Kiyubaru Underground Museum 2

Critique of the Gotha Program

Kazuo Shii, former Chairman of the Japanese Communist Party (JCP), held a briefing—broadcast live online—regarding revisions to the party’s platform.https://www.youtube.com/watch?v=s9K2k5xSf78While presented as an official report from the JCP’s Executive Committee, the session also served to provide a concrete explanation of the "higher phase" of communist society as envisioned by Marx and Engels, drawing upon their critique of the Gotha Program.Referencing the works and writings of Marx, Shii offered a clear explanation of what scientific socialism and communism—and the society they entail—actually represent.Shii emphasized that what Marx and Engels aimed for was an expansion of "free time"—time that individuals could use as they pleased. Such a society would allow human beings to live their lives most vibrantly, and it was to the realization of this society that the two men dedicated their entire lives.This vision stands in stark contrast to the image of "communism" held by the vast majority of the Japanese public—a perception shaped by long-standing, false narratives propagated by conservatives, right-wing groups, and various cults (claims such as "communism means no freedom," "private property is confiscated," or "thought is strictly controlled").(For further details, please refer to the "Marx and Engels" category on the Excite Blog.)Shii noted that, as Marx and Engels argued in their various writings, the expansion of individual free time leads to the flourishing and development of society as a whole. He pointed out that in Marx’s original German texts, a term is used that carries the dual nuance of both "wealth" (material riches) and "richness" (an abundant, fulfilling life); while this has traditionally been translated into Japanese simply as "wealth" (”tomi”), Shii argued that it should instead be understood as "richness" (”yutakasa”). (In Japan, this term was long translated as "armed revolution," but the original text actually refers to a "powerful revolution"—one driven by great force. Recent translations have begun to correct this.)Citing the ”Critique of the Gotha Program”, Shii emphasized the following points:Regarding the communist principle of "from each according to his ability, to each according to his needs," the aspect of "distribution" is a matter to be discussed only at the final stage; it should not be prioritized or celebrated at the outset. Marx consistently maintained that one must not begin by drafting a blueprint for communism.However, Lenin—in ”The State and Revolution”—offered an erroneous interpretation, suggesting that communism is about increasing material wealth. Stalin subsequently expanded and solidified this misinterpretation, imposing it upon communist parties worldwide—a distortion that persisted even after his death.Furthermore, in true communism, the individual is the protagonist, and the state is destined to wither away.Yet, Stalin perpetuated state intervention and coercion over the individual—a reality that has since been exploited to attack the very idea of ​​communism.Influenced by both Lenin and Stalin, communist parties around the world came to interpret communism as a system where "the development of the individual leads to an increase in social wealth."In truth, none of these ideas originated with Marx.Marx also noted that "in the immediate aftermath of the transition from a capitalist to a communist society, the vestiges of capitalism—both moral and spiritual—will likely persist."In a capitalist society, capitalists manage, command, and subjugate workers, stripping them of individual freedom and the liberty to choose their own occupations. Workers have no say in the decision-making processes of the enterprise.Under capitalism, one has no choice but to function as a mere cog in a corporate machine just to survive.In a communist society, by contrast, an "association" functions, and the management of the organization is determined through collective discussion among all its members. (Even today, there exist companies organized as cooperatives where every member serves as both a director and a worker; profits are distributed among all, and management policies are decided collectively. This is featured in Michael Moore’s film ”Capitalism: A Love Story”—though it appears only once in the main feature, the DVD’s bonus content showcases several such companies.)Marx argued that an increase in an individual’s free time allows for the expression of their personal abilities and creativity. Under capitalism, however, capitalists exploit and strip away this individual freedom, as well as the inherent potential and creativity of the person.In a capitalist society, individuals are often forced—contrary to their own will and solely for the sake of survival—to function like mere cogs in a machine, compelled to follow the constant commands of managers or superiors. Consequently, labor becomes a source of suffering for everyone.Marx described capitalism as a "vast collection of commodities" (bourgeois wealth).He posited that, rather than laboring for the sake of profit-seeking capitalists, individuals—acting of their own free will—should be able to pursue their own development. In such a state, labor itself would become the greatest source of joy and pleasure, evolving into a primary human need.Before the rise of the capitalist "manufactory" system, there existed a form of cottage industry where individuals could choose their own professions and work according to their own decisions. "Traces of this still remain today," Mr. Shii added.Harada felt that independent (indie) film directors were a perfect example of this.Mr. Shii cited a passage from the works of Marx and Engels regarding "the architect and the honeybee.""An architect (in this context, perhaps akin to a master carpenter) is able to construct something in their mind before actually building it in the physical world. This is a truly remarkable thing."In a communist society, the commands, domination, and restrictions on freedom imposed by capitalists—as well as the exploitation of human beings by other human beings—would cease to exist. Ultimately, even state power would vanish.One point, however, gave Harada pause.Throughout a very long span of Japanese history, people have been conditioned to work under the directives of capitalists or corporate entities. As a result, a mindset—akin to what Stanley Milgram described in his work on the psychology of obedience—may have taken root: the belief that it is easier to follow a more powerful figure than to think for oneself, and easier to obey orders than to make one’s own choices. The author often hears people in the city remark that they "don't know what to do with themselves" on their days off.Calculations suggest that the labor time actually required by society is only 3 hours and 42 minutes.The remaining time constitutes "surplus labor," which serves solely to generate profit for capitalists.Therefore, working hours could be reduced even further.If individuals had more free time, if their personal autonomy were respected, and if labor itself became an enjoyable pursuit, people would truly flourish.This aligns with the idea we shared in our previous post: that "enjoyment sustains engagement in various activities."As mentioned earlier, cooperative-style enterprises—which resemble the "associations" envisioned under communism—already exist today; thus, communism is by no means a mere fantasy.

