Message from Mizuki Shigeru’s Family

Shigeru Mizuki and his Family

Translated from the official statement:

“My father is dead.”

I still can’t believe I am saying those words.

“I’m going to live to be a 100 … no, maybe 120 or so.” That’s what Mizuki used to always say. With the advance of every year he got closer to that number, and we just thought he would keep going on forever.

At the end of last year, he suffered a heart attack and was in the hospital for two months. He came back home in February but was confined to a wheel chair. His body was weakened by the experience, but his spirit was as strong as ever. He improved bit by bit, until he was able to walk again. Eventually with rehabilitation, he could walk the 1 kilometer from the house to his office. And then his appetite returned, and he was able to say his favorite words “We got anything good to eat?”

“The gods decide when the end is, and we must abide by that,” Mizuki would say. He thought the best thing was to move on was peacefully without pain, and surrounded by family.

When he fell at his house (NOTE: the fall that eventually lead to his death), it was devastating. But perhaps that was the gods’ decision as well.

To my father, his family was the most important thing in the world. Even now he will continue to watch over us and protect us. And perhaps now he is in the company of his old comrades-in-arms who have welcomed him home.

A final message to his fans and everyone he worked with.

For a long time, you have supported our father. From our hearts, thank you.

Otsukare, Sensei—Goodbye to Mizuki Shigeru

Shigeru Mizuki in Hat

There is nothing sad about the death of Mizuki Shigeru. And I say this as someone who shed more than a few tears when I heard the news last night. He lived about as good a life that could possibly be lived; the ripe old age of 93; wealthy in every way that matters; respected by his peers; beloved. He died a good death. The only thing that is sad is that the rest of us now have to live in a world that doesn’t have Mizuki Shigeru. And we are poorer for it.


To say that Mizuki Shigeru was a comic artist is like saying the Brothers Grimm crafted a quaint book of fairy stories or that Walt Disney made some cartoons. Mizuki was one of those rare human beings who unequivocally changed the world with his art. Without Mizuki the world—and especially Japan—would be a very different place. There would be no Pokémon, no Spirited Away or Princess Mononoke. His presence is so ubiquitous as to be almost unnoticeable. The way Mizuki saw the world has become the world. He saved the spirits and magic he loved from the darkness and gave them a new home.


He was a visionary. A philosopher. A radical. A bon viviant of the mundane. Mizuki relished the simple, sheer joy of being alive. As someone who knew the actual soul destroying pains of hunger and the terror of hanging from a cliff by your fingertips while hiding from an enemy patrol, a cheap hamburger in a full belly brought him more delight than the most expensive piece of handcrafted sushi. He believed in taking it easy, in enjoying life, and often scoffed at manga artists like Osamu Tezuka and Fujiko F Fujio who prided themselves on their hard work and long hours. They’re all dead, he would say, but I’m still here.

Young Shigeru Mizuki

Of course, he was a comic artist, and one of the best the world has ever seen. He was a natural born artist—a true prodigy who, like Picasso, could draw untaught with amazing precision before he could barely read. His teachers arranged his first solo exhibition of his works when he was in Elementary school. Mizuki himself often downplayed his talents, as he did everything about himself. But he was an undeniable genius. Coming back from WWII an arm short, it took him many years to rebuild his ability to its previous level, but his art grew like a tidal wave as he moved from kamishibai, to manga, to gekiga, to his yokai encyclopedias.


I am sure there will be no shortage of articles recapping his extraordinary career. So instead I will give you something of Mizuki the philosopher.

Mizuki Shigeru’s Seven Rules of Happiness.

#7 – Believe in what you cannot see – The things that mean the most are things you cannot hold in your hand.

#6 – Take it easy – Of course you need to work, but don’t overdo it! Without rest, you’ll burn yourself out.

#5 – Talent and income are unrelated – Money is not the reward of talent and hard work. Self-satisfaction is the goal. Your efforts are worthy if you do what you love.

#4 – Believe in the power of love – Doing what you love, being with people you love. Nothing is more important.

#3 – Pursue what you enjoy – Don’t worry if other people find you foolish. Look at all the people in the world who are eccentric—they are so happy! Follow your own path.

#2 – Follow your curiosity – Do what you feel drawn towards, almost like a compulsion. What you would do without money or reward.

#1 – Don’t try to win – Success is not the measure of life. Just do what you enjoy. Be happy.

