Oh No, There Goes Tokyo looks into the Japanese obsession with the fictional destruction of their own cities in various mediums such as films, anime or manga. According to the author, a lot of this stems from post-war anxiety of an imminent bombing. The events in Hiroshima and Nagasaki towards the end of the war have had such an impact on Japan’s subconscious, leading many creatives to infuse personal trauma into their work. Thus, the art produced could be interpreted as both a reminder for the old and an optimistic view towards the future for the young.
The theme of optimism could be seen through the ways in which the medium resolves the plot with the protagonists, alongside the nation, defeating the monster. It produced an idea of a unified Japan. From the aftermath of the destruction, citizens come together to rebuild what they have lost. The imagery of a destroyed Tokyo conjures memories ingrained in Japanese culture since the second world war. Therefore, it would seem that this idea of the unification of the Japanese collective could be an effort to prevent a disaster of such scale from repeating and to defend from large scale attacks.
Television series such as Ultraman have further emphasised the notion of a unified and victorious Japan. As put, the city is rebuilt or reset back to normal instantly every week symbolising Japan’s resilience when faced with adversity. It exaggerates the ability of the nation to rebuild through the rapid developments shown.
Tan Yu Hahn, 3036181769