Monthly Archives: December 2022

Marriage on the Rocks

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As the dawn breaks, I set out for Himeji, Hyogo Prefecture, my ultimate destination: a resplendent castle, the most visited in all of Japan and a UNESCO World Heritage Site. I had previously visited this castle back in 2012, but the main building was undergoing maintenance work at the time, and I was unable to catch a glimpse of its splendour. Instead, the cladding around the castle featured an image of its future state, once the five-year renovation of its roof and walls was finally complete. Today, I get to finally see the future for myself.

Leaving Himeji Station, I stroll along Otemae Street, a kilometre-long street running between the station and the castle. This charming street is lined with shops and restaurants, and the trees are neatly arranged on either side, their branches reaching skyward in a wild, untamed fashion. The empty roads are absent of cars, providing an unobstructed view of Himeji Castle, which rests atop a distant hill like a sentinel of the past.

Himeji Castle has earned itself the nickname “White Heron Castle,” due to its supposed resemblance to a bird taking flight, and because it is strikingly white. For the last 400 years, Himeji Castle has survived bombing during World War II and a multitude of devastating earthquakes and typhoons. It remains one of Japan’s best examples of 17th-century castle architecture.

The castle and its sprawling network of 83 buildings and gardens stretch across a vast expanse of 233 hectares. Even though I have visited before, the sheer size of the castle, along with the impeccably maintained grounds and gardens, is nothing short of breathtaking. It is a veritable kingdom of history and beauty, a realm that leaves one feeling utterly overwhelmed by its grandeur.

I bid farewell to the castle and embark on a journey by train to Osaka. From there, I transfer to a local line train bound for Ise City, Mie Prefecture. My journey is a long and tedious one, with my train halting at each of the 73 stations along the way, incurring a hefty cost and consuming three gruelling hours. At almost every station, the train is met with silence, as not a soul disembarks or boards. It is a complete waste of time. Halfway into my journey, the train is severed in two, and I am moved to the front carriages by the staff. As my truncated train pulls away, the express train bound for Ise City arrives at the platform, leaving me to rue my misfortune and wonder why this was not disclosed to me earlier.

At last, I arrive at Ise Station, where I must transfer to a local line that operates on a limited schedule, running just once an hour. This train will bring me closer to my ultimate destination. Time is of the essence as I have only six minutes to make the switch, but as if to mock my efforts, my ticket gets swallowed up by the ticket machine at the transfer gate. A loud, flashing red notification blares out the ominous words: ‘Ticket jam! Ticket jam!’ It seems that my luck has taken a turn for the worse.

The staff member takes an age going through each and every intricate mechanism within the machine with a pair of tweezers, trying to find my lost ticket. He won’t wave me through because he can’t confirm that I have paid up to this station, I am stuck waiting for what feels like an eternity, and just as time seems to stand still, I miss my connecting train. After about ten minutes, I receive my ticket and the only solace I take is the fact that I got to see the immense inner workings of a Japanese ticket machine.

With no train for the next hour, I opt to walk the roughly eight kilometres to my destination, braving the ghostly chill in the air as I cross the Isuzu River. Eventually, I arrive at a place known by three different names: Futamiokitama Shrine, Meoto-iwa, and the Wedded Rocks. The rocks sit placidly in the water, with the small torii gate perched atop the larger rock like a crown. The gentle waves of Ise Bay add to the serene atmosphere of the scene.

The larger of the two rocks is said to represent the husband, while the smaller rock represents the wife. These two rocks are connected by a massive, thick rope, which, according to Shintoism, symbolises the unity of marriage between the two most important gods in Japanese mythology, Izanagi and Izanami. On a clear day, one can see the majestic Mount Fuji on the distant horizon, its frosted peaks a breathtaking sight above the graceful rocks below. However, my luck continues to abandon me as Mount Fuji is nowhere to be seen today. Perhaps I’ll see it later.

Seemingly unrelated to the story of Meoto-iwa, I also notice that sculptures of frogs are incredibly popular here – in fact, they seem to be absolutely everywhere!

The frogs here are a rarity, believed to have the power to grant specific wishes – particularly those related to returning home or recovering lost items. The Japanese word for ‘return’ or ‘go home’ is ‘kaeru’, which also happens to be the word for ‘frog’. It seems the presence of all these frog statues is simply because of a play on words. If only I had had one at the station with my lost ticket.

After all of my recent travels, I am completely exhausted and decide to take a break in Tokyo to reconnect with some old friends and participate in the New Year’s celebrations. I board a slow local train heading north to Nagoya, before switching to the high-speed bullet train bound for Tokyo.

From the train, the graceful, snow-capped beauty of Mount Fuji greets me.

Everything Was Beautiful And Nothing Hurt

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With toothache and a twisted ankle, I take the Bullet Train over to Hiroshima. My first stop, a place I visited ten years ago, Hiroshima Peace Memorial Park. Immediately after the atomic bombing, it was said that no plants or trees would grow for 75 years, but as I hobble along Peace Boulevard towards the park, I notice it is lined with large trees and lush greenery. Following a tree-planting campaign in 1956, in which neighbouring municipalities in Hiroshima Prefecture were asked to donate trees to the city, Hiroshima has been transformed into a verdant paradise.

I stroll in silence through Hiroshima Peace Memorial Park. I take note of the fountains, the newly laid flowers at the cenotaph, the looming Atomic Bomb Dome in the distance; a survivor, its form so full of imperfections, its beauty an aide memoire of an aftermath of events that left it in such a state; a symbol of everything left behind, a skeletal figure of what once was, now ruins.

Seventy-seven years ago United States President Harry Truman authorised the bombing of Hiroshima. His actions, which would be considered a war crime today, resulted in the instant deaths of 80,000 people. As I further walk toward the dome in the distance, I can’t help but think about the enormous impact of these events; the devastation of an entire city in a single moment.