Mizuki Shigeru Family off to War

Mizuki Shigeru was in every way my hero. It has been my great honor to translate my hero’s comics, and share my love of him. I made a vow almost 10 years ago in a friend’s bar that I would bring this unique genius to the English-speaking world, and with Drawn & Quarterly I have made good on that vow.

I am so happy that I was able to do this while he was still alive; it seems too often we only recognize great artists posthumously. One of my favorite photos is Mizuki holding the copies of Showa: A History of Japan that I translated, along with the Eisner Award they won for him. I now hope that we will continue to bring even more of his great legacy to a wider audience. He had so much to share.


As for Mizuki himself, he did not fear death, and saw it as a natural part of a world that was full of mystery and wonder. Decades ago he designed and commissioned his own tomb, which he has referred to in interviews as his new home.

Mizuki Shigeru New Home

He would often make jokes that he would be moving into his new home soon. I hope he finds it as comfortable and jolly as he had hoped. I am sure he is enjoying his well-earned rest amongst his yokai friends. They have been waiting for him for a long time.

お疲れ様でした、先生。 Goodbye, Teacher.

Zack Davisson

Mizuki Shigeru Rest in Peace

(Art by my friend Benjamin Warner. Thanks for that, Ben. You made me cry again, you jerk. But it’s beautiful.)

Here are Mizuki Shigeru’s works in English as currently available. If you haven’t already, please give them a try. The more you read, the more we can make.

Onward Towards Our Noble Deaths
Showa 1926-1939: A History of Japan (Showa: A History of Japan)
Showa 1939-1944: A History of Japan (Showa: A History of Japan)
Showa 1944-1953: A History of Japan (Showa: A History of Japan)
Showa 1953-1989: A History of Japan (Showa: A History of Japan)
Shigeru Mizuki’s Hitler
The Birth of Kitaro
Kitaro Meets Nurarihyon
Drawn & Quarterly: Twenty-five Years of Contemporary Cartooning, Comics, and Graphic Novels

Neko Musume – Cat Daughter


Translated and Sourced From Ansei Zakki, Gegege no Kitaro DVD Magazine, Japanese Wikipedia, and Other Sources

To read more adventures of the Neko Musume, check out Wayward Deluxe Book 1 and The Birth of Kitaro

Part Cat / Part Human, the Neko Musume are interesting and unique creatures in Japan’s pantheon. A different animal altogether from the shape-changing bakeneko, Neko Musume are mixed-race children that show both traits of their parentage.

What Does Neko Musume Mean?

The kanji for Neko Musume is (almost) completely straight forward. 猫 (neko; cat) + 娘 (musume; daughter). Right there in the name you can see that Neko Musume are the daughters of cats.

The only twist is that the term “musume” can just as easily refer to young girls as daughters. Like many familiar titles in Japanese, they distinguish both age and blood ties. This usage is not as common in modern Japanese, but was much more common during the Edo period from whence the Neko Musume sprang.

Misemono Neko Musume

Misemono Bear Daughter

No photos exist of the original Neko Musume, but this is a similarly exhibited girl known as the Bear Daughter, from this site

Of all of Japan’s yokai, the Neko Musume might have the oddest beginning. The term can be traced back to a particular exhibit at a particular Misemono Show in Asakusa during the 1700s.

Misemono Shows (Seeing Things) were popular from the Horyoku to the Meiwa era (1751-1771). Simply put, they were a combination of American freak shows and “Believe it or Not” exhibitions. Skilled crafters presented yokai artifacts like kappa mummies and oni skulls, along with historical relics and strange artifacts. The original “Fiji Mermaid” exhibited by P.T. Barnum was a product of these shows. There were also sideshow performers like jugglers, acrobats, and fire eaters. And then there were the human “misemono,” often people born with birth defects who were exhibited under outrageous names and with fictional backstories.

One of these was the Neko Musume, exhibited in Asakusa during this time. Reaching a height of popularity around 1769, nothing is known about the true identity of this original Neko Musume. There are no known pictures. Accounts state that her appearance was remarkable—she looked exactly like the human/cat hybrid she claimed to be. Whether this was simply an uncanny appearance, the result of birth defects, clever prosthetics and make-up, or some combination of them all is not known. But the Neko Musume was a popular and startling attraction at her booth in Asakusa.