Exploring the Evolutionary Origins of Laughter

Previous scientific research has established that, in humans, a "joyful state of mind" facilitates learning, behavior, and the encoding of experiences into memory; however, the evolutionary origins of this phenomenon in non-human species remain largely unclear.A recent study involving orangutans presented the animals with a choice between two items. It was found that they preferred the item they had encountered while listening to the laughter of their peers, rather than the item they had encountered while hearing their peers make sounds of distress.Laughter is said to be contagious among great apes. (Interestingly, multiple scientific studies have also shown that yawning is contagious—both among humans and across various other animal species.)In humans, for instance, a preference for "pancakes made by a family member" may not stem merely from a love for the pancakes themselves; rather, it is likely linked to memories of eating them in the home of a loved one, or to the emotions and recollections associated with a family member preparing them with a smile.The researchers note, "For animals, too, positive emotions akin to joy—beyond mere survival instincts—may contribute to a richer, more fulfilling life. Neither humans nor other animals are defined solely by competition, survival, or sorrow. Until now, scientific research has focused almost exclusively on negative emotions."A prominent activist in Japan, who has been at the forefront of movements against discrimination and racism, observes: "Anti-discrimination activism cannot rely on seriousness alone; it should be approached with a sense of enjoyment. This is because today’s racists often engage in discrimination and attacks against foreigners as a form of entertainment—they find the act of discriminating to be 'fun'."Years ago, when Harada was an instructor at a design school, some of his colleagues—left-leaning educators from the "baby boomer" generation (the generation that participated in the 1960s anti-security treaty protests)—expressed a similar sentiment. "Civic and political movements must be enjoyable. If they are not—if they are merely painful and arduous—they cannot be sustained for long."(Incidentally, the design school in question, Bunka Gakuin—founded in 1921 as a liberal institution—eventually fell victim to the encroachment of corporations and conservative forces during the shift toward neoliberalism. Its complex history was disregarded, its structure and functions were distorted, and it ultimately collapsed financially and ceased to exist. The black-and-white light-based trademark of "Kiyubaru" is derived from a photograph of light cast upon the school’s original 1921 gateway.)Harada argues that the same principle applies to the independent creation of films.He observes: "If you create work out of a sense of mission, duty, or a desire for praise from others, it ceases to be enjoyable, and you won't be able to keep doing it for long. As proof of this, most creators stop producing work once they pass the age of forty."When human beings undertake any action, they naturally prioritize what they find "enjoyable."The reason Harada has been able to continue creating work every single day for over fifty years is simply that he finds it "enjoyable."After all, as children, everyone naturally enjoyed drawing pictures or making things.The current Liberal Democratic Party (LDP) government—which functions like a far-right cult—is pushing for the digitalization of elementary education and the introduction of AI. (This is intended to funnel profits to the major IT corporations that donate to the LDP—policies funded, in turn, by taxpayer money.)For decades, the forces of capitalism and neoliberalism—along with Japan’s far-right government and the business establishment—have skillfully stripped children and young people of the joy that comes from free, individual thought, action, and choice. Instead, they have coerced them into becoming mere consumers within a society saturated with mass-produced goods, leaving them exhausted and desensitized.Yesterday, it was officially announced that the suicide rate among Japanese elementary, junior high, and high school students has reached a new record high. To help alleviate such absurdities—even if only slightly—and to bring the mechanisms behind them to the attention of a wider audience, Harada decided to insert a brief, easy-to-understand animated diagram into "BOO" that illustrates the structure of "exploitation" as defined by Marx and Engels.Originally conceived as a short film of around 40 minutes, "BOO" is now set to become a feature-length work—exceeding two hours—placing it alongside projects like "Horizon Blue" and "Zashikiro."https://royalsocietypublishing.org/rsbl/article/22/10/20260404/483688/Play-vocalizations-induce-affective-bias-in-reward

