The Godfather of Manga Revival of Yokai and Wartime Stories

Shigeru Mizuki (1922–2015) was a renowned Japanese manga artist best known for his works that intertwine Japanese folklore, supernatural elements, and poignant reflections on war and history. His iconic creations include "GeGeGe no Kitaro", which popularized yokai (supernatural beings) in Japanese pop culture, and "Showa: A History of Japan", an epic manga series that chronicles Japan's history during the tumultuous Showa era (1926–1989). Mizuki's works are celebrated for their unique blend of detailed, realistic settings and humorous, exaggerated characters, as well as their deep social and historical commentary.

Mizuki's life was profoundly shaped by his experiences in World War II, during which he lost his left arm in an Allied bombing. This trauma, combined with his fascination with folklore from his childhood, influenced much of his creative output. His war-themed manga, such as "Onward Towards Our Noble Deaths", portrays the futility and horror of war, challenging traditional narratives of heroism. Through his art, Mizuki became an anti-war advocate, using his personal experiences to critique militarism and explore the human cost of conflict.

His contributions to Japanese culture extended beyond entertainment. By revitalizing traditional folklore and integrating it with contemporary themes, Mizuki fostered a renewed appreciation for Japan's cultural heritage during a period of rapid modernization. His works remain a cornerstone of manga and anime history, inspiring generations of artists and writers worldwide

Shigeru Mizuki was an influential figure in Japanese manga, renowned for his unique blend of supernatural folklore, history, and personal experiences, particularly his time as a soldier during World War II. Born on March 9, 1922, in Sakaiminato, Japan, Mizuki's life and career were marked by his struggles and creativity.

Early Life and War Experience

Mizuki's life was profoundly shaped by his traumatic experience during World War II. He enlisted in the Imperial Japanese Army and was sent to Papua New Guinea, where he lost his left arm during a battle. After returning to Japan, he faced a challenging recovery period and had to learn to draw with his right hand, a testament to his resilience and determination. His time in the war had a lasting impact on his worldview, leading him to create works that critically examined Japan's military history, especially in his later works like Onward Towards Our Noble Deaths (1973), which is semi-autobiographical and explores the brutality of war from the perspective of the soldiers.

Manga Career and Major Works

Mizuki's breakthrough came in the late 1950s when he began incorporating his love of Japanese folklore, particularly yokai (spirits or demons), into his stories. His most famous creation, GeGeGe no Kitaro (1960), was initially called Hakaba Kitaro and focused

Shigeru Mizuki's fascination with yokai (supernatural creatures or spirits from Japanese folklore) can be traced back to his childhood and his deep connection with Japanese mythology. However, his decision to tell stories about these creatures was also heavily influenced by his personal experiences, including his traumatic time during World War II and his post-war reflections on the changing nature of Japanese society.

Childhood Inspiration

Mizuki grew up in a rural town where traditional folk stories and legends about yokai were prevalent. These tales, passed down through generations, sparked his imagination. As a child, Mizuki was captivated by the stories of ghosts, demons, and spirits that were an integral part of local culture. He later reflected that these folkloric tales helped him connect to the past and offered a sense of wonder and mystery in an otherwise harsh world.

War and Trauma

However, it was Mizuki’s experiences during World War II that added a deeper, more personal layer to his work with yokai. During the war, he served in the Pacific and was severely injured, losing his left arm in combat. This traumatic experience forced him to confront his own mortality and question the futility of war. In the aftermath, he turned to drawing as a form of therapy and a way to process his emotions. He often cited that through the creation of art, he found a way to exorcise his personal demons and transform his trauma into something creative.

The depiction of yokai became a way for Mizuki to deal with this trauma. Yokai, being creatures that exist between life and death, symbolized his own experiences with loss, suffering, and survival. By telling stories about these mythical beings, Mizuki not only revisited his childhood interests but also used them as metaphors for deeper psychological and societal issues. He later explained that his work allowed him to reflect on the horror of war and the complexities of human nature, with yokai serving as symbols of both destruction and protection.

Cultural Revival of Yokai

In addition to his personal connection, Mizuki’s stories about yokai also came at a time when Japan was rapidly modernizing after the war. Traditional beliefs and folklore were being overshadowed by technology and urbanization. Mizuki saw the potential to revive interest in these old myths and legends, using them as a lens to comment on the tensions between the old and new Japan. Through works like GeGeGe no Kitaro, he helped introduce yokai to new generations, presenting them not just as eerie creatures, but as a reflection of Japanese culture and history.