Misemono Bear Daughter Front

Another photo of the Bear Daughter from this site

With the fading of the Misemono Shows in the 1780s, the Neko Musume disappeared from history—at least for a while.

Edo Period Neko Musume

Shungyosai_Name-onna_Neko Musume

Neko Musume appeared a few short decades later, in 1800 when the kaidan collection Ehon Sayoshigure (絵本小夜時雨; Picture Book of a Gentle Rain on a Late Autumn Evening) was published. One of the stories in the collection was called Ashu no Kijo (阿州の奇女; The Strange Woman of Ashu). It told the tale of the household of a rich merchant, who had a daughter with a strange habit of licking things. Her tongue was rough like a cats. Rumors arose as to the nature of her parentage, and she was given the nickname of Neko Musume. The same story was told later in 1830 in the satirical Kyoka Hyakki Yakyo (狂歌百鬼夜興; Poems of the Night Parade of 100 Demons) but instead of Neko Musume the girl with the strange habit was called Name Onna (舐め女; Licking Girl).

Another Edo period publication called Ansei Zakki (安政雑記; Miscellaneous Notes on Ansei) has a story of a Neko Musume. This one is particularly noteworthy, as the Ansei Zakki was not a kaidan collection but a diary collecting interesting political and historical facts of the time. The following is presented as a true story.

The Story of the Cat Daughter (From Miscellaneous Notes on Ansei)

In the 3rd year of Kae (1850) in the Ushigome district of Yokotera machi (modern day Shinjuku, Tokyo) there lived a mentally disabled girl named Matsu. Ever since she was a child, she had the strange habit of dragging the discarded heads and guts of fish from the garbage and eating them. She was exceedingly nimble, and would scurry along the hedges and walkways like a cat, trapping mice and eating them.

Because of her cat-like nature, she gathered nicknames like Neko Kozo (猫小僧; Cat Kid) and Neko Bozu (猫坊主; Cat Priest). Many speculated on her nature, wondering if she was suffering for some deeds in her past life, or if the essence of a cat had mingled with her own life essence as a baby resulting in this remarkable girl.

Her mother worried about her eccentric behavior and summoned doctors and prayed to gods to help her daughter. None could find the cause or cure. At her wits end, she tried to beat the cat out of her daughter, but to no avail. All hope lost, her mother shaved her daughters head and sent her to be a nun, hoping to expunge whatever past sin had made her a monster. But this didn’t help a bit. The cat daughter still sucked the organs of fish and continued her eccentric behavior. She was expelled from the nunnery and sent back home.

Matsu was relentlessly bullied by the other children in her neighborhood. The children chased after her, but because she was nimble as a cat she would escape by flying over the rooftops. No one could touch her. And she was popular amongst the adults for clearing out any rat infestations and keeping the neighborhood clean. Eventually, her mother saw the value in her strange daughter and started renting her out as a rat catcher to her neighbors. For a sen, the cat daughter would crawl under their houses or into their garbage piles and feast on all of the rats.

Showa Period Neko Musume

Kamishibai Neko Musume

In 1936, Neko Musume was revived by Shigeo Urata, one of the pioneers of kamishibai (paper theater) storytelling. Kamishibai was a popular pre-war entertainment, where itinerant storytellers wandered from town to town delivering chapters of the latest adventures of popular characters. Urata’s version of the Neko Musume took the form of a Buddhist morality story—a tale of karmic cause-and-effect. In his story, there is a father whose occupation is making cat-skin shamisen. His soul bears the weight of all the cats that he has killed, and his daughter is born as a strange cat/human hybrid. Her eyes are bright and sharp and her ears are pointed and stand up on her head. Like the other Neko Musume, she chases and eats mice, scampers across the roof like a cat, and even speaks in a cat’s voice.

The Neko Musume story was popular enough to spawn imitators like the Tokage Musume (トカゲ娘; Lizard Daughter) and the Hebi Musume (蛇娘; Snake Daughter). With these later characters the Buddhist moral lesson was lost, and they became just cheap entertainment. In 1937, the police began to censor kamishibai performers under the Public Morals law. The popular Neko Musume character was targeted as the origin of these girl/animal hybrid stories.