Skin Texture

Though it might not be immediately apparent—and most viewers would likely overlook it—Harada pays even greater attention to skin texture in ”Boo” than he did in his previous works, ”Horizon Blue” and ”Zashikiro”.In the two images below, the slight sheen of perspiration on the skin of the young scientist, Nabil, is best captured through the subtle, uneven application of poster paint.Furthermore, the veins in Nabil’s hands—a detail shared by other young male characters—are rendered most effectively using colored pencils.Women’s skin may show signs of roughness, and, in certain situations, the soles of their socks might even become soiled. Skin also features blemishes and moles. Kazumi’s hair, meanwhile, is always slightly, naturally tangled.The men often sweat, leaving visible stains on their shirts—around the underarms, the neck, or across the back. And, since they cannot always shave daily, they sometimes sport a bit of stubble.Such details were common in the independent leftist films of the 1960s and 1970s, as well as in many Toei productions; Harada clearly enjoys incorporating these elements, much like a director crafting a live-action film. Hand-drawn is exceptionally well-suited for this approach.

The Psychology of Obedience

Harada is currently researching the history of violence. (He focuses exclusively on formally published academic papers.)Until about twenty years ago, the historical record on Earth was dominated by evidence of art, such as cave paintings—which also offered the earliest traces of human activity. As scientific research has advanced, however, a growing number of papers have emerged detailing the realities of violence and homicide among early humans, including ritualistic killings and cannibalism.While early humans created art, they also engaged in acts of violence.Yet, it was the advent of the "nation-state" that accelerated mass slaughter—a pattern that persists to this day, as seen in places like Gaza.Recent research indicates that while an individual’s virtuous actions do not necessarily spread to others, an individual’s transgressive or illicit behavior can spread with remarkable speed.https://royalsocietypublishing.org/rspb/article/293/2081/20261940/483769/Contagion-and-escalation-of-ruleIn this scenario, participants are instructed by a person playing the role of the “teacher” to administer electric shocks to a person playing the role of the “student” who is strapped to an electric chair, gradually increasing the voltage (under the pretext that it is a form of punishment).Despite the “student” screaming with every electric shock, the participants continued to increase the voltage as instructed by the “teacher.” Sixty percent of the participants raised the voltage to a level that could have been fatal. (Note that this was a psychological experiment, and both the “teacher” and the “student” were actually experimenters; no actual electric current was applied.)When acting under orders from others, humans feel absolved of personal responsibility for their decisions, allowing them to engage in war, massacres, assault, and illegal acts with a sense of ease. On the battlefield, this can even extend to the rape of infants. In Japan today, the number of racists is rapidly increasing year by year; they target the vulnerable—the elderly, people with disabilities, women, those on the political left, and participants in peace movements.While these racists attack foreigners, they never criticize or even mention Americans—who hold greater power—even when, for instance, U.S. military personnel commit crimes in Japan. Instead, they focus their aggression solely on groups they perceive as weaker than themselves, such as Chinese, Koreans, and people from the Middle East.The dynamics underlying wars and massacres in various nations are identical to the structures found within Japanese corporations.Filmmakers such as Tadashi Imai and Yoji Yamada—both associated with the political left—have depicted in their work how the structures of command, control, and obedience found in the historical samurai society persist within the modern Japanese business world.In recent years, an increasing number of people in Japan have come to view the fashion of the imperial era as "cool" or "admirable" for its perceived "politeness." This trend is the result of "subliminal" promotion by the Liberal Democratic Party (LDP) government and far-right factions.Meanwhile, there is a figure whom Harada cannot forget: Robert Owen.Owen implemented various welfare and labor policies. While things went well at first, the project eventually collapsed as many people—seeking only to enjoy the benefits without contributing any labor—flocked to the site from various places. Marx and Engels criticized this approach as "utopian socialism," arguing that socialism required a scientific foundation.Consequently, the ideas of Marx and Engels came to be known as "scientific socialism."Thus, human nature contains both a tendency toward moral decay and degradation, and a propensity to submit to the strong—to those in positions of authority or power—while participating in the oppression or killing of others.The image below is a scene from "BOO," which is modeled after the "comfort stations"—state-sanctioned centers for sexual slavery—established for soldiers during Japan’s war of aggression against China.https://ameblo.jp/kiyubaru/entry-12975953552.htmlIn Japan today, various forms of harassment and acts of violence within the film and television industries are regularly coming to light, becoming a significant issue.During her time as a lecturer at an art university, Harada supervised the doctoral thesis of a Chinese international student. The thesis includes an argument—one also maintained by Harada—that in animation, no matter how cruel the acts depicted, no actual person (such as an actor) is ever killed or injured. (The former student, now a teacher at a university in China, made the trip to Japan by plane—despite a demanding schedule—to attend a screening of ”Zashikiro”, accompanied by other former Chinese students of Harada’s. While Japanese students tend to remain silent and show little interest in politics, these Chinese students engaged actively in political discussion.)The Liberal Democratic Party (LDP) government and conservative politicians frequently propose legislation or make statements aimed at restricting forms of expression; yet, in an animated film, no matter how brutal the actions portrayed, no one dies as a result.As Shuji Terayama once said: "The only police who can crack down on crimes committed within a film are the police who exist within that film."This issue dates back to the 1950s—a period marked by the schism between the "Old Left" and the "New Left," and the ensuing debates among filmmakers and film critics. The core of the problem is that while far-right violence, aggression, and war can spread among people with alarming speed, peace is far more difficult to propagate.In the 1970s, there were many anti-war films that—rather than advocating for a "clean," "proper," or "well-behaved" form of peace—possessed a certain "delinquent" or rebellious edge; however, such films gradually faded from the scene.These rebellious, anti-war, and anti-establishment films were largely the work of New Left filmmakers, and they were championed by New Left critics. (At the time, in the 1970s, the Left was a minority and often faced criticism and attacks from the New Left.)While the landscape has shifted today, Kiryukan maintains that there is still a need for the kind of anti-war, anti-establishment cinema seen in the 1970s—films characterized by a rebellious spirit and an experimental approach. (Incidentally, Harada belongs to the Left, not the New Left.)

