The nuclear nature of the bombing caused many curious health effects. Though radiation is considered to be generally harmful, it can be palliative in small doses by ultimately preventing genetic mutation (Luckey 2008) as seen by survivors of the bombing. However, radiation effects on humanity are generally cast negatively – only in this light does the bombing impact Japanese culture. A telling example of the aftermath of radiation comes from Fukushima[1], which endured radiation following the 2011 earthquake that struck Japan. Photographers sought to capture the haunting results while imaging that which is invisible – radiation is not visible to the naked eye (Goldberg 2015)[2]. Beyond its ability to cause mutations[3], radiation represents something truly terrifying yet inspiring; thus its perception extends beyond its understood health effects. Fukushima represents an additional legacy in decades of Japanese thinkers pondering about nuclear effects and about their own existence as human beings living within a society.
In
many ways, this enters the psyche and the culture of the Japanese people. Many
examples can be found but two are especially striking: Akira[4]
(1988) and Elfen Lied[5]
(2004). Without rehashing either too much, one can describe both works as
realizing fears of unspeakable horrors resulting from radiation.
(Realistically, this should just lead to either mild benefits or induce cancer
rather than encourage superhuman abilities.) This fear is in particular
subscribed to a human that has amassed great power from mutation and bears
apparent ill will towards society. This being is therefore capable of
shattering the society from within and no one would see it coming. Both Akira and Elfen Lied feature such superhumans – in both cases, they wreak
tremendous havoc, causing both confusion and terror.
Radiation
is linked to such superpowers in an approximately two-fold manner:
1. The immense destruction possible by such superhumans is reminiscent of the bombing of Hiroshima and Nagasaki as well as the destruction of the Fukushima nuclear plant;
1. The immense destruction possible by such superhumans is reminiscent of the bombing of Hiroshima and Nagasaki as well as the destruction of the Fukushima nuclear plant;
2.
These superhumans also represent a fear that the ensuing radiation could cause
humanity to transform for the worse and tear apart the fabric of society.
Though
(1) is rather obvious, (2) is not. Radiation in large doses causes genetic
mutation, leading to changes in humanity (in theory). The accumulation of
mutations leads to transformation – in this case, the superhumans attain their
powers due to heavy doses of radiation, representing the most terrifying
potential outcome of the nuclear effects. Even if they are not realistic.
Most
importantly, Akira and Elfen Lied show humans – and therefore
are not supernatural forces[6] – as both
being born of society and being the aggressor of society. The humanity of the
perpetrators is crucial: otherwise they would simply act to undo society at no
true fault of society. In this case, however, humans raised within this society
– defined loosely – act to destroy it. Humans are expected to uphold
civilization but this expectation is brutally shattered. Writing off their
humanity is partially performed: they look similar enough but do not perform as
humans, prompting shock and discomfort.
A
scene exists in common between both works: a resisting human is torn apart by a
superhuman, spraying the surrounding area with blood as the corpse continues to
drip. This scene signified a human violently rending another in half and not
being upset by the violence or the blood of another human. This represents a
human becoming so detached that they can destroy humanity and its society, a
grave threat. The ease of this violence testifies to the strength of their
powers capable of upsetting civilization itself. This story present in Akira and Elfen Lied reflects the potential that prompts the greatest
apprehension. Compared to such events, the
sarin gas attack in 1995 is not deserving of worry. If that is the case, then
any human – even one who seems innocent and harmless – could be potentially
capable of ending civilization. There would be no one strong enough to fight
superhumans unless that person shared a similar assembly of mutations. However,
should that person also defect, then even worse destruction could be achieved.
From
here, the show From the New World[7]
can be discussed in light of this discussion on mass murder and the emergence of
superhumans. In particular, the aforementioned character from the show will be
analyzed as an element of modern Japanese culture and in terms of mass murder
as a whole.
References
Goldberg, Vicki. "Review: Japanese Photographers Reflect on Fukushima Catastrophe." The New York Times. 19 Jun 2015. Print. Luckey, T.D. "Atomic Bomb Health Benefits." Dose Response 6 (2008):369-382. Print.
Akira. Perf. Mitsuo Iwata. 1988. Anime.
Elfen Lied. Perf. Sanae Kobayashi. Arms, 2004. Anim
[1] Fukushima, a city in
Northeastern Japan, was the site of a nuclear plant that was breached due to
the earthquake and ensuing tsunami that struck Japan in 2011.
[2] This slideshow can be accessed
at this link: http://www.nytimes.com/2015/06/20/arts/design/review-japanese-photographers-reflect-on-the-fukushima-catastrophe.html#.
[3] Radiation causes mutations
directly by interfering with the ability for DNA to replicate properly. Generally,
these mutations lead to a loss-of-function effect in the resulting protein –
generally, radiation-induced mutation has a minimal chance of causing any
mutation that enhances the afflicted person’s abilities.
[4] Considered an influential anime
movie.
[5] A science fiction anime known
for excessive violence,
[6] Here supernatural is defined to
exclude humanity: in such a story, a force of nature is distorted into being an
evil that must be dealt with.
[7] Shinsekai Yori in Japanese. A
show that aired from Sept 2012 to Mar 2013 (after the Fukushima disaster).
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This piece is split into three parts and this is part two. 
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