Some of the greatest minds in the world feel the absence of this displacement from the society around them. In fact, you don't have to be the "best" to feel this way; Displacement is a natural trait that occurs in all humans at different stages of their lives. Katagiri is one of them. Haruki Murakami's "Super-Frog Saves Tokyo" verbatim illustrates the mild-mannered Katagiri's journey through reclaiming his own self-worth and is a social commentary on the acceptance of the duality of human characters. The story begins as Katagiri enters his apartment and finds a six-foot giant. frog, later known as Frog, towering over the gentle "five foot three inch" Katagiri. Frog immediately takes charge of the situation and asks Katagiri to remain calm; it's interesting because even though it's Katagiri's place, Katagiri acts like he's the real guest instead of Frog. Katagiri's actions towards Frog make readers wonder what type of life Katagiri leads, as Katagiri's actions in cementing his shin instantly label him a "loser." How can Katagiri break out of this mold? To visualize Katagiri achieving this goal, some readers interpret Frog as a manifestation in Katagiri's head that displays the inner strength that Katagiri holds. Frog's actions show signs of great bravery and confidence. After calming Katagiri down somewhat, Frog gets to work declaring that he "[came] here to save Tokyo from destruction" (Murakami 93). While Katagiri is constantly nervous, Frog displays great confidence; the same confidence in Katagiri as himself. refuses to recognize. Frog shows Katagiri the person Katagiri is inside and what Katagiri can be if he takes the initiative to defend himself Because the task of saving Tokyo seems daunting,...... middle of paper. .....n from these categories. Murakami creatively constructs the categorical process of societies through Katagiri's materialization of the frog and the worm. Despite the fact that the frog beats the worm, the frog cannot survive without the worm, just as people cannot survive without their best and worst qualities. “Super-Frog Saves Tokyo” perpetually distorts reality; it forces people to ask themselves what exactly is good or evil, and why is it necessary to make a clear distinction when they intertwine? . Sundance Channel. Television. Murakami, Haruki and Jay Rubin. "Super-Frog saves Tokyo." After the earthquake: stories. New York: Alfred A. Knopf, 2002. 91-114. Print.Palahniuk, Chuck. Fight club. New York: WW Norton & Co, 2005. Print. Yamamoto, Mitsu and Robert Louis Stevenson. Dr. Jekyll and Mr. Hyde. New York, NY: Baronet, 1990. Print.