This passage examines the “War and Women’s Human Rights Museum” in Mapo-gu, Seoul, and criticizes what it presents as falsehoods, exaggerations, and exhibition methods designed to demean the Japanese state and the Japanese people over the comfort women issue.
Inside the museum, comfort women are defined as “sex slaves,” and the Japanese government is accused of having carried out a systematic crime as an organ of state power, but the author denounces these claims as baseless propaganda.
The passage further argues that the so-called Women’s International War Crimes Tribunal, which purported to pronounce Emperor Shōwa guilty, was in reality nothing more than a mock trial staged by a group of anti-Japanese activists, and it condemns the museum itself as a symbolic facility of ethnic discrimination against Japan and the Japanese.

2019-03-02
The Women’s International War Crimes Tribunal was nothing more than a mock trial staged by a group of anti-Japanese activists.
This facility, which insults Emperor Shōwa, the symbol of the Japanese nation, and demeans the Japanese people, is a典型的 facility of ethnic discrimination.

What follows is a continuation of the previous chapter.
2-4. The War and Women’s Human Rights Museum.
In Mapo-gu, Seoul, there is a place called the “War and Women’s Human Rights Museum.”
It is operated by the Korean Council for the Women Drafted for Military Sexual Slavery by Japan, and many materials concerning the comfort women are exhibited there.
Apparently in order to emphasize the “evil deeds” of the Japanese military, the place is filled with an eerie atmosphere, and for some reason photography is prohibited inside.
At the very start of the route are the plaster-cast faces and hands of elderly women protruding from the walls.
The audio guide pressed to one’s ear begins to speak in a heavy voice.
“Please look at the girl on the left wall. Unaware of the cruel fate awaiting her, she is heading somewhere with her head hanging down. And on the wall to the right, the victim, who has already passed through long years of suffering and has become a halmoni, is gazing at you. This work was made by casting the faces and hands of actual living victims in plaster. Does it not feel as though the victims are speaking to you? It is also their scream filled with pain and regret, and at the same time it seems as though they are whispering, ‘Please listen to my story.’”
“The pictures hanging on the stairway wall depict the memories of the time when the victims of the Japanese military comfort women were taken away. They show Japanese soldiers taking them away and transporting them by ship to distant foreign lands. The fear of the girls heading toward unfamiliar places across the boundless sea seems to be 그대로 expressed in the paintings.”
Furthermore, the audio guide defines the comfort women as “sex slaves” incorporated into Japan’s state organization and condemns Japan as follows.
“One important point is that although the term ‘comfort women’ is used in order to clarify historical facts, the reality was none other than ‘sexual slavery.’”
“The Japanese military comfort women issue was a crime that arose and expanded together with war. It is the most extreme example of how war destroys people’s lives in terrifying ways, and especially how it destroys the lives of women. Above all, it can be said to be an even more serious problem in that such crimes were carried out as a systematic institution by the state power called the Japanese government.”
“The victimized countries of Asia together held the Women’s International War Crimes Tribunal to judge Japanese military sexual slavery, and in the name of the women of the world pronounced Emperor Hirohito guilty.”
It is a complete falsehood to say that this crime was carried out as a systematic institution by the state power of the Japanese government, and as already stated, the very claim of the Japanese military’s forcible abduction of comfort women is itself false.
Moreover, the Women’s International War Crimes Tribunal was nothing more than a mock trial staged by a group of anti-Japanese activists.
This facility, which insults Emperor Shōwa, the symbol of the Japanese nation, and demeans the Japanese people, is a typical facility of ethnic discrimination.
To be continued.