[0:00] isakai this term is likely to send a
[0:03] chill down your spine a genre that has
[0:05] become synonymous with creepy dudes who
[0:07] have questionable ideas of women and
[0:10] just so happen to get all of the power
[0:11] in the world handed down to them the
[0:13] reputation for it is basically in the
[0:15] mud and if you ever try to recommend
[0:16] someone a series that you are genuinely
[0:18] interested in but have to mutter this
[0:20] filthy filthy word you instantly lose
[0:23] but why did it end up like this how did
[0:26] we end up in a state where isakai is so
[0:27] universally looked down upon how did
[0:29] isakai become the country music of anime
[0:31] isakai is not necessarily a unique idea
[0:35] somewhere that isn't here literally
[0:37] meaning another world it really just
[0:39] centers itself around the concept of
[0:40] taking someone from a world generally
[0:42] our world or in isakai's case almost
[0:44] always Japan because for some reason
[0:46] other worlds just love it there and
[0:48] plopping them into an unfamiliar space
[0:50] generally Transportation can happen for
[0:52] a lot of reasons it can just sort of
[0:54] happen or you could be summoned by
[0:55] someone or truck
[0:58] what immediately sticks out about isakai
[1:00] as a genre and a plot device is the ease
[1:02] of being able to Exposition dub about
[1:04] the world you have created and it's a
[1:06] smart idea too you're presented with so
[1:08] many interesting options to be able to
[1:09] portray old social Customs or even new
[1:12] social Customs that can have thematic
[1:13] ties to the lens of the modern eye
[1:15] you're given the opportunity to
[1:16] juxtapose the new with the old or
[1:18] capable of diving so deep into character
[1:20] flaws due to a fish out of water
[1:21] scenario but instead um I'm really
[1:25] powerful and all these women want to
[1:26] [ __ ] me oh also uh slavery is cool I
[1:29] guess I don't know how that one happened
[1:31] I'm not going to say that there are no
[1:32] good isekai because I mean Jesus Christ
[1:34] look at my channel my top one is an
[1:36] isakai but there is a reason why it
[1:38] pushes so many people away generally
[1:40] isakai can start in a few ways as
[1:42] mentioned earlier sometimes you can just
[1:43] blink and be in a new world sometimes
[1:45] there is a specific inciting incident
[1:47] for being isakaida and sometimes you can
[1:49] get killed and wake up in this new world
[1:50] a lot of isakai will then proceed to
[1:52] immediately inform the main character
[1:54] and by extension the viewer about the
[1:55] world or Power Systems at large
[1:57] frequently giving them some form of
[1:59] natural talent that puts them A Cut
[2:00] Above the Rest shortly after you will
[2:02] see the woman that the main character
[2:03] will lust after no matter how much of a
[2:05] [ __ ] or loser he is and that generally
[2:07] forms the foundation of what we know as
[2:09] isakai these days a little reductive but
[2:11] you get the point a lot of people
[2:12] falsely attribute isakai to being
[2:14] basically born not that long ago but
[2:16] it's been a thing for quite some time
[2:18] and it's not even inherent to Japan they
[2:20] just make a lot of use out of it Narnia
[2:22] is a [ __ ] isakai that came out in the
[2:24] 50s but modern isakong as we know it
[2:26] started to prop up in the mid-1970s and
[2:28] 1980s with series like Warrior from
[2:30] another world
[2:32] reflecting on the current state of
[2:34] isakai really made me wonder how did we
[2:36] get here and you know obviously that's
[2:38] why we're here at this video generally
[2:40] if you want to discover a shift in Media
[2:42] or our relationship with art you can
[2:44] look at the times that they were
[2:45] produced in and pinpoint some form of
[2:47] cultural shift or societal crisis the
[2:49] time period that these aforementioned
[2:51] isakai would begin is also a period that
[2:53] anime and manga would explode at the
[2:55] same time Japan was experiencing an
[2:58] insane economic Miracle as they called
[3:00] it propped up by American imperialism
[3:02] post-war Japan slowly and slowly grew
[3:05] economically stronger becoming the
[3:06] world's second largest economy naturally
[3:09] as we all know if the economy is doing
[3:11] good then everything must be oh [ __ ]
[3:13] that is a lot of pissed off women as the
