The parallels can be seen by taking a look at Nick Rennison’s account of AFW that it “is the story of Masuji Ono, an ageing artist in a Japanese city still suffering from the after-effects of wartime devastation” (2005, p. 74). He adds that it is not just that Ono’s past is characterised by idle bohemianism and sensitive aestheticism, but also by his complicity in the expansionist imperialism that has brought such suffering to his country and himself (2005, p. 74). In addition to the complicity in Ono in his support of the expansionist empire of Japan, “the new spirit”, the parallels we can see of complicity in the approach of the primetime debate hosts in India, running debates such as attack Pakistan, a neighbouring country, which disregard every international law (Ishiguro, 1986, p. 36; newslaundry, 2016; #TimeForRevenge: Is It the Ultimate Time for Revenge on Pakistan?, 2019).