Countdown to Showa 1939 – 1944 A History of Japan

Showa 1939 1944 Cover

Only a few short days until the release of Showa 1939-1944: A History of Japan, the second volume of my translation of Shigeru Mizuki’s 4-volume series “Showa: A History of Japan”!!

The first volume, Showa 1926-1939: A History of Japan was nominated for an Eisner Award for “Best U.S. Edition of International Material—Asia.” And this second volume is even more incredible than the first.

Shigeru Mizuki Off to War

Japan is fully mobilized for war now, spreading like a plague across the Asian countries, trying to grab as much land as they can while avoiding the eyes of the Western powers. Chiang Kai-shek attempts to rally China in defense, but finds an undivided country unwilling to compromise even in order to save itself.

Shigeru Mizuki Drafted

Meanwhile, the teenage Shigeru just wastes his time waiting for the inevitable death sentence that is his draft papers. When they finally come, Shigeru proves he is no more a soldier than he was a student. Even as he is sent off to boot camp, the war broadens when Japan finally engages the US with a sneak attack on Pearl Harbor. The Pacific War in full swing, Shigeru is transferred down to Rabaul in New Britain where his life will be forever changed. In the tropical jungles, Shigeru experiences horrors beyond his imagination—and wonders.

If you bought the first volume—and I hope you have—you are definitely going to want this second volume! I am extraordinarily proud of it. An amazing piece of comic book art work.

You can preorder it here!!!

And While You’re At It:

Showa History of Japan Volume Three

Don’t forget to order the third volume, Showa 1944-1953: A History of Japan (Showa: a History of Japan)!!!

Thanks to everyone for your support! The more people get interested in the works of Shigeru Mizuki, the more translated releases we can look forward to in the future!

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Shigeru Mizuki’s The Dunwich Horror

Shigeru_Mizuki_Chitei_no_Ashioto

Sourced from Japanese Wikipedia and this article

It should come as no surprise that Shigeru Mizuki is well versed in world horror and weird fiction. Beneath his beneficent smile and charming penchant for cheap hamburgers lies the brain of one of the world’s great expects on mythology, folklore, and the weird world of monsters. His love for Western horror comics has been demonstrated (See Mizuki Shigeru and American Horror Comics), and adaptations of classic horror tales pop up all over his work; either shoehorned into his famous comic Gegege no Kitaro or as straight adaptations in their own right.

Mizuki owned the book series Sekai Kyofu Shosetsu Zenshu (世界恐怖小説全集; The Complete Collected Short Fiction of World Horror Stories) which formed much of his education on world horror and weird fiction. The multi-volume series collected horror classics from all over the world, including French and Russian literature as well as American pulp fiction. Mizuki became acquainted with H.P. Lovecraft through this series. He first read the story Dunwich no Kai (ダンウィッチの怪; The Dunwich Mystery) in volume 5, which collected tales of kaiju (怪物; monsters).

Sekai_Kyofu_Shosetsu_Zenshu

The tale stuck with Mizuki, and in 1962, he adapted it for the rental manga market, in a 300+ page comic published by Bunhana Bookshop. Mizuki retitled the story Chitei no Ashioto (地底の足音; Footsteps from the Depths of the Earth). It is a more-or-less straight adaptation, although Mizuki made a few alterations, presumably to make it easier for a Japanese audience.

He reset the story in Japan, and made the characters Japanese. the rural town of Dunwich became the mountain village of Hatsume; Wilbur Whateley is Adachi Hibisuke, and runs around in a kimono to hide his misshapen body; Professor Henry Armitage of the famed Miskatonic University is instead Professor Aoyama from Toritaka University. The Necronomicon became “The cursed Shiro Kaiki (死霊回帰; Book for Calling Back the Dead), written 800 years ago by the mad Arab Galapagos!”

Shigeru_Mizuki_Dunwich_Horror_Wilbur

Perhaps the strangest change of all, however, is that Adachi Hibisuke’s otherworldly father is no longer the dread Yog-Sothoth, but is instead the monstrous—Yokai Yogurt!

Shigeru_Mizuki_Dunwich_Horror_Monster

Along with Lovecraft, Shigeru Mizuki adapted many other classics of world horror and weird fiction. His works include versions of Joseph Sheridan Le Fanu’s Narrative of the Ghost of a Hand, HG Wells’ The Crystal Egg, Richard Matheson’s Blood Son, F. Marion Crawford’s The Screaming Skull, and Arthur Machen’s The Novel of the White Powder. All these treasures lie hidden in musty old bookstores in Japan, just waiting for someone to discover them.

