也让读者相信，在主流之外，漫画不仅提供了淫秽和禁忌，还提供了审美实验和前卫的创造力，帮助该媒介与越轨和另类的亚文化建立起对话。与此同时，Hentai（情色漫画和动漫）在西方成为了一门大生意，诸如《Bondage Fairies》和《Super Taboo》等系列从90年代中期开始被翻译引进。“普通的日本漫画往往包含大量的性与暴力，而一些所谓的成人情色漫画中包含的故事，在其他国家可能会让作者锒铛入狱，”弗雷德里克·L·肖特在《Dreamland Japan: Writings on Modern Manga》（1996）中写道。日本主流文化普遍更加宽容的观念，通常是漫画和动漫的主要卖点之一。“但情色漫画本身产生的不仅仅是感官刺激，”肖特继续写道，“它们是当今日本一些最有才华的艺术家的肥沃温床。”

Enter the manga subgenre of erotic grotesque nonsense (also known as “ero guro”), which has been around in different forms for at least a century and has roots in the woodblock “atrocity prints” (“muzan-e”) of the 19th century. Ero guro features a variety of surreal, bizarre, and erotic scenarios in a range of everyday, horror, and science fiction settings. Tokyo-born Shintaro Kago (b. 1969) is possibly the biggest name in that genre today. From this niche, Kago has achieved a mainstream career in the West. Vice put Kago on their magazine cover in 2008 and published translations of his work. Kago illustrated the cover art for electronica artist Flying Lotus’s 2014 album You’re Dead! and he has more recently found a home at the United States’ premier alternative comics publisher, Fantagraphics, which has published his Dementia 21 volumes one and two (2018, 2020). In addition, smaller publishers like Hollow Press and vendors such as AkaTako sell limited editions and prints.这就引出了“情色、怪诞、荒诞”漫画亚流派（也称为“ero guro”），它以不同形式存在了至少一个世纪，其根源可以追溯到19世纪的木版画“惨剧画”（muzan-e）。Ero guro以在各种日常、恐怖和科幻背景下呈现超现实、怪异和情色场景为特色。东京出生的驾笼真太郎（生于1969年）可能是当今该流派中最响亮的名字。从这一小众领域起步，驾笼在西方获得了主流职业生涯。Vice杂志在2008年将驾笼放在了封面，并出版了他作品的译本。驾笼为电子音乐人Flying Lotus的2014年专辑《You’re Dead!》绘制了封面插图，最近他还在美国顶尖的另类漫画出版社Fantagraphics找到了归宿，后者出版了他的《Dementia 21》第一卷和第二卷（2018, 2020）。此外，Hollow Press等小型出版社和AkaTako等供应商也销售其限量版作品和版画。

What characterizes Kago’s extensive oeuvre is an incredible technical ability paired with a gruesome, Sadean imagination: a modernist, hyperrealist touch with an impressive knack for bending reality, taking familiar settings and finding ingenious ways of twisting them into disturbing nightmare visions. Bodies morph and are deconstructed and taken apart in all manner of inventive, horrific ways. Blood, guts, and especially shit abound. Kago experiments playfully with the comics form and the page in ways that rival Chris Ware or Michael DeForge, and is no doubt an artistic genius. But his work comes with a penchant for dark and troubling subject matter: namely, cutting up women and girls. This is his main theme, and it’s a problem.驾笼广泛作品的特点是令人难以置信的技术能力与萨德式的恐怖想象力相结合：一种现代主义、超现实主义的笔触，以及扭曲现实的惊人天赋，他能将熟悉的场景以巧妙的方式扭曲成令人不安的噩梦幻象。身体在各种富有创造力、恐怖的方式下发生变形、解构和拆解。血腥、内脏，尤其是排泄物比比皆是。驾笼以媲美克里斯·韦尔（Chris Ware）或迈克尔·德福吉（Michael DeForge）的方式，俏皮地试验漫画形式和页面布局，毫无疑问是一位艺术天才。但他的作品带有一种对阴暗和令人不安的主题的偏好：即切割女性和女孩。这是他的主要主题，也是一个问题。

