Yurei