Translator’s Note:

My first post in a loooooong time! If you keep up with me on Facebook and Twitter, you know that I have been supremely busy lately and haven’t had time to make new posts for Hyakumonogatari. But I got talking to some people about Mizuki’s adaptation of The Dunwich Horror and figured I could squeeze in a post!

As for what’s been keeping me busy—well, hopefully you all know that my book Yurei: The Japanese Ghost is coming out in a couple of months. I have been working to make the final edits and get the book design perfect, as well as attending various conventions in support of the launch. If you haven’t already pre-ordered it, PLEASE do so! I need as many preorders as I can get to show booksellers that there is an audience for this kind of work.

I also have the next volume of Mizuki Shigeru’s “Showa” series coming out, Showa 1939-1944: A History of Japan (Showa: a History of Japan) (a book which you would also PLEASE preorder!). The first volume in the series was nominated for an Eisner Award for this year, which is a VERY BIG DEAL! If you aren’t familiar with them, the Eisner Awards are kind of like the Oscars for the comic book world. Even getting nominated is very exciting.

And finally, as was announced at Sakura Con this year, I am translating Satoshi Kon’s manga for Dark Horse Comics. This is very exciting, as I am a huge fan of Kon’s work! Look for announcements on those comics coming soon!

Oh! And if you are interested in reading Mizuki’s Chitei no Ashioto, it was recently re-released as part of the Mizuki Shigeru Complete Collection. You can buy it off Amazon.co.jp, but its in Japanese only; for the time being, at any rate! Fingers crossed!

Jakotsu Baba – The Old Snake-Bone Woman

Jakotsu_Baba_Shigeru_Mizuki

Translated from Konjaku Hyakki Shui, Mizuki Shigeru’s Mujara, and Japanese Wikipedia

If you are wandering through the woods at night and stumble upon something that looks like a carved stone stamped with the symbol of a snake—run! Maybe it’s nothing. Or maybe you have stumbled across the hidden grave of the long-dead Jako Emon. And that means that you are seconds away from an encounter with his wife, The Old Snake-Bone Woman called Jakotsu Baba.

What is the Jakotsu Baba?

With definitely one of the coolest names of all the yōkai, the Old Snake-Bone Woman’s kanji reads exactly that. 蛇 (ja; snake) + 骨 (kotsu; bone) +婆 (baba; old woman.) Depending on the region and dialect, she might also be known as Jagoba, the Five-Snake Woman: 蛇 ( ja; snake) + 五 (go; Five) + 婆 (baba; old woman).
The Jakotsu Baba originally appeared in Toriyama Sekien’s Konjaku Hyakki Shui (今昔百鬼拾遺; Supplement to the Hundred Demons from the Present and Past). In the illustration she is drawn as an old woman with her body wrapped in snakes.

Toriyama wrote:

“There is an old woman from in northern Funkan-koku, China. In her right hand she holds a large blue snake, and in her left hand a red one. The people of this country call her the Jakotsu Baba—The Old Snake-Bone Woman. They say she is the wife of Jakoemon (Five-Snake Emon), and that she holds vigil over the family tombs. She is sometimes called the Jagoba—the Five-Snake Woman—depending on the dialect of the region.”

The Origin of the Jakotsu Baba

Sekien Jakotsu baba

Little is known about the Jakotsu Baba apart from what Toriyama wrote in his Konjaku Hyakki Shui. It is not known if he invented the character, or if he collected the legend from somewhere or someone. Jakotsu Baba does not appear in any prior collections, either in Japan or China. The other names mentioned by Toriyama—the Snake Family (云蛇塚) and the Old Snake-Bone Woman’s husband Jako Emon—have never been found in any other text, Japanese or Chinese. Nor has the snake-marked tomb been discovered. However, all of these peculiar and particular details give more flavor to the story than a typical Toriyama creation.

It is also interesting that this yōkai lives in China. The setting of the story—Funkan-koku—is mentioned in the Chinese geographic encyclopedia Shan-hai Ching (山海経; Classic of Mountains and Seas). Supposedly, Funkan-koku is a region particularly touched by the supernatural, and renowned for its mediums and fortune tellers. It is possible Toriyama set his story here just to give her a more mysterious air.

