Monsters at War: The Great Yōkai Wars, 1968–2005

  title={Monsters at War: The Great Yōkai Wars, 1968–2005},
  author={Z{\'i}lia Papp},
  pages={225 - 239}
  • Z. Papp
  • Published 31 January 2010
  • Art
  • Mechademia
Miike Takashi, the Japanese director of infamous films such as Koroshiya Ichi (2001, Ichi the Killer) and Zehuraaman (2004, Zebraman), surprised audiences by directing the 2005 remake of the 1968 horror/fantasy Sim, Yokai daisenso (The Great Yoked War).1 With its cast of cute folkloric monsters (generically referred to in Japanese as yokai), this was the first child-friendly movie produced by Miike, whose work is better known for excessive Tarantino-like violence, gangster stories, and blood… 
3 Citations
(Re)animating Folklore: Raccoon Dogs, Foxes, and Other Supernatural Japanese Citizens in Takahata Isao’s Heisei tanuki gassen pompoko
Takahata Isao’s animated film Heisei tanuki gassen pompoko (Tanuki Battle of the Heisei Era, 1994) is a unique demonstration of the affinity between the supernatural aspects of folklore and animation
Raccoon Dogs, Foxes, and Other Supernatural Japanese Citizens in Takahata Isao’s Heisei
One day long ago, a lord on the island of Shikoku found two identical-looking women sitting in his house, each claiming to be his wife. A doctor speculated that some ailment had caused the wife’s


The Otherworlds of Mizuki Shigeru
oply of other fantastic beings have long haunted the Japanese cultural imaginary. In contemporary discourse, such creatures are generally labeled “yōkai,” a word variously understood as monster,
Transformation of the Oni--From the Frightening and Diabolical to the Cute and Sexy
Popularized through both oral and written Japanese folklore and religious traditions, early literary treatments of the oni rendered a hideous, demonic, ogre-like creature intent on terrorizing
Figurative Language in the Ancient Near East
© School of Oriental and African Studies 1987. All rights reserved. A group of scholars from Britain, Holland, Germany, and Israel met at the Warburg Institute and the School of Oriental and African
A Note on the “Scorpion-Man” and Pazuzu
In a recent number of this journal, Theresa Howard-Carter published photographs of the moulded demonic figures on opposing sides of the body of a large grey-ware pottery vessel now in the British
Gegege no Kitarō (Tokyo: Chūō Kōronsha
  • 1988
On wartime Momotarō animation, see the chapters by Thomas Lamarre and Ōtsuka Eiji in this volume
  • 1986
Pictures and Pictorial Language (the Burney Relief),
  • (London: University of London School of Oriental and African Studies,
  • 1987
ed., Japanese Ghosts and Demons: Art of the Supernatural (New York: George Braziller
  • 1985