[3:15] GDP grew and as the anime and manga
[3:17] industry took off the women's Liberation
[3:19] movement began to fight for not just
[3:21] their freedom but to be liberated from
[3:22] their sex and to regain bodily autonomy
[3:24] over a very and I mean very conservative
[3:27] viewpoint on femininity it's a topic
[3:29] that I'm sure many of you are already
[3:30] familiar with female characters in any
[3:32] manga are often depicted as
[3:33] hypersexualized to appeal to the gays of
[3:36] men I don't think it's an inherent
[3:37] problem to have a character that people
[3:39] will find hot the problem is the
[3:40] perpetuation of the idea that men hold
[3:42] power over women and that women should
[3:44] have remain submissive shown in battle
[3:46] manga probably one of the biggest types
[3:47] of manga in the world has a lot of
[3:49] female character representation that has
[3:51] them relegated to side character status
[3:53] that mostly serves as a love interest
[3:54] being treated as objects to look at
[3:56] rather than human beings what makes
[3:58] matters worse is that this negative
[3:59] perception of women still affects female
[4:01] characters to this day making actually
[4:03] good characters be looked down upon for
[4:05] doing anything that the audience largely
[4:07] perceives as feminine things have really
[4:08] only marginally improved The Liberation
[4:10] movement of the 20th century was
[4:12] critical of the family systems of the
[4:14] time and mitsutanaka a Japanese feminist
[4:16] activist would publish a book called
[4:18] Liberation from the toilet using the
[4:20] word toilet because in 1970s and 80s
[4:22] Japan women could be described as quote
[4:25] little more than repositories of men's
[4:27] bodily fluids being degraded as merely a
[4:30] convenience for men even as far back as
[4:32] the Middle Ages of Japan creation myths
[4:34] would state that a woman was not up to
[4:36] making the decision to have sex and only
[4:37] serve the purpose of procreation while
[4:39] men were present to rule for this time
[4:41] period of the 80s is also sort of around
[4:43] the beginning of Japan's drop in birth
[4:44] rates as more women got involved in
[4:46] four-year colleges with participation
[4:48] spiking in the late 1980s the employment
[4:50] rate of women was also increasing
[4:51] hitting around 45 percent around the
[4:53] 1970s Japan's marriage rate was dropping
[4:56] Like a Rock which is something
[4:57] attributed to the Persistence of
[4:58] traditional domestic gender rules which
[5:00] would put a heavy burden on women Now
[5:02] what is my overall point here well a
[5:05] genre known for its appeal to male power
[5:07] fantasies and making women out to be
[5:09] helpless trophies that flock to a man
[5:11] for his traditional masculine traits
[5:13] gaining steam during the height of a
[5:15] women's Liberation movement in Japan
[5:16] doesn't seem like a stretch I mean even
[5:19] in modern day we have a former prime
[5:21] minister yoshihiramori talking
[5:23] negatively about gender diversity
[5:24] because women talk too much a lot of
[5:27] intellectual dishonest people like to
[5:28] say that trying to find any broader
[5:30] cultural message or meaning of the times
[5:31] in media is silly but you can easily
[5:34] find instances of that in other cultures
[5:35] after 9 11 media was forced to undergo a
[5:38] bit of a self-discovery period movies
[5:40] were pulled and television stations
[5:42] would end up replacing violent content
[5:43] with more family-friendly or uplifting
[5:45] content the non-stop 24 7 commercial
[5:47] free coverage contributed to a sense of
[5:49] estrangement Lynn speigel would argue in
[5:51] their article entertainment Wars
[5:53] television's normal routines would be
[5:55] disordered in shows like The West Wing
[5:57] would preempt its scheduled season
[5:58] premiere to air a quickly drafted
[6:00] episode titled Isaac and Ishmael as a
[6:02] means to teach the audience about the
[6:04] situation in the Middle East novels like
[6:06] the road were directly inspired by 9 11
[6:08] and many other stories that would
[6:09] capture this feeling of Devastation or a
[6:11] heightened sense of unease that would
[6:13] never truly come to an end like stories
[6:15] similar to The Hunger Games and
[6:16] Divergent that would explore the ideas
[6:17] of dystopia because 911 was the end of