Kago’s most extreme, pornographic comics return again and again to the theme of sexual violence against women and girls. Tellingly, his most extreme material doesn’t get published in the United States or United Kingdom (though it does have an audience in mainland Europe), so there is a sense in which his mainstream Anglophone reputation is skewed, bowdlerized even. This has been the case since the beginning of Kago’s publishing history in the West, as editor Chikao Shiratori writes in the introduction to Kago’s “Punctures,” in Secret Comics Japan: “To avoid troubling the moral majority, we carefully considered our options and chose to publish ‘Punctures.’ Let’s make this clear: relatively speaking, this is one of Kago’s milder works.” “Punctures” features a kind of social plague in which people start carving holes in things and bodies, including their own, as a way to stave off anxiety. The story ends with a young woman whose male sexual partner has reduced her to more holes than body.驾笼最极端、最色情的漫画反复回到针对女性和女孩的性暴力主题。值得注意的是，他最极端的内容在美国或英国无法出版（尽管在欧洲大陆有受众），因此，他在英语世界的主流声誉在某种程度上是扭曲的，甚至是经过删改的。自驾笼在西方出版历史的初期以来就是如此，正如编辑白鸟千佳夫在《Secret Comics Japan》中为驾笼的《Punctures》所写的序言中所述：“为了避免困扰道德多数派，我们仔细权衡了选项，选择了出版《Punctures》。让我们明确一点：相对而言，这是驾笼较温和的作品之一。”《Punctures》讲述了一种社会瘟疫，人们开始在物体和身体上凿洞，包括自己的身体，以此来缓解焦虑。故事结尾，一名年轻女性的男性性伴侣将她身上的洞凿得比身体本身还多。

Brain Damage (2025), Fantagraphics’ latest translation of Kago’s work following Dementia 21, fits into this category of milder works, and yet it is also trademark Kago. Its cover features a young woman’s head cut up into different parts: Kago has done this before, and you might say that a deconstructed female head is his visual calling card at this point. Brain Damage’s four unrelated stories address young female protagonists in various states of distress. The first one, “Labyrinth Quartet,” focuses on a group of look-alike girls who find themselves caught in a labyrinth at the mercy of a serial killer; the second, “Curse Room,” features a young healthcare professional (like the protagonist of Dementia 21) in charge of taking care of zombies; the third, “Family Portrait,” features an old man who, through his sexual leering, causes people to disappear; and the fourth, “Blood Harvest,” homes in on haunted cars that attack their occupants, with the protagonist giving up her body to stop this curse.《Brain Damage》（2025）是Fantagraphics继《Dementia 21》之后翻译的驾笼最新作品，属于这类较温和的作品，但它依然带有驾笼的标志性风格。封面是一位年轻女性被切成不同部分的头部：驾笼以前也做过这种处理，可以说，解构后的女性头部已成为他目前的视觉名片。书中的四个独立故事讲述了处于各种痛苦状态下的年轻女性主角。第一个故事《Labyrinth Quartet》聚焦于一群长相相似的女孩，她们发现自己陷入了一个受连环杀手摆布的迷宫中；第二个故事《Curse Room》讲述了一位负责照顾僵尸的年轻医护人员（类似于《Dementia 21》的主角）；第三个故事《Family Portrait》讲述了一位老男人，他通过淫秽的目光导致人们消失；第四个故事《Blood Harvest》则聚焦于袭击乘客的闹鬼汽车，主角为了阻止诅咒而献出了自己的身体。

As to be expected from Kago, the artwork here is impeccable from a technical perspective, offering a sense of movement and speed that the best manga can achieve, replete with gore-strewn jump scares appropriate to the horror genre. His illustrations of destroyed cars in “Blood Harvest” rival the best of today’s hyperrealistic manga (think Gantz by Hiroya Oku, published 2000–13), and he gives Junji Ito a run for his money in terms of conjuring a sense of dread, though Kago is certainly more comedic and more interested in shocking readers than in spooking them. But the point of it all, including the very publication of this book, is unclear. Brain Damage is far from Kago’s best work: his recent book The Princess of the Never-Ending Castle (2019), released by Hollow Press, is much more creative as it twistedly conjoins bodies with the architecture of 16th-century Japan.正如对驾笼的预期，这里的艺术作品从技术角度来看无可挑剔，提供了最优秀漫画所能达到的运动感和速度感，充满了适合恐怖流派的血腥惊吓。他在《Blood Harvest》中对受损汽车的描绘可以媲美当今最优秀的超现实主义漫画（想想奥浩哉2000–13年出版的《杀戮都市》），在营造恐惧感方面，他甚至让伊藤润二都感到压力，尽管驾笼无疑更具喜剧色彩，也更热衷于震惊读者而非吓唬他们。但这一切的意义，包括这本书本身的出版，并不明确。《Brain Damage》远非驾笼最好的作品：他最近由Hollow Press出版的书《The Princess of the Never-Ending Castle》（2019）更具创造力，它将身体与16世纪日本的建筑扭曲地结合在一起。