The Mystery of the Origin of Matter

We have written many times about how matter came into existence—through quantum fluctuations, inflation, and the Big Bang—ultimately giving rise to the universe, the natural world as we know it, and life itself.But why did matter come to be? Scientists and physicists around the world are currently engaged in ongoing research and experiments to answer this question.Here are two recent studies:---https://www.nature.com/articles/d41586-026-03342-2Researchers succeeded in suspending a single positron—the antiparticle (antimatter) counterpart to an electron—within an electromagnetic field for several months. By cooling it to its lowest energy state, they were able to take precise measurements. Discovering even a subtle difference between matter and antimatter could help solve the mystery of why there is more matter than antimatter in the universe. The question of why our world is composed overwhelmingly of "matter" remains a profound puzzle.A leading hypothesis suggests that equal amounts of matter and antimatter were created during the Big Bang. However, when the two come into contact, they annihilate each other, converting into energy—which implies that nothing should have remained after the Big Bang. Several research projects are currently underway to unravel this mystery.https://journals.aps.org/prl/abstract/10.1103/9w2y-bz9nRecent experiments at the Relativistic Heavy Ion Collider (RHIC) have provided compelling evidence that colliding oxygen nuclei at near-light speeds creates a "quark-gluon plasma" (QGP)—a state of matter that existed in the immediate aftermath of the universe's birth.---While these findings come from laboratory experiments, such research also plays a crucial role in our understanding of the origin of life on Earth.By combining these laboratory insights with the study of matter already present in the universe, material that has arrived on Earth from space, and observations of the post-Big Bang universe captured by advanced, high-performance space telescopes, we are gradually moving closer to solving this mystery.The existence of matter is a crucial element for the materialism and dialectics of Marx and Engels.To reiterate, understanding the state that preceded quantum fluctuations is of the utmost importance.Consequently, the current commercial development and militarization of space—driven by the wealthy, governments, and corporations across various nations—are entirely unacceptable.Furthermore, we are incensed by the destruction of precious ancient ruins and prehistoric rock art—relics dating back to before the Common Era—in the name of industrial or commercial development, such as tourism.As we have also noted on our Excite Blog, Harada has signed an international petition protesting the destruction of ancient murals.This indignation is set to be expressed through concrete imagery in ”BOO”.Due to the various sources of this outrage, ”BOO” has grown to nearly ten times its originally planned scale.