The building that houses the skeletal remains of the Atomic Bomb Dome is known as the Hiroshima Prefectural Industrial Promotion Hall, and in December 1996 it was added to the UNESCO World Heritage List as a reminder to the whole world of the horrors of the atomic bomb, and a symbol of global peace. As I look at this building I can’t help but become overwhelmed by sadness.

Because the bomb dropped on Hiroshima exploded from almost directly above this structure, some of the walls and the iron frame making up the dome remained standing, whereas everything else around it for miles was flattened to the ground. There has been some controversy about this building in the past, some people argued that it should be destroyed, for it’s a dangerously dilapidated building that evokes painful memories. Others argue that is should be preserved as a memorial to the bombing. Since the UNESCO status, the building is now protected and efforts are continually made to ensure that it looks identical to how it looked on that fateful day in 1945.

Leaving the solemn Peace Memorial Park behind, I embark on a journey by train to Miyajimaguchi Station. Located on the serene Miyajima Island, the revered Itsukushima Shrine is said to offer one of Japan’s most breathtaking views. As I enter the station, a display of the shrine and its iconic, wandering deer greets me with a festive flourish.

Before taking the ferry over to the island, I pause to capture a photograph of Itsukushima Shrine from the mainland. The shrine, known for its red torii gate that floats in the water during high tide, beckons me with its breathtaking beauty. I stare across at the shimmering water below, the sparkling lustre of Hiroshima Bay that stretches out before me, and with a sense of awe and wonder, I set out on the ferry towards the island, eager to explore its marvels.

The shrine is a Japanese National Treasure and a UNESCO World Cultural Heritage site. Unfortunately for me, there are none of the anticipated roaming deer hanging around today, but despite that, the shrine is amazing to look at. I can’t begin to describe how beautiful the red torii gate is up close. This landmark is one of the most photographed places in Japan, and I urge anyone visiting Japan to go and see it for themselves. My original photograph from the ferry port is the one I select here, as some things you just need to see and enjoy for yourself.

As I wander the streets of Hiroshima, I am determined to find a small standing bar that I visited 10 years ago. I remember the hotel I stayed at nearby and the bar owner’s enthusiasm for football, and I am eager to see if the owner’s guestbook is still around. However, after searching for over an hour, I discover that the bar’s location has been swallowed up by the ever-expanding Hiroshima Station, much to my disappointment. I had hoped to read the entry I made in the guestbook during my first trip to Japan back in 2012, but it seems that the bar’s memories have been lost to time.

With little else to do I head over to the nightlife area. This maze of buildings containing multiple bars is huge. From one intersection I can see 300 different bars in the four directions I look. It’s common for buildings in Japan to contain loads of tiny bars, and usually I bravely enter these bars with no plan as to where my night will go. Each individual sign in my photograph represents a single bar.

The first bar I go into the owner tells me, “No foreigners.” The same thing happens in the second, third, and fourth bar I attempt to visit. I understand that maybe the bar owners had negative experiences with foreigners in the past, or may not be comfortable communicating in English, but it is never acceptable to discriminate against someone based on their nationality or ethnicity, and it leaves me feeling hurt and frustrated.

I do eventually find a small friendly bar that will accept me, and stay up until closing time drinking and singing with the foreign owner’s Japanese guests. It’s actually one of the best nights out I’ve had in a while, so much so, that by the end of the night I’ve forgotten entirely about the toothache, the twisted ankle, and the racism.

Snake Placid

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My bus drops me off on a remote mountain path, the lush green foliage surrounds me as I walk. Luckily, getting off at the completely wrong stop presents me with a great view of the Kintai Bridge, an expansive wooden bridge with five arches. Located in Iwakuni, Yamaguchi Prefecture, the Kintai Bridge is regarded as one of three best bridges in Japan, with its ornate timberwork dating back to 1673.

I stare at the bridge for a while and consider its unusual shape. I eventually come to the conclusion that it looks a bit like a snake. I glance down below at the tranquil blue water of the Nishiki River, before continuing on toward the entrance to Kintai Bridge. Here a woman in a ticket booth waves at me, distracted from the present situation, I wave back and begin to cross the bridge.

This renowned bridge is dreadful to walk across, its wooden steps curving up and down. The bright winter sun reflects off the polished woodwork and I have to focus on not toppling over. Kintai Bridge has been designated as a National Site of Scenic Beauty, the reason for this is hidden in its sophisticated construction. From the perspective of modern bridge engineering, the construction of the wooden arches are said to be so impeccable, despite their age. I think these modern engineers should try walking across the bridge in the blazing sunshine and then decide how sophisticated it is.

When I reach the other side of this 210 metre long bridge and see another ticket office, I realise the woman that waved at me was signalling for me to buy a ticket to cross the bridge. I apologise at this side and retroactively pay the ¥310 crossing fee. Slightly embarrassed, I continue on, and enter a nice looking park.

Kikko Park is a very charming leafy landscaped park. The area contains a few tasteful clothing stores, small coffee shops, and nice little restaurants. All of this is set to the backdrop of a mountain, a shrine with some nice bridges, and a few small canals. Atop the mountain, I can just make out the miniature outline of what looks to be a castle. There’s also a snake museum here.

After having my temperature checked and my hands sanitised, I enter the Iwakuni White Snake Museum. Here can be found everything there is to know about this special type of snake; a breakdown of its anatomy, snake skeletons, and real samples of its shed skin are on display here. There are even live snakes that I initially mistook to be made from plastic, it wasn’t until one of these enchanting snakes began to hiss and move its tongue that I realised it was real.

This albino mutation of the Japanese rat snake is glossy white with red eyes, and has been designated as a National Treasure by the Japanese government. It is said that stories about incidents involving these white snakes have been passed down through the ages. The interesting thing about the Iwakuni white snake is that it has a mild temperament, and does not harm human beings. I stare at the snake, regard its shape. I consider that it looks a bit like the bridge I crossed earlier.