In essence, Mizuki's work with yokai was a blend of nostalgia, personal healing, and cultural preservation. He was able to draw on his childhood fascination with folklore, use his war experiences to deepen his understanding of life and death, and contribute to the revitalization of Japanese cultural heritage.

For more about Mizuki's experiences and how they shaped his works, you can explore resources like The Life of Manga Legend Shigeru Mizuki

Shigeru Mizuki's view of yokai (supernatural creatures from Japanese folklore) evolved throughout his life, reflecting both personal experience and cultural shifts in Japan. His perspective on yokai was multifaceted, as he saw them not only as traditional creatures from mythology but also as reflections of human nature, societal fears, and psychological experiences.

Yokai as Metaphors for Human Nature and Life’s Struggles

Mizuki often used yokai to explore deeper themes such as mortality, suffering, and the complexities of the human condition. After his traumatic experiences in World War II, he viewed these creatures as symbols of both destruction and healing. They allowed him to process the pain of war and personal loss. In his manga, yokai are frequently depicted not as pure evil beings, but as multifaceted characters who interact with humans in complex ways. Some are mischievous, some are malicious, while others are protective or helpful. Mizuki believed that yokai embodied the darker aspects of life, but they also had the potential for transformation and growth. This reflects his broader view of life: even in suffering and conflict, there is room for hope and redemption.

Yokai as a Reflection of Cultural and Societal Change

Mizuki was also keenly aware of the role yokai played in the cultural fabric of Japan. After World War II, Japan was rapidly modernizing, and many traditional beliefs were being cast aside. In this context, Mizuki used yokai as a way to reconnect contemporary audiences with their cultural heritage. His famous work GeGeGe no Kitaro revitalized interest in these folklore creatures, presenting them in a humorous, adventurous light while simultaneously critiquing the changing societal values of Japan. Mizuki saw yokai as symbols of Japan’s past, and through their stories, he hoped to preserve and revive the sense of wonder and connection to tradition that was fading in the post-war era.

Yokai as Agents of Change

Mizuki’s portrayal of yokai was not static. Over time, he began to depict them as agents of change, capable of adapting and evolving alongside humanity. They represented a link between the past and the present, able to transform and take on new meanings in contemporary society. For Mizuki, yokai were not just relics of ancient folklore; they were living, breathing characters that could evolve in response to the modern world.

In conclusion, Shigeru Mizuki's view of yokai was deeply tied to both his personal experiences and the broader cultural context of post-war Japan. He saw them as mirrors of the human experience, capable of representing both our darkest fears and our greatest hopes. His works continue to reflect this dynamic, showing yokai as both timeless creatures of myth and evolving symbols of change and continuity in Japanese society

Shigeru Mizuki’s interest in yokai was deeply personal and shaped by his childhood and later life experiences. One of the most notable stories relating to yokai during Mizuki’s time in the war involves his depiction of the nurikabe or "wall yokai," a supernatural creature that embodies an impassable obstacle, often appearing as a sudden and mysterious wall blocking a traveler’s path. Mizuki was inspired by his own wartime experiences, particularly his time serving in the Pacific during World War II, where he encountered hardship and uncertainty, both physical and mental.

The nurikabe is symbolic of how one can encounter insurmountable challenges, much like Mizuki did during the war. Mizuki lost his left arm during combat, an event that profoundly shaped his later creative expressions. His stories about yokai, including figures like the nurikabe, reflect themes of overcoming hardship, understanding the world around us, and confronting fears. These mythical creatures, in Mizuki’s hands, became metaphors for resilience, as well as the sometimes absurd, unpredictable nature of life and death​

Mizuki’s portrayal of yokai also speaks to his broader view of the supernatural as a reflection of human nature, blending folklore with the struggles of the real world. Through stories like these, Mizuki reimagines the boundaries between the living and the supernatural, presenting them as integral parts of Japan’s cultural and moral landscape

In Sakaiminato, Tottori Prefecture, the life and work of Shigeru Mizuki are celebrated through various statues and installations. The town, often regarded as the "Yokai Spirits' Port City," is home to over 100 bronze statues of Mizuki's famous yokai characters, including those from his iconic manga series GeGeGe no Kitaro. This "Mizuki Shigeru Road" runs through the town and is a major attraction for fans of Mizuki's work, featuring not only statues but also themed shops and merchandise. Additionally, the Mizuki Shigeru Museum located at the end of this road offers a deeper look into his life, his war experiences, and his contribution to popularizing yokai in Japanese culture​

JapanTravel

Visitors can also enjoy the Yokai-themed elements throughout the town, such as yokai-inspired street lights and even taxis, which further immerse them in the world of Mizuki's creations​