Yokai books from the Showa period expanded on the Jakotsu Baba and moved her mysterious grave to Japan. Showa period writers said that Jako Emon was a human, but when he died the sign of a snake was stamped onto his gravestone. To stand guard over his grave, his wife transformed into a yōkai, with a blue snake slithering into her right hand and a red snake into her left. She would attack anyone who came too close to her husband’s grave.

Blue Snake, Red Snake

Another unknown is the significance of the color of the two snakes, other than just to be freaky. The only colored snakes in Japanese folklore are white snakes, such as in the story The Tanuki and the White Snake. White snakes are considered sacred, and bring illness and death when accidentally killed.

The Snake-Repelling Stylish Emon

A yōkai figure with a similar name can be found in Minakata Kumagusu’s book Jyunishiko (十二支考; Twelve Signs of the Zodiac). Jyunishiko tells the how local farmers use charms and incantations and invoke the name of Jajai Emon (蛇除伊右衛門; Snake-Repelling Stylish Emon) as a ward when bitten by poisonous snakes. The book doesn’t go into much detail, but the “Snake-Repelling” part of Emon’s name is obvious. The fact that he is “Stylish” (伊) is just a cool addition.

Minakata says there are a few similar legends in Japan, which might account for a possible origin for the Jakotsu Baba and her Snake Family. However, this is just speculation.

The name Jakotsu Baba has been used a few times, such as in a kabuki play by Konto Mizuki and in a few Edo period short stories. However, there is usually little attachment to the yōkai described by Toriyama Sekein. His Jakotsu Baba is both too vague and too specific, and thus does not appear often in Japanese folklore.

Translator’s Note:

This was a request by reader Dominique Lamssiesk. I had a short window in my busy schedule, and fortunately as a Toriyama Sekien yōkai there wasn’t too much to tell about the Jakotsu Baba.

This is also a yōkai I didn’t know much about myself before researching it. I like the Voodoo vibe of these characters, especially Snake-Repelling Stylish Emon who I picture in a top hat looking something like a Japanese Baron Samedi. And of course the Old Snake-Bone Woman herself is a cool visual, keeping eternal watch over her husband’s grave. But for what reason and protecting him from whom? The stories never say—but I am sure an imaginative writer could fill in the details.

Further Reading:

For more yokai snake tales, check out:

Happy 92nd Birthday Shigeru Mizuki!!!

Shigeru Mizuki Birthday Cake

Shigeru Mizuki is 92 years old today. (A day early, I know. But March 8th falls a day earlier in Japan.) On his last birthday, he was already hailed as the world’s oldest working comic book artist. He still holds that title—just another year older.

Mizuki Shigeru Drawing

And yes, I do mean “working” comic book artist. Last year in December he announced his new comic, Watashi no Hibi (My Everyday). He also launched a new book this February touting his love of life and hamburgers and junk food called If You Go Ahead and Eat, You’ll Be Happy – The Daily Life of the Mizuki Brothers. In a recent interview, when asked if he had any doubts about taking on new work at his advanced age, Mizuki thought about it for only a brief second and replied:

Shigeru Mizuki My Everyday

“That’s something I really can’t understand. Why doubt yourself? It feels so much better to be proud—to have confidence.

I’m 91 years old, but I’m not finished yet. I’m still bursting with dreams.”

That’s beautiful.

Shigeru Mizuki Go Ahead And Eat

There is no word I can think of that encapsulates Japan feels about Shigeru Mizuki other than “beloved.” He is, to the country, a sort of living Buddha; an embodiment of joy and happiness and imagination. In 2010 he was officially recognized by the Japanese government as a Person of Cultural Merit. In 2012, a TV show called Gegege no Nyobo portrayed the romantic story of how he met his wife through an arranged marriage and how they fell in love anyways.

Mizuki and Wife Statue

Like Osamu Tezuka and Hayao Miyazaki, he is one of those rare individuals who shapes the fantasy dreams of an entire country. (I might even say that while Tezuka shaped Japan’s dreams of the future, Mizuki shapes its dreams of the past. And Miyazaki its present.) The only conceivable American equivalent I could conceive of might be Walt Disney when he was a living man and not a corporation. Or JRR Tolkien, if he were less academic. Or Willy Wonka if he were real.

“Come with me and you’ll see, a world of pure imagination … “

We love Shigeru Mizuki!

Mizuki is an artist and a scholar whose work transcends genre and medium. He was born March 8th, 1922 in a small fishing town in Tottori prefecture called Sakaiminato. From a young age he was recognized as an artistic prodigy. His work was published in local newspapers and magazines, and he had his first solo exhibition while he was still in Elementary school.