[6:20] the so-called American Century as an
[6:22] example of insanely popular Japanese
[6:24] media taking inspiration from real life
[6:26] events look no further than Lucky Dragon
[6:28] 5. a Japanese tuna fishing boat which
[6:31] would be contaminated by the nuclear
[6:32] fallout of the United States as Castle
[6:33] Bravo test at Bikini Atoll in 1945. that
[6:37] same year Godzilla came out a film
[6:40] heavily centered around the nuclear
[6:41] Armageddon from a nation that is all too
[6:43] familiar with the dangers of that people
[6:44] at the time of Godzilla's really piece
[6:46] were said to deeply empathize with
[6:48] Godzilla considering it a victim and
[6:50] thinking that his backstory hearkened
[6:52] back to their own life experiences in
[6:53] World War II now that we have some
[6:55] Foundation here for the correlation
[6:56] between its Joker and how that impacts
[6:59] the media of its time perhaps we can now
[7:01] more clearly see the implication of the
[7:03] times of Japan at the popularization of
[7:05] modern isakai As We Know It And how that
[7:07] he can link to some of the genre's less
[7:09] desirable tropes when it comes to women
[7:11] post-war Japan included a new article in
[7:13] the Constitution called the gender
[7:15] equality clause which was met by
[7:17] significant pushback by the old-timey
[7:19] ideals of deeply embedded family and
[7:21] gender Norms which stem from a desire
[7:23] for male power over women
[7:25] George lakov would write about this deal
[7:27] conservative value quote the strict
[7:29] father is a moral Authority and master
[7:31] of the household dominating both the
[7:33] mother and children and imposing needed
[7:34] discipline contemporary conservative
[7:36] politics turned these Family Values into
[7:38] Political values hierarchical Authority
[7:40] individual discipline military might
[7:42] what we see stemming from Japan's
[7:44] extremely conservative view on women's
[7:46] rights is a reframing of the issue
[7:48] obviously outwardly saying that your
[7:50] desire is to control women but not go
[7:52] over well but reframing it to be about
[7:54] family values is a way for them to fight
[7:56] to protect themselves from the fear of
[7:58] women's Liberation and this deeply
[8:00] entrust value is something that can be
[8:02] seen in ad nauseum in anime and manga in
[8:04] a highly discussed topic when it comes
[8:06] to the portrayal of women in these
[8:07] stories and how more often than not they
[8:08] serve as eye candy for male viewers or
[8:10] serve little purpose in narratives
[8:11] outside of being deeply attached to the
[8:13] male protagonist when this is coupled
[8:15] with the isakai genre something noted
[8:17] for having Bland main characters for a
[8:18] socially awkward meant to self-insert
[8:20] with so they can live vicariously
[8:22] through them to experience power
[8:22] fantasies and with fulfillment harems
[8:24] with women leaving a slime trail behind
[8:26] them to fawn over to the MC it all sort
[8:28] of makes sense doesn't it you might be
[8:30] thinking isn't it a little reductive to
[8:32] attribute the growth and success of an
[8:34] entire genre to a singular thing in
[8:37] history such as women's Liberation and
[8:38] honestly I agree
[8:40] I don't agree that all this is solely
[8:42] tied down to men wanting to control
[8:44] women just that it is a contributing
[8:46] factor a critical piece of analysis I
[8:48] think is missing right here is escapism
[8:50] the tendency to seek or the practice of
[8:53] seeking distraction from what normally
[8:55] has to be endured literature movies
[8:57] television shows music and video games
[8:59] are all forms of artistic media of
[9:02] Escape escapism generally carries a
[9:04] negative connotation as it can lead to
[9:06] people taking it to an extreme and a
[9:08] refusal to connect with the world or
[9:09] take a necessary action Freud would
[9:12] consider some Escapist fantasy a quote
[9:14] necessary element of human life and
[9:16] psychologists have highlighted the role
[9:18] of vicarious distractions and shifting
[9:20] unwanted moods I do want to make it
[9:22] clear that I don't think escapism or
[9:24] Escapist Media or even power fantasies
[9:26] or wage fulfillment are inherently bad
[9:28] things the only time those tropes become
[9:30] bad is when they are used to spread bad
