Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime (review)

2008 ◽  
Vol 49 (4) ◽  
pp. 1087-1089
Author(s):  
Fred Nadis
2018 ◽  
pp. 95-106
Author(s):  
Tatsumi Takayuki

This chapter explores major works of Sakyo Komatsu, one of the Founding Fathers of contemporary Japanese science fiction, with special emphasis on his 1964 novel The Day of Resurrection, along with Fukasaku Kinji's 1980 film adaptation Virus. While his first novel, The Japanese Apache (1964), narrates the way postwar Japanese have reconstructed their identity as cyborgian, this second novel, The Day of Resurrection, dramatizes how full-scale nuclear war is ignited by the possible coincidences between natural disaster and artificial disaster, which we were to witness nearly fifty years after original publication of the novel—in the multiple disasters in eastern Japan on March 11, 2011. The chapter also speculates on the transnational impacts of the novel upon Michael Crichton's The Andromeda Strain (1969) and Junot Díaz’s The Brief Wondrous Life of Oscar Wao (2008).


Author(s):  
Tadashi Nagasawa

American science fiction has been a significant source of ideas and imagination for Japanese creators: they have been producing extensive works of not only written texts but also numerous films, television shows, Japanese comics and cartoons (Manga and Animé), music, and other forms of art and entertainment under its influence. Tracing the history of the import of American science fiction works shows how Japan accepted, consumed, and altered them to create their own mode of science fiction, which now constitutes the core of so-called “Cool-Japan” content. Popular American science fiction emerged from pulp magazines and paperbacks in the early 20th century. In the 1940s, John W. Campbell Jr. and his magazine Astounding Science Fiction had great impact on the genre, propelling its “Golden Age.” In the 1960s, however, American science fiction seemed dated, but the “New Wave” arose in the United Kingdom, which soon affected American writers. With the cyberpunk movement in the 1980s, science fiction became part of postmodernist culture. Japanese science fiction has developed under the influence of American science fiction, especially after WWII. Paperbacks and magazines discarded by American soldiers were handed down to Japanese readers. Many would later become science fiction writers, translators, or editors. Japanese science fiction has mainly followed the line of Golden Age science fiction, which speculates on how science and technology affect the social and human conditions, whereas the New Wave and cyberpunk movements contributed to Japanese postmodernism. Japanese Manga, Animé, and special effects (SFX) television shows and films (Tokusatsu) are also closely related to science fiction and have developed under its influence. Even as works of the Japanese popular culture owe much to American science fiction, they have become popular worldwide.


Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 60 ◽  
Author(s):  
Denis Taillandier

North-American cyberpunk’s recurrent use of high-tech Japan as “the default setting for the future,” has generated a Japonism reframed in technological terms. While the renewed representations of techno-Orientalism have received scholarly attention, little has been said about literary Japanese science fiction. This paper attempts to discuss the transnational construction of Japanese cyberpunk through Masaki Gorō’s Venus City (Vīnasu Shiti, 1992) and Tobi Hirotaka’s Angels of the Forsaken Garden series (Haien no tenshi, 2002–). Elaborating on Tatsumi’s concept of synchronicity, it focuses on the intertextual dynamics that underlie the shaping of those texts to shed light on Japanese cyberpunk’s (dis)connections to techno-Orientalism as well as on the relationships between literary works, virtual worlds and reality.


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