3years

His career as a comic artist began when he returned home from WWII, his drawing arm lost to an Australian bomb while he was in a hospital suffering from malaria. (For more, see Mizuki Shigeru in Rabaul) Mizuki relearned how to draw with his left arm, and began a brief career as a kamishibai artist making paintings for the paper theater popular at the time.

Young Mizuki Shigeru Student

Soldier Shigeru Mizuki

He transitioned into the fledgling manga market, mostly copying Western superhero comics in his own versions of Superman and Plastic Man.  And he dabbled in Western horror comics along the way. (See Mizuki Shigeru and American Horror Comics)

Shigeru Mizuki Rocketman

He didn’t have his first hit until he was in his 40s, with his horror comics Akuma-kun and Hakaba Kitaro, which later transformed into Gegege no Kitaro (published in English simply as Kitaro.) In the 1960s Mizuki helped pioneer the concept of gekiga or art manga, in the magazine Garo, transitioning comic books from children to adult readers.

cover

In his 60s, bored with the daily grind of manga he embarked on a new career as a world folklorist. He began to seriously study the monster and folklore culture he was so fascinated with, and created a series of encyclopedias that cataloged both Japan and the world’s folklore. His work was recognized for his scholarly nature and he was invited as a member of The Japanese Society of Cultural Anthropology.

Mizuki Shigeru in Rapaul

In the late 1980s, during Japan’s infamous “Bubble Era,” he was disgusted with the government of Japan attempting to cover up their wartime atrocities, and the children of Japan ignorant of their own past. Never one to play it safe, Mizuki responded with powerful works like Onward Towards Our Noble Deaths and the epic Showa: A History of Japan. He continues to fight against right-wing militarism and government mind control, in favor of what Thomas Jefferson called The Pursuit of Happiness. Like himself, he prefers a world “bursting with dreams.”

Mizuki_Shigeru_Showa_Book

One of the things I love so much about Shigeru Mizuki the person is that—for all his legendary status—he remains very human. He is not aloof and imperious like Hayao Miyazaki. Mizuki Shigeru posts pictures of himself chowing down on fast foods. He picks his nose. He is very much a man who inhabits a human body, and isn’t ashamed of it, and he doesn’t distance himself. But he loves life and attacks it with gusto.

Shigeru Mizuki Instant Ramen

It is my great privilege and pleasure to translate some of Mizuki Shigeru’s works and make them available for the English speaking world. That is a wider world than you would think. Many more people world-wide speak English than Japanese—even as a second language—and I have gotten emails from people as far away from Brazil excited to be reading Mizuki’s works for the first time.

I’ve been a fan of Mizuki’s works since I discovered them in Japan more than a decade ago, and I honestly thought they would never get English translations. They were just too weird; too … “Japanese” for lack of a better word. But now they are here, and with more to come. I am especially glad that the Western world discovered Mizuki Shigeru while he is still alive. Too often we wait until someone is dead to properly honor them.

Shigeru Mizuki Hamburger

And every time I see Mizuki Shigeru’s grinning face, I hear the whisper of Yoda coming somewhere in the background.

“When 900 years old you are, look as good you will not.”

Damn straight. Dream on, beautiful dreamer.

Mizuki Shigeru 91 Birthday

Further Reading:

At long last, Shigeru Mizuki’s fine works are available in English. Do yourself a favor and read them all!

Mizuki Shigeru and American Horror Comics

Kitaro_and_Four_Color_Fear

When you think of influences on Japanese comic book legend Mizuki Shigeru, names like Basil Wolverton, Bob Powell, and Warren Kremmer don’t usually spring to mind. After all, those artists drew for 1950s American horror comics like Tomb of Terror and Crypt of Horror. They hardly seem like source material for a young man thousands of miles across the ocean. Where would he find them? And if he did find them, how could he read them?

But the influence is obvious. Mizuki Shigeru’s early work has the same shadowy gloom, the same lines and dramatic poses. This is especially true in Mizuki’s comic Hakuba Kitaro (Graveyard Kitaro), his darker, more horrific version of his famous character Kitaro before it was lightened and made more child-friendly at the publisher’s request. The opening story in Hakuba Kitaro—called Kitaro no Tanjobi or Kitaro’s Birthday—in particular looks and feels like a 1950s EC comic. If it weren’t for the Japanese lettering and some of the faces, Kitaro no Tanjobi could easily have risen from Tales from the Crypt or Vault of Horrors.

