A person dressed as the mascot of Tokyo Tower wears a face shield while waiting to greet patrons at the entrance of the 332.9m (1,092ft.) high tower on May 28, 2020, as the city's landmark reopened following the lifting on May 25 of the state of emergency, imposed due to the COVID-19 novel coronavirus outbreak. (Photo by Philip Fong/AFP Photo)

Hisao Mitani walks with an African tortoise, which he named Bon-Chan, on the street on September 16, 2022 in Tokyo, Japan. Bon-chan, the 26-year-old tortoise who is cared for by 69-year-old funeral director Mitani, has become an internet sensation after starring in a viral tiktok video that has gained over seven million views since it was released, making both Mitani and Bon-chan tiktok celebrities. (Photo by Tomohiro Ohsumi/Getty Images)

Tourists take photographs as a wild sika deer eats a bag on June 6, 2019 in Nara, Japan. Nara's free-roaming deer have become a huge attraction for tourists. However, an autopsy on a deer that was recently found dead near one of the city's famous temples discovered 3.2kg of plastic in its stomach and caused concern at the effect of tourism as Japan struggles to cope with a huge increase in domestic and international tourists. (Photo by Carl Court/Getty Images)

Japan's Self-Defence Forces' women's personnel march during the annual SDF ceremony at Asaka Base, Japan, October 23, 2016. Some 40,00 troops, 280 military tanks and vehicles participated in the annual Japan's Self-Defense Forces parade. (Photo by Kim Kyung-Hoon/Reuters)

A poster by street artist Aaron Li-Hill as part of the "Brandalism" project is displayed at a bus stop in Paris, France, November 28, 2015, ahead of the United Nations COP21 Climate Change conference in Paris. Brandalism is a revolt against corporate control of the visual realm. Following on in the guerilla art traditions of the 20th Century and taking inspiration from Agitprop, Situationist and Street Art movements, the Brandalism project sees artists from around the world collaborate to challenge the authority and legitimacy of commercial images within public space and within our culture. (Photo by Benoit Tessier/Reuters)

Performers wait for delegations to arrive for traditional nomadic Naadam festival performance during the Asia-Europe Meeting (ASEM) summit just outside Ulaanbaatar, Mongolia, July 15, 2016. (Photo by Damir Sagolj/Reuters)

Visitors view Patricia Piccinini's “The Embrace” artwork during the “You Know Who” exhibition at the Abdulmecit Efendi mansion in Istanbul, Turkey, 27 September 2022. The exhibition, which by the organizers is described as questioning “the representation of the unknown in contemporary art, based on the symbolic world of the supernatural and unknown in the Byzantine period”, is shown from 20 September until 11 December 2022. (Photo by Erdem Sahin/EPA/EFE/Rex Features/Shutterstock)

People out in Aberystwyth on “Booze Black Friday” or “Mad Friday” in Aberystwyth, Wales, UK on December 16, 2016. The “Booze Black Friday” is the last working Friday before Christmas when workers celebrate with their colleagues. Alcohol sales in pubs, clubs and off-licences rise dramatically on this day. (Photo by Keith Morris/Alamy Live News)