Correlated with Susan Sontag's theorization of kitsch as well as employing the queer lingo of "camp," this film's relentless equal opportunity pop-art montage shattered the foundations of conventional cinema, making it a true document of the Shinjuku underground scene. Director Okabe himself appears recreating his favorite roles from Bonnie and Clyde to Spaghetti Westerns, as well as incorporating quotations by inserting stills of Godard, Kennedy’s assassination and the Vietnam War.

Borrowing the title from John Huston’s The Bible: in the Beginning (1966) (Tenchi Sozo in Japanese), Okabe aimed to paint the zeitgeist of the period by collecting and exposing the world around him and himself.

Borrowing the title from John Huston’s The Bible: in the Beginning (1966) (Tenchi Sozo in Japanese), Okabe aimed to paint the zeitgeist of the period by collecting and exposing the world around him and himself.