Moving

Kazumi moves out of the substandard dormitory provided by the factory where she works and into a dilapidated, low-cost apartment, beginning a life on her own.

Analog Expression

The banknotes depicted in the drawing on paper have been intentionally creased.Beyond this, there are countless other unique modes of expression in analog production. In 2025, when Harada returned to the art university where he had previously taught to deliver a one-day lecture, the students were most surprised by a segment in his work where he subjected his animation drawings to a shower of water or dripped water onto them. Harada explained to them, "These are techniques that experimental filmmakers in the 1970s used as a matter of course."　https://www.youtube.com/shorts/UT_G4wKMXOU

12,000 People Gather front of the National Diet

On Monday, October 19, 2026, starting at 6:30 PM, multiple simultaneous protests took place around the National Diet Building—specifically in front of the main Diet gate, the National Diet Library, and the Prime Minister’s Official Residence. A total of 12,000 citizens participated, calling out "NO WAR" and "NO TAKAICHI."On this same day, coordinated solidarity actions were held at approximately 321 locations across Japan.The events were also watched by about 50,000 people via online live streams.On this day, Harada played the snare drum within the "Antifa" contingent’s percussion section, while simultaneously recording video footage of the area around the National Diet.Video：https://bsky.app/profile/kiyubaru.bsky.social/post/3myc6sla62k2v

Director Satsuo Yamamoto

While Harada holds a deep affection for director Shuji Terayama, he also harbors great respect for director Satsuo Yamamoto—a man who was, notably, a member of the Japanese Communist Party.Upon passing the age of 30, Harada became acutely aware that the years were beginning to pass with increasing speed, leading him to contemplate his own eventual mortality.As a young man, Harada wondered, "Will I, too, be able to leave behind works that are meaningful to society—just as Director Yamamoto did?"To this end, he created a chronological list of all of Director Yamamoto’s films, noting the director's age at the time of each release, and posted it in his room. Each year, he would compare his own activities against those of the director.In his later years, Director Yamamoto underwent annual comprehensive medical checkups; despite being told by his doctors that he was in good health, he ultimately passed away from cancer.His sixties proved to be his most prolific and accomplished period, during which he directed a series of major, anti-war, and anti-establishment epics.He faced constant pressure—including death threats from right-wing extremists, who even mailed razor blades to his home—and was subjected to near-annual criticism from Liberal Democratic Party lawmakers. Yet, he remained entirely unfazed, always maintaining a dignified and steadfast presence.Among Yamamoto’s body of work, two films left a particularly deep impression on Harada: ”War and People” (1970–1973; created when the director was 62–64), which depicts Japan’s war of aggression in China, and ”Ah! The Nomugi Pass” (1979; created at age 70) https://kiyubaru.exblog.jp/33946564/, a searing indictment of Japanese capitalism and imperialism.Both Director Yamamoto and Director Tadashi Imai—whom Harada also holds in high regard (both were members of the Japanese Communist Party)—were ousted from the Toho studio during the post-war "Red Purge." Following their dismissal, they continued to create independent films and organize their own screenings.Because the quality of their work was so exceptional, major studios like Daiei and Toei eventually began commissioning them to direct films. At the time, both Daiei and Toei were willing to hire talented filmmakers regardless of their political leanings—whether left-wing or right-wing. (In that era, however, the vast majority of film professionals were, in fact, on the political left or the "New Left.")For Director Yamamoto in particular, being tasked by Daiei to direct commercial entertainment projects—solely to support his family—was an agonizing experience; it is said that during these periods, he would drink heavily, lamenting and crying out in distress.Yet, each film he produced was of remarkable quality, and eventually, he reached a point where he could direct films that aligned with his own vision. He used his cinema to expose the corruption and absurdities of power in all its forms—within the medical establishment, the banking sector, the capitalist class, major corporations, the military, the government, conservative political circles, the judiciary, and the state-orchestrated conspiracies of the post-war era.He was, at heart, always an ally of the vulnerable.While many creators might rejoice upon being promoted to the role of director for commercial animation or feature films, Harada—much like Director Yamamoto—would drink heavily and shout in solitude whenever he was tasked with directing a corporate project.This stemmed not only from a fundamental clash in ideology and perspective between Harada and the corporate entities, but also from the fact that time spent on these commercial projects meant a complete halt to the production of his own independent work.It is the ultimate absurdity—a true tragedy—that one cannot make a living by creating one’s own, free-spirited work, and that one must instead submit to the directives of corporations, capitalists, and the wealthy elite just to earn the means to survive.Yet, it is precisely this deep-seated frustration and anger that fuels an inexhaustible energy for his independent filmmaking.

