Ono's recognition of his involvement in backing Japan's war efforts, coupled with the reader's awareness of the war's injustice, intensifies Ishiguro's exploration of themes like obedience and duty, creating a striking and dramatic contrast. Ono's use of art for propaganda ties into another key theme of the novel: the role of the artist in society. Unlike his mentor Moriyama, who depicted the "floating world" of nightlife, women, drinking, and pleasure—often considered traditional Japanese art—Ono believes art should serve a societal purpose rather than just an aesthetic one. By merging words and images into creations that resemble posters more than paintings, Ono compromises his artistic integrity by using his talents to promote an idea—and a harmful one at that.

The shift in Japanese culture during the American occupation, a theme also examined in A Pale View of Hills (1982), impacts this novel. Ono feels uncomfortable with his grandson Ichiro's interest in American pop culture icons such as the Lone Ranger and Popeye, favoring Japanese heroes and folklore. As Japan transforms, Ono grows more unsettled, despite recognizing that some of these changes are advantageous.