Kon continuously created innovative animation films by expanding his imagination through drawing. As a result, it is made clear that Satoshi Kon attempted to establish his identity and expressed himself through his profession as an animation film directorin collaboration with his colleagues. This essay aims to clarify Satoshi Kon’s personality, the creative process of the animation works he directed, and the interrelations between the person and his directorial work, applying a life story approach and employing life history as a qualitative research method based on historical materials, such as Kon’s animation works, storyboards, diaries, blogs, websites, essays, audio commentaries, and articles. Based on the analysis of them, this article concludes that the representation of the hero in the animation film effectively resists the execution of justice, as well as addressing the presence of it. Referring to the Critique of Violence (Benjamin) and Force de Loi (Derrida), I examine the peculiarity of the film as putting into question the representation of violence,integrated with the function of concealment, which forms a pivotal condition to realize the concept of “justice.” In the film, the question of justice is developed in the two dominant manners of expression: (1) the auditory composition of “His Voice” that compels the listener to violently execute justice, and (2) the visual composition of “Angels” that lead the protagonist, Joe, to establish a new relationship with His Voice, thus releasing himself from a mere execution of justice.
Kenji, Kamiyama,2012) is classified as a film of that sort, it presents a different view of the issue of justice in a peculiar way with images and sounds. Many films often depict the “superhero of justice” with conceptual uncertainty about the icon.
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