Leaving the museum, I decide to check out the castle. It’s quite high up the mountain but luckily there is a ropeway that runs every fifteen minutes. I’ve never been on a ropeway before, but having previously conquered my fear of heights, I’m prepared to give it a go. A few moments later, I arrive at the Iwakuni Castle Ropeway Mountain Foot Station.

I buy a return ticket for ¥540 then instantly regret my decision once I see the ropeway; it doesn’t look safe at all. As I wait to ride, I become anxious when I watch the man who performs the safety checks simply put his head into our carriage, take a swift look around for less than a second, before telling us we are okay to enter. The ropeway fights its way up 200 metres of cable as it climbs to the top. There is a clock here, the Shiroyama Mechanical Clock, it plays a lively melody as the cable car pulls into the station; I recognise the tune but can’t quite place it.

The view from the top is stunning. I stand here for about ten minutes, enjoying the warm weather and admiring the wonderful view. The wind periodically pushes with gentle nonchalance; the occasional hovering of a zephyr adding a cooling breeze to an afternoon encased beneath the vibrant sky. In the distance, I can see the Seto Inland Sea and even the islands of Shikoku beyond.

A sign says the castle is an eight minute walk away. The area is awash with vibrant colours, the maple and ginkgo leaves turning various shades of red and yellow. I pass a rather disconcerting sign telling me to, “Beware of pit viper!” — so much for the friendly snakes. I continue on, passing the largest dry moat in Japan, before after a steady twenty minute hike, I arrive at the castle.

The castle is extremely crowded with elderly Japanese people travelling with their tour groups. This particular castle is know as ‘Yamajiro’ which is a word to describe any castle built on a mountain and at least 150 metres high. I once again admire the view from this mountain castle, before turning around and heading back to the ropeway.

As I make my way back down the mountain, the forest whispers to me with the snapping of twigs beneath my feet. The sound captures my attention, and for the first time I truly take in the vast expanse of the forest surrounding Iwakuni Castle. I also realise, with a start, that there is no protective fence separating me from the dizzying drop to the valley below.

Back at the ropeway entrance, I arrive a little early. Eventually, the Japanese tour group begins to arrive in droves, and before long, a line of over thirty people snakes behind me. As we are set to depart, we manage to squeeze in twenty three of us into the tiny cable car; social distancing out of the window completely. As we slowly begin to descend the mountain, the weight of us makes the ropeway creak, squeak, and screech as we swing unnaturally from side to side.

The cable car crashes into an overgrown tree branch on the way down, the sound and shaking startles me, and much like a snake, I jump out of my skin.

Virtual Insanity

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Today I’m still in Huis Ten Bosch, at a place called Fantasia City of Lights. The sign here says that this otherworldly experience features the latest and greatest in digital sound technology. Once again, and a pattern I’ve found within this theme park, is that this City of Lights has absolutely nothing to do with the Netherlands.

My first stop today is Flower Fantasia, a soothing space with the theme of a secret laboratory that makes flowers from lights. The laboratory is the first thing I see when I enter so isn’t that much of a secret. Holographic flowers shimmer with iridescence as they dance around in vials, test tubes, and flasks. A screen on the opposite wall projects visuals of mathematical equations and flowers, it doesn’t really make any sense.

The next section is where I can discover fragrances of lavenders, chamomiles, geraniums, calendulas, and roses. A sign instructs me to gently open the Petri dishes to uncover a digital flower. The fragrances, however, don’t come close to infiltrating my mask. There’s a pathway of blooming flowers that follow my footsteps and decorate the floor below, and some interactive artwork on a wall where flowers blossom before my eyes.

I leave the blooming flowers and head towards the next exhibit. Aquarium Fantasia is a thrilling space to experience the colourful world of the deep sea. A lady dressed in a traditional Dutch klederdracht tells me to, “Please Enjoy!” The first thing on show here is a digital aquarium. The fish in the many tanks have been replaced by holographic images; at least in this aquarium, it’s impossible to forget to feed the fish.

There’s rather a lot of information in the next few sections, facts about the ocean, about it being the origin of all lifeforms. “Even when recreated and enhanced digitally, this underwater world hints at possibilities for vitality.” I pass through a huge shark tunnel, an ‘underwater’ tunnel that passes through the aquarium. Digitally enhanced sharks swim around. A sign at the other end asks me to deliberate the fact that the ocean is an ephemeral world that can’t last forever. I contemplate that one day this may not be an aquarium, but instead a digital museum for absent oceans and forgotten aquatic habitats.

In the next room there is a hands-on interactive activity, and I instantly forget about the fleeting impermanence of the ocean. The instructions are very simple. “How to play: Stir the fluids to create a jellyfish.”

I can swipe my fingers around on the walls and what looks like paint mixes together and eventually creates a jellyfish. Each time I try the activity, a jellyfish of variable size and colour is formed, before gliding away into the mystical underwater world, where its body dissolves back into the currents of time.

After enjoying the fluidity of this transient expression of art for far too long, I move onto the next interactive exhibition, and my favourite of the day. The instructions are once again short and easy to follow. “How to play: Become a fish.”

As I enter a dimly lit room, my silhouette is cast onto the wall. I become a fish, without much effort at all. Fish swim around on the floor and walls, I can step on their shadows and watch them swim away, or move my head to chase off the ones that swim on the walls. Every three minutes a large shoal of colourful sardines travels around the entire room, illuminating the area in a swirling digital aquarelle of glistening fish.

As the shoal of fish weave together like an underwater miracle, they come together to form the shape of one giant fish. This is when the exhibition takes a somewhat dark turn. Where once was a kaleidoscopic multitude of multicoloured sardines, now becomes a sinister black shark that chases me around the room.

