Affects foreign residents, tourists, business travelers, and even Japanese citizens. Everyone.
Enacted by the Ministry of Health, Labor and Welfare, as of March 18th, international inbound travelers will be required to install three apps on their smartphones before leaving the airport: the Ministry of Health, Labor and Welfare’s COCOA COVID-19 contact tracing app, Skype, and OSSMA (a location confirmation app.)
The combined apps are to be used in confirming compliance with the 14 days of self-quarantine that inbound travelers are required to complete before moving about the general population. Those without smartphones will be required to rent one from the airport and pay out-of-pocket.
In addition to showing that the apps are installed and running, inbound travelers will also be required to sign a written pledge to comply with the protocols. Failure to do so can result in public publishing of the violator’s name and, in the case of foreign nationals, deportation, including the revocation of residence status for foreigners living in Japan on work or study visas.
Ozeki, the most well-known sake brewer in Japan, has joined the western corporate trend of virtue signaling to the LGBT community with a rainbow-plastered version called One Cup Rainbow, with the tagline “We Celebrate Diversity“. Ozeki says the new sake was created in response to proposals from young local employees and strong requests from overseas customers.
Ozeki has been following this trend for some time. In 1996, they removed the gender checkbox on job application forms for new graduate recruits, and in 2008 they created a consultation service to help prevent sexual harassment in the workplace. They also revised harassment policies to include sexual orientation and self-identification, force training of LGBTQ matters for managers.
It will go on sale in Japan in time for Pride Month in June, and later in eight countries around the world to celebrate diversity and inclusivity.
Those living in Japan will instantly recognize the face of Naomi Watanabe, as her advertisements have been plastered on every train on every major train line in Tokyo. Pushing feminism and LGBT through contemporary art stylistics:
She’s also made major headways into TV and internet media, being featured on Netflix’s “Queer Eye: Japan” having almost 10 million followers on Instagram, and being listed as one of Time magazine’s “most influential people on the internet.”
Yesterday, Watanabe made the announcement she is moving to the United States signed with two talent agencies, Los Angeles-based ICM Partners, which operates in the movie, TV, music, and new media sectors, and New York modeling agencies IMG Models, suggesting that she intends to continue her multi-faceted career that spans comedy, acting, music, and fashion.
Let’s take a closer look at ICM Partners and IMG Models:
With this unholy partnership, Watanabe’s star-power in Japan gives the chosen people a direct pipeline to flood Japanese-tailored cultural marxism into Japanese media. Soon to be surrounded by entirely (((American))) influence, Watanabe’s entertainment will embrace a much more woke message, packaged for the Japanese audience.
Simply put, it means transforming 21st-century Japan into a “diversified multiethnic society.” We should aim for a nation where talented people gather from all over the world to Japan, where success stories are born for the world. Specific policy issues for this are (1) English as the second official language (2) Granting the right to vote for resident foreigners[…] (4) Reviewing all Japanese systems that do not meet international standards.
Among the documentation includes a presentation on political correctness and advertising materials, and how to avoid drama and controversy. This includes avoiding the use of language that can be deemed as discriminatory or prejudice, and will result in new guidelines.
This includes gender neutral cosmetic options, only featuring certain ethnicities or portraying them as unequal or stereotypical, and avoiding sexual or obscene language and jokes.
Sexuality, LGBTQ, and women were also discussed. One slide features The Last of Us Part II and Shadow of the Tomb Raider as being positive examples of LGBTQ characters; and that such characters should be portrayed as appealing as male characters (and promoted in the same way). Meanwhile, Nintendo’s Princess Peach and Zelda were used as examples of negative stereotypes of women due to being damsels in distress.
The presentation also asks […] to make sure certain content is appropriate. Examples include Arab localization and content featuring pigs, the use of Happy Holidays over Merry Christmas, and numbers or expressions that may refer to the Nazi party.
The presentation recommends characters that appeal to a wide range of people, with male and female player characters being treated the same within a video game. Custom characters should be able to have any haircut or facial hair, and various body types.
Sex appeal, such as bikini costumes or lewd poses and costumes, should be equal between men and women. However, costumes cannot appeal to only one kind of user base, such as only one gender.
