Since the 1980s, Nosaka's works have presented acrimonious criticism of the Japanese Emperor and the imperial system. Nosaka's view on the emperor, as observed in his work, “PersonalPronouns ” (1985), can be organized into three parts. First, the Emperor and the imperial system form the core of nationalism and subsume the people as corporeal entities, objectifying them and grouping them as “the other.” The second part is tied to militarism, and serves as a means to ease the people’s fear, for patriotism is merely a euphemism for “death.” Third, the Japanese people have an unhealthy dependence on the Emperor and imperial system; such a dependence should be regarded as an illness akin to alcoholism. Nosaka defines the Japanese people's voluntarism and collaboration, with respect to the Emperor and imperial system, through the use of “masturbation” as a light motif.
This sentiment is similar to the “America trauma” that was prevalent in his previous works in that both stem from experiences of war, but his gaze is now shifting inward and toward his own country and people, a noteworthy change that must be addressed. In other words, he begins to express his concern with the resurgence of Japanese militarism as his country moves past the post-war era and enters the post-post-war era after its great post-war economic takeoff. He places himself within Japan and makes a solemn attempt at introspection, using the anti-American sentiment he has previously used as a basis. His anti-war, pacifist view assumes a newfound objectivity as he breaks away from the role of a victim and takes on the stance of an aggressor, which spawns many questions regarding the direction he would take after the 1990s.