The Truth about Modern Isekai

[00:00] isakai this term is likely to send a

[00:03] chill down your spine a genre that has

[00:05] become synonymous with creepy dudes who

[00:07] have questionable ideas of women and

[00:10] just so happen to get all of the power

[00:11] in the world handed down to them the

[00:13] reputation for it is basically in the

[00:15] mud and if you ever try to recommend

[00:16] someone a series that you are genuinely

[00:18] interested in but have to mutter this

[00:20] filthy filthy word you instantly lose

[00:23] but why did it end up like this how did

[00:26] we end up in a state where isakai is so

[00:27] universally looked down upon how did

[00:29] isakai become the country music of anime

[00:31] isakai is not necessarily a unique idea

[00:35] somewhere that isn't here literally

[00:37] meaning another world it really just

[00:39] centers itself around the concept of

[00:40] taking someone from a world generally

[00:42] our world or in isakai's case almost

[00:44] always Japan because for some reason

[00:46] other worlds just love it there and

[00:48] plopping them into an unfamiliar space

[00:50] generally Transportation can happen for

[00:52] a lot of reasons it can just sort of

[00:54] happen or you could be summoned by

[00:55] someone or truck

[00:58] what immediately sticks out about isakai

[01:00] as a genre and a plot device is the ease

[01:02] of being able to Exposition dub about

[01:04] the world you have created and it's a

[01:06] smart idea too you're presented with so

[01:08] many interesting options to be able to

[01:09] portray old social Customs or even new

[01:12] social Customs that can have thematic

[01:13] ties to the lens of the modern eye

[01:15] you're given the opportunity to

[01:16] juxtapose the new with the old or

[01:18] capable of diving so deep into character

[01:20] flaws due to a fish out of water

[01:21] scenario but instead um I'm really

[01:25] powerful and all these women want to

[01:26] [ __ ] me oh also uh slavery is cool I

[01:29] guess I don't know how that one happened

[01:31] I'm not going to say that there are no

[01:32] good isekai because I mean Jesus Christ

[01:34] look at my channel my top one is an

[01:36] isakai but there is a reason why it

[01:38] pushes so many people away generally

[01:40] isakai can start in a few ways as

[01:42] mentioned earlier sometimes you can just

[01:43] blink and be in a new world sometimes

[01:45] there is a specific inciting incident

[01:47] for being isakaida and sometimes you can

[01:49] get killed and wake up in this new world

[01:50] a lot of isakai will then proceed to

[01:52] immediately inform the main character

[01:54] and by extension the viewer about the

[01:55] world or Power Systems at large

[01:57] frequently giving them some form of

[01:59] natural talent that puts them A Cut

[02:00] Above the Rest shortly after you will

[02:02] see the woman that the main character

[02:03] will lust after no matter how much of a

[02:05] [ __ ] or loser he is and that generally

[02:07] forms the foundation of what we know as

[02:09] isakai these days a little reductive but

[02:11] you get the point a lot of people

[02:12] falsely attribute isakai to being

[02:14] basically born not that long ago but

[02:16] it's been a thing for quite some time

[02:18] and it's not even inherent to Japan they

[02:20] just make a lot of use out of it Narnia

[02:22] is a [ __ ] isakai that came out in the

[02:24] 50s but modern isakong as we know it

[02:26] started to prop up in the mid-1970s and

[02:28] 1980s with series like Warrior from

[02:30] another world

[02:32] reflecting on the current state of

[02:34] isakai really made me wonder how did we

[02:36] get here and you know obviously that's

[02:38] why we're here at this video generally

[02:40] if you want to discover a shift in Media

[02:42] or our relationship with art you can

[02:44] look at the times that they were

[02:45] produced in and pinpoint some form of

[02:47] cultural shift or societal crisis the

[02:49] time period that these aforementioned

[02:51] isakai would begin is also a period that

[02:53] anime and manga would explode at the

[02:55] same time Japan was experiencing an

[02:58] insane economic Miracle as they called

[03:00] it propped up by American imperialism

[03:02] post-war Japan slowly and slowly grew

[03:05] economically stronger becoming the

[03:06] world's second largest economy naturally

[03:09] as we all know if the economy is doing

[03:11] good then everything must be oh [ __ ]