Manga Neko Musume


Shigeru Mizuki started his career working as an illustrator and writer for kamishibai, and worked on several of these original series including Neko Musume and the early incarnation of Hakaba Kitaro. In the post-war period, kamishibai struggled to survive as an art form and eventually gave way to mass-market printing and the emerging manga industry. When Mizuki moved from kamishibai to creating his own series for the fledgling kashihon (rental manga) market, he brought several characters with him.

His 1958 kashihon version of Neko Musume followed the kamishibai tales, portraying Neko Musume as a horror character in the series Kaiki Neko Musume (怪奇猫娘; Bizarre Tales of the Cat Daughter). The half human / half cat girl named Midori was cursed. Her father had killed a giant black cat, and the cat’s curse fell upon the man’s daughter causing her to be born as a monster. Like Kitaro himself, this version of Neko Musume crawled out of her mother’s tomb, as her mother had died while pregnant.

Kaiki Neko Musume Shigeru Mizuki

In the early 1960s Mizuki started to have some success with his version of Hakaba Kitaro (Graveyard Kitaro). He introduced a prototype of Neko Musume—a cute girl named Neko (寝子; Sleeping Child) that Kitaro met at a singing completion. Her cat-like, half-yokai nature is revealed later. This was her only appearance in that series.

In the mid-1960s, Mizuki was hired by Shonen Magazine to produce a more child-friendly version of his horror comic Hakaba Kitaro. In the first series of his re-branded Gegege no Kitaro, Mizuki introduced Neko Musume into the series. She was not a main character from the start; she first appeared in a story called Nezumi Otoko vs. Neko Musume (猫娘とねずみ男). Kitaro brings her in for the sole reason of antagonizing the rat-like Nezumi Otoko and revealing his schemes.


When Gegege no Kitaro moved to Weekly Shonen Sunday in the 1970s, Neko Musume joined the regular cast in the role of Kitaro’s girlfriend. He name was changed again, this time to Nekoko (猫子; Cat Girl) and she was given a more yokai-like appearance than her previous incarnations. As an interesting contrast, this version wasf not a yokai, but a human with a strange disease that transformed her into a cat whenever she saw fish or mice.

Anime Neko Musume

Neko Musume History Gegege no Kitaro

Image from this site

Neko Musume appeared sporadically in the original Kitaro animated series, and didn’t become a regular character until the second series. She was called Neko Musume, instead of the Nekoko of the comics. Her personality was quite different, however. She even joined Nezumi Otoko on his money-making schemes.

It wasn’t until the 1980s Gegege no Kitaro anime that the modern version of Neko Musume was born. This animation took all the different versions of Neko Musume and made her into a single character, the half-yokai / half- human cat girl. Again was in the role as Kitaro’s sometimes girlfriend, her appearance was also mostly fixed at this time. She appeared in the familiar white blouse, red dress, and red hair ribbon. That is the Neko Musume that most of the world knows today.

Neko Musume Mizuki Shigeru RoadNeko Musume character from Mizuki Shigeru Road

Translator’s Note:

This was a fun journey, because everyone loves Neko Musume even if they don’t know much about her. Few people realize that she has roots beyond Mizuki Shigeru and his beloved comic Gegege no Kitaro, and that the Neko Musume is a legitimate yokai in her own right and not some version of the bakeneko.

I have often been asked why the Kitaro comics translated into English don’t have Neko Musume, and the truth is that she just doesn’t appear in the comics all that often. It often works that animation has different needs from comics, and just as Bluto is only a minor character in the original Popeye comics, Neko Musume is a minor character in Gegege no Kitaro. Her popularity in the cartoon eventually broadened her role in the comic, but she was never a main character like Nezumi Otoko or Medama Oyaji.

And of course, Jim Zub and Steve Cummings created their own modern, updated version of the Neko Musume in the yokai comic Wayward Volume 1: String Theory, that I write the back-up essays and Yokai Files for.

I’ve been waiting for Ayane’s true nature to be revealed in issue #8 before posting this history of the Neko Musume. Personally, I think the girl from Ansei Zakk and Ayane would have gotten along just fine.

Neko Musume Ayane Wayward

Shigeru Mizuki Ends Watashi no Hibi (My Everyday)


Translated from Yahoo! Japan News

93-year old manga artist Shigeru Mizuki—creator of Gegege no Kitaro and numerous other comics—announced the sudden end of his comic Watashi no Hibi (My Everyday). The comic was being serialized in Big Comics. The 10th issue of Big Comics will be the final installment.

