AS A NEWLYWED in the 1980s, a Japanese martial arts master named Ichiro expected only good things.

He and his wife, Tomoko, lived among the cherry blossoms in Saitima, a prosperous city just outside of Tokyo. The couple had their first child, a boy named Tim. They owned their house, and took out a loan to open a dumpling restaurant.

Then the market crashed. Suddenly, Ichiro and Tomoko were deeply in debt. So they did what hundreds of thousands of Japanese have done in similar circumstances: They sold their house, packed up their family, and disappeared. For good.

“People are cowards,” Ichiro says today. “They all want to throw in the towel one day, to disappear and reappear somewhere nobody knows them. I never envisioned running away to be an end in itself ... You know, a disappearance is something you can never shake. Fleeing is a fast track toward death.”

The New York Post reports, of the many oddities that are culturally specific to Japan — from cat cafes to graveyard eviction notices to the infamous Suicide Forest, where an estimated 100 people per year take their own lives — perhaps none is as little known, and curious, as “the evaporated people.”

Since the mid-1990s, it’s estimated that at least 100,000 Japanese men and women vanish annually. They are the architects of their own disappearances, banishing themselves over indignities large and small: divorce, debt, job loss, failing an exam.

“The Vanished: The Evaporated People of Japan in Stories and Photographs” (Skyhorse) is the first known, in-depth reportage of this phenomenon. French journalist Léna Mauger learned of it in 2008, and spent the next five years reporting a story she and collaborator Stéphane Remael couldn’t believe.

“It’s so taboo,” Mauger tells The Post. “It’s something you can’t really talk about. But people can disappear because there’s another society underneath Japan’s society. When people disappear, they know they can find a way to survive.”

These lost souls, it turns out, live in lost cities of their own making.

The city of Sanya, as Mauger writes, isn’t located on any map. Technically, it doesn’t even exist. It’s a slum within Tokyo, one whose name has been erased by authorities. What work can be found here is run by the yakuza — the Japanese mafia — or employers looking for cheap, off-the-books labour. The evaporated live in tiny, squalid hotel rooms, often without internet or private toilets. Talking in most hotels is forbidden after 6pm.

Here, Mauger met a man named Norihiro. Now 50, he disappeared himself 10 years ago. He’d been cheating on his wife, but his true disgrace was losing his job as an engineer.

Too ashamed to tell his family, Norihiro initially kept up appearances: he’d get up early each weekday, put on his suit and tie, grab his briefcase and kiss his wife goodbye. Then he’d drive to his former office building and spend the entire workday sitting in his car — not eating, not calling anyone.

Norihiro did this for one week. The fear that his true situation would be discovered was unbearable.

“I couldn’t do it anymore,” he tells Mauger. “After 19 hours I was still waiting, because I used to go out for drinks with my bosses and colleagues. I would roam around, and when I finally returned home, I got the impression my wife and son had doubts. I felt guilty. I didn’t have a salary to give them anymore.”

On what would have been his payday, Norihiro groomed himself immaculately, and got on his usual train line — in the other direction, right toward Sanya. He left no word, no note, and for all his family knows, he wandered into Suicide Forest and killed himself.

Today, he lives under an assumed name, in a windowless room he secures with a padlock. He drinks and smokes too much, and has resolved to live out the rest of his days practising this most masochistic form of penance.

“After all this time,” Norihiro says, “I could certainly take back my old identity ... But I don’t want my family to see me in this state. Look at me. I look like nothing. I am nothing. If I die tomorrow, I don’t want anyone to be able to recognise me.”

Yuichi is a former construction worker who vanished in the mid-1990s. He’d been taking care of his sick mother, and the expenses involved — home health care, food, rent — bankrupted him.

“I couldn’t handle failing my mother,” he says. “She had given me everything, but I was incapable of taking care of her.”

What Yuichi did next may seem paradoxical, perverse even — but in Japanese culture, in which suicide is considered the most dignified way to erase the shame one has visited upon their family, it makes sense. He brought his mother to a cheap hotel, rented her a room, and left her there, never to return.

He disappeared to Sanya.

Here, Yuichi says, “You see people in the street, but they have already ceased to exist. When we fled from society, we disappeared the first time. Here, we are killing ourselves slowly.”

“Evaporations” have surged in Japan at key points: the aftermath of World War II, when national shame was at its apex, and in the aftermath of the financial crises of 1989 and 2008.

