𝕐𝕠𝕜𝕒𝕚: 𝔽𝕒𝕟𝕥𝕒𝕤𝕥𝕚𝕔 ℂ𝕣𝕖𝕒𝕥𝕦𝕣𝕖𝕤 𝕠𝕗 𝕁𝕒𝕡𝕒𝕟𝕖𝕤𝕖 𝔽𝕠𝕝𝕜𝕝𝕠𝕣𝕖 ℙ𝕒𝕣𝕥 𝟛
Being Put down in the Oni Book of the Dead – Kiseki ni Iru（鬼籍に入る）
POSTWAR ANIMATION AND THE YOKAI BOOM
During World War II, the Japanese government utilized folklore, specifically the Momotaro legend, to demonize foreigners and inspire citizens to fight in the war.
Through films like "Momotaro in the Sky (1931)" and "Momotaro and the Eagles of the Ocean (1943)," Japan paralleled the legend, depicting Momotaro and his vassals as commanding warplanes against American forces, symbolized as unintelligent Oni.
These films reflected Japan's propaganda efforts and false sense of superiority, despite the reality of Japan's declining position in the war.
In 1945, Shōchiku Productions and the Japanese Navy produced "Momotaro's Divine Sea Warriors," depicting yōkai as foreign enemies of Japan.
Momotaro and his servants are portrayed as righteous Japanese warriors saving Asia from Western influence, while yōkai represent British "demons with a human face."
The film reflected Japan's fear of foreign invasion and used yōkai to symbolize these fears. After the bombings of Hiroshima and Nagasaki, the horror genre in Japan shifted to focus on the dangers of technology in the wrong hands.
Animating Nostalgia: Mizuki Shigeru
By April of 1966, yōkai were used in media to promote peace and to show the atrocities of war. Mizuki Shigeru's manga, Yōkai daisenső translated as the "Great Yokai War" was published in the weekly Shōnen Jump magazine, and featured yõkai as the soldiers of Japan fighting the invading armies from the West.
In this issue the half human, half yōkai named "Kitarō", and his companions fight Dracula, the Mummy, Frankenstein and other Western monsters in a battle for Vietnam.
Although this may seem like a meaningless comic to entertain children, there are references to the hydrogen bomb tests from World War II and the invading American forces.
One example of these anti-war messages is seen when the Western monsters attempt to create a demilitarized zone with Kitaro and his forces. One of the monsters explains the logic in creating a DMZ and says, "Hey Kitaro, we don't want to fight another meaningless war, like Vietnam."
The narrative also emphasizes the importance of being a 'pure-blooded' yōkai, and how the Western monsters are unclean.
As a result, the yõkai used in this narrative are the heroes of Japan and protagonists who view western monsters as the embodiment of foreigners and this new fear towards murderous humans.
The story ends with the Western monsters being engulfed in a fireball that is reminiscent to the clouds created from the atomic bomb.
For the first time Yōkai have evolved from horrific ghouls to heroes and role models in Japan. This shift, first seen in comics, portrays them as peacekeepers and defenders of the weak.
The trend continued through the Heisei period (1989-present), building on the 1980s "yōkai boom," when yōkai became highly profitable through video games, films, TV shows, novels, academic study, and new creations.
Up to 2015, yōkai have been depicted in a non-horrific manner, exemplified by Mizuki Shigeru's "Gegege no Kitaro," where they are respected defenders of Japan.
This "good-guy" appeal continued with Pokémon, which transformed yōkai into cute, controllable creatures.
Although not frightening, Pokémon honored Edo-period yōkai by cataloging them in a manner similar to historical yōkai encyclopedias. Players must master the details and collect all monsters to win the game.
During the yōkai boom, new yōkai were created through films, comics, and video games, often depicted as childlike rather than terrifying.
The 1995 series "Gakkō no Kaidan" exemplifies this trend and achieved international recognition. While yōkai appeared in horror films, they were usually set in modern contexts and served as messengers addressing broader themes like humanity's self-destruction and uncontrollable technology.
Best-Selling Yōkai: Kyōgoku Natsuhiko
Kyōgoku Natsuhiko, influenced by Mizuki Shigeru, is a prolific novelist and researcher known for his yōkai-themed works.
Since his debut in 1994 with the best-selling "The Summer of the Ubume," Kyōgoku has written many novels, short stories, and essays, with his fiction often adapted into other media.
His works blend mystery and yōkai lore, and he actively engages in academic and public discussions on yōkai. Kyōgoku's novel features the quirky Kyōgoku-dō, merging scientific and mystical elements, and serves as an introduction to yōkaigaku.
Kyōgoku Natsuhiko is a prolific author and researcher renowned for his yōkai-themed "Hyakkiyagyō series," which blend mystical yōkai elements with detective fiction. His works are noted for their complex kanji and high production values.
He has also written award-winning short stories and successfully adapted his novels into various media in 2003. Kyōgoku co-publishes the yōkai-dedicated journal "Kai" and has expressed admiration for Mizuki Shigeru. Known for his traditional kimono and black fingerless gloves, Kyōgoku is a celebrated figure in both literary and yōkai communities.
A new Yokaigoku: Komatsu Kazuhiko
Komatsu Kazuhiko, a folklorist and anthropologist, introduced yōkaigaku, studying how legends like ijin-goroshi define outsiders.
He sees yōkai as folkloric representations of outsiders, reevaluating the yōkai and kami distinction. His multidisciplinary approach revitalized yōkai studies, leading to workshops under Nichibunken for diverse perspectives.
Komatsu advocates for a multidisciplinary approach to studying yōkai, considering them as a cultural
His accessible writings popularized yōkai, reflected in bookstore sections. His directorship at the International Research Center for Japanese Studies highlights yōkai's academic recognition.
However, caution is needed against stereotypical views, as yōkai offer insights beyond cultural boundaries into universal human experiences.
Conclusion
Yokai offer a window into Japan's cultural evolution, reflecting different historical periods and gaining global relevance through media. From terrifying creatures to beloved heroes, their transformation mirrors Japan's adaptation to Western influence.
Today, they are ubiquitous cultural symbols in business, academia, and entertainment. While a return to their frightful origins is possible, their current portrayal as cute characters suggests a lasting departure.
Yet, their rich history intertwines with human storytelling, teaching us about ourselves and our collective imagination.