[9:32] ideas further entrenching people into an
[9:34] even worse social State than before
[9:36] if we look further into the
[9:37] circumstances of Japan in the 70s and
[9:39] 80s when modern isakai was said to have
[9:41] started we could sort of see a trend
[9:42] that still follows to this day it was a
[9:45] time near the end of the Cold War and
[9:46] much like the rest of the world the fear
[9:48] of nuclear Armageddon was ever present a
[9:50] series considered the first animated
[9:51] modern isakai or a battle or Dubai is
[9:54] clearly a product of that time a story
[9:56] with heavy anti-war themes that seeks to
[9:58] show the dangers of that constant
[9:59] pursuit of power as the Cold War raged
[10:02] on working conditions in Japan were some
[10:04] of the worst in the developed world this
[10:06] chart shows that Japan has some of the
[10:08] most outrageous working hours at the
[10:10] time and in a nation like Japan if you
[10:12] request overtime or other legitimate
[10:14] compensation you would be taken to court
[10:16] a study done in 2023 showed that in 2022
[10:19] respondents worked 22 hours of overtime
[10:22] on average per month in 1988 the labor
[10:25] force survey reported that almost
[10:26] one-fourth of the male working employees
[10:28] worked over 60 hours per week and this
[10:31] new epidemic of post-war Japan is
[10:33] attributed to the nation's economic
[10:34] prominence after the devastation of the
[10:36] war
[10:37] Oshi Karoshi is a term specifically
[10:40] created to refer to overwork death the
[10:42] most common causes of Karoshi death are
[10:44] heart attacks and strokes to distress
[10:46] and malnourishment not long after this
[10:48] in the 90s Japan's economic bubble from
[10:50] the post-war success would burst
[10:52] by 1994 there was long-term economic
[10:55] stagnation ushering in what would be
[10:57] called The Lost decade starting off
[10:59] Generation X with a recession that had
[11:01] not been seen since the post-war period
[11:03] this employment Ice Age still shows
[11:05] effects of the state with violent crimes
[11:07] linked to difficulty finding full-time
[11:08] jobs
[11:09] so let's take a step back once again and
[11:12] take a look at the full picture here
[11:13] isakai became largely popular during a
[11:16] time where working conditions were at
[11:18] some of their lowest with excruciatingly
[11:19] long work hours and extreme sometimes
[11:21] unpaid overtime coupled with young men
[11:24] not feeling like they have the free time
[11:25] to form meaningful bonds especially
[11:27] during the height of women's Liberation
[11:28] and the hyper-conservative masculine
[11:30] ideal of family values Came Crashing
[11:32] Down in a world with birth rates
[11:34] plummeting due to the affirmative issues
[11:35] that always felt like it was seconds
[11:37] from ending during the Cold War is it
[11:38] really a mystery as to why so many
[11:40] people flock to Escapist material like
[11:42] isakai somewhere that wasn't here isakai
[11:45] would continue to grow dramatically in
[11:46] the 21st century and the 2010s would
[11:49] Mark what seemed like an Unstoppable
[11:50] isakai boom you wanted something new and
[11:52] refreshing boom man turned Pig isakai
[11:55] you were hoping this season of anime
[11:57] would have a good female cast boom
[11:58] you're a [ __ ] sortie Sakai you've
[12:00] expected something of substance boom
[12:02] vending machine isakai the genre got so
[12:04] unbelievably massive that multiple story
[12:06] writing competitions including bangaku
[12:08] free market and Kata cover themselves
[12:10] would ban isakai from their contests it
[12:13] might as well have become synonymous
[12:14] with anime itself about a decade ago
[12:16] absolute Titans like a sword art online
[12:18] Tanya the evil Museum tensei Bookworm
[12:21] konosuba all of these started around the
[12:23] same general time and as we established
[12:25] earlier a massive Trend suddenly taking
[12:27] off is usually indicative of something
[12:29] what would we find if we examine the
[12:32] political landscape of Japan in the late
[12:33] 2000s and early 2010s Japan's prime
[12:35] minister from 2001 to 2006 uh junichiro
[12:38] koizumi was the president of the liberal
[12:40] Democratic party and has become known as
[12:42] a neoliberal economic reformer utilizing
[12:45] a document called the basic policies for
