This book offers a new approach to dealing with Murakami's radical narrative project by demonstrating how his first and later trilogies utilize the structure of the simulacrum, a second-order representation, to develop a complex critique of contemporary Japanese culture. This critique is mirrored in the practices of current media-entertainment technologies which allow Murakami's works, and their critical/promotional meta-texts, to cohere under the rubric of the so-called 'Murakami Phenomenon.'