However, Wong's connection to kawaii culture, which I have attempted to establish here, suggests a different reading of his films. As Larissa Hjorth has argued, “The kawaii is not about post-humanism but rather a clear demonstration of neo-humanist types” (144). In this sense, East Asian kawaii culture, like Wong's films, should be understood as desperate attempts to create a dreamlike humanist space within the harsh reality of globalized capitalism.