[12:46] economic and fiscal management and
[12:48] reform junichiro wanted to help Breathe
[12:50] new life into the Japanese economy after
[12:52] the bubble burst of the 90s he pushed
[12:54] his party towards neoliberalism putting
[12:56] the nation on the path more Akin towards
[12:57] the United States fighting for
[12:59] privatization of the postal system
[13:00] attempts to privatize public Highway
[13:02] companies cut subsidies to Agriculture
[13:04] and a desire to perform the pension and
[13:06] health system a natural libertarian
[13:08] fashion the stock markets were surging
[13:10] and as we established earlier if the
[13:12] economy is doing well then surely
[13:13] everyone must be happy that wealth as
[13:15] always concentrated at the top
[13:17] unemployment would slowly decrease
[13:19] before having a major spike in the 2010s
[13:21] and wages would remain largely stagnant
[13:23] to make matters worse the wage gap
[13:25] between men and women is substantial as
[13:28] income inequality grew and more and more
[13:30] Japanese people were feeling
[13:31] disenfranchised in a post-coizumi
[13:33] neoliberal Japan young people like
[13:34] Makoto Miyazaki would state that he
[13:36] feels like forces outside of his control
[13:38] are going to dictate his future Millions
[13:39] had given up on the goal of Lifetime
[13:41] employment a cause up to Japan where
[13:43] graduates would find work and be
[13:45] basically guaranteed a place to stay
[13:46] until retirement instead people had
[13:48] become quote freezers with most people
[13:51] who find work only finding temporary or
[13:53] part-time work making up a third of the
[13:55] workforce up from the 16 it was in the
[13:59] mid-1980s in 2013 the health and Global
[14:02] policy Institute found that the number
[14:03] one motive for committing was health and
[14:06] the second were Financial issues after
[14:09] the bubble burst in the 90s a sharp
[14:11] increase inside was reported and would
[14:13] stay almost consistently higher in the
[14:14] 2010s in 2008 4 850 young adults in
[14:18] their 30s committed in Japan
[14:21] the highest since they started keeping
[14:23] numbers in 1978. in addition a major
[14:25] reason for Sight among those in their
[14:27] 20s is failure to find a job and the
[14:29] number of slides linked to that continue
[14:30] to increase since 2007. additionally an
[14:33] aspect of Japanese society which could
[14:35] be associated with increases is that of
[14:38] social isolation this figure shows the
[14:40] degree of contact individuals have with
[14:42] friends colleagues or others and social
[14:44] groups among oecd countries it indicates
[14:47] that Japan is the most socially isolated
[14:48] country as economic disenfranchisements
[14:51] sweep the nation and as the social ties
[14:52] of the average Japanese person slowly
[14:54] dwindled some people were left to just
[14:56] consume they would consume Slice of Life
[14:58] anime something that grew in popularity
[15:00] in the early 2000s being used to Splash
[15:03] color in someone's everyday life not
[15:04] just that but gaming became a large
[15:07] method of escapism from Dragon Quest 2
[15:09] Final Fantasy these games introduced a
[15:11] type of Western culture that the youth
[15:13] were unfamiliar with a feeling of
[15:15] somewhere that isn't here further
[15:17] establishing the trend of medieval
[15:18] European or fantasy backdrops that would
[15:20] continue on in the the anime era after
[15:22] the debut of portable games like Pokemon
[15:24] and games which would become reliant on
[15:26] domestic communication environments like
[15:27] Monster Hunter these two games would
[15:29] allow you to cooperate or play with
[15:30] other players gamifying the
[15:31] relationships of players okay so we can
[15:35] pin down the 2010s being a time of
[15:36] economic disenfranchisement a period of
[15:39] solitude for Japanese people with Rising
[15:41] unemployment wage stagnation and with
[15:43] new methods of escaping their
[15:44] circumstances into cultures that these
[15:45] people might have been unfamiliar with
[15:47] all the while diving deeper into
[15:48] Augmented Reality by gamifying their
[15:50] real-life relationships that could be
[15:52] the reason as to why there was a huge
[15:53] isakai explosion in the 2010s but just
[15:56] like last time doesn't it feel like