[03:13] that is a lot of pissed off women as the

[03:15] GDP grew and as the anime and manga

[03:17] industry took off the women's Liberation

[03:19] movement began to fight for not just

[03:21] their freedom but to be liberated from

[03:22] their sex and to regain bodily autonomy

[03:24] over a very and I mean very conservative

[03:27] viewpoint on femininity it's a topic

[03:29] that I'm sure many of you are already

[03:30] familiar with female characters in any

[03:32] manga are often depicted as

[03:33] hypersexualized to appeal to the gays of

[03:36] men I don't think it's an inherent

[03:37] problem to have a character that people

[03:39] will find hot the problem is the

[03:40] perpetuation of the idea that men hold

[03:42] power over women and that women should

[03:44] have remain submissive shown in battle

[03:46] manga probably one of the biggest types

[03:47] of manga in the world has a lot of

[03:49] female character representation that has

[03:51] them relegated to side character status

[03:53] that mostly serves as a love interest

[03:54] being treated as objects to look at

[03:56] rather than human beings what makes

[03:58] matters worse is that this negative

[03:59] perception of women still affects female

[04:01] characters to this day making actually

[04:03] good characters be looked down upon for

[04:05] doing anything that the audience largely

[04:07] perceives as feminine things have really

[04:08] only marginally improved The Liberation

[04:10] movement of the 20th century was

[04:12] critical of the family systems of the

[04:14] time and mitsutanaka a Japanese feminist

[04:16] activist would publish a book called

[04:18] Liberation from the toilet using the

[04:20] word toilet because in 1970s and 80s

[04:22] Japan women could be described as quote

[04:25] little more than repositories of men's

[04:27] bodily fluids being degraded as merely a

[04:30] convenience for men even as far back as

[04:32] the Middle Ages of Japan creation myths

[04:34] would state that a woman was not up to

[04:36] making the decision to have sex and only

[04:37] serve the purpose of procreation while

[04:39] men were present to rule for this time

[04:41] period of the 80s is also sort of around

[04:43] the beginning of Japan's drop in birth

[04:44] rates as more women got involved in

[04:46] four-year colleges with participation

[04:48] spiking in the late 1980s the employment

[04:50] rate of women was also increasing

[04:51] hitting around 45 percent around the

[04:53] 1970s Japan's marriage rate was dropping

[04:56] Like a Rock which is something

[04:57] attributed to the Persistence of

[04:58] traditional domestic gender rules which

[05:00] would put a heavy burden on women Now

[05:02] what is my overall point here well a

[05:05] genre known for its appeal to male power

[05:07] fantasies and making women out to be

[05:09] helpless trophies that flock to a man

[05:11] for his traditional masculine traits

[05:13] gaining steam during the height of a

[05:15] women's Liberation movement in Japan

[05:16] doesn't seem like a stretch I mean even

[05:19] in modern day we have a former prime

[05:21] minister yoshihiramori talking

[05:23] negatively about gender diversity

[05:24] because women talk too much a lot of

[05:27] intellectual dishonest people like to

[05:28] say that trying to find any broader

[05:30] cultural message or meaning of the times

[05:31] in media is silly but you can easily

[05:34] find instances of that in other cultures

[05:35] after 9 11 media was forced to undergo a

[05:38] bit of a self-discovery period movies

[05:40] were pulled and television stations

[05:42] would end up replacing violent content

[05:43] with more family-friendly or uplifting

[05:45] content the non-stop 24 7 commercial

[05:47] free coverage contributed to a sense of

[05:49] estrangement Lynn speigel would argue in

[05:51] their article entertainment Wars

[05:53] television's normal routines would be

[05:55] disordered in shows like The West Wing

[05:57] would preempt its scheduled season

[05:58] premiere to air a quickly drafted

[06:00] episode titled Isaac and Ishmael as a

[06:02] means to teach the audience about the

[06:04] situation in the Middle East novels like

[06:06] the road were directly inspired by 9 11

[06:08] and many other stories that would

[06:09] capture this feeling of Devastation or a

[06:11] heightened sense of unease that would

[06:13] never truly come to an end like stories

[06:15] similar to The Hunger Games and

[06:16] Divergent that would explore the ideas

[06:17] of dystopia because 911 was the end of

[06:20] the so-called American Century as an

[06:22] example of insanely popular Japanese

[06:24] media taking inspiration from real life

[06:26] events look no further than Lucky Dragon

[06:28] 5. a Japanese tuna fishing boat which

[06:31] would be contaminated by the nuclear

[06:32] fallout of the United States as Castle

[06:33] Bravo test at Bikini Atoll in 1945. that

[06:37] same year Godzilla came out a film