Capcom used their own games as examples of this. While a shirtless costume for Street Fighter‘s Ryu was fine, R. Mika’s butt-smashing super move was not. Cases where an armor set in Monster Hunter World shows more skin on the female character was also seen as a bad thing.
Likewise, while Spider-Man Miles Morales was seen as a positive portrayal of non-white races, while Street Fighter‘s Dee Jay wearing a Rastafarian hat was not.
In the West, this kind of blatant injection of Cultural Marxism has been part of video game development for quite some time. However, now we know it is actively being integrated in Japan as well.
Eiji Uchida’s new film Midnight Swan released its latest trailer on September 9, created passionate discussions about LGBT and transgenders in Japan.
The movie’s story follows Nagisa, played by former SMAP member Tsuyoshi Kusanagi. Initially from Hiroshima, Nagisa now lives in Shinjuku in Tokyo and has transitioned to living as a woman, but her day-to-day life is shaken up when a distant relative, neglected teenager Ichika, comes to stay with her. After Ichika offers a photograph, presumably of Nagisa before she transitioned, Nagisa tears it up and throws it on the ground.
The shots that follow show Ichika getting used to life in Nagisa’s apartment, being introduced to her friends — many of whom are other trans women — and learning her way around the neighborhood. When she happens upon a dance studio, Ichika is instantly captivated…and despite rocky relations with Nagisa both at home and when she brings her to meet her teachers, Ichika finds the courage to borrow the older woman’s tutu and practice some dance steps at the apartment.
Nagisa, for her part, is surprised by how pleased she is when the one of the characters erroneously refers to her as Ichika’s mother. Meanwhile, Ichika throws a chair at another student who insults Nagisa to her face. In what looks to be one of the movie’s pivotal scenes, Nagisa goes to Ichika’s familial home to take her back with her so she can dance at the club’s performance. And at the end, accompanied by the haunting subtitle “I really wanted to be your mother”, we see Ichika and Nagisa hugging…but in this scene, Nagisa’s hair has been cut, and she is no longer wearing her dresses or accessories, instead clad in a man’s shirt and slacks.
“It’s been a long time since I wanted to see a film this much.” “I want to see this film because I, myself, am transgender…but I also just plain want to see it.” “I cried just from the trailer! I really want to see this. Kusanagi is an incredible actor.” “I’m a member of the LGBT community too so I really want to see it. It’s like I wasn’t seeing Kusanagi at all, just a woman telling her story.” “It’s been a long time since I wanted to see a film this much.” “I want to see this film because I, myself, am transgender…but I also just plain want to see it.” “I cried just from the trailer! I really want to see this. Kusanagi is an incredible actor.” “I’m a member of the LGBT community too so I really want to see it. It’s like I wasn’t seeing Kusanagi at all, just a woman telling her story.”
The movie seems to follow a gradual but steady trend of increased Japanese support for LGBT individuals in Japanese society, and the star power of an established talent like Kusanagi is bound to draw plenty of interested audiences.
TL;DR: The film follows the story of a transgender woman that “saves” a little girl from her redneck, backwards family in the countryside, portrayed as bigoted, intolerant, and stupid, while the tranny is portrayed as calm, intelligent, and soft spoken against overwhelming oppression. Seemingly, the tranny eventually helps the girl realize her own transition into a boy.
This film is one of many oncoming mediums to destroy traditional culture and families in Japan by normalizing LGBT relationships. This is the same transition that the West experienced over 20 years ago, and the young generation of Japanese people appear to be more than happy to embrace globalism and throw their traditional culture into the dumpster fire of cultural marxism; And we all know how that turned out:
“While ostensibly things aren’t as bad as they used to be, transgender individuals remain an oppressed minority in this country,” Uchida says.
Uchida first started working on the script around five years ago. He had long been interested in writing a story focusing on the problems faced by transgender people. He felt incorporating a lighter element about a young girl who aspires to be a professional ballet dancer would appeal to Japanese moviegoers.
“Even though it will be screened at 120 cinemas nationwide and is not an indie film, it still has the feel of one. It would be great if large numbers came to watch and learned something new about transgender issues in Japan.”
Author Koda Aya is featured on the Google Japan front page today, but who is Koda Aya, and why is Google pushing her to Japanese people?