After being devoured by the shark, I move onward through the aquarium. There are reminders here that all life originated from the ocean. How life and the ocean have coexisted through time. Once sign asks, “What is life? What does it mean to exist?” Questions that are teased but left unanswered. A section on technology, about how the lines between real and virtual begin to blur as the actual world adapts to real-life qualities. “How will we go on to define our existence?”

The final section opens up into a large theatre. As I take my seat alongside the darkness, I contemplate my own reality, before reminding myself that I am sitting in a virtual aquarium, inside a slightly Dutch theme park, in Nagasaki, Japan.

After a while, a short film about the unexplored deeper reaches of the ocean begins. The deeper we dive, the more sunlight is absorbed. The last to dissipate is blue light, which gives the underwater world its colour. This film explores what the bottom of the ocean could look like, if only we were able to see it. The film simulates forward motion, as though I am swimming under the sea. The large surround sound system bellows out noises of the ocean. There’s some weird crystal thing that comes to life, some flowery patterns give birth to various new lifeforms that become tangled and interwoven like the fabric of a false euphoria, and the entire film suddenly becomes a psychedelic three-dimensional underwater nightmare.

My third and final stop in Fantasia City of Lights is the one I am most anticipating, Space Fantasia. Our solar system and planetary information is displayed on a giant screen for a while. Next, a show titled ‘2101: Galaxy Odyssey’ starts, and what claims to be a self aware artificial intelligence guides us into the next room.

There is some sort of stage and we are asked to volunteer to play a game. Only two of the ten here raise their hands. We then have to wait and watch whilst they struggle to complete the challenge. I glance at my flyer, it states that the duration of this wacky space adventure is twenty-five minutes in length, and specifically states that, “You can’t leave halfway.”

Stars form on the ground to form constellations, and the lines where astrology and astronomy meet begin to blur, as the only constellations relevant to this game are not Cassiopeia, Orion, or Ursa Major, but are the twelve of the zodiac. As the two volunteers jump around, every time they match stars to form a constellation, everyone applauds. They score seven out of twelve. “Superb!” someone shouts.

We then move onto the third and final room, another theatre.

We fly through space and learn about various clouds of dust and gas. The Butterfly Nebula appears on the screen, turns into a butterfly, then flies away. The Swan Nebula appears on screen, turns into a swan, then flies away. The Bubble Nebula appears on screen, and I see where this is going. After the bubble floats away we sit through a firework display in space, some Galactic Cherry Blossoms, the Engraved Hour Glass Nebula, before finally returning to Earth.

Walking in a Weird Wonderland

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Today I’m at Huis Ten Bosch, Nagasaki Prefecture. This Netherlands themed park features life-size replicas of Dutch architecture. Opened in March 1992, this crazy theme park of 152 hectares makes it the biggest in Japan. It initially cost 3 billion dollars to build. It appears the original owners were a little wasteful with their money, especially when a solid 18-karat gold hot tub was purchased for a little over 7 million dollars; the largest solid gold hot tub in the world. The price to take a soak in the solid gold bath was just twenty dollars an hour, and taking into account the opening times of the theme park, by my calculation it would take 95 years of constant use to recoup the initial cost. This probably goes somewhere to explain why Huis Ten Bosch went bankrupt in 2003.

Regardless, the park is open again now under new ownership. I cross a rather long bridge leading into the park, the lampposts here are playing Christmas songs, It’s the Most Wonderful Time of the Year. At the entrance I pay my ¥7000 entrance fee, and make note of a sign saying no dogs allowed.

Huis Ten Bosch translates to mean House in the Woods and it even has its own Wikipedia page. I take out my map and instantly search for Thriller City, an area of the park I’ve previously read about and am excited to see, however, my map makes no mention of this terrifying zone, which was based on a Michael Jackson music video; it appears Thriller City has been removed and replaced by Fantasia City of Lights.

There is a second attraction I had wanted to see, the first 3-storey carousel in the world. The Huis Ten Bosch website stated that the Sky Carousel will be ready from November 11th, so I head over to Attraction Town section D-6 only to find that it’s still under construction, and by the looks of it, it won’t even be ready in time for Christmas; the labourers here still working on the first of its many storeys.

With all the things I had planned to see today not available, I decide to freely explore the park with no direction or cause. I pass gondolas floating down the many canals. Statues of Santa Claus and Christmas songs around every corner. On Van Gogh Street, a live band dressed as Christmas elves perform cover versions of the music of Elvis Presley.

Over on Rembrandt Street, I find a marble mask that turns out to be a replica of the La Bocca della Verità, and that for ¥100 can give me a palm reading. Well as they say, when in Rome, but I’m not, and everything here so far has nothing to do with the Netherlands. The part of the statue that reads my palm is quite small, and I struggle to fit my whole hand on the screen. My reading tells me that I need to be less sardonic, and some other nonsense.

I continue to wander the park, passing a replica of Stadhuis, a building that might be a Dutch word meaning ‘City Hall’ but the building replicated here is actually found in Bruges, Belgium. I have to show my entrance ticket to enter Harbour Town, and again to enter Huis Ten Bosch Palace; it makes me wonder how these people think I even entered the park in the first place.

Huis Ten Bosch Palace is a replica of a palace with the same name, and I am relieved to find out is originally located in the Netherlands. I am told that it is a faithful recreation and I learn that even the bricks the Japanese used to create this building were flown in from Europe. After twice showing my ticket again to leave, I head over to yet another Dutch replica, Domtoren, a 105-metre tall tower with an observation deck.

As I continue to explore, I find even more things in this park that have absolutely nothing to do with Huis Ten Bosch, the whole place appears to be a mismatch of conflicting ideas. There is Jurassic Island, an augmented reality game but it isn’t included in the ticket price. There is a whole area dedicated to virtual reality. Horse Land. A shooting range with a fifty minute wait time. There is a chocolate mansion. A 300-metre long zipwire. There is even a trick-art museum.

