• Who is japan_nobunaga? An investigative report

    Who is japan_nobunaga? An investigative report

    Everyone, go follow @japan_nobunaga on X.com!

    It’s the funny, whimsical stories of a Japanese person exploring America and learning about their customs! Like salsa chips! And trucks! 🙂

    I just love reading his very real stories which very much happened to a human! 🙂 🙂

    They’re extremely believable. Particularly this one, where he goes to a car wash, pays for the cheapest option, and a rando car wash attendant upgrades him (for no perceptible reason) to premium service while talking like a badly-written NPC in a videogame (“OVERRIDE! UPGRADE HIM TO THE TITANIUM HURRICANE! ON MY DIME!”)

    And I love his adorable art, which (as he explains on his website) is not AI art! (Which just couldn’t match the warmth of hand illustration.)

    I also love his not at all insane-sounding political opinions about immigrants and gay people!

    (This was the only post on the account I could find that wasn’t AI generated.)

    And it’s delightful that his account is based in “Japan”, but has a pesky little warning symbol beside it, indicating that he connects via a VPN.

    And it’s divinely magical that his account has an August 2023 join date, no activity before Nov 14, 2025 (tip, search old tweets using by adding until:2026-01-01 or whatever to the query), and nine username changes. Seems legit. Not at all like he’s a professional marketer who asset-flipped an account through several failed gimmicks until one gained traction. (His earliest public posts appear to be discussions on how to game the X algorithm. They’re in Japanese, which allays my suspicion somewhat. Not completely: it’s odd that he’s so fixated on Trump and US culture war issues. I also wonder how many Japanese people would be comfortable doing an exaggerated, caricatured portrayal of their nation for the edification of borish Americans. I’m Australian. The idea of creating an X.com account called @australian_nedkelly where I pretend to tour America while saying stuff like “blimey, you seppo bastards really call ‘taps’ ‘faucets’, don’t ya? straya, mate. throw another shrimp on the barbie.” makes me want to put the barrel of a gun in my mouth and commit teddy bear picnic)

    Next comes the part we’ve all been waiting for. Where you say one of three things in japan_nobunaga’s defense.

    “1. My urine is green and cloudy”

    You probably have a urinary tract infection. I am not qualified to comment further. Please see a GP.

    “2. He admits the stories are fiction on his website/profile, doofus!”

    He says this:

    These stories are not journalism. They are not realism. They are not a think-piece about America. The samurai is fiction. His misunderstandings are fiction. The diner waitress who calls him “honey” is a composite of every diner waitress who has ever existed.

    There you go! Surely, that’s good enough, right?

    1) His tweets go viral with none of this context included. The average person does not read his website and probably never clicks back to his profile (which contains a vastly different claim anyway, that he uses “AI to polish [his] English” and for research.)

    2) The stories offer no hints that they are fictional. They are written in the first person, in a naturalistic style, and involve everyday events. There are no “winks” to the audience, no pulling back the curtain. The “samurai” does not behave as a samurai would. He’s a “clueless foreigner” stereotype, corny but not unbelievable, and is easily mistaken for the narrator himself.

    3) Even if the writer’s intentions are good (doubtful), most of his audience absolutely does not realize they are reading fake AI slop.

    Here are some replies:

    “Brother, thank you for these posts. If you ever get to Florida let me know, dinner and drinks are on me.”

    “I love your objective view of true American culture and your desire to go beyond observing culture, but to participate in it. “

    “I love the effect that the World Cup is having, bringing us together as good humans regardless of our evil leadership! Here’s a visitor from Japan experiencing free chips and salsa for the first time.”

    This Reddit thread describes his fake truck story as

    “A longer, yet outstanding, tweet by a Japanese man living abroad in the US.”

    The account has received coverage from the withered vestigial organs of the old school printed press, which mainly treat its stories as real accounts.

    Spoon University describes him as “a Japanese tourist” who “shared his experience” of going to a Mexican restaurant.

    The New York Times found the matter so unclear that they DM’d the author for comment.

    Nobunaga, the Japanese wanderer whose reverential written meditations on X about bottomless baskets of chips and salsa at a Mexican restaurant in the United States, isn’t quite what some observers have taken him for, either. He is a pseudonymous character. He isn’t on his way to any World Cup games, either.

    In response to a direct message, Nobunaga’s creator said the premise of the account is that an ancient samurai had traveled through time and space to land in the American heartland. When he wrote that “the trust of a nation is in that salsa, and I intend to honor all of it,” it was meant in a spirit somewhere between parody and cultural commentary.

    4) His “stories” are incredibly boring and pointless if read as fiction.

    “I ate some salsa chips”

    “A guy called Kevin moved my sofa.”

