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How much do you know about Myaku-Myaku? With its distinctive red-and-blue color scheme and slightly quirky silhouette, this curious figure has been steadily growing in popularity\u2014even before the Expo began. Plush toys at the venue sold out in no time. The character was created by Kohei Yamashita, a picture book author and illustrator from Kobe, who also works in graphic design under the name mountain mountain<\/em>. He was selected through a public design competition launched in 2021.<\/p>\n\n\n\n The character\u2019s design incorporates the Expo\u2019s already finalized logo as its face, while its blue body\u2014evoking Osaka\u2019s identity as the \u201ccity of water\u201d\u2014features droplets that appear to drip from its arms. Yamashita, a lifelong fan of Tower of the Sun<\/em>, the iconic symbol of the 1970 Osaka Expo, imbued Myaku-Myaku with a sense of eccentricity that recalls the spirit of Taro Okamoto. With a form that morphs like splitting cells or flowing water, the character not only entertains but also embodies the concept of diversity and transformation.<\/p>\n\n\n\n Myaku-Myaku has become something of an internet meme, thanks to fan-made content and crossovers with characters like those from Sanrio. On X (formerly Twitter), it shows up almost daily. What is it about this odd little mascot that continues to fascinate people?<\/p>\n\n\n\n Once you\u2019ve seen Myaku-Myaku, it\u2019s hard to forget. With its many eyes and dripping limbs, it almost resembles a y\u014dkai\u2014those supernatural creatures from Japanese folklore. In Japan, the practice of admiring y\u014dkai is said to have gained popularity during the Edo period. Rooted in the Shinto belief that spirits inhabit all things, these beings likely emerged as a way to personify the divine within everyday objects and phenomena. By the mid-Edo period, however, faith in the legends surrounding y\u014dkai began to fade\u2014people started to wonder: were they ever real? Paradoxically, this shift only fueled their popularity. Amid changing government policies and public sentiment, y\u014dkai suddenly became fashionable. They appeared in everything from toys and board games to picture books, ukiyo-e prints, and kabuki theater, helping to establish a rich tradition of character-driven storytelling that lives on today.<\/p>\n\n\n\n Bringing the story back to today\u2014Japan is a powerhouse of iconic characters, from Pikachu and Mario to Hello Kitty. The nation\u2019s fondness for Myaku-Myaku might reflect a uniquely Japanese instinct: the ability to embrace the strange and transform it into something irresistibly kawaii.<\/p>\n\n\n\n While many visitors flock to the Expo for its bold and imaginative pavilions, the site is also a treasure trove of public art. Throughout the grounds, installations by international artists\u2014each bringing their own cultural, regional, and ethnic perspectives\u2014invite reflection and connection. Through these works, the Expo becomes a space for artistic dialogue across borders.<\/p>\n\n\n\n One standout installation is Forest of Civilizations<\/em> by Prague-based Subfossil Oak s.r.o. This extraordinary work transforms 6,500-year-old subfossilized oak trees into an ancient forest\u2014each tree dedicated to a participating country. More than 130 rare specimens come together to form a living archive of time. The installation reads like a quiet dialogue between humankind\u2014who has carved out land, cultivated culture, and pursued wisdom\u2014and the natural world, which has borne silent witness to it all. In total, 21 public artworks are on view across the Expo grounds, freely accessible throughout the event.<\/p>\n\n\n\n Until now, we\u2019ve focused on the Expo\u2019s more dazzling aspects. But beyond Japan\u2019s shores, headlines are filled with political uncertainty\u2014and even at home, controversy surrounds the Expo. Osaka\u2019s governor moved ahead with the event despite strong public debate, prompting criticism from various corners. One striking response came from artist Makoto Aida, whose parody of Myaku-Myaku casts a satirical eye on the Expo\u2019s contradictions. Major spectacles come with major weight. And Aida is not alone; many artists continue to respond with critical perspective. Perhaps that\u2019s precisely what art does best: to question, to unsettle, and to offer new ways of seeing.<\/p>\n\n\n\nIts Roots in the Edo Era? The Allure of the Strange<\/h2>\n\n\n\n
<\/a><\/figcaption><\/figure>\n\n\n\nExploring the Expo Through BAM\u2019s Creative Lens<\/h2>\n\n\n\n
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