Mizuki announced the comic on his 91st birthday. Serialization began that year, in December of 2013. With its publication, he became the oldest practicing manga artist. This drew massive media attention. However on May 9th, 2015, Big Comics announced: “It’s an abrupt ending, but with the next volume the story will be coming to conclusion.”

The “abrupt ending” had many worrying about Mizuki sensei’s health, especially due to his advanced age. The editorial department sent out an assurance that this was not the case, and that the ending of the serial had nothing to do with Mizuki’s health.


Watashi no Hibi (My Everyday) is an autobiographical comic that covers Mizuki Shigeru’s life, from his childhood in rural Japan to his wartime experience to his life as a manga artist, as well as stories of his family. Each is told as a short story, with 34 stories in total. They plan to release the complete set of stories in a collected edition this July.

Later, Mizuki Pro Tweeted this:

The Big Comics serial is finished. “Why? Is Mizuki sensei sick?” We want to assure you that is not the case. It is true that he was not feeling so well at the end of last year, and that he is still not completely recovered. But truthfully, Mizuki is finding the demands and mental strain of a serialized story too much at his advanced age. Drawing the manga has kept him in the house, and he would rather be doing other things.

Thanks to everyone for your concern!

Translator’s Note:

Here is another translated new article about the end of Shigeru Mizuki’s most recent comic. There has been a lot of speculation about the reason, so I wanted to make this available, especially Mizuki Pro’s tweet regarding the true reason for the abrupt ending of the series.

Happy 93rd Birthday Mizuki Shigeru!!!

Mizuki Shigeru Happy Face


Mizuki Shigeru is 93 years old today! And if you don’t know who that is, you have been reading the wrong website! He is the man responsible for this websites existence, and for most of the world’s enthusiasm for yokai and Japanese folklore.

And he happens to be one of the coolest guys alive.


I’ve been writing these birthday greetings for a few years now, and I am always happy when I get to write another. I have gone into Mizuki’s history and importance in Japanese society on several occasions. If you aren’t familiar with this great genius, spend some time reading up on him and seeing why I adore him so much!

Mizuki Shigeru’s French Fry Heaven

Happy 91st Birthday Mizuki Shigeru

Happy 92nd Birthday Mizuki Shigeru

Mizuki Shigeru in Rabaul

Shigeru Mizuki’s The Dunwich Horror

Needless to say, there are few people who have had such a dramatic influence on their native culture. People like Walt Disney, Stan Lee, Jack Kirby, Osamu Tezuka (Yes, these are all comic book people, but I am a comic book person myself, so you’ll have to forgive me)–they are enough to count on one hand. One of the joys of Shigeru Mizuki is that he is still alive, and we are able to appreciate his work–and show our appreciation–while he is around to enjoy it.  Too often we discover people’s importance posthumously.

Another aspect of Shigeru Mizuki that I love is just how human he is. Someone of his stature and level of honor and respect could demand that people genuflect before him, that he be presented as some sort of living idol or even a type of character from one of his own stories. But with his autobiographical accounts of his own life, and the pictures he posts on his Twitter account, Shigeru Mizuki shows himself as a person without pretension.


I am also very proud of the work that I have done with Drawn & Quarterly in bringing Mizuki’s work to an English-speaking audience. When I first started, there were three Mizuki comics in print. Now there are six, soon to be nine, and with many more on the way.

Some of my favorite Mizuki translations I have done will appear in the Drawn & Quarterly 25th Anniversary book. There are several brilliant Mizuki works, the kind not ever seen in English before, separate from both Kitaro and his autobiographical work. I applaud Drawn & Quarterly for wanting to show so many sides of Mizuki as an artists.

Drawn & Quarterly: Twenty-five Years of Contemporary Cartooning, Comics, and Graphic Novels

DQ25 Anniversary

As well as a brilliant biography of this guy right here:

Shigeru Mizuki’s Hitler

Shigeru Mizuki Hitler

And the final volume of Showa: A History of Japan:

Showa 1953-1989: A History of Japan (Showa: A History of Japan)


And lots more to come! I promise that if you keep reading, we will keep bringing you the works of this wonderful, weird, brilliant human being! And I am looking forward to posting next year celebrating his 94th birthday!

Dream on, beautiful dreamer! (Now somebody buy that man a hamburger!)


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