The Japanese are very proud of their nation, and this fact is seen on nearly ever level of society. The way that anime and manga characters behave is no different. In Japanese, nationalism of the Japanese people is often called Kokka Shugi. While this may sound complicated, it means little more than being proud of the fact that one is Japanese. Generally, Japanese nationalism over all can be divided into two categories.
Nihonjinron is the cultural and ethnic identity of the Japanese people. Psychology, history, philosophy, religion, language, scientific and sociological study are all seen as part of the over arching concept of Nihonjinron. Academic topics and whatever one would write about or study in school is considered Nihonjinron. If a scientific concept was first discovered by a Japanese scholar, than it’s something to be proud of. Classical philosophy and history are also great things for the Japanese to be proud of.
Far less easily categorized is that nationalism that is sponsored by Japanese state entities. Japan is a monarchy, headed by an Imperial Throne, and therefore the Imperial symbol is seen as an overarching point by which actions of the Japanese people and government are guided.
Nihonjinron is often divided into five categories. Shinfudoron regards the effects of climate and the surrounding environment on individuals. Nihonbunkaron involves the study of Japanese culture itself. The Japanese ideologically divide culture and society, and thus nihonshakairon deals with society. Nihonron involves pride and theory of the Japanese people themselves. Finally, economic theory is studied in the nationalist nihonkeizairon discipline.
Many anime and manga series can be seen as extensions of Nihonjinron studies themselves. In many ways, a series like Death Note comments on the way in which the Japanese people have conflicting views of justice. As a nation that has long had a strong theological backbone from Buddhist and Shinto teachings, the view of justice has traditionally been quite strong handed in Japan. Therefore, the conflicting principles of Light and L may be seen as a constant struggle between the modern Japan and the nation’s roots in a long history in which authority and power have been the symbols of justice.
State sponsored nationalism has been a controversial concept in much of Japanese history. Feudalism under the Tokugawa Shogunate was the order of the day for centuries. In the nineteenth century, however, the Meiji Emperor radically re-envisioned the country as a state under a stronger Imperial order. The Shiragiku, or white chrysanthemum, came to be even more greatly seen as a symbol of a throne that has been in continual existence since 660 BC. The Hinomaru, or Rising Sun, is also a very lasting symbol of the Japanese state.
His Imperial Majesty, Akihito, is the current Japanese head of state. However, due to respect, the Japanese Emperor’s personal name is seldom spoken and instead an honorific is given to each Emperor. On their death, the Emperor assumes this name fully. Hence, the Heisei Emperor is more correct, however His Imperial Majesty is a far more common moniker.
In no other series does this form of nationalism come to fruition more than in Code Geass: Lelouch of the Rebellion. Code Geass tells the story of an unspeakable timeline where Japan is conquered by foreign invaders. As a nation that has never experienced long-term colonization in the manner that say a nation like India has, this sort of idea is totally horrendous. In one memorable moment as Zero, Lelouch lectures a crowd on what it means to be Japanese. His words embody the collective voices of many as Japan continues to grapple with what a national identity is in an ever-shrinking international community.
In Japan, anything that this not Japanese has historically been called Gaijin. Because of the controversy surrounding such ideas, the term gaikokujin is more commonly used for actual foreign people. However, the idea remains that the Japanese culture must remain untainted. Resident aliens living in Japan are required to carry cards identifying themselves as legally there, and Japanese culture has long stressed strong laws. As well as in Zero’s patriotic rhetoric, one can see this sort of call to respect in both the characters of L and Light.
In Death Note, both L and Light want justice for the world. This is, of course, irrespective of the fact that they so greatly disagree on how that justice should be brought. In each case, though, their methods are staunch and heavy handed. In Japan, it may be argued that each of these conflicting personalities is trying to defend their own honor and protect their land.
They could also been seen as the conflicting ideologies of modern Japanese thought versus classical Japanese thought. Light represents the old order that is bent on honor and defense, while L is a member of a new order that demands a new set of rules based on a combination of both new philosophies and old ones. Even if they are both quite strong, to say the least, in their undertakings, they certainly have different points of view on what justice is.
{ 4 comments… read them below or add one }
This is very insightful. I enjoyed Death Note quite a bit. It’s a well-written mystery thriller. When put into cultural context, however, the story takes on a larger meaning. If I were Japanese, I’m sure that it would have been even more intellectually fulfilling.
Thanks Nick for taking the time to share your thoughts about the Ties that Bind. ;-)
Hello. It’s a very interesting read. Can I have the name of the author of this article? I would like to cite this as one of the references for a paper I’m doing. Thank you!
@Joyce
I am glad you enjoyed the article. It really was a collaboration (and it would be very difficult to give credit to only one person) So I would have to say the author is the AnimeJackpot Team :-D If had to give an author.