Up front, I’m not going to be fully answering this question, just shooting down a few pieces on the way through.
About Bungou Stray Dogs- the Port Mafia is absolutely not Yakuza just because they’re in Japan.
No, they’re the Yakuza. They’re also in Japan, but the organization they’re modeled after is the Yakuza.
The Yakuza has a very specific structure where the mafia (namely Italian/American) doesn’t have as a riding a structure if one at all, in reality.
Two things. First, yes, the Yakuza has a very specific structure. However, so do the various branches of the Italian Mafia. I mean, it’s right there in the name, “organized crime.”
To your, marginal, credit, I’m going to let slide how incredibly racist this is. I just want you to think about this in the context of the Triads, the Cartels, and of course the Mafia. “But, only in glorious Nippon does civilization flourish even in the criminal underbelly.” Nope.
However, if we were to take that statement at face value, the part where the Port Mafia is organized, kinda takes your entire theory that only the Yakuza have organizational structure, and makes it sleep with the fishies.
The Port Mafia is organized crime which is the only important part- if you control the ports, you control what goes in and out…
Yeah, that’s specifically a Yakuza thing. To be clear, all organized crime thrives at trade ports (of any variety.) There’s a lot of money (either as liquid currency or in physical goods) moving through a single point. Because the mode of transportation is changing (between land, sea, and air), there’s a lot of movement, and a lot of opportunities for things to get “misplaced.” Most organizations will seek some control so they can skim off the stuff coming in and going out. After all, why pound pavement when all the graft you could ever want will come to you?
“Controlling,” what comes in or goes out; that’s not something you usually see. A criminal organization may retaliate against a specific shipper for some action taken against them. They may use the port as part of their own smuggling network. But, the act of dictating who comes and who goes? That’s far more management than most criminal organizations are willing to engage in. Except, the Yakuza.
The Yakuza see themselves as protectors and defenders of Japan, or at the very least, of Japanese culture and civilization. If you wanted to be really flowery, and were writing a manga using excessive literary references, you could even call them, “Wardens of the Night.”
As with many lies people tell themselves, it’s tangentially related to reality at best. However, that hasn’t stopped the Yakuza from seeing themselves as heroes of Japanese identity in the post-war era. One element of that is using control of the ports to protect Japanese products from foreign competition.
To be fair, I haven’t seen much lit on this behavior continuing since the mid-90s, but it was prevalent enough in the early to mid-80s to show up in some contemporary academic lit. This would have been when the Japanese economy was in a massive bubble, and the Yakuza was expanding operations everywhere it could, so the idea of them having full control over port operations in a major city wasn’t completely out there.
So, no, this isn’t the Italian Mafia, it’s explicitly a stand in for the Japanese Yokuza. It uses phonetic approximation of the word, “mafia,” in katakana as part of it’s formal name, but that doesn’t change the context, inspiration, or the organization presented.
…which [fits] with the Port Mafia authors wanting to stick with Japanese styles of writing.
Pretty sure it’s not stylistic, or at least not that simple. Several of the members of the Armed Detective Agency were named after authors who took foreign concepts or genres and adapted them into traditional Japanese styles. This also doesn’t work for the Port Mafia references, because, Mori Ōgai was a prolific translator of foreign works into Japanese, including Goethe, Hans Christian Anderson, and many others. I’m not familiar with his original work, but one of his most influential acts was the introduction of European literary critique methodology to the Japanese literary community.
I’m not sure exactly how Kafka Asagiri decided to parse these authors up. I don’t have the background in Japanese literature, but I seriously doubt it’s that simple.
It also, somewhat, undermines your entire position to begin with. If the material is heavily referential, but the Port Mafia is supposed to be the Italian/American Mafia, then the names would reflect that, with characters named things like Mario Puzo, James Elroy, and Nicholas Pileggi. Though, given the subtly I’ve seen from Asagiri, I half expect Puzo would be walking around wearing a rubber horse mask the entire time. So, probably for the best that he stuck with the Yakuza.