The uncomfortable truth of this review is that Kago’s most compelling work tends to be his most misogynistic and troubling. That is where his creativity runs wild: in dreaming up ever more graphically inventive ways to defile the female body. In interviews, Kago shirks any particular answer about the morality or politics of his comics, and in the Q and A at the back of volume one of Dementia 21, he says, “I don’t like to reveal my thinking about politics and society. I would greatly appreciate it if you could infer it from my work.” A bit of a cop-out, given the social and political relevance of ero guro manga. Kago has admitted that including “sweet young girls as the main characters” is his trademark. But in the decades since Carol J. Clover and Scream’s explorations of the “final girl” theory, slasher cinema has at least tried to move beyond that tired patriarchal trope. In death metal music today, there is a growing field of feminist bands reclaiming the genre from the misogynistic emulators of Cannibal Corpse. But in the ero guro scene, Kago is still here, visually torturing and disemboweling schoolgirls and young women. Why?这篇评论令人不安的真相在于，驾笼最引人注目的作品往往也是他最厌女和最令人不安的作品。那是他创造力最狂野的地方：构思出越来越多图形化、富有创造力的方式来玷污女性身体。在采访中，驾笼对关于他漫画的道德或政治问题回避了任何具体的回答，在《Dementia 21》第一卷末尾的问答环节中，他说：“我不喜欢透露我对政治和社会的看法。如果您能从我的作品中推断出来，我将不胜感激。”考虑到情色怪诞漫画的社会和政治相关性，这有点逃避责任。驾笼承认，将“甜美的年轻女孩作为主角”是他的标志。但在卡罗尔·J·克洛弗（Carol J. Clover）和《惊声尖叫》对“幸存女孩”（final girl）理论进行探讨后的几十年里，砍杀电影至少已经尝试超越那种陈腐的父权制比喻。在当今的死亡金属音乐中，越来越多的女性乐队正在从Cannibal Corpse等厌女模仿者手中夺回该流派的定义权。但在情色怪诞场景中，驾笼依然故我，在视觉上折磨并剖开女学生和年轻女性。为什么？

There is no reason ero guro should be inherently sexist, and arguments have been put forward for its leftist leanings, suggesting that its cultivation of bodily and sexual extremity rebels against a straitlaced and moralistic society. Garo, the Japanese magazine where many ero guro practitioners cut their teeth, swung to the left, supported student protests, and platformed female artists. Ero guro practitioner Suehiro Maruo—who was mainly active in the 1980s and ’90s, and found a Western audience in part thanks to John Zorn using his art for jazzgrind band Naked City—utilizes sexual violence to excoriate jingoistic World War II Japan and the horrors of war. Visual artist Makoto Aida creates images of sexualized and mutilated young girls to critique how Japan reifies the consumption of young women’s flesh and in turn sells itself to the orientalizing Western gaze via this content. Toshio Saeki, whose art recently graced the cover of Geordie Greep’s 2024 album The New Sound, offers brutal tableaux of violence and pleasure that are more visibly equitable and empathetic, even as they explore power dynamics through the prism of sex and pain.情色怪诞没有理由本质上是性别歧视的，也有人提出了其左翼倾向的论点，认为它对身体和性极端的培养是对刻板和道德主义社会的一种反叛。Garo，即许多情色怪诞从业者起步的日本杂志，曾倾向于左翼，支持学生抗议，并为女性艺术家提供平台。情色怪诞从业者丸尾末广——主要活跃于80年代和90年代，多亏了John Zorn将他的艺术用于爵士研磨乐队Naked City而获得了西方受众——利用性暴力来痛斥沙文主义的二战日本和战争的恐怖。视觉艺术家会田诚创作了被性化和肢解的年轻女孩图像，以批判日本如何将年轻女性肉体的消费物化，并进而通过这种内容将自己出售给东方主义的西方凝视。佐伯俊男，其艺术最近出现在Geordie Greep 2024年的专辑《The New Sound》封面上，提供了更为直观、平等和富有同理心的暴力与快感场景，即使它们通过性与痛苦的棱镜探索权力动态。

