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Japan’s High-Context Expressions, Exported to the World

We now live in a time when meaning is often carried not by words, but by structure and movement itself.

Japanese culture has always been rooted in high-context expression. It doesn’t over-explain. It leaves meaning in the space between lines. It embeds implication in the background.
And now, those forms of expression have transcended national borders. They are being exported to the world not as dialogue, but as symbols—visual conventions that are directly understood. And as they mix with the styles of other cultures, they give rise to new visual grammars.

Among these, certain “idiomatic visual expressions” have become so culturally embedded that I hope we can begin to name and codify them explicitly.

Akira Slide
In the anime AKIRA, there’s a now-iconic scene where Kaneda skids to a stop on his red motorcycle. The friction, the sudden compression of motion—it’s become a visual shorthand.
“Cool motorcycle stop in animation = Akira Slide.”
This has now become a kind of global visual language. Not translated, but exported in form.

Major’s Drop
In Ghost in the Shell, there’s a moment where Major Motoko Kusanagi dives from the top of a skyscraper.
A silent fall. Gravity rendered quietly. The slow pan of the camera.
This visual—half-gravity, half-zero-gravity—has become a staple of cyberpunk film grammar.
The lack of spectacle creates tension.
Even now, decades later, it defines the atmosphere of a certain kind of cinematic world.

Itano Circus
In Macross and other works, Ichirō Itano created an unmistakable animation style involving missile trails.
Missiles move with complex, intertwined trajectories—leaving behind smoke, residual motion, and a kind of three-dimensional choreography.
It has become the visual standard for aerial missile combat.
“Itano Circus” is no longer just a name; it’s become a metaphor for a whole form of kinetic expression.

What these examples have in common is this: the meaning isn’t in words. It’s in movement. In structure. In visual grammar.
It’s not translated—it’s understood, because the memory of the motion itself functions like vocabulary.

This is Japanese high-context culture, not explained, but exported.

I want to keep observing this process—how such expressions become part of the world’s shared visual language.
Because it is both a record of cultural expansion and the birth of a new kind of vocabulary.

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What I Truly Wanted to Say

In Japanese culture, there is a tradition called the jisei, or death poem.
But for us living today, it’s difficult to understand its meaning without explanation.

Haiku is inherently high-context. And when it comes to jisei, you need to understand the poet’s historical background and life context as well. That’s why explanation becomes necessary.

But did the poet really think explanation was needed? Perhaps they believed that, with enough cultural literacy, their words would be understood without saying more.

Not long ago, I had an experience where I realized something I’d been trying to say hadn’t actually gotten through.
It was a concept I thought I’d explained many times, over many years. Then one day, someone said, “I finally understand. Is this what you meant?”
Their understanding was accurate.
But at the same time, I realized that the core premise I thought I had conveyed had never been shared to begin with.

I’d assumed it had already been communicated. That I’d laid the foundation and was building on it. But in fact, the foundation wasn’t even there.

That moment made me pause.
Maybe this wasn’t the only time. Maybe many other things I’ve said over the years haven’t truly been heard.
Maybe I’ve just been assuming I was being understood, when in reality, nothing had reached the listener.

The way I communicated was likely at fault.
If the result wasn’t there, the responsibility lies with the one speaking.

But I also wondered—was there really a need to say it in the first place?
Maybe I’d been trying to communicate things no one had asked for. Driven by the assumption that they needed to be said.

I don’t think it’s necessary to explain everything or be perfectly understood. That’s impossible.
I’m not trying to pass down some legacy.

When action and outcome are what matter, communication is just a means to an end. The act of telling shouldn’t become the purpose itself.

No matter how beautiful the image rendered by the GPU, it’s meaningless if the monitor lacks resolution.
The limits of output are defined by the monitor—by me.
That means I needed to improve the resolution of my own expression.

In this case, the shift happened because of timing.
The cultural moment had changed. A real, painful experience gave the listener additional context.
So when I said the exact same thing again, it finally came through—smoothly, effortlessly.

The listener’s eyes were open. Their focus was aligned.
All the timing was right.
And in that moment, all I had to do was present the same image again—at the correct resolution, with the right context.
Without reading the situation well, that never would’ve worked.

There’s something else.
Maybe the reason my words hadn’t landed before was because they didn’t contain any specific action or outcome.
Strictly speaking, there was only one thing I’d been trying to achieve all along.

In the manga Chi: About the Movement of the Earth, there’s a scene where someone asks Yorenta, “What are you even talking about?”
And she replies:

“You don’t understand? I’m desperately trying to share my wonder.”

That’s it.
All this time, I’d only wanted to share a sense of wonder.
I thought that was what I was meant to do. That it was everything.

If that wonder doesn’t come across, people won’t move. Society won’t listen.
So I don’t think what I’ve done has been meaningless.
But I’ve also realized that wonder alone isn’t enough.

That’s why I’ve decided to change how I communicate.

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[Information] Moved To A Stable Server


Japanese version of this blog has got tons of access since I published a post about Evangelion (Only in Japanese). That’s why I decided to move to this blog to EC2.
I’m already using Amazon EC2 for our web sites like messa.tv and jp.messa.tv but I choose a DIY server for this blog. Of course tried to configure a web server and WordPress/Plugins to handle tons of access but got too many visitors at once via Twitter and Japanese social bookmarking site Hatena Bookmark.
Anyway, I hope the current system works well for all of visitors, thanks!

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Japanese Government Made An Anime For Adults

Go! Go! Election

All of local cities take place coming of age ceremonies every year for 20 years old people in Japan. And at the last one, Japanese government distributed an anime named “Go! Go! Election”. It means 20 years old people got this anime. You can see what’s going on Japanese education system.
From NicoVideo.
【ニコニコ動画】成人式で配られたDVDがひどい件
From YouTube for people who can’t watch on NicoVideo.

This video became really popular among NicoVideo users and one of an amazing guy ported to NES. This is not just a video, he also published a ROM image for NES.
【ニコニコ動画】成人式で配られたDVDがファミコン化された件

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K-ON! and music

The latest animation called “K-ON!” created by The Kyoto Animation was pretty amazing. Can’t imagine how they can create that hi-quality animations. No wonder they’ve received respect from anime fans.

“K-ON!” was animation of high school students’ music life. Music is fun!
Stand By Me | Playing For Change | Song Around The World from Concord Music Group on Vimeo.

Via Digg.com: Best Video I’ve Seen Today Will Make You Smile

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Learn engineer's mind from Dr.Fuyutsuki

Fuyustuki: “What’s your mission?”

Asuka: “Operating the EVA.”

Fuyutsuki: “NO! To beat the Angels!”

What’s our mission? Writing some code? No, solve the problems.

Don’t try to look cool. It makes problems bigger sometimes and you may have to get help by UN. Just beat the Angels intently paying no attention. If your mission may not to beat it, you can choose what you shold do.

Rei: “You’ll never die. I’ll protect you.”

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