I check my map and find an attraction in Adventure Park called The Maze. The caption reads, “The biggest in the world! A huge maze inside a five-storey tree house.” The maze has a ninety kilogramme weight limit and a sign informs me that I can’t enter if I’ve been drinking. It doesn’t specify what I can’t have been drinking, I presume they mean alcohol, however, chance would be such a fine thing, as alcoholic beverages are impossible to find in this park.

The maze is rather easy and I think it’s mostly for children. I have to duck down beneath low hanging wooden beams and climb up narrow ladders and stairways. I somehow doubt the claim that it’s the largest maze in the world though, and after ten minutes of climbing up and down I reach the exit, a tunnel slide that goes from the fifth floor to the ground. Despite being reasonably below the weight limit, I can’t fit in the slide, so instead I have to follow signs for the ‘Surrendering Exit’ as there are no other ways for me to leave, thus meaning I have failed to complete the maze.

I wander a little more, exploring Fantasia City of Lights, but I’m saving that for a separate post. I consider riding the Ferris wheel, but there’s an extra charge so I decide not to bother. I pass small stalls selling cheeses and wines, decorated in fairly lights and miniature Christmas trees. I even find the most bizarre attraction of them all, a 24-hour coin laundry, in a theme park that closes at nine o’clock.

As it begins to get cold, I go to leave the park passing flowers and windmills; even the windmills here are playing Christmas songs. The route directs me into Schiphol Airport Terminal Gift Shop, I don’t buy anything. The very last shop before the exit is called ‘DogBox’ and is a dog grooming salon.

Drive My Car

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Today I’m in Sasebo, Nagasaki Prefecture, and there are mountains everywhere. I walk vaguely in the direction of Sasebo Yonkacho Shotengai, a shopping arcade so big that its kilometre-long length spans across seven different towns. It is actually the longest straight and continuous shopping arcade in Japan. Sasebo Tourist Information states, “The arcade is always crowded with shoppers. Some stores accept US dollars.”

As I begin to wander through the retro shopping arcade, I notice a complete lack of not just shoppers, but shops that are open. Everything here aside from stores like Seven Eleven and Family Mart are all but closed. The arcade boasts over 160 shops, including a multitude of restaurants, souvenir shops, clothing shops, as well as daily goods stores. This morning, however, shuttered down shops with no identity fill the margins of this shopping stretch. The shopping arcade does however offer free wireless Internet, and also offers a nice break from the low winter sun on what is a relatively warm winter morning.

At the other end of the arcade, Mount Yumiharidake hovers on the distant horizon.

As I further approach the mountain, a sign tells me that the summit is 3.4 kilometres away. Having just walked one kilometre through a shopping street with relative ease, I decide that this could be an enjoyable hike to the top. There is said to be an observation deck at the peak which offers some of the best views of Sasebo and its surrounding nature, so off I go.

It seems there are multiple ways up the mountain. The boring option is to hike the entire route by simply following the main road, or as I do, take some of the more interesting routes up steep steps and rocky intervals. As more and more of the paths begin to fracture and split into narrow lanes that scale upwards from the base of the mountain, interwoven homes across narrow streets littered with cats make up the first twenty minutes of the climb.

As I continue on with my ascent, and the route begins to snake more and more, light rain begins to fall. Hot from the day and the steepness of the climb I find the rain to be a welcome refreshment and decide to rest for a moment, allowing the rain to cool me down, and my heart rate to climb back down to a steady crawl.

I stop suddenly when I notice a sign telling me to watch out for snakes, but not just any snakes, mamushi, the most venomous snakes in Japan.

As I watch out for snakes, I pass under low hanging cobwebs that drift between trees across the many muddy paths. I don’t see any other people, and other than the cats, I don’t expect that I ever will. The track spirals around and into a clearing through the woods for a time, before becoming a path again.

A little later, I pass a rather small cave carved into the rocks, I’m not sure if this is part of the climb or not, but it looks ominous, as if some unnamed horror is lurking inside. I take out my phone to capture the cave, before turning on my torch. As I bring the light to the entrance, I hear something inside begin to rustle around, perhaps a snake, and my heart begins to race, its beats increasing and repeating, an octave at a time, like an endlessly rising Bach canon fit for a king.

After taking an alternative route, I eventually reach a road where bamboo stretches off to the side, bamboo so tall that it descends deep below the road, stretching off into a distant obscurity.

Further along the road I see a sign telling me to, “Keep Out!” and below the sign is a huge drop, and I wonder who this sign is even for. Eventually, I see another sign for a car park, 300 metres away, and breathe a sigh of relief in knowing that I’m almost at the top. A third sign explains that gun hunting is prohibited in this area, perhaps the reason for the abundance of snakes.

Finally the mountain path opens up, to reveal a stunning view of the city and landscapes beyond. Its US navy base below with its massive boats. Other mountains bulge up over the horizon, the view somewhat washed white by the falling rain. Over to the west, a large labyrinth of small islands, the Kujukushima Islands, its name meaning 99 islands, but also meaning too many islands to count (there are exactly 208).

A short stroll up some stone steps, and over a small bridge, and I arrive at the Yumiharidake Observation Deck. The deck offers a nice panoramic view from atop this 364-metre tall mountain. I stand for a while, taking in the view.

A sign tells me that I can enjoy the scenery during the day as well as at night, however, I would be more fearful of climbing at night, just because it would make it especially harder to detect the snakes. The night view though is apparently amazing, and really brings out the lights of the city. There is also a free shuttle bus to the top of the mountain at regular intervals throughout the day.

I head over to the bus stop and wait. After about ten minutes, I do finally see another human being, a Japanese man pulls up beside me in his car. “No bus today,” he says. I ask him whether that’s because today is Sunday, however, he just repeats himself and says, “No bus today,” for a second time. I feel a little disappointed but before I can reply, the man points to himself and says, “Drive my car.” I tell him that I can’t drive, but this is of course not what he meant.

