Summary of Key Points
Recently, trailers for TV adaptations of infinity-themed novels such as "Paradise Tomorrow" and "Ten Days to Die" have sparked intense discussion, with netizens labeling 2026 as the "Year of Infinity Genres." The article explores the reasons behind the surge in popularity of these stories: they not only attract audiences with their novel endings but also accurately reflect the spiritual predicament of modern young people who feel trapped despite wanting to escape. It uses Freudian theories of "dark fear" to explain why readers become obsessed with these narratives, and Han Byung-je's concept of "affirmative violence" to analyze how what seems like freedom for young people is actually a form of cultural coercion. The article concludes by suggesting that physical departure may not solve spiritual issues; true fulfillment must be sought from within.
1. The Appeal of Infinity Genres: A Thrilling and Safe Experience of "Dark Fear"
The apocalyptic scenarios in infinity novels (extreme weather, pandemics, wars) are rooted in reality—we have all heard about extreme heat and experienced pandemics. Therefore, when we see the protagonist Lin Sanjiu (from "Paradise Tomorrow") struggling in such a world, we feel a sense of fear that is both familiar and alienating (what Freud called "dark fear"). However, this fear is experienced from a safe distance while reading the book. We know we won't actually die, so our brains release dopamine, creating a thrilling yet comforting sensation similar to riding a roller coaster. This combination of danger and safety makes readers eager to follow the protagonist through the challenges, even as they become more difficult.
2. The Protagonists Are "Forced to Run" vs. Young People Who "Want to Run": Both Are Controlled by Systems
In infinity novels, the protagonists are forced to move to different apocalyptic worlds every 14 months; otherwise, they die. Zhu Ning (from "I Clean Up in the Wasteland") wants to escape but is pursued and killed by a system. What about real young people? They may seem to want to leave on their own initiative—moving to a new city, quitting their jobs, taking breaks—but in reality, they are often driven by societal pressures: the workplace demands progress, and social media encourages the belief that "life is a wilderness" and only the brave can truly enjoy it. The essence is the same; both are powerless against external forces, though the systems in novels are fictional rules, while those in reality are cultural directives.
3. Two Perspectives on Leaving: Escape or Search?
Some see leaving as an act of escape—fear of building deep relationships, fear of responsibility, and avoidance of trouble. Others view it as a search for a spiritual home or purpose in life. Often, these motivations overlap; for example, Lingzi avoids separation but also seeks a place where she can live well. Fearn (from "A Place Without Support") wanders without shedding her inner pain. There is no clear distinction between escape and search; everyone's motivation varies, but the goal is to escape current discomfort.
4. The Concept of "Affirmative Violence": More Freedom, More Anxiety
Han Byung-je's concept of "affirmative violence" means that others don't tell you what you must do but suggest that anything is possible (e.g., "You can travel, quit your job, or take a break"). However, this kind of freedom can be even more daunting. It makes you feel inadequate if you don't pursue these options. For instance, seeing others sharing their travels might make you question your own complacency, and considering quitting your job could lead to anxiety about failure. The pressure from these "free choices" is exhausting because it comes from within yourself.
5. Don't Mistake Leaving for a Solution: True Fulfillment Lies Within
Infinity novels have endings where the protagonists find the truth and escape their systems. In reality, physical departure may not resolve spiritual issues. Fearn travels in a RV but still cannot overcome the pain of losing her husband; Lingzi moves to many places before realizing that to live well, she must face her fears. Before you decide to leave again, ask yourself: Do you really want to go there, or are you just being driven by others' words? After all, we aren't characters in an infinity novel—no system is forcing us, and no audience is waiting for our conclusion. You can pause, think carefully, and then make a choice.
This article uses infinity genres to reflect the spiritual struggles of young people: we all want to escape monotony but are constrained by societal expectations of constant progress. True freedom doesn't mean constantly changing locations; it means having the choice to stop and find what truly matters to us.