[15:58] something is missing
[16:00] and officials are checking for safety
[16:03] and this is a look once again at
[16:05] kamaishi city and iwate prefecture and
[16:08] it looks like a tsunami has been
[16:10] engulfing
[16:12] engulfing the port
[16:24] for tonight nuclear officials there a
[16:26] warning of a possible nuclear reactor
[16:29] meltdown they have been watching three
[16:31] facilities near the epicenter with
[16:33] concern all day and at one of them fuel
[16:35] rods are now exposed and if they stay
[16:37] that way they could release
[16:39] radioactivity and a disaster of unknown
[16:42] proportions the effort to sort through
[16:44] the massive disaster areas in Northern
[16:46] Japan is just beginning and take a look
[16:48] at this after the earthquake that
[16:49] ravaged a pan in its nuclear reactor in
[16:51] March 2011 Tokyo Deputy Governor Ino SE
[16:54] naoki stated that the everydayness that
[16:56] kept Japan's Society afloat had come to
[16:58] an end several weeks after the
[17:00] earthquake it had become known that this
[17:02] was a long-term problem
[17:03] this was an overwhelming Society
[17:05] rattling event and while what most would
[17:07] consider that every danus would return
[17:08] something would be fundamentally missing
[17:11] the future of that nuclear power plant
[17:13] would be something that would
[17:14] intermingle with their sense of the
[17:15] everyday as people desperately sought
[17:17] for somewhere that isn't here technology
[17:19] the internet would expand the here what
[17:22] the nuclear disaster led to was not the
[17:25] end of the everyday but a mingling of
[17:27] the everyday and the extraordinary a
[17:29] shift can be seen in anime and manga
[17:31] post Fukushima like this feeling of
[17:33] constant disaster and the determination
[17:34] to continue regardless of adversity
[17:36] steinsgate a race that attack on Titan
[17:38] would all have their cast see success in
[17:40] the face of that adversity what it is
[17:42] equating in terms of otaku culture is
[17:43] that anything that can happen will
[17:45] happen and the Specter of nuclear
[17:47] Annihilation is no longer off the table
[17:49] Fukushima and nuclear energy is
[17:51] something that they had felt that they
[17:52] were in control of Japan is a series of
[17:54] small islands that are constantly under
[17:56] the threat of multiple types of natural
[17:57] disasters and as murakami Haruki a famed
[18:00] Japanese novelist put it quote to be
[18:02] Japanese means in a certain sense to
[18:04] live alongside a variety of natural
[18:05] catastrophes the concept of disaster has
[18:08] been seared deeply into the Japanese
[18:09] spirit this was something however that
[18:12] was under the control of the Japanese
[18:13] people or so they thought a series of
[18:16] failures led to the Meltdown of that
[18:17] nuclear facility after the earthquake
[18:19] and subsequent tsunami and it shook the
[18:21] entire nation
[18:22] four years after the disaster 32 million
[18:25] people in Japan were still said to be
[18:27] affected by the disaster and when people
[18:29] lose control they look to other sources
[18:31] of Happiness a desire to delve further
[18:33] into augmented reality after a
[18:35] nation-changing event a desire to escape
[18:37] economic hardship that only grows worse
[18:39] I wish to fulfill for people who have no
[18:41] time to form bonds of relationships
[18:43] people turn to the most Escapist who
[18:45] wish fulfilling genre that exists it
[18:47] appeals to a desire to become someone
[18:48] else to redo the life that they feel has
[18:51] already gone down the drain of nuclear
[18:52] Annihilation or Perpetual unfulfilling
[18:55] employment
[18:56] the feelings of augmented reality using
[18:59] many tropes or aspects of video games
[19:01] one would expect to help escape from the
[19:03] harsh cruelty of reality a paper that
[19:04] was massively influential to this video
[19:06] written by Uno tsuna hero would go on to
[19:09] equate it to murakami haruki's exception
[19:11] speech for the Jerusalem prize in 2009
[19:13] in which he employed an analogy between
[19:15] a negative War where there a high stiff
[19:17] wall and an egg to crash against it and
[19:19] break it I would stand on the side of
[19:21] the egg he says no matter how correct
[19:23] the ball is or how wrong the egg is I