I sit in the back, and luckily he drives. The open window offers a refreshing breeze. After a very brief conversation in English about whether or not I know King Charles, our chat abruptly ends, so I take out my book. Men Without Women, a collection of short stories by Haruki Murakami. As we slowly descend, crawling down the mountain path, the free shuttle bus to Sasebo Station overtakes us from behind.

Heart-Shaped Rocks

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The jaunty jingle on the bullet train signals my arrival in Nagasaki. It’s freezing cold as I leave the station. I enter a world of chaos and construction, maze-like fences guiding people around roadworks and frameworks for what looks like a development for a new plaza and station building. It takes me about ten minutes to escape the labyrinth and get out onto a main road.

My first stop is along the Nakashima River, a river that runs through the middle of Nagasaki and divides the city into two. This river also features an abundance of historical stone bridges, including Fukuro Bridge. “It is unknown when it was built or who built it. It is said to be the second oldest stone arch bridge right after Meganebashi, but there is no evidence.”

Luckily for me, these two bridges are next to each other, so I photograph Meganebashi from Fukuro Bridge.

Built in 1634, Meganebashi Bridge is not only unique because it’s the oldest stone bridge in Japan, but also, because the reflection of the bridge on the river below makes it looks like a pair of glasses. Along with Nihonbashi Bridge in Tokyo and Kintai Bridge in Iwakuni, Yamaguchi Prefecture, this bridge is regarded as one of the three most famous bridges in Japan. It’s quite the spectacle.

I wander further along the river and down some stone steps. Here I find four teenage girls posing in front of a wall, so I decide to see what all the fuss is about. It turns out they are making peace signs and taking photographs in front of a chunk of rock which is shaped like a heart.

I ask the girls to step aside so I can take a photograph. One of the girls says in Japanese, “That’s so cute!” Presumably because I, a man, am taking a photograph of a stone shaped like a heart, but I can’t be too sure. I find very little information on the origin of this stone, except that it’s just one of many hidden around Nagasaki.

I walk back up the river to the entrance to Suwa Shrine. This shrine is one of the three most famous shrines in Nagasaki, and boasts a total of 277 steps that pass through four massive stone torii gates to reach the shrine complex. As I run up the 277 steps, in my head Bill Conti’s song Gonna Fly Now spins around on my mind’s turntable.

Suwa Shrine doesn’t really have much to offer me, except for a one-hundred-year-old tea house, a nice little water feature, more steps, and a stunning view of the city and mountains beyond. The shrine was constructed in 1614 as a way to stop the spread of Christianity that was happening in Nagasaki at that time.

I leave the shrine down the stone steps, and wander four kilometres in the direction of Oura Catholic Church. A gothic-style church on a hill, overlooking Nagasaki Bay. I pay the steep ¥1000 entrance fee only to be greeted by signs saying no photographs. There’s a small museum, again no photographs. For whatever reason the area outside the church is extremely crowded. An extensive 28-page brochure written entirely in English is included in the ticket price, which does, in a way, make the ¥1000 cost somewhat tolerable.

Christianity first arrived on Japanese shores in 1549, but after learning that a Christian, Okamoto Daihachi, one of the trusted advisors to Shogun leader Tokugawa Ieyasu, had been secretly keeping his Christian faith hidden, Ieyasu ordered Okamoto to death by fire. This event also led to Nagasaki being the first place in Japan to ban all Christianity in 1612. Tokugawa Ieyasu later banned all Christianity across Japan two years later in 1614, the same year that Suwa Shrine was completed.

This led to an array of hidden Christians, especially in Nagasaki. Statues of the Virgin Mary were disguised as Kannon, the Goddess of Mercy; Christians posing as Buddhists to avoid execution. In 1853, Japan ended its policy of isolationism, and the borders opened for those from overseas. Foreigners residing in Japan were, at the time of this church’s construction, allowed to be Christian, but for the Japanese it remained to be illegal. Oura Catholic Church was built for those foreigners in 1864 and is the oldest surviving Catholic church in Japan.

The Japanese government finally lifted the ban on Christianity in 1873.

Parks and Simulation

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It’s humid beneath my mask. It appears that it rained slightly this morning for the first time in weeks, but now it’s hot. I can’t begin to imagine what the summer will be like. I shouldn’t complain though, the unusually warm start to the winter is set to end later this week, and Japan will become enveloped in an icy-cold ambience.

I take a train to Saga Prefecture, my first destination today, Yoshinogari Historical Park, an archæological site dating back to between the 3rd century BC and the 3rd century AD. I walk two kilometres from the nearest train station, and arrive at the entrance. The car park here is huge, empty, and covered in fallen leaves from the skeletal trees.

I arrive at the aptly named Entrance Zone. Each area of this park has a zone name. There is the Ancient Forest Zone, the Moat Encircled Village Zone, the Aztec Zone, and the Medieval Zone. I pay the ¥460 entrance fee, and note that the two day pass costs only slightly more, a reasonable ¥500.

After crossing a massive red bridge, I arrive at the park. The first thing that draws my attention are what appear to be loads of large wooden spike traps.

As rice cultivation increased, more people fought one another to control the water and occupy the land. People set up barricades with sharpened posts or tree trunks, especially around strategic areas such as the entrance to the village in order to strictly protect their properties. These stakes are called sakamogi.

I leave the abatises and wander further along the tree-lined path, passing what looks like straw statues of wild boar, before finding a small museum. The first thing I notice when entering the museum is the eagerly awaited return of a small fascination of mine, Carnival Cutouts.

The museum itself contains loads of old pottery from the Jomon era, bronze daggers and bronze swords, the jaws of wild boar, deer skulls, hunting tools, arrowheads, stone daggers, and a 2,000-year-old human skeleton.

I leave the museum and in the distance I see some watchtowers. These watchtowers mark the entrance to the South Inner Palace, and were once manned by sentries.