Dried Persimmons

Animation creator Naoyuki Niiya gifted Harada some dried persimmons that he had made from fruit grown in his own field.

Currently in production.

Zoe

Videos featuring Japanese Communist Party (JCP) lawmakers as guests in forums hosted by organizations or individuals from other fields are often quite interesting, as they sometimes lead to unexpected questions.Taku Yamazoe (nicknamed "Zoe") is a lawyer and a member of the National Diet, elected from the Tokyo constituency.Though young, he is consistently composed, basing his remarks on logic and the law.The video linked here is from a talk show hosted by a lawyer.https://www.youtube.com/watch?v=AJHTx4yHjqA&t=2459sWhat is striking is that the host posed the following question to Yamazoe: "Are the Japanese Communist Party and communist parties elsewhere in the world part of the same organization, working in coordination?"In street interviews on Japanese television, when people are asked, "What comes to mind when you hear 'Communist Party'?" the most common responses remain "China," "the Soviet Union," and "a lack of freedom."Furthermore, a very common suggestion is that the party should "change its name."The Japanese Communist Party has spent decades addressing these points, and we, too, have provided extensive explanations in the past—back when we used the Excite Blog platform.Why do the vast majority of Japanese people accept the propaganda of far-right politicians—politicians whose policies actually make their own lives more difficult—without any verification?Much like the discrimination against foreigners promoted by the current ruling coalition, or the narrative that "a foreign nation is about to attack," these far-right and cult-like political figures deliberately withhold knowledge from the public while stoking fear. Having been conditioned by a constant stream of mass-market consumer goods and entertainment, the public has become highly sensitive to fear.Those who wish to maintain their current lifestyle—centered on consumer goods and entertainment—either vote for conservative parties or choose not to vote at all.The far-right, cult-influenced Japanese government has pushed for tax hikes and military expansion, while slashing budgets for welfare, education, and healthcare. In more immediate, everyday terms, they have even begun charging fees for services like household waste collection and emergency rescue operations.Yet, many Japanese people still happily claim, "Japan is at peace." Yet, our streets are filled with people who have no homes and must sleep on cardboard, while abroad, acts of aggression, war, and genocide continue unabated.Marx’s name does not appear in Japanese textbooks, and it is likely that well over 99.9% of the Japanese population has never actually read any of his works.To briefly revisit the question posed earlier: the Japanese Communist Party operates as an independent organization on the global stage. It directly critiques the negative aspects of the Soviet Union and China to those nations themselves, while simultaneously maintaining friendly relations with other communist parties worldwide—engaging in regular exchange meetings, primarily with parties in Asia and Europe.For those with some time to spare, please take a look at the "Marx & Engels" category page on our former Excite Blog; it offers a wealth of explanations regarding the theories of Marx and Engels—presented with greater clarity than anywhere else.https://video.fc2.com/content/202502136rJAZHp3Smartphone Video Filming by Hiroshi HaradaPhoto by Hiroshi Harada, January 2026

Evolution

https://x.com/kiyubaru/status/2056038099726340429This animation omits the dinosaurs that went extinct along the way.However, new research suggests a timeline for the gradual transition of dinosaur ancestors from a sprawling, crawling gait to an upright, bipedal one.This transition began approximately 270 million years ago and was completed around 237 million years ago.https://onlinelibrary.wiley.com/doi/10.1111/pala.70089Today, the various stages of our history—from the origin of the universe (quantum fluctuations) to the emergence of cells on Earth, the birth of life, and the evolution toward the genus ”Homo”—are being revealed one after another.If Engels were alive today, how deeply moved and excited he would be!Incidentally, Kazuo Shii of the Japanese Communist Party has remarked that if Marx were alive today, he would certainly have addressed the subject of AI. One might imagine that his observations would align with the points Bernie Sanders has been raising almost daily.Furthermore, if Shuji Terayama were alive today, what kind of experiments might he conduct in an era like this?As Harada ages, his vision has become clouded, no longer clear. Moreover, the aging process has impaired various parts of his body, affecting his lower back and joints.There are two particularly difficult periods in a person’s life: the time spent caring for one’s aging parents, and the final stage of life—when death looms directly ahead.When we are children, time seems to flow very slowly.Yet, once we pass the age of 30, time begins to move with increasing speed. Time is not constant.Meanwhile, both the body and one’s health inevitably decline.At present, Harada is gripped by a fear of death. In his youth, he could easily depict death in his work; however, as death became a more immediate and tangible reality in his own life, he found it increasingly difficult to portray.Harada has noted that, in works such as ”Horizon Blue” and ”Zashikiro”, depicting themes like the death of a mother or scenes of war was emotionally painful for him.A human life passes in the blink of an eye. While some may pass away without suffering, others face death accompanied by intense agony.Therefore, one must cherish each passing day—especially after the age of thirty—ensuring that not a single day is squandered.Yet, despite the brevity of life, people find themselves controlled and exploited by large corporations; film directors, for instance, have even been stripped of their copyrights—a consequence of legislative changes enacted in 1971 by the ruling party in collusion with major corporations (we have documented the details of this process on our former Excite blog).More problematic still is how the government and the business establishment have steered the public toward prioritizing the consumption of content produced by large corporations over the personal joy of creation.Take animation, for example: most people enjoyed drawing as children, yet for many, the act of creating eventually becomes a chore. Instead, they find greater pleasure in watching the vast quantities of content distributed to them, ultimately dedicating much of their time to this passive consumption.This is the result of a social structure designed and driven by the wealthy elite.We must reclaim the free time and the joy of spontaneous, unconstrained action that we once possessed in our childhood—taking them back from those in power and the capitalis

