Little Boy: The Arts of Japan’s Exploding Subculture

Posted: July 14, 2012 in Uncategorized

It was not a bombing back to stone, but to the second dimension. Were the costs of shock and awe known they might still be done, but consider  the white out, the orange sun, the total dark and the rain of body parts and that that is different from the holocaust mainly from shock and awe, for the Nazis delivered their murder hands on, more or less medieval for the time, but Hiroshima was done from above. As such it suggests a deus ex machina metaphor, an act of heaven, but demonic which spawned Godzilla and all the monsters and giants of pop that frightened children in their beds at night. It was an attack on childhood, as Murakami shows, and on old age; neither could exist. Compare it with the PTSD and shock of IUDs among the American Afgan soldiers when they run over the explosives, the disorienting shock of brain against bone, sound and lined light, and then think of it coming suddenly in a complete immersion, shock waves more than felt, producing no more inane patter that followed it in America than justifying more bombing, of the homeland this time, greater by far than of Japan, American Ground Zero The Secret Nuclear War, but atrocities make more and still more. Superflat means being flatted out  of existence in three dimensions. Superflatted peoples are the most dangerous to themselves and all, not that they are worse, but because action / reaction, as in the shamed German nation of WWI, produces worse. From Godzilla the superflat, to aliens to and from the grotesque, to normal hiding of the grotesque in supermarket packages of GMO, began preparation for the super modern superman who never dies. Does it strike you that the top 10 evil experiments were all conducted in the 20th century? Why did Japan ally with the Germans? Sure you can hear the gas, and the Chinese museums of Japan’s atrocities.

War apologists said Japan was a criminal enterprise, just like Biden said of Afghanistan. Nations have to increase the helium to sustain the bubble so they can regard others as criminal, their heroes terrorists. Each night trucks now spray down the alleys spraying to decease the Schumann Resonance to put people back to sleep. You wonder why this is necessary if the helium really works, just another propo-gram from fail safe. Misinformation has the weather change to crank up fracking, but everyone knows deep down that the weather is cracking, Yakusa is coming down in hurricanes and tornadoes, in retribution, Yakusa and the old KGB drying up the leaves, driving the blue stem scalar jet stream. It is some sight with Dr. Strangelove riding the storm like Roman chariot horses with fog breath and HAARP cloud. Electrosmog gets over the transmitters, disinformation has like hi and lo pressures. Yakusa caused the New Orleans flood the war games think,  but lost the ball on downs from the  American earthquake disaster at Yakushima. We score this loss of  nuke plants against the second half that blows up Yellowstone.

I don’t know what the bill is for all the gas, the helium to pump up Apocalypse much the same as the bill for all the gas to pump up the dream of superiority. So while they spray each night to complete the negative optical transfer to the rest of the world,  Japan contemplates its demise and gets out the mask. When the American wakes to realize the Hiroshima bomb was named Little Boy, and all Japan has  been little boyed so its pop art reflects revenge on the airplane that dropped its humikiation, one can ask, what would you have done in Japan if you were a nation of warriors? So while Little Boy superflat plots revenge, Goodboys admire their work at being more quick and comfortable against Shinto animist technology as an extension of nature. Superflat means the eyes are expressionless as the face is unwrinkled, unaged, childed, simplified, flattened out of dimensionality. This flat affect, failure to make eye contact is a form of a subculture of autism…

“Hideako Anno, spent several years of his life essentially isolated in his room reading comic books and playing video games in a particularly Japanese affliction known as “otaku.” Otakus are defined by William Gibson as, “the passionate obsessive, the information age’s embodiment of the connoisseur, more concerned with the accumulation of data than of objects. . . Understanding otaku -hood, I think, is one of the keys to understanding the culture of the web. There is something profoundly post-national about it, extra-geographic. We are all curators, in the post-modern world, whether we want to be or not.” Quang Truong here

“The theory that Japan’s defeat stripped the country of its independence and led to the creation of a nation of permanent children, weaklings forced to live under the protection of the American Big Daddy, is widely shared by artists and intellectuals in Japan. It is also a staple of popular cartoons, many of which feature a well-meaning government that turns out to be a facade concealing sinister and more powerful forces.

Anno pauses for a moment, and gives a dark-browed stare out the window. “I don’t see any adults here in Japan,” he says, with a shrug. “The fact that you see salarymen reading manga and pornography on the trains and being unafraid, unashamed or anything, is something you wouldn’t have seen 30 years ago, with people who grew up under a different system of government. They would have been far too embarrassed to open a book of cartoons or dirty pictures on a train. But that’s what we have now in Japan. We are a country of children.” Atlantic Monthly Interview Anno here

The comment on the above is a denial that: “I’m surprised the man who recently directed the remake of Cutie Honey, and is now busy remaking Evangelion, would go so far as to call any adult who reads manga childish.”

The gas is that strong.

Good news, here is an excellent PDF of this Essay on WWII infantilizing Japanese culture such as anime and otaku. Takashi Murakami is a good hands writer. Exploding subculture is a pun. Little Boy is the name of the Hiroshima bomb. Anime is a production of Little Boy. Superflat is a societal autism. The USG Manhattan Project boys, proud physicists all, naming their bombs, or the people they were dropped on, driven into infancy and beyond, emasculated, juvenilized produced Game Boy,  Pokémon, Pocket Monsters that did to their own what they done to them, called RPGs, role playing games, not rocket propelled grenades: six hundred Japanese children got epileptic seizures watching Pokémon “Dennō Senshi Porygon“, (Electric Soldier Porygon) in season 1. There were bright explosions with rapidly alternating blue and red color patterns. This is the superflat here , here Hutsume Miku, Vocaloid, (thx Gwern Branwen).

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Comments
  1. gwern says:

    > Hideako Anno, spent several years of his life essentially isolated in his room reading comic books and playing video games in a particularly Japanese affliction known as “otaku.”

    Where’s this from? Like anyone like him, he spent a great deal of time on media, yes, but mostly manga and anime, not video games (consider when he grew up and what sort of career he was engrossed in when video games became playable), and as far as I know, he never had any real hikkomori period.

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