[19:25] will stand on the side of the egg can
[19:27] others determine what is right and what
[19:28] is wrong perhaps this extends to time or
[19:30] history we cannot allow the system to
[19:33] turn us into feed the system has not
[19:35] created us we have created the system
[19:38] the wall is the structure of the world
[19:40] and the eggs are the individuals while
[19:42] this thing the reactors the wall is a
[19:45] thing of our own creation it is also
[19:47] something that is increasingly out of
[19:49] our hands and beyond our ability to
[19:50] control the atomic bomb dropped at the
[19:52] climax of World War II represents an old
[19:54] Ball by contrast Fukushima symbolizes
[19:57] the death of an old and the birth of a
[19:59] new wall what murakami had done was
[20:01] write a multitude of stories about
[20:03] disaster and even earthquakes and what
[20:05] writers or creators try to do is give
[20:06] form to the people and structure of this
[20:08] world the Fukushima power plant has
[20:10] surfaced the reactor has overtaken the
[20:12] abstract power portrayed through
[20:14] fictional works and is gaining
[20:16] increasingly concrete form born not
[20:18] outside but inside of our world a sense
[20:20] of wonderment at a leviathan apparatus
[20:22] run wild has thrust itself onto the
[20:24] people the reactors are something which
[20:26] they have created and that which can
[20:28] kill them beyond control impersonal
[20:30] without narrative a wall for the people
[20:32] present before their eyes the earthquake
[20:35] has brought about a visualization of the
[20:37] new structure of the world tsuna hero
[20:39] further argues we can describe the
[20:41] everyday atmosphere type as the
[20:43] incontrovertible death of the wall in
[20:44] the egg the system and Humanity removing
[20:47] a close observation of minimal
[20:49] interpersonal relations the everyday is
[20:51] a Timeless performance immersed in
[20:52] portrayals of school life resulting an
[20:55] imaginary that eliminates the wall and
[20:57] preserves only its relationship with the
[20:59] eggs what the earthquake did was reveal
[21:01] the imaginations of the 2010s the
[21:03] relationship between the wall and the
[21:04] Egg isakai believe it or not this video
[21:06] is still about that is a genre that is a
[21:08] fairly laid back examination that Taps
[21:10] into shared experiences the exit suit a
[21:12] hero's analogy all come together in this
[21:14] genre to bond over the tiredness of life
[21:16] to bond over social economic or
[21:18] interpersonal hardship just like how
[21:20] augmented reality brought people into a
[21:22] different place and how portable gaming
[21:24] systems would bring those people
[21:25] together to communicate with each other
[21:27] and work together isakai would bridge
[21:29] the gap between the two creating a new
[21:31] reality in which people who can deeply
[21:33] relate to each other could experience an
[21:34] Escapist with fulfilling structure so
[21:37] how did isakai into the state is
[21:39] currently in where most people scoff at
[21:41] hearing its involvement in a series
[21:43] after working a 600 hour shift making
[21:45] piss poor money and fearing a nuclear
[21:47] meltdown maybe it would be appealing to
[21:49] sit down and watch a guy you could
[21:50] easily self-insert into become the
[21:52] strongest dude in the universe to get
[21:54] all the hot anime women you can think of
[21:56] in just win
[21:57] maybe they just want to feel like
[21:58] they've won for once and the only way
[22:00] they can think to do that is to be
[22:02] somewhere that isn't here
[22:04] it might not be everyone's cup of tea
[22:05] and that doesn't absolve it of any
[22:07] terrible takes on social issues that it
[22:09] might have but that is a good place to
[22:12] start when you wonder how we got here
[22:15] thank you so much for watching if you
[22:17] like this video please remember to like
[22:18] comment and subscribe for the funny
[22:19] YouTube algorithm you can check the
[22:20] description down below to follow me on
[22:22] Twitter where I'm objectively correct
[22:23] all the time uh you can also join my
[22:24] Discord we'll be talking about my hero
[22:26] Academia and stuff like that and you can
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[22:38] that's about it though thank you for
[22:39] watching see you