“Violence,” Murakami Haruki has said, is “the key to Japan.” In his novel The Wind-up Bird Chronicle, he probes “deeply into the violence years for the root causes of Japan’s modern malaise,” says Jay Rubin, an American academic and translator. In reply to a reader’s review of Kafka on the shore ― “I wonder why the world had to be so full of meaningless sex and violence,” Murakami to the objection regarding meaningless violence, had this to say, “It seems to me that one of the first things we have to recognize is that meaningless violence is a fact; it’s all around us.”
Violence is another prominent feature of Japanese Manga and Anime. Besides the works such as AKIRA (アキラ) or Gantz (ガンツ) whose main theme is violence itself, Manga and Amime for younger target including One Piece (ワンピース, Wan Pīsu) ―it’s cumulative sales surpassed 2.5 hundred million copies in 2011―, Dragon Ball (ドラゴンボール, Doragon Bōru), or NARUTO (ナルト) depict violence with no restraint as well.
Science Ninja Team Gatchaman (科学忍者隊ガッチャマン, Kagaku Ninjatai Gatchaman) is a 5-member superhero team that is composed of the main characters in several Japanese anime created by Tatsuo Yoshida and originally produced in Japan by Tatsunoko Productions. ´on click
Gatchaman (Battle of the planets), besides sexual innuendos, featured violence, blood, and morally questionable and sometimes visibly mortal heroes. When the American television producer Sandy Frank put Battle of the Planets on television in 1977, “A lot more than editing would necessary,“ he said in an interview with Kelts. “I totally revised the whole thing,” he says now. “We had the cartoons themselves and the Japanese scripts and we totally redid the whole series. We did new music, new scenes ― we even invented a new character that looked like R2-D2. We had 7-Zark-7 there to smooth over all the rough spots in the plot. There was as antiviolence campaign in the U.S. at that time, so we had to take out most of the violence, and there was a lot of it in the original. There was death and blood, and it had o go. We look it out-much to my regret, of course. Twenty years later, violence was back in and we could have cleaned up with the same series.” “Frank’s team attempted a western whitewashing of the darker undercurrents in Japanese animation: No one died, plot points were softened by the R2-D2 clone, anomie was replaced by logic, or at least some signs of cause and effect, and the entire series were moved to a distant planet to avoid earthly unpleasantness.”
“I watched Battle of the planets regularly, and I knew even at a young age that something was really weird,” recalls Lawrence Eng, who holds a doctorate in American otaku studies from New York’s Rensselaer Polytechnic Institute in a interview with Kelts. “I think most of us knew that the American version was different, but we didn’t even know for sure where the original came from. We just knew it looked cool.” The University of Tokyo professor and literary translator Shibata Motoyuki analyzed the differences between the two cultures as we discussed manifestations of violence in America and Japanese literary works: "I think it was Nathanael West who said that in America, violence is idiomatic - which means to me that violence is everywhere ... an almost necessary by-product of American individualism, which can always turn into the every-man-for-himself kind of chaos. If you push individualism far enough, maybe it explodes.” The repressive nature of Japanese Culture may keep such explosions limited to the imagination, he said,” If you look at Otomo Katsuhiro's anime like Akira, the violence is more movie like, and it seems to come mostly from the author's imagination."—ODAKANE Fuji
"The essence of Japanese Anime is in its taboo-free, in terms of violence, eroticism, and mechanical presentation." Sugiyama Tomoyuki
“In certain contexts, Japanese culture can combine the auras of sexual energy and violence without creating an atmosphere of seedy perversity or provocation.” Roland Kelts
Beyond its cool design, in the context of taboo-free expression, mechanical nature in Manga and Anime may take on a meaning of anthropomorphism or animism.
In the Ghost in the Shell universe, "ghost" means soul, essence, being, mind that separates humans from robots and Ais. If a cyber-brain can generate its own ghost, then there is no particular importance to be placed on “the human.”
"Animation" is a compound word of"Anima" ("Animal" comes from "Anima") and Animate. Few Japanese Manga and Anime don't contain any animistic connotation.
Of his middle-school years, Murakami has written that all he remembers is being beaten by his teachers. He didn't like them and they didn't like him because he wouldn't study.
Young Haruki would often hear his parents discussing eighth-century poetry or medieval war takes at the dinner table. Haruki said, “Throughout my teens I became hate ‘Japanese literature’ and ‘teachers’.”
In his novels and essays, Murakami expressed his deep emotional attachment to the sea that was close to him throughout his adolescence years.
Enryakuji, the temple complex of Tendai became a sprawling center of power, attended not only by ascetic monks, but also by brigades warrior monks who fought in the temple's interest.
The official policy of separation of Shintō and Buddhism caused great damage to Buddhism in Japan.