Though some critics have offered feminist interpretations of Kago’s work, the vehemence and monomania with which Kago returns again and again to artistic mutilations of mainly women’s and teenage girls’ bodies feels one-sided and fetishistic. Rather than identify and critique the male gaze, which seeks to punish women and girls by cutting them up in art, Kago’s work appears to endorse and compound it. Brain Damage is a case in point, with all four stories focusing on a ritualistic consumption and destruction of young women’s bodies, without any deeper reflection on why. The collection’s final image shows a young woman strapped to a hospital bed; she has “become a living blood factory” in order to feed haunted automobiles who have developed a taste for blood. Kago’s works certainly contain a critique of the wider systems of dehumanization and bodily exploitation inherent in contemporary capitalism, but once he has made each young girl suffer, it seems that he stops his critique there, and does not investigate beyond the cheap thrill of cutting up another one.尽管一些评论家对驾笼的作品提出了女性主义解读，但驾笼反复以艺术化手段肢解主要是女性和少女身体的狂热和执念，让人感到片面且具有恋物倾向。驾笼的作品似乎并非在识别和批判那种试图通过在艺术中切割女性来惩罚她们的“男性凝视”，而是在认可并加剧它。《Brain Damage》就是一个典型的例子，四个故事都聚焦于对年轻女性身体的仪式化消费和破坏，而没有任何更深层次的反思。该选集的最后一幅图像显示一名年轻女性被绑在医院病床上；她已经“变成了一座活体血液工厂”，以供养那些对血液产生嗜好的闹鬼汽车。驾笼的作品确实包含了对当代资本主义中固有的更广泛的非人化和身体剥削系统的批判，但一旦他让每个年轻女孩受苦，他的批判似乎就止步于此，而不再深入研究切割下一个女孩带来的廉价快感之外的东西。

Aesthetic atrocity doesn’t have to be amoral or immoral: it can be used to attack fascism, colonialism, capitalism, and patriarchy itself. Manga is fully able to take on misogyny within its own ranks and demonstrate critical self-reflection on its own complicity in enabling toxic masculinities. Usamaru Furuya’s Short Cuts (1996–99) uses satirical vignettes to skewer manga’s fixation on teenage girls; Bargain Sakuraichi’s Rupo Chunen Dotei (2016), translated into French as La virginité passé 30 ans, or “Virginity Past 30,” chronicles the trials and tribulations of Japanese incels and otaku; and Tatsuhiko Takimoto’s hit novel Welcome to the N.H.K. (2002), adapted into a manga and anime series, focuses on the phenomenon of hikikomori (shut-ins). Japanese horror manga also contains plenty of female mangaka, including Senno Knife, Osada Not, Miyuki Eto, Kanako Inuki, Sachiko Uguisu, and Junko Mizuno. It would be great to see more attention given to their work in the West.审美上的惨剧并不一定是非道德或不道德的：它可以被用来攻击法西斯主义、殖民主义、资本主义和父权制本身。漫画完全有能力应对其内部的厌女症，并对其自身在助长有毒男子气概方面的共谋进行批判性的自我反思。古屋兔丸的《Short Cuts》（1996–99）使用讽刺小品来抨击漫画对少女的迷恋；Bargain Sakuraichi的《Rupo Chunen Dotei》（2016，法文译名为《La virginité passé 30 ans》）记录了日本“非自愿独身者”和御宅族的磨难；泷本龙彦的热门小说《欢迎加入NHK》（2002）被改编为漫画和动漫系列，聚焦于“家里蹲”（hikikomori）现象。日本恐怖漫画也包含许多女性漫画家，包括Senno Knife、Osada Not、Miyuki Eto、Kanako Inuki、Sachiko Uguisu和Junko Mizuno。在西方，如果能给予她们的作品更多关注，那将是一件好事。

