Abstract
In 1956, Clifford Simak, an American science fiction writer, published Strangers in the Universe, a collection of short stories that included the piece “Shadow Show.” The story describes a group of scientists who have been sent to a lonely asteroid and commissioned with the task of creating life, specifically sentient human life that could take alien form, thus allowing humans to populate inhospitable planets throughout the universe. To keep the scientists amused and also psychologically sound, an entertainment known as the Play has been created for them in which they can mentally project images of made-up characters onto a screen and have them interact with the mental projections of the other scientists. The characters projected by the scientists are a varied group, ranging from the grotesque—such as the “Alien Monster”—to the comic, the so-called Out at Elbows Philosopher. In the story’s surprise denouement the scientists realize that they have indeed succeeded in creating life, not through their experiments but through the machine that enables the Play. In a shocking reversal, the characters declare independence from their creators and begin to speak and act for themselves, coming down from the screen and appearing on the stage. At the end of “Shadow Show,” Bayard Lodge, the story’s protagonist, walks down the auditorium to meet his projected persona, the “Rustic Slicker.”
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Notes
Clifford Simak, Strangers in the Universe ( New York: Simon & Schuster, 1956 ), p. 45.
Oscar Wilde, quoted in Frank Nute, Frank Lloyd Wright and japan ( London: Routledge, 2000 ), p. 100.
Roland Barthes, Empire of Signs (New York: Hill & Wang, 1982), p. 9.
Lafcadio Hearn, Glimpses of Unfamiliar Japan ( Rutland, VT: Charles E. Tuttle, 1976 ), p. 7.
See Susan Napier, “Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira,” in Contemporary Japan and Popular Culture, ed. John Treat ( Honolulu: University of Hawai’i Press, 1996 ), pp. 235–262.
John Treat, Writing Ground Zero: Japanese Literature and the Atomic Bomb ( Chicago: University of Chicago Press, 1995 ).
Dave Barry, Dave Barry Does Japan ( New York: Random House, 1992 ), p. 7.
Takayuki Tatsumi, “Waiting for Godzilla: Chaotic Negotiations between PostOrientalism and Hyper-Occidentalism,” in Transactions, Transgressions, Transformations: American Culture in Western Europe and Japan, ed. Heide Fehrenbach and Uta G. Poiger ( New York: Berghahn Books, 2000 ), p. 228.
Bill Powell, “Don’t Write Off Japan,” Newsweek 919 (1992), p. 48.
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Ken Belson and Brian Bremner, Hello Kitty: The Remarkable Story of Sanrio and the Billion Dollar Phenomenon ( Singapore: John Wiley & Sons, Asia, 2004 ), p. 5.
See, for example, Giuliana Bruno, “Ramble City: Postmodernism and Blade Runner” in Alien Zone, ed. Annette Kuhn ( London: Verso, 1990 ), pp. 183–195.
Christine Yano, “Panic Attacks: Anti-Pokémon Voices in Global Markets,” in Pikachu’s Global Adventure: The Rise and Fall of Pokémon, ed. Joseph Tobin (Durham, NC: Duke University Press, 2004 ), p. 113.
Susan Pointon, “Transcultural Orgasm as Apocalypse: Urotsukidoji: The Legend of the Overfiend,” Wide Angle 19: 3 (1997), p. 45.
Alan Cholodenko, “Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla and Baudrillard,” in Baudrillard West of the Dateline, ed. Victoria Grace, Heather Worth, and Laurence Simmons ( Palmerston North, New Zealand: Overmore Press, 2003 ), p. 239.
Jean Baudrillard, The Evil Demon of Images, trans. Paul Patton and Paul Foss (Sydney, Australia: The Power Institute of Fine Arts, 1987 ), p. 15.
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© 2006 William M. Tsutsui and Michiko Ito
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Napier, S. (2006). When Godzilla Speaks. In: Tsutsui, W.M., Ito, M. (eds) In Godzilla’s® Footsteps. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403984401_2
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DOI: https://doi.org/10.1057/9781403984401_2
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