Autumn Sword Fish Issue 16: Hong Kong Flavor, Japan

Autumn Sword Fish Issue 16: "Hong Kong Flavor, Japan" And so, we found a different Japan in Hong Kong. Ramen shops in European towns selling Japanese beer, an Austrian orchestra playing a beautiful melody with Japanese-made flutes, American teenagers passionately engrossed in Japanese manga, and of course, Steve Jobs, always in his black Issey Miyake sweater, who even visited Eiheiji Temple in Fukui, Japan multiple times to experience Japanese Zen meditation. Japan through the eyes of the world seems distinct from how Taiwan perceives it, influenced by historical context. While we are accustomed to Japanese signage on our streets, Japanese words interspersed in conversations among elders, or new cafes gaining popularity by renovating old Japanese houses, our Taiwanese view of "Japan"—listening to Japanese music, watching Japanese dramas, discussing Japanese design—has become commonplace. But if we remove the 50 years of close historical ties with Japan, how would the relationship between Taiwan and Japan appear? Thus, starting from a "Taiwanese perspective," we decided to move beyond the familiar Japan of Taiwan, to break established cultural frameworks, and imagine if Japan is perceived the same way in other countries. One afternoon, while chatting with friends from Hong Kong about childhood memories, we discovered that *Slam Dunk* and Namie Amuro were common threads in our recollections. We spoke animatedly about *Long Vacation*, recalling how boys back then wanted Kimura Takuya's hairstyle or a BAPE T-shirt. The 90s were a golden era for Japan, dominating Asia with its idol scene and manga culture shaping the worldviews of those born in the 70s and 80s. Popular manga serialized in Japan, translated into traditional Chinese by Taiwanese publishers, and then imported at lightning speed by Hong Kong bookstores, represented more than just individual volumes. It was a glorious era that influenced the publishing cultures of Taiwan, Hong Kong, and Japan, shaping the shared memories of a generation through compelling stories. Perhaps this is why Japan is so unforgettable. Japanese products used, Japanese cuisine tasted, Japanese films watched—these have become genes circulating throughout Asia, and more importantly, they have merged with local cultures in various countries to create new forms, revealing appearances that even the Japanese might not have anticipated. Stepping outside of Taiwan, cultural evolution unfolds. If integrating Japanese culture into one's own country is "secondary creation," then after internalizing these memories and interacting with other nations, does it ingeniously become "tertiary creation" of Japanese culture? It's like a journey where we exchange languages, thoughts, and perspectives. New cultures ripple into existence on a flight, or in the living room of a backpacker hostel. Just a 1.5-hour flight from Taiwan, Hong Kong is celebrating its 20th anniversary of reunification this year. Shingo Katori's first overseas appearance after leaving SMAP was a variety show at Hong Kong Disneyland, and the charismatic actress Hikari Mitsushima's captivating MV, filmed late at night in Hong Kong, is currently trending. As "Autumn Sword Fish's" first foray into Asia, Hong Kong was the chosen destination. We visited Japanese writers, artisans, and hairstylists residing in Hong Kong, and also engaged with locals in exchanges about the imagery of Japan in both Taiwan and Hong Kong. It felt like those passionate manga from the past, connecting the cultural fervor across Taiwan, Hong Kong, and Japan. We are especially grateful to "Unun," a Hong Kong-based online curated store, for their support in our "Hong Kong landing." Founders KaHo and Lauren showed us how Hong Kong's youth can pursue their ideals of promoting excellent design with such unwavering determination. We also thank Kurt, the Asia Content Editor for the Hong Kong branch of *Monocle*, for sharing his Asian perspectives from a Hong Kong viewpoint. On several occasions in Hong Kong, I proudly introduced ourselves as: "We are 'Autumn Sword Fish,' a Japanese culture magazine from Taiwan." The organic growth of culture stems from human interaction. At this moment, we are using Japanese culture to connect more Asian content and document a different kind of Japan.