Japanese Magical Realism & Shigeru Mizuki

A style of storytelling I have always been interested in is Magical Realism. It was explored in Miss Hokusai (2015); with yōkai being involved--quite casually--into the main plot line; and further expanded upon in Shigeru Mizuki's Showa as yōkai are credited to having influence on real events. It is the Japanese's particular translation of this concept into their media that has always piqued my interest and I believe is at the heart of most of their stories. Japanese folklore is really interweaved into their reality and is on a level of coexistence, something that you may (come close to) see in Frida Kahlo's work or diaries. This is a concept that Mizuki continually conveyed in his work until his death. If we examine the story of Princess Mononoke, the lore of the forest and the health of the people is clearly connected. In Miss Hokusai, the introduction to the yōkai world through the courtesan's Rokurokubi yokai was so sudden and casual, it took me by surprise. However, this shows how related our reality and the afterlife are connected in Japanese media.

In a daze, Mizuki explains during one of his daydreams that yōkai have one soul and humans are two soul beings. This is why it is hard for us to transfer between worlds, and easy for the yōkai. In this daydream, he cuts a deal to become a one-soul being, but he learns that by doing this, he can no longer communicate with his family. The daydream came about because he wanted to flee his modern obligations due to his success in life. He ends this chapter with a lovely lesson, "I thought I could escape my hardships drawing comics. But then became what I wanted to escape from. Still, hard as it is... it's a life I want to go on living." He again reflects on these thoughts when he recalls on Tobetoro and the people of New Guinea. He says of them "They are at peace with being alive."

A struggle of abundance is a problem, that can be argued, to be created by modern society and success. People fight to get to the top, but once they have it, they get crushed under the pressure. To escape from it, requires a convoluted series of actions and a reversal of that success. Why would anyone want that? It's confusing but it is also a very human struggle. Mizuki approached this complex concept by escaping to an alternate plane of existence, a justifiable action when confronted with such a conflicting series of emotions as he was previously a starving artist. I feel like this chapter in particular is one many can relate to.

To connect back to Miss Hokusai, O-Ei reflects on life as she speaks to O-Nao through the clouds. She says something, "This life may be nothing special, but at least we're enjoying it." O-Ei never ends up with Hatsugoro, O-Nao dies, and Tetsuzo never lives to be 100. I interpret these last few lines to mean that life doesn't always work out how it's suppose to.