Mizuki has never been shy about these influences. He is widely read, and was fascinated with American and European authors and philosophers. He borrowed freely for his comics, adapting obscure horror authors like W. F. Harvey, whose 1928 story The Beast with Five Fingers was transformed into the Kitaro adventure The Hand. (See Kitaro and the Beast with Five Fingers.)

In his historical/auto-biographical comic Showa: A History of Japan Mizuki describes how American comics came into his hands. In the post-war period, Mizuki’s father had a position working with the occupation government. Mizuki’s father spoke English and even worked as an English teacher, which made him a valuable bridge between the occupiers and the native Japanese. Mizuki’s father knew his son was struggling, trying to break into the fledgling kashihon rental-comic market after his former kamishibai (paper theater) business had vanished. He brought home the various comic books left behind by American GIs and civilians working in the occupational government, and gave them to his son to use as reference material and inspiration for his own comics.

It is pretty obvious which American comic inspired Mizuki’s first hit with the kashihon rental-comic market. Although he called his version Rocketman, Mizuki made no attempt to disguise the character’s origin, and didn’t even bother to alter the famous “S”-shield on the chest into an “R”—which would have been more appropriate for “Rocketman.” Mizuki may have taken the look of Superman directly from the comic, but he told it with his own sense of whimsy and style. It almost looks like he is imitating the Fleisher Brothers’ Popeye cartoons instead of Superman, as Rocketman flexes a muscle in the shape of an atomic bomb’s mushroom cloud to show off just how mighty he is.

Shigeru Mizuki RocketmanSo the influence was always there. But it wasn’t until the publication of Fantagraphics’ Four Color Fear: Forgotten Horror Comics of the 1950s that it became clear just how much of an influence there was. (Or at least until a copy of that book found its way into the hands of Natsume Fusanosuke who wrote the initial blog that inspired this post.

In the time-honored tradition of comic artists, it looks like Mizuki Shigeru may have had his own “swipe file” of poses and characters that came straight from American comic book artists.

Shigeru_Mizuki_EC_Comics_1

These first images come from the 1959 kashihon comic Yokaiden by Mizuki Shigeru. There can be no mistake that Mizuki took several of the poses and faces directly from Warren Kremmer’s 1953 comic Amnesia. The poses are identical, even though they are being used for different story elements.

Shigeru_Mizuki_EC_Comics_2

The biggest surprise—and “Ah ha!” moment—comes when looking at Kitaro’s father. The mummy in these pictures is Kitaro’s father, before he liquefies and renders into the famous version of Medama Oyaji that we all know and love. I always thought this was a weird design for Mizuki. Mummies aren’t exactly prominent in Japanese folklore and horror, and it never really made sense that Mizuki would chose a shambling mummy to represent the last of the Yurei Zoku, the Ghost Tribe, that once ruled over the earth.

Shigeru_Mizuki_EC_Comics_Kitaros_FatherBut here, in Bob Powell’s 1951 comic Servants of the Tomb we see the origin and inspiration of Kitaro’s father. This one isn’t a direct swipe like the others, but it is obvious that Mizuki Shigeru saw this comic and thought enough of the monster to use it for the brief appearance of Kitaro’s father as a whole creature. Finally, the design makes sense.

Bob Powell and Warren Kremmer are in good company. Mizuki Shigeru also collects early European prints by artists like Albrecht Dürer, and uses them for inspiration. I have seen several posts by Mizuki where he shows the original, and his version next to it. He also copies the work of Japanese masters like Toriyama Sekein and Katsushika Hokusai for his Yokai Encyclopedias and print series, and uses famous photographs and historical works of art to ground his series like Showa: A History of Japan.

As Natsume mentions in his article, there are probably more of these swipes from early comics to be discovered by someone with the patience and means to find them. Natsume further speculates that, if American GIs carried American comics with them to Japan and inspired a young Mizuki Shigeru, perhaps they brought them to Europe and influenced a certain young man who would come to be known as the artist Moebius.

Who knows? But American comic art traveled far, and the American GIs served as unknowing Johnny Appleseeds, leaving behind their discarded bits of Americana and pop culture that got absorbed and assimilated into something else, something that has become a foundational element of Japanese culture.

Further Reading:

For more about Mizuki Shigeru, check out:

Mizuki Shigeru in Rabaul

6 Types of Japanese Yokai From Showa

Countdown to Mizuki Shigeru’s Showa 1926-1939: A History of Japan

Mizuki Shigeru’s French Fry Heaven

Happy 91st Birthday Mizuki Shigeru!

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