    There is no twist, subversion or element of surprise. They are big bags of nothing. They suck and are dogshit. 100% of their juice comes from the fact that people think it’s a real Japanese person having real experiences.

    “3. But who cares if it’s fake! They’re nice stories!”

    Here are real reactions people have had after realizing they’re huffing Claudeslop:

    “In some ways… I’m OK with that in that the story was a nice story, it resonated with a lot of people and it shows how humanity at one of it’s better sides.”

    “I like your stories. I realize most of them aren’t exactly the truth, who cares? It’s entertainment. Your stories are also very pro-American and down-to-earth…something rare these days. Write on, Samurai.”

    I do not agree that they are nice stories. They are maudlin pap, are written horribly, and they don’t show humanity at “one of it’s [sic] better sides”. They are focused with steely intensity on the classic samurai virtues of consumerism and gorging yourself like a pig on fast food.

    What’s great about America, according to nobunaga?

    – the food is cheap

    – they give you large portions

    – sometimes businesses give you free shit

    – sometimes a guy named Kevin moves your sofa

    The reality that the “free” salsa chips are a loss leader in the Mexican restaurant’s expense account (they are counting on consumers being enticed by free chips to indulge in more expensive, higher-margin items) is lost on the samurai. As is the fact that “Kevin” (if he even exists) is performing reciprocal altruism—today you, tomorrow me. A good practice, to be sure, but he’s hardly doing it out of the kindness of his heart. He’s accruing positive social capital, to be cashed in when he needs help.

    This is saccharine, condescending AI slop, poorly-written by a machine, documenting a dying, decrepit nation trying to cheat death by being too obese to fit into its coffin. They are vapid celebrations of an unworthy life spent rattling like a dry and empty can from one toy to the next. Maybe they are an accurate portrayal of America. This should be a national embarrassment.

    (Also, are they not written in a manner that’s…pornographic? Excessively sensual, etc? “I ate with the gravity the moment deserved. And then — I must report this calmly — the basket emptied, and a new one appeared.” … “By the time my actual food arrived, I was a ruined man. I was not hungry. I was not comfortable. I had been defeated by a courtesy.” I wonder if this is “algo-speak”. Social media won’t allow descriptions of fucking, so we transplant erotic frisson onto things like food.)

    In 2017, HuffPo published a wokescold piece titled “I Don’t Know How To Explain To You That You Should Care About Other People”

    It’s a fine example of vintage 2017 wokescoldery, almost fit for framing in a museum. “I’m done trying to convince these hordes of selfish, cruel people to look beyond themselves.” Great stuff. They don’t make ’em like that anymore. It’s nearly up there with Tommy Needy Drinky.

    Right now, I am feeling “I Don’t Know How To Explain To You That You Should Care About The Truth”.

    When I was a child, I was a compulsive liar. Or at least I had an impulse to fabricate details about myself that made me look cool and important. I would claim to have done things that I hadn’t, to know people that I didn’t. Sometimes I would lie just to fill an awkward silence.

    My internal justification was “It doesn’t hurt anyone, and helps my social life. Who cares about a lie here and there?”

    What changed me (aside from growing up) is that I cared when other people did it to me.

    When someone lied and I caught them, I felt violated and betrayed. Even if the lie was small, I had a hard time getting over it and forgiving them. It was like violently disliked the person who had done it. It was like like reality was a swimming pool, and they’d whipped their dick out and pissed in it.

    And I was doing this to other people. If they ever caught me (and since I was catching other people, it was obviously very much a live possibility), they would probably feel the same about me. And they would be right to do so.

    The account is lying. The internet is awash in AI junk, and a philosophy of “well, this particular incident of lying seems harm-free” is not defensible. I could easily take this in a thousand uncomfortable directions. Nobody is obviously harmed when I claim you owe me money. Or if I claim only five million died.

    To be clear, I would not have a problem if the stories were obviously fictional and fantastical (like if nobunaga drew his blade and practiced Kiri-sute gomen / 斬捨御免, on the car wash attendant, cleansing his ride in filthy commoner blood). But instead they trade on blurring a line between reality and fiction, where he gets to present them as real experiences while rugpulling them as fictions when convenient.

    Maybe they make you feel good, though.

  • Helloween – Straight out of Hell

    Helloween – Straight out of Hell

    Helloween’s fourteenth album has a bland title but good music. It reverses course from the dark tone of Seven Sinners, delivering “happy” power metal with more upbeat lyrics and a free, less burdened approach to songwriting. Apparently the band was delighted that (contra Mayan prophecies) the world didn’t end in 2012. Fair enough. I, too, was pleased by that development.