Party Program

The Japanese Communist Party (JCP) has released a draft revision of its party program.While the party’s fundamental stance has remained consistent for 104 years—dating back to the pre-war era—it periodically updates, supplements, and revises its program to address changes in society and politics.Although these revisions represent only a small portion of the document as a whole, the precision with which the text is amended rivals that of an academic paper.This latest draft revision incorporates or places greater emphasis on issues such as the climate crisis, environmental destruction, gender equality, the patriarchal system, artificial intelligence (AI), sexual and reproductive health and rights (SRHR), and care work.Furthermore, it highlights that, based on the theories and proposals of Karl Marx, communism and socialism envision a society that affords individuals more free time.For decades, conservative and right-wing factions in Japan have propagated the false claim that communism and socialism equate to a society devoid of freedom. Consequently, more than 90 percent of the Japanese population—despite never having read a single page of Marx—have come to believe this conservative, right-wing propaganda.Moreover, unlike the Japanese Communist Party, other political parties in Japan lack a robust, well-defined program grounded in science and history.As a result, these parties often base their statements on mere, ad-hoc impulses.Yet, many Japanese people seem to prefer such impulsive, sentiment-driven remarks from politicians.Regrettably, a large segment of the Japanese population—heavily influenced by the neoliberal policies pursued by the government and the business sector since 1981—spends its time consuming a vast array of entertainment media. Many have also come to firmly believe that science, history, and theoretical discourse are "too difficult" or "irrelevant" to their own daily lives.In essence, the revision of the Japanese Communist Party’s program embodies the dialectics and materialism of Marx and Engels. Dialectics and materialism constitute the most fundamental aspects of the theories of Marx and Engels; in short, they posit that life, the economy, the natural world, and the universe itself are all interconnected through the movement of matter.While society and politics have undergone significant shifts, the film industry has—since 1981—largely ceased to engage with these themes.Social and political developments—both domestic and international—are inextricably linked to our daily lives; it stands to reason that creative works cannot, and should not, be detached from such realities.Yet, due to a long-standing, subliminal campaign by the conservative far-right, many Japanese people today have developed an aversion to films that touch upon politics or society—at times even attacking them by labeling them as "ideologically charged" or "left-wing." The term "left-wing" (sayoku) began to be used as a pejorative in the 2000s, a trend sparked by Prime Minister Shinzo Abe, who frequently mocked and attacked left-wing groups and labor unions in the Diet and during public campaign events. The Japanese public’s growing distaste for "ideology" can also be traced back to the 1980s, when Liberal Democratic Party (LDP) politicians repeatedly dismissed welfare programs, social security, and left-leaning films in the Diet by labeling them as "communist" or "ideologically driven." During this same period, LDP lawmakers also launched attacks against labor unions within the Diet.In 1981, the LDP-led government succeeded in weakening many labor unions, including the National Railway Workers' Union. In their place, the government—in collusion with the business sector—flooded the public with an overwhelming volume of entertainment content.Until the 1970s, it was common for Japanese people to read books while riding the train; from the 1980s onward, this shifted toward playing games, and today, it has become the norm to use smartphones to watch YouTube or browse brand-related content. Now, both the government and major corporations are fixated on promoting AI.And even as more than 70,000 people are killed in the Middle East, the public continues to smile. While everyone is preoccupied with chasing entertainment, 50% of the electorate has abandoned the right to vote—a right their predecessors fought for, even at the cost of their own lives.Today, our planet faces not only the threats of capitalism, hegemony, military expansion, and nuclear weapons, but also the climate crisis and the potential for catastrophic destruction brought about by super-intelligent AI.Even as the natural world is destroyed year after year—with impoverished nations bearing the brunt of the damage—Japan’s bustling districts remain packed with people smiling and enjoying themselves.In such a climate, is it even possible to create conventional, "well-behaved" works of art?For Kiryukan, the anger ignited by these realities will only fuel a continued commitment to even more brutal and extreme forms of expression.https://www.jcp.or.jp/akahata/aik26/2026-10-15/2026101505_01_0.php

Currently drawing.

