Jonathan E. Abel’s proposal that we leverage the dual nature of mimesis—as both representation and mimicry—to understand twentieth-century Japanese media culture helps explain Japan’s rapid transition from poster child of imitative modernization into the global vanguard of creativity. With the media–culture relation understood structurally, Abel cleverly pressures both the constant rediscovery of media’s newness as well as illusory efforts to reground our overmediated lives in a puritanically analog body.