“the resilience, strength, and maturity [of Aya] differ sharply from the masochistic, self-sacrificial […] attitude prescribed for women – an attitude of persevering and not complaining about the oppression of patriarchy, the exploitation of the brutal capitalist, the barrenness of Japan’s rural landscape, the bankruptcy of unexamined habits of heterosexual marriage.”
Among Yukio Mishima, Yasunari Kawabata, Natsume Soseki, and hundreds of other much more influential and well-known Japanese authors, one is left to wonder why Google chose to push this woman to the Japanese people, whose writings highlight a feminist struggle through a “patriarchal oppressive” culture.
Last year, the Japanese population of Tokyo was up just 0.19 percent, while its foreign population grew 6.23 percent, a rate more than 32 times faster. This marks the first time for the foreign population to increase faster than the Japanese one for the area since the ministry first began separating such demographic data in 2012.
The total population of Tokyo, Kanagawa, Saitama, and Chiba grew to 36,754,193 during 2019, a 0.37-percent increase over the previous year. Out of those new residents, 67,301 were Japanese citizens, but the bigger increase came from the 68,161 foreigners who started calling those parts of Japan their home.
“The United States, whose response to the virus exposed chaos and division, stands to lose migrants. But other countries will gain them, and with them, the attendant benefits of diversity, dynamism, and new talent. Few stand to profit more than Japan, a relatively secure and stable country with low unemployment—even a need for more laborers—and excellent universities that can lure students who may now be reluctant to risk expensive study in the West.
Japan has long been considered a fairly homogeneous country. After the pandemic, it is likely to grow more diverse and globally connected. This transformation, which will remake Japanese society and challenge the traditional understanding of its national identity, is necessary if Japan wants to remain a significant power in the global arena.
Japan is poised to shed [its hostility to immigration.] The Japanese government has in recent years created new categories of visas and relaxed the criteria of existing onesin order to recruit and retain more foreign workers and international students. In the five years before the pandemic, the number of foreign residents in Japan increased by 31 percent. The country has attributes likely to attract even more migrants after the pandemic. These include good job prospects, relatively affordable higher education, and a safe and orderly social environment. Japan has long boasted these comparative advantages, but the havoc of the global health crisis has made them all the more salient.
In addition to drawing more job-seeking migrants than in the past, Japan is becoming increasingly popular as a destination for international students, especially those from China and other Asian countries. Japan has attracted students from abroad since the 1980s, but the global dominance of the English language tilted the scales in favor of universities in Europe and North America. Most Chinese students, for instance, prefer to study in the United Kingdom or the United States rather than study in Japan. But the coronavirus could well disrupt that trend.”
Something about this article seems eerily familiar…
“Europe has not yet learned how to be multicultural. Europe is not going to be the monolithic societies they once were in the last century. It’s a huge transformation for Europe to make. They are now going into a multicultural mode and Jews will be resented because of our leading role. But without that leading role and without that transformation, Europe will not survive.”
– Barbara Lerner Spectre
“Japan has long been considered a fairly homogeneous country. After the pandemic, it is likely to grow more diverse and globally connected. This transformation, which will remake Japanese society and challenge the traditional understanding of its national identity, is necessary if Japan wants to remain a significant power in the global arena.”
• Professor, Graduate School of Asia-Pacific Studies, Waseda University, Tokyo (2014-present)
• Ph.D. in Sociology, University of Chicago Research Fellow, Tohoku University Center for the Study of Social Stratification and Inequality (2006-2007)
• Field of Specialization: International Migration, Social Stratification and Inequality, Globalization, International Education, Identity and Citizenship, Race and Ethnicity
• [Dr. Liu-Farrer] welcomes students who are interested in pursuing the following research areas: international migration/cross border population movements, identity and citizenship issues; dynamics and processes of cultural changes and cultural creation; the formation of new forms of local and global community; and issues of social equality and justiceunder globalization.
Academics in Japan such as Liu-Farrer continue to push the Cultural Marxist agenda onto unsuspecting young Japanese minds at the highest levels of academia; Grooming entire generations of Japanese citizens to openly welcome the globalist onslaught descending on them.