I climb up the slippery wet wooden steps to the top of the Gate Tower, this tower had guards with shields at its four corners. The tower offers a good vantage point to watch for people entering and leaving the enclosure.

I wander further along, passing the moat and fences that guard the Palace, to the houses beyond, to the zone known as Moat Village. This area contains the village that once housed each of the residents. From the kitchens to the main assembly halls, each house can be entered and fully explored.

I visit the Brewery House, where women would brew sake for festivals and rituals by steaming rice from the years’ harvest. The Sericulture House, where precious silkworms were raised to produce silk thread to weave textiles. And finally, to the Barracks, where the soldiers who guarded the northern defences would rest.

I find a map only to realise that I’ve explored just a quarter of this giant historical site. Its sheer size is quite alarming. The map also shows that the park boasts four car parks, one at each corner of the site. Some Christmas lights are dotted around for good measure; evening illuminations, but I have other places to be. I wander in search of an exit and see a sign in desperate need of pluralisation.

Suddenly the clouds burst and the unforeseen downpour leaves me completely soaked. I see a man who has been given the arduous task of sweeping up the fallen leaves, he’s equally soaked. I pass a golf course, two full sized football pitches, and a petting zoo, and wonder if these such things were here 2,000 years ago too.

Eventually I find an exit, walk two kilometres to the nearest train station, and hop on a train bound for Saga City. At Saga, the rain has stopped. I walk twenty minutes in the direction of the Saga Balloon Museum. Before I arrive, I spot a canopy of umbrellas that might have been useful thirty minutes ago.

For some reason, Saga Prefecture is famous for hot air balloons. Inside the Saga Balloon Museum, I learn that the very first time a human being “flew in the sky like a bird” was in 1783, in Paris. In Japan, the first manned flight by a gas balloon was completed in 1877, in Kyoto, an event watched by 50,000 spectators. And in 1903, the Wright brothers flew an aeroplane, making the hot air balloon useless.

I take a seat in a small cinema describing itself as a “Super High-Vision Theatre” with a 280-inch screen. Here, I watch a film that claims to be so realistic that you will think that you’re there. I learn about balloons, what makes them fly, before leaving the cinema and heading up to the second floor. Here I get the opportunity to fly a hot air balloon myself, using the advanced simulator.

I stand inside the hot air balloon simulator and begin. I have 180-seconds to land the balloon in the target area, taking into account wind direction and wind speed, all the time sporadically pulling on a lever that releases pretend propane gas. When the lever is pressed down the balloon floats further upwards, when it’s released, the balloon slowly floats further downwards and catches in the wind. Apparently the trick is to control the lever early, anticipating the atmospheric conditions.

Landing the balloon within one metre of the target awards ‘S’ rank. The rest of the ranks rate down from ‘A’ to ‘E’ and the sign next to the machine offers the following encouragement, “Ride the wind and get a high rank!”

Obviously, I spectacularly crash the balloon into the sea.

Hell and High Slaughter

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My plan today was a visit to Ukiha Inari Shrine, a remote shrine with a hillside vista over the Chikogu Plains that offer stunning views of red torii gates and the meadows beyond. However, as I finally arrive at Tosu Station to switch trains, I find that my next train, the Yufu 3 Limited Express bound for Beppu, doesn’t depart for another six hours, so in desperate need of a plan, and a sudden change of itinerary, I rush onto a random train bound for Kurume.

Kurume is a small city in Fukuoka Prefecture. I flip a coin to let fate decide my direction, but woefully fail to catch the coin and it lands in the gutter of a drain. Today isn’t going very well and it’s still morning. I choose to go south. It doesn’t take long for my optimism to return though, for in the distance standing tall and proud, a mysterious white statue captures my attention, and essentially my destination decides on itself.

The statue can be seen from far and wide, and as I finally get close enough, it turns out to not be what I first thought, but instead a 62-metre tall statue of Kannon, the Goddess of Mercy. I always enjoy a good Kannon statue, not only does she save the souls of the suffering, but there’s often something rather unexpected to see.

The first thing that’s a little unusual is the 38-metre tall structure next to the Goddess. This replica of India’s Mahabodhi Temple, the Great Awakening Temple, is the first of its kind in Japan, and is based on the story that Buddha sat under a tree in India for seven days to meditate, became awakened, and then the original temple was built to honour that event. Why there is such a replica here in Kurume I have no idea. Also, and it may be a matter of perspective, but the Mahabodhi Temple is 24-metres shorter than Kannon, however, at every angle, the temple seems to tower over the Goddess.

As I approach the ticket office to enter Daihonzan Naritasan Kurume Temple, I inadvertently wake up a young Japanese woman; obviously this place doesn’t get a lot of visitors despite its massive car park that boasts space for 700 vehicles.

I take a seat on a small stone bench for a time, admiring the statue and contemplating, just like Buddha had once done. A statue of Ebisu disturbs my thinking, purely because he’s sitting on a cow next to a big pile of money. Distracted, I walk around the temple grounds, here there are numerous smaller statues depicting twisted souls in anguish.

I notice a shaft in the side of the Kannon statue, and decide to enter. Endless corridors greet me. Random artwork lines the walls, steep steps twist and turn through the statue, there is no elevator, and the climb to the top takes an age. From the top there are tiny windows that offer a nice view of the city below.

After admiring the landscape, I decide it’s probably time to leave now, and as I climb back down to the ground floor, I notice steps leading deeper down into a basement. As I further approach, I hear the creaky voices of evil spirits echoing down the lonely hall. A room here is marked either side by a pillar of skull heads. Inside are some lifeless effigies, but as I approach, I activate a sensor of sorts, and the first model begins to move.

This animatronic demon is sawing a naked man in half; the saw slides back and forth for as long as I watch. The man, despite his obvious injury is still alive, his screams are piercing and chilling, the sound effects of the saw all adding to the macabre scene. An absolute show of horror.

