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“A masterful book driven by deep research, new insights, and powerful storytelling.”—W. David Marx, author of Ametora: How Japan Saved American Style
The Walkman. Karaoke. Pikachu. Pac-Man. Akira. Emoji. We’ve all fallen in love with one or another of Japan’s pop-culture creations, from the techy to the wild to the super-kawaii. But as Japanese media veteran Matt Alt proves in this brilliant investigation of Tokyo’s pop-fantasy complex, we don’t know the half of it. Japan’s toys, gadgets, and imaginary worlds didn’t merely entertain. They profoundly transformed the way we live.
In the 1970s and ’80s, Japan seemed to exist in some near future, gliding on the superior technology of Sony and Toyota while the West struggled to catch up. Then a catastrophic 1990 stock-market crash ushered in the “lost decades” of deep recession and social dysfunction. The end of the boom times should have plunged Japan into irrelevance, but that’s precisely when its cultural clout soared—when, once again, Japan got to the future a little ahead of the rest of us.
Hello Kitty, the Nintendo Entertainment System, and multimedia empires like Pokémon and Dragon Ball Z were more than marketing hits. Artfully packaged, dangerously cute, and dizzyingly fun, these products made Japan the forge of the world’s fantasies, and gave us new tools for coping with trying times. They also transformed us as we consumed them—connecting as well as isolating us in new ways, opening vistas of imagination and pathways to revolution. Through the stories of an indelible group of artists, geniuses, and oddballs, Pure Invention reveals how Japanese ingenuity remade global culture and may have created modern life as we know it. It’s Japan’s world; we’re just gaming, texting, singing, and dreaming in it.
From the Publisher
The first must-have toy of postwar Japan: a tin jeep from the workshop of Matsuzo Kosuge (photo credit: Otsu City Museum of History)
Shigeichi Negishi with his Sparko Box, one of the first karaoke machines.
Before the Tamagotchi swept the world in the 1990s, it sweptTokyo’s premiere tastemakers: Japanese schoolgirls. (Tamagotchi is the property of the Bandai-Namco Corporation)