    It has one of the great Helloween tracks, Weikath’s “Burning Sun”. A spellbinding fast track where the band’s constituent parts together meld together in a great fiery heat: Judas Priest riffs, Iron Maiden lead melodies, Deep Purple organs, and a Weikath/Sascha guitar solo duel that is short, ferocious, and memorable note-for-note. The lyrics (depicting a technological flight of Icarus of sorts, except the captain knows he’ll burn up) are unusually well-written for a band that usually barely writes songs in English. This is an all-time top 10 Helloween song for me.

    The rest of the songs more trend toward “okay” than riveting, with further standouts being Weikath’s nostalgic “Years”, Deris/Gerstner’s upbeat anthem “Live Now!”, and Deris’s fiery, charging “Nabataea” (the Nabataeans were an ancient proto-Arab kingdom, who left behind some fascinating monuments. Deris is something of a traveller and it would not surprise me if he saw many of them firsthand).

    Charlie Bauerfeind’s production is softer and easier on the ears, with less of the blatantly sampled drums that I disliked from past efforts. The guitars have a 70s Marshall sound, acting like glue over the mix rather than sticking out. All of these decisions are more or less the correct ones.

    The usual filler does the usual filling. “Asshole” is a either a joke in search of a point or a point in search of a joke. “Hold Me In Your Arms” is a ballad that provokes no reaction. “Wanna Be God” is “We Will Rock You” off Temu.com, and I don’t like the original much. As always, these songs feel more like ballast and counterweight for the real songs (trifles that allow the listener time to think and reflect) rather than music that’s substantial in itself.

    The final three songs are paced pretty similarly and do blur together. Gerstner’s “Church Breaks Down” has a striking anti-religion tilt breaks from the band’s past lyrical outlook, which has generally been Christian or at least Christian-inspired (there’s a large pile of songs like “Hey, Lord”, “Revelation”, “Time of the Oath”, and that’s not even considering the latter Michael Kiske material, which would often go into all-out gospel territory.)

    This is a band that’s set in their ways, but their ways are good. A lingering question: why are there gas masks on the cover? They’re pumpkins. They don’t breathe.

  • Bad for Good – Jim Steinman

    Bad for Good – Jim Steinman

    In 1981, a recording engineer drove home after working on this album. It was late at night. His wife had just left him. He sat in a depressed fog, listened to “Left In The Dark” on repeat for about forty times, then slit open his wrists.

    Jim Steinman told this dramatic tale every chance he got, as evidence of his song’s heart-juicing power…except he couldn’t keep the details straight. Sometimes the unnamed engineer’s wife had cheated on him, sometimes she’d just left him. Sometimes he’d attempted suicide by wrist-slitting. Other times he’d tried to drive his car off a cliff. The wires of fact and fiction often get crossed in our minds, and Steinman’s was a 1000 thread count. I don’t think he knew any other way to be.

    Nobody played to the cheap seats so shamelessly or so well as Jim Steinman. He was a Cecil B DeMillionaire: an artist who used size the way others use paint. His music hoards the wind and marshalls the sea, unites the infernal with the divine, takes the frigid dark and effaces in with the brightest hottest fire. He electrified Wagner, mocked Odin for his puny one horsepower engine, drew inspiration both from mythic hugeness and everyday mundanity. A lot of his work finds a kind of interesting fractality, where large and small exist together. He found a way to unite the great, mythic Nordic sky and the humble, crude people who stare up at it, puncturing a throat-rending operatic ballad with what’s either a jab at Meat Loaf’s physique or a dick joke (“And can’t you see my faded Levis bursting apart”).

    In 1981, Bat out of Hell was picking up steam (it had sold between six and eight million copies), and Steinman decided to make lightning strike twice, and this album is a skyscraper-sized lightning rod rigged atop the bat tombstone, with a middle finger pointing straight at God. *Bad For Good* tries to scream and bludgeon its way into greatness in a way that is both impressive and terrifying. I am not joking when I say that I fear this album. It would scalp me and chew my buttocks off if I stood between it and an RIAA platinum certificate, I just know it.

    Steinman spared no expense. He reunited most the *Bat Out of Hell* personnel (Ellen Foley, Karla deVito, Todd Rundgren, Max Weinberg and Roy Bittan), tapped Richard Corben for another cover, wrote another set of agitated rockers, ballads (with a lyrical ear for fairytales and myths of all types.)

