As a part of the first step that the emergent Meiji government enacted were the laws that were designed to enhance the Japanese image amidst the foreigners. Thereby the ban on nudity also had a major role in the new set of regulations. They were not quite dissimilar than their counterparts in Europe or China or those across the East China Sea in this sense. The impact of these regulations on entertainment was that it initially initiated a practice that drove the performances from jumbled, makeshift and short-term venues on the streets and open areas to controlled and licensed areas that were under the vigilance of the police and the authorities. Secondly the regulations on the performance enforced a clear segregation between the audience and the performer, something which was not there before. At the dawn of the new century the number of street performers and their magic shows, monkey skits, horseback riding, dancing dog ponies and other such performances has considerably decreased. The latest norm and fashion was the ticketed and paid form of amusement where in those who desired to view a show paid a fee to gain entry into a controlled establishment. In this way the government was successful in imposing control over the lower strata of the society as a part of the program to modernise the society and make it elite.
This however did not imply that the predatory comedy that had mocked Japan prior to its Meiji Restoration was off the limit. The fact was that with the onset of a more widespread media and industry and the movement of Japan onto the mainland in China, there was a rapid effect of this on the media and entertainment industry. This resulted in the production of a new mediation of the Qing Dynasty and China. The change in the styles through which the Japanese openly criticised China in what they considered as a collegiate tone is an often neglected feature of the early empire of Japan.