A shadow economy has emerged to service those who want never to be found — who want to make their disappearances look like abductions, their homes look like they’ve been robbed, no paper trail or financial transactions to track them down.

Night-time Movers was one such company, started by a man named Shou Hatori. He’d run a legitimate moving service until one night, in a karaoke bar, a woman asked if Hatori could arrange for her to “disappear, along with her furniture. She said she could not stand her husband’s debts, which were ruining her life.”

Hatori charged $3,400 per midnight move. His clientele was vast: from housewives who’d shopped their families into debt to women whose husbands had left them to university students who were sick of doing chores in their dorms.

He refused to give specifics to the authors, but he eventually quit; as a child, Hatori himself had disappeared with his parents from Kyoto, after they found themselves in debt. He believes that his former line of work was a kindness.

“People often associate [this] with cowardice,” he says. “But while doing this work, I came to understand it as a beneficial move.”

Hatori wound up serving as a consultant for a Japanese TV show about the phenomenon. “Flight by Night” was a hit in the late 1990s, a fictionalised anthology series based on true vanishings. A company based on Hatori’s, called Rising Sun, was integral to the show’s plot, summarised online:

“Need help managing your finances? Up to your ears in debt? Rising Sun is the consulting firm you need on your side. Too late for stopgap measures? Is running away or suicide the only way out? Turn once again to Rising Sun. By day, Genji Masahiko runs a reputable consulting firm, but by night, they help the desperate find a new life.”

Whatever shame motivates a Japanese citizen to vanish, it’s no less painful than the boomerang effect on their families — who, in turn, are so shamed by having a missing relative that they usually won’t report it to the police.

Those families who do search turn to a private group called Support of Families of Missing People, which keeps all clients and details private. Its address is hard to find, and its headquarters consist of one small room with one desk and walls sooty with cigarette smoke.

The organisation is staffed with detectives — often with evaporations or suicides in their own family histories — who take on these cases pro bono. They average 300 cases a year, and their work is difficult: Unlike the United States, there is no national database for missing people in Japan. There are no documents or identifiers — such as our Social Security numbers — that can be used to track a person once they begin travelling within the country. It is against the law for police to access ATM transactions or financial records.

“Most of the investigations end part way through,” says Sakae Furuuchi, a detective who serves as the group’s director. He cites the prohibitive cost of hiring private detectives: $500 a day, up to $15,000 a month — impossible for those whose loved one has fled due to debt.

“The people who flee debt and violence change their names and sometimes their appearances,” Sakae says. “The others aren’t thinking people will try to find them.”

Sakae was able to find one young man who disappeared at age 20. He hadn’t come home after taking an exam, and by chance, one of his friends spotted him in southern Tokyo. Sakae wandered the streets until finding the student, who was, Mauger writes, “shaking from shame ... He had not taken the exam for fear of failing it and disappointing his family. Tempted by suicide, he had not found a way to take his life.”

Another case, unresolved, involved the young mother of a disabled 8-year-old boy. On the day of her son’s school musical, in which he was performing, the mother disappeared — despite promising the boy she’d be sitting in the front row.

Her seat remained empty. She was never seen again. Her husband and child agonise; the woman had never given any indication she was unhappy, in pain, or had done something she thought wrong.

Sakae remains hopeful.

“She’s a mother,” he tells Mauger. “Maybe her path will lead her back to her loved ones.”

In many ways, Japan is a culture of loss. According to a 2014 report by the World Health Organisation, Japan’s suicide rate is 60 per cent higher than the global average. There are between 60 and 90 suicides per day. It’s a centuries-old concept dating back to the Samurai, who committed seppuku — suicide by ritual disembowelment — and one as recent as the Japanese kamikaze pilots of World War II.

Japanese culture also emphasises uniformity, the importance of the group over the individual. “You must hit the nail that stands out” is a Japanese maxim, and for those who can’t, or won’t, fit into society, adhere to its strict cultural norms and near-religious devotion to work, to vanish is to find freedom of a sort.

For younger Japanese, those who want to live differently but don’t want to completely cut ties with family and friends, there’s a compromise: the life of the otakus, who live parallel lives as their favourite anime characters, disappearing from time to time into alternate realities where, in costume, they find themselves.

“Running away is not always about leaving,” a young man named Matt told Mauger. “We dream of love and freedom, and sometimes we make do with a little — a costume, a song, a dance with our hands. In Japan, that is already a lot.”

This story originally appeared on the New York Post and was republished with permission