[06:40] heavily centered around the nuclear

[06:41] Armageddon from a nation that is all too

[06:43] familiar with the dangers of that people

[06:44] at the time of Godzilla's really piece

[06:46] were said to deeply empathize with

[06:48] Godzilla considering it a victim and

[06:50] thinking that his backstory hearkened

[06:52] back to their own life experiences in

[06:53] World War II now that we have some

[06:55] Foundation here for the correlation

[06:56] between its Joker and how that impacts

[06:59] the media of its time perhaps we can now

[07:01] more clearly see the implication of the

[07:03] times of Japan at the popularization of

[07:05] modern isakai As We Know It And how that

[07:07] he can link to some of the genre's less

[07:09] desirable tropes when it comes to women

[07:11] post-war Japan included a new article in

[07:13] the Constitution called the gender

[07:15] equality clause which was met by

[07:17] significant pushback by the old-timey

[07:19] ideals of deeply embedded family and

[07:21] gender Norms which stem from a desire

[07:23] for male power over women

[07:25] George lakov would write about this deal

[07:27] conservative value quote the strict

[07:29] father is a moral Authority and master

[07:31] of the household dominating both the

[07:33] mother and children and imposing needed

[07:34] discipline contemporary conservative

[07:36] politics turned these Family Values into

[07:38] Political values hierarchical Authority

[07:40] individual discipline military might

[07:42] what we see stemming from Japan's

[07:44] extremely conservative view on women's

[07:46] rights is a reframing of the issue

[07:48] obviously outwardly saying that your

[07:50] desire is to control women but not go

[07:52] over well but reframing it to be about

[07:54] family values is a way for them to fight

[07:56] to protect themselves from the fear of

[07:58] women's Liberation and this deeply

[08:00] entrust value is something that can be

[08:02] seen in ad nauseum in anime and manga in

[08:04] a highly discussed topic when it comes

[08:06] to the portrayal of women in these

[08:07] stories and how more often than not they

[08:08] serve as eye candy for male viewers or

[08:10] serve little purpose in narratives

[08:11] outside of being deeply attached to the

[08:13] male protagonist when this is coupled

[08:15] with the isakai genre something noted

[08:17] for having Bland main characters for a

[08:18] socially awkward meant to self-insert

[08:20] with so they can live vicariously

[08:22] through them to experience power

[08:22] fantasies and with fulfillment harems

[08:24] with women leaving a slime trail behind

[08:26] them to fawn over to the MC it all sort

[08:28] of makes sense doesn't it you might be

[08:30] thinking isn't it a little reductive to

[08:32] attribute the growth and success of an

[08:34] entire genre to a singular thing in

[08:37] history such as women's Liberation and

[08:38] honestly I agree

[08:40] I don't agree that all this is solely

[08:42] tied down to men wanting to control

[08:44] women just that it is a contributing

[08:46] factor a critical piece of analysis I

[08:48] think is missing right here is escapism

[08:50] the tendency to seek or the practice of

[08:53] seeking distraction from what normally

[08:55] has to be endured literature movies

[08:57] television shows music and video games

[08:59] are all forms of artistic media of

[09:02] Escape escapism generally carries a

[09:04] negative connotation as it can lead to

[09:06] people taking it to an extreme and a

[09:08] refusal to connect with the world or

[09:09] take a necessary action Freud would

[09:12] consider some Escapist fantasy a quote

[09:14] necessary element of human life and

[09:16] psychologists have highlighted the role

[09:18] of vicarious distractions and shifting

[09:20] unwanted moods I do want to make it

[09:22] clear that I don't think escapism or

[09:24] Escapist Media or even power fantasies

[09:26] or wage fulfillment are inherently bad

[09:28] things the only time those tropes become

[09:30] bad is when they are used to spread bad

[09:32] ideas further entrenching people into an

[09:34] even worse social State than before

[09:36] if we look further into the

[09:37] circumstances of Japan in the 70s and

[09:39] 80s when modern isakai was said to have

[09:41] started we could sort of see a trend

[09:42] that still follows to this day it was a

[09:45] time near the end of the Cold War and

[09:46] much like the rest of the world the fear

[09:48] of nuclear Armageddon was ever present a

[09:50] series considered the first animated

[09:51] modern isakai or a battle or Dubai is

[09:54] clearly a product of that time a story

[09:56] with heavy anti-war themes that seeks to

[09:58] show the dangers of that constant

[09:59] 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

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[22:38] that's about it though thank you for

[22:39] watching see you