Transforming Painful Experiences into Art

With the neoliberalization of art universities—a trend that accelerated around 1999—artistic work began to be reduced to numerical grades. Furthermore, policies driven by the Ministry of Education, Culture, Sports, Science and Technology (MEXT) and the Ministry of Economy, Trade and Industry (METI)—both of which operated in blind subservience to the government—promoted the idea that a creator’s happiness lies in gaining evaluation, recognition, and praise from others or the state.Consequently, students became increasingly inhibited; to secure good grades or earn external validation, it became the norm for them to tailor their work to the tastes of their professors and those around them.During his time as a university lecturer, Harada challenged and disregarded these conventions, encouraging his students to use their own painful past experiences—such as bullying or having been subjected to violence—as motifs for their work.Many students were hesitant, as they preferred to keep their experiences with bullying hidden from those around them. Nevertheless, some—primarily female students—chose to create animations based on their past experiences of being bullied.Moving away from the safe, conventional, and "model-student" style of work typical of their peers, these students laid bare their own most vulnerable and shameful aspects. Their work resonated deeply with other students who were struggling with similar issues.Since the 1980s, various studies have shown that externalizing painful personal experiences—such as by drawing them on paper—can help alleviate the distress associated with those memories; this approach has also been utilized within the field of cognitive therapy.(Indeed, the practice of drawing or creating animations has long been employed in mental healthcare and cognitive therapy as a means to mitigate psychological suffering.)Recent research suggests that "Imagery Rescripting" (ImRs)—the process of externalizing and re-envisioning images of past traumatic experiences (such as those linked to PTSD or flashbacks)—remains effective even when conducted through online interactions.Harada himself has observed, through several of his own projects, that transforming his own painful past experiences into art consistently helps to diminish the intensity of the actual distressing memories.https://www.sciencedirect.com/science/article/pii/S0022395626004681

Parts of an abstract scene

120 sheets of Action

This sequence depicts Kazumi exacting revenge for the harassment she has endured—retaliation against the male selfishness spawned by various male-dominated societies.

Abstract Expression

Since his student days, Harada had wanted to create abstract animations accompanied by *musique concrète" or twelve-tone music, alongside works featuring representational imagery. The 1960s and 70s saw the production and screening of numerous experimental short animations by independent filmmakers.He did, in fact, create several such short films in the past (some of which were screened at the Beijing Independent Film Festival).However, Japanese audiences generally showed little interest in abstract works, often reacting with indifference when actually viewing them.Consequently, Harada adopted a compositional approach—reminiscent of the works of Shūji Terayama or certain Toei-doga productions from the 70s—of interspersing abstract sequences within a narrative driven by representational imagery.This allowed him to present abstract art and music to the audience at the same time.Among the photos below, he is particularly fond of the first six images.The image at the bottom left shows a piece created using the "suminagashi" (ink-floating) technique, which Harada first experimented with in his teens. Ink is floated on water and gently swirled; when "washi" (Japanese paper) is laid upon the surface, the pattern transfers onto the paper. This technique was utilized by manga artists and in animation productions during the 1960s and 70s.The image at the bottom right depicts a wealthy tycoon's bedroom. (Stereotypical imagery is intentionally employed in "BOO".)Although this scene was originally intended for his next project, "Maze", he couldn't wait and began incorporating elements of it into "BOO".The photos below show 120 images that have been colored.Paper colored in this manner tends to warp or curl.To flatten it, a heavy object—such as a thick book—is placed on top overnight before the images are photographed the following day.While some slight unevenness in the paper remains, this creates a subtle, organic fluctuation characteristic of analog media.

Large-Format Cels

Shown below are large cels used in ”MIDORI”.Each one measures approximately one meter in length.This scale made not only the drawing and coloring processes arduous but also the tasks of transport and storage.For instance, whenever Midori ran horizontally across the frame or the camera panned sideways, the animation had to be drawn and filmed using cels or sheets of drawing paper that matched that length.