In many ways, horror is the language of our times. We swim in a sea of real-time atrocities, consumed online, especially on social media, with no filter. AI porn slop is surging, promoted relentlessly on sites like Pornhub with taglines like “Create AI sex slave now” and “Design her. Fuck her. Delete her.” Musk’s X takes down profiles of sex workers, and his Grok is currently at the center of multiple court cases regarding its ability to digitally undress real people and create sexual deepfakes, mainly of women and children. Online platforms increasingly curtail adult content, and right-wingers threaten and attack trans and queer creators on- and offline, often casting their work as sexually explicit or obscene even when it isn’t. Algorithms flood the zone with AI shit, and Taboola and Outbrain monetize our gazing at monstrosities.在许多方面，恐怖是我们这个时代的语言。我们沉浸在实时发生的暴行海洋中，这些暴行在网上（尤其是在社交媒体上）被毫无过滤地消费。AI色情垃圾激增，在Pornhub等网站上被无情地推广，标语如“立即创建AI性奴”和“设计她。操纵她。删除她。”马斯克的X平台封禁性工作者的个人资料，而他的Grok目前正处于多起法律诉讼的中心，涉及其数字化剥去真实人物衣服并创建性深度伪造（主要是针对女性和儿童）的能力。在线平台日益限制成人内容，右翼分子在网上和线下威胁并攻击跨性别和酷儿创作者，即使在作品并非色情或淫秽时，也常将其定性为色情或淫秽。算法用AI垃圾填满空间，Taboola和Outbrain则通过我们对怪物的凝视来获利。

Regarding Suehiro Maruo, Schodt writes that, in “a land where people lead extraordinarily well-behaved lives under extraordinary pressure, Maruo visualizes the most twisted elements of the subconscious mind.” The “catharsis” theory of art may have been relevant to 1990s Japan, but we no longer live in a world in which “people lead extraordinarily well-behaved lives”; quite the contrary. We are living through an era of “vice signalling” in which acting out in racist, sexist, and violent ways, all the way up to rape and pedophilia, murder and genocide, is rewarded at the highest levels.关于丸尾末广，肖特写道，在“一个人们在巨大压力下过着异常循规蹈矩生活的国家，丸尾将潜意识中最扭曲的元素视觉化了。”艺术的“宣泄”理论可能与90年代的日本有关，但我们不再生活在一个“人们过着异常循规蹈矩生活”的世界里；恰恰相反。我们正生活在一个“邪恶信号”时代，在这种时代，以种族主义、性别歧视和暴力方式行事，一直到强奸和恋童癖、谋杀和种族灭绝，都在最高层面上得到奖励。

In a way, we have come to inhabit Kago’s world, where bodies are taken apart for sport, and we are just meatbags to be splattered “for the lulz” by whoever is strongest. Modern life resembles an ongoing carnival of cruelty in which images of atrocity and “decorative violence” (as Sayak Valencia argues in 2018’s Gore Capitalism) are complicit in the reproduction of capitalist and patriarchal terror, especially toward marginalized and colonized peoples, women and girls. Horror has become a new realism, helping us navigate this grave new world. But precisely because of horror’s ubiquity, we have the right to be picky and demanding of the genre. Despite his aesthetic opulence, unless he can somehow move clearly beyond his unchecked misogyny, Shintaro Kago just doesn’t cut it.在某种程度上，我们已经开始居住在驾笼的世界里，在那里身体被当作运动而拆解，而我们只是被最强者“为了取乐”而溅血的肉袋。现代生活类似于一场持续不断的残酷嘉年华，其中暴行和“装饰性暴力”（正如萨亚克·瓦伦西亚在2018年的《Gore Capitalism》中所论证的那样）的图像，在资本主义和父权恐怖的再生产中是共谋的，尤其是针对边缘化和被殖民的群体、女性和女孩。恐怖已成为一种新的现实主义，帮助我们在这个严峻的新世界中航行。但正是因为恐怖的无处不在，我们才有权挑剔并对该流派提出要求。尽管驾笼拥有审美上的华丽，但除非他能以某种方式明确超越其不受约束的厌女症，否则驾笼真太郎的作品确实不够格。