I move through the exhibits. A woman surrounded by spike traps gives me a jump scare as she screams into life. Two children covered in bruises and blood rotate on a platform as a demon with a sinister grin watches on. A man holding a huge boulder is about to smash in the head of a woman whilst a giant towers above. A chained up man is having a red-hot poker stuffed into his mouth.

I decide that this is one of the most harrowing things I’ve seen in my whole life. The passable realism of the statues blending with the authentic yet disturbing sound effects really adds to the eeriness evoked by this imagery. It seems that hidden beneath this innocent looking statue of the Goddess Kannon holding a baby, is a secret haunted house.

I take one last walk through what I learn to be the Hell Museum, before leaving the basement, the statue, and stepping quietly past the ticket gate as to not wake up the sleeping woman.

As I walk away, I look back at the statue, its phallic shape from behind visible for miles and miles, it makes me wonder if it was indeed designed that way, or just a misshaped mishap. I guess I’ll never know.

A Bear Called Kumamon

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Kumamoto Prefecture is famous for mascots, and not just any mascot, the most famous mascot in all of Japan, Kumamon. In 2010, in a bid to help promote tourism in this region, Kumamon was created. His name literally means ‘Person from Kumamoto’ in the local dialect, and ‘Bear Person’ in Japanese characters. Despite Kumamon being a wide-eyed red-cheeked bear and not a person, the official website states that he is neither, and is in fact just a Kumamon.

Unsurprisingly, there are countless Kumamon within the train station, even a Family Mart doubles up as a souvenir shop selling official Kumamon goods, it’s a bit much.

Exiting Kumamoto Station, I instantly notice the cold. It feels as though I’ve entered a different climate. I start by taking a walk along the Shirakawa River, before returning to the city streets, heading in the direction of Kumamoto Castle. What strikes me as I wander is the complete lack of convenience stores in this area, I’ve been walking for about thirty minutes and I’m yet to see even one.

Eventually I do find a Seven Eleven, and as I enter the shop the heat hits me. It is so hot, the cold outside temperature contrasted to extremity. I’ve found this in Japan, in the summer the convivence stores are remarkably cold, with air conditioning turned down to a freezing blast. One cold day and they’ll switch to heating at full blast. Leaving Seven Eleven, I continue my walk, before spotting a giant statue of Kato Kiyomasa.

Kiyomasa was a fierce warrior, designer of castles, and was a general who led an army of 100,000 samurai into Korea. The sign next to the massive statue says, “He is wearing his trademark beard and a kind of tall black hat. The statue is slightly larger than life size.” I look back up at the Herculean statue. I look down at the tiny person next to the statue. I decide slightly larger is a huge understatement.

During the Japanese invasions of Korea (1592-1598) Kato Kiyomasa’s army were ordered to slice off the noses of those they had killed, pickle them in salt, and send them back to Japan. During the Battle of Hondo, Kiyomasa ordered his men to slice open the bellies of every pregnant Christian woman, and then to cut off their infants’ heads. Kiyomasa, it seems, was slightly barbaric. I decide to go and have a look at the castle he designed.

“Above the stone wall of the minor tower, there were iron spikes called shinobi-gaeshi, which were used to help keep out enemies, with various traps laid out in inconspicuous places. Searching for these is one of many ways to enjoy Kumamoto Castle,” states a sign at the entrance.

Kumamoto Castle was completed in 1607 by Kato Kiyamasa, and boasts its very own virtual reality technology. Here you can enjoy discovering Kumamoto Castle and its history through VR. You can even see the castle using virtual reality. I can see the virtual reality booths from the actual castle.

I leave the castle and head to the nearby Suizenji Jojuen Gardens.

These gardens are on the southeast side of Kumamoto Castle and they are beautiful. There is a large lake in the middle, a small tea house, a Buddhist temple, and even an artificial mountain in the shape of Mount Fuji. I take a time to explore the gardens and their many attractions, lanterns, and monuments. Three old Japanese ladies stop to say hello to me as I stand reading a sign next to a tree.

Nagi, Tree of Matchmaking, regarded as an auspicious plant since ancient times, has two broad leaves that grow symmetrically like a couple at each point of the twig. The custom is for the female to keep the leaf behind her mirror; the strength of the leaf symbolising the strength of the relationship with her partner. The sign says, “A couple keeping a leaf can have a faithful married life without a two-faced relationship.”

Next to the tree is the bronze statue of Moriharu Nagaoka, or at least that’s what’s supposed to be here. It seems that the enormous bronze statue has been stolen and replaced by an old photograph of the statue.

I leave the gardens and begin to walk in the direction of the Kumamoto Prefectural Government Office. I notice the pavements here are in somewhat disarray, and I keep tripping up on loose bricks. Some teenage Japanese guy approaches me and tells me he’s from Ibaraki Prefecture. He asks to take a photograph of me. I think he thinks I am somebody else.

I pass police stations and car parks which are using Kumamon to advertise. I see a woman wearing a shirt that says, “Declare Bouncy Sanction,” whatever that means. I reach the grounds of the government office and wander straight over to where a crowd of people are having their photographs taken next to a statue of Monkey D. Luffy.

Luffy is the main character in One Piece, a pirate anime which first aired in 1999, and at the time of writing, there are 1,043 episodes. The show features Devil Fruits which when eaten give the characters superhuman powers. As I photograph the statue, a child approaches me and asks me how I am, “I’m very well thank you, and you?” is my reply.
“I’m happy good,” says the child.

I leave Luffy and start back in the direction of Kumamoto Station, getting a little lost in the process. My phone tells me that I have walked 40,000 steps today. My phone also tells me that I have just 3% battery remaining. After my phone dies I have no access to any maps, and it does, and I get further lost. Eventually, I do find the train station, and needless to say, I get back home in one piece.