Ask John: Why do the Japanese Seem to Love Destroying Tokyo so Much?

Question:
Why do the Japanese seem to love destroying Tokyo so much?

Answer:
The idea that the literary trope of the destruction of Tokyo is a constant reminder of the World War II atomic bombings may be an instinctual explanation. This theory may be reinforced by the fact that it’s often Godzilla, the physical manifestation of atomic power, that brings destruction to Tokyo. Looking farther back for explanation, one could cite the great Edo fire of 1657 that destroyed much of the city now known as Tokyo, killing 100,000 residents. But, in fact, the roots of the imagery of destruction and recreation in Japanese consciousness date back much farther than the mid-twentieth century or even the 17th century. The destruction and recreation of Tokyo often depicted in anime is a modern illustration of the ancient Buddhist concept of “Samsara,” known in Japanese as “Shouji” (or “Seishi”).

“Seishi” is the spiritual belief in a repeating cycle of life, death, and rebirth. Westerners will be most familiar with the concept as “karmic reincarnation.” All living things must suffer while alive, and strive to attain peace and compatibility with all life. After death, one will be reborn as a higher or lower being depending on the morality of one’s previous life. The cycle of life, death, and rebirth continues until one finally achieves enlightenment and breaks free of the cycle into divinity.

Note that especially in anime, the destruction of Tokyo is often followed by a reconstruction or rebirth. Tokyo is destroyed then replaced by Neo-Tokyo in Akira. Likewise, in Evangelion Tokyo is reborn as Tokyo-3. The Urotsukidoji anime establishes a mythology of cyclical destruction every 3,000 years, but the destruction and chaos caused by the appearance of the chojin brings balance and recreation to the human and demon realms. The concept is expanded beyond a single city or country in anime like Megazone 23 and Freedom in which the earth itself is destroyed only to recover in time.

This concept of destruction and recreation seems to be a particularly Eastern – Indian and Asian – belief. Western fiction frequently depicts apocalypse, but rarely follows the destruction with recreation. Film examples such as Mad Max, Children of Men, 28 Days/Weeks Later, I Am Legend, A Boy & His Dog, Lucio Fulci’s Zombie, At the Mouth of Madness, and countless other American and European films depict an end of the world as an ultimate climax, with little or no hope of regeneration. In Western cinema, apocalyptic destruction is rarely depicted as just one stage in an ongoing repeating cycle of natural death and life.

The illustration of the karmic cycle of death and rebirth occuring on a massive scale in Japanese cinema may be a reflection of the Japanese philosophy of collective good and social hegemony. Rather than depict the karmic cycle of death and rebirth in the body of a single individual, the event is often depicted in anime as striking Tokyo, the capital city. Tokyo represents the nation of Japan and its people. Destroying then recreating Tokyo is the most efficient method of applying the Buddhist concept to all Japanese people. If the depiction concentrates on a single character, the symbolic resonance of the image may lose some of its iconic relevance and impact. If a city other than Tokyo is destroyed, likewise, viewers may not feel the personal sense of mixed despair and hope that the artists wish to evoke. Imposing destruction upon Tokyo creates a sense of physical and spiritual transience applicable to all Japanese residents, encouraging a sense of hopefulness for a new, fresh future.

The destruction of Tokyo, of course, allows for epic and sensational cinematic visuals and settings. But the event is such an often repeated occurance, the image of the destruction so iconic, that I think it has to be more significant than mere coincidence or artistic influence. The idea of death being merely one event in a long cycle of repeated life and death is a fundimental Asian theology. The concept has, probably subconsciously, integrated itself into the symbolism of modern Japanese anime and science-fiction.