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Ah, the classic Bakugou dismissal. He sees most people as beneath him, referring to them as "extras." This isn't necessarily out of malice, but rather a reflection of his single-minded focus on his own goals. He believes that anyone who isn't as dedicated or talented as him is simply an obstacle in his path. This line highlights his arrogance and his tendency to isolate himself. However, as the series progresses, we see him slowly start to acknowledge the value of teamwork and the importance of his classmates. But early on, this line perfectly encapsulates his lone-wolf mentality and his disdain for anyone he deems unworthy of his attention. This phrase is a staple of Bakugou's interactions and underscores his initial reluctance to rely on others.
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When we delve into the lyrical landscape of David Bowie's "The Man Who Sold The World," it's almost impossible not to feel the echoes of **existentialist philosophy, particularly the ideas of Friedrich Nietzsche.** Bowie was known to be a voracious reader, and his lyrics often display a deep engagement with philosophical concepts. Nietzsche's work, with its exploration of the death of God, the Übermensch (Overman), and the will to power, provided fertile ground for artists grappling with meaning in a seemingly absurd world. The idea of "selling the world" could be seen as a modern interpretation of Nietzsche's concept of nihilism, the belief that life is without objective meaning, purpose, or intrinsic value. If one "sells the world," what does that imply? It suggests a devaluation, a detachment from a reality that was once held dear. Perhaps the narrator, disillusioned with the established order or his own place within it, has actively divested himself of his connection to the world as he knew it. Furthermore, Nietzsche's concept of the eternal recurrence – the idea that one must live as if they would have to relive their life over and over again for eternity – challenges individuals to live a life they can affirm. "The Man Who Sold The World" could be interpreted as a contemplation of this, a reckoning with a life that perhaps the narrator *cannot* fully affirm, a life where he has made choices that led him to "sell" something fundamental. **The song’s exploration of self-identity and confrontation with one's own being also aligns with existentialist tenets that emphasize individual freedom, responsibility, and the creation of one's own meaning.** In a world where traditional values and structures might be seen as collapsing (a theme resonating with Nietzsche's "God is dead" proclamation), individuals are left to define themselves. The "man" in the song, who is also the narrator, is forced to confront the consequences of his own agency, the self-authored reality he has created. Bowie masterfully uses the surreal encounter to externalize an internal philosophical struggle. **It's not just a song about a strange meeting; it's a profound meditation on agency, consequence, and the daunting freedom of shaping one's own existence, for better or for worse.** The philosophical underpinnings add a significant layer of depth, transforming a catchy rock tune into a timeless piece of art that continues to provoke thought and discussion about our place in the universe and the choices that define us.