    More, it ups the ante. The title track is “Bat Out of Hell” on crack cocaine and outright sounds like parody. “Love and Death and an American Guitar” is a spoken word piece that begins “I remember everything little thing as if it happened yesterday. I was barely seventeen”), but instead of being “barely dressed” the hero “once killed a boy with a Fender guitar.” And remember how Bat had Ellen Foley singing on the record and Karla deVito singing live? Bad for Good has them both together!  *Bat* had several members of Bruce Springsteen’s E Street Band on it. *Bad For Good* has Bruce Springsteen’s orchestral arranger (Charles Calello, of the New York Philharmonic!)

    At a certain point, you have to ask “so is this just Bat Out of Hell, but a bit louder? Is there anything new here?” To which the answer is “yes” with a pause of about one to two seconds before answering.

    There’s the ferocious production. That’s new. Bad for Good is mixed so hot and sharp and bright that it cuts the ear like plasma. This is a benchmark “eighties” record and arguably where Jim Steinman came into his own as a producer and engineer. You see where he’d soon end up with Bonnie Tyler and Sisters of Mercy: gigantic gated drums, vocal tracks layered like a sediment of crushed ghosts, and samples of motorbikes and gunshots filling out dead spots in the mix.

    And where *Bat* was an attempt at translating Wagnerian orchestra into a modern rock context. Bad for Good translates Wagnerian orchestra into…Wagnerian orchestra! The 62-instrument composition “The Storm” is fabulous to listen to, and unlike anything on its predecessor.

    Otherwise, it colors within the lines you’d expect on a Meat Loaf album. Except it doesn’t have Meat Loaf. That’s kind of its big defining fact: he is Godot on his own album: perceptible only as a very large hole. (Which Meat Loaf spent decades trying to fill—many of its songs were later covered by him.)

    *Bad for Good* was written for Meat Loaf, but wasn’t sung by Meat Loaf. It’s sung by Jim Steinman himself.  I’ve heard a lot of people talking *mess* about his voice, as teens say, so I’ll just say this: his voice is *fine*. He’s a clear, fine tenor that suits the music pretty well. He only really sounds out of place on “Left in the Dark” (an oddly weak performance where he seems to have a cold). He’s no Meat Loaf, but only a small percentage of the population is (under 10%, per last data.)

    What happened? To summarize an unsummarizable situation: the touring cycle for Bat out of Hell broke Meat Loaf’s voice, and left him unable to perform music. Except he recorded a new studio album of Steinman compositions (the rather slight but entertaining *Dead Ringer*) And despite their claims of eternal friendship later in life, the Steinman/Loaf partnership appears to have entered sharky waters through this period (evidenced, if nothing else, by the fact that they didn’t do a full record together for over a decade). It’s hard to find an interview from either man that doesn’t contain some shit-talking and passive aggression.

    The songs are very, very good. “Bad for Good” is a devastatingly effective opening track, probably edging out the title track of *Bat Out of Hell* for me. It is one of the great Steinman pieces: utterly riveting from side to side. The pace flies, Todd Rundgren’s backing vocals howl it along like a demonic wind. it’s full of complex and memorable motifs and ideas, Max Weinberg’s machinegun snare-fills seem to splatter blood across the landscape. Steinman plays into his vampire role with relish, biting off lines like a man sinking teeth into flesh. *”Your love is so close that I can almost taste it!”*

    “Lost Boys and Golden Girls” “Stark Raving Love” are two different ways of telling the same Peter Pan tale that was never far from Steinman’s thoughts. One is an ersatz Broadway showtune, the other an agitated high-speed rocker.

    The album, while incredible, is slightly worse than *Bat Out of Hell* for me.

    Part of the problem is its sheer similarity: it demands comparison to its predecessor at every turn: you can’t avoid noticing how it usually loses these head-to-head battles.

    For example, “Dance in My Pants” is another humorous battle-of-the-sexes duet, but it’s about 80% as good as “Paradise by the Dashboard Light”. “Left In The Dark” is strong, yet it’s clearly “For Crying Out Loud” on cruise control mode. “All Revved Up With No Place To Go” is a more succinct “Stark Raving Love”. “Out of the Frying Pan (And Into the Fire)” has some clear issues with diminishing returns.

    Steinman did little wrong in the eighties. But you can kind of hear an even better version of this album by buying “Bat Out of Hell”. The first time you hear a fairytale is always the strongest. So that’s my only misgiving on what’s otherwise a very strong record.

    Some find his music gaudy and tacky. I think I get his project: tell a story right, and it gets more real as it becomes more ridiculous. The bigger the fireworks, the harder the flash pulses against the inside of your eyes.  A vivid aurora-splash of color, flashing out the veins throbbing beneath your lids, and in that moment, you believe the aurora exists only for you. It’s music that can be experienced collectively, or alone. Barely dressed, or with a Fender guitar. With a car, or with a razorblade.

    “You can’t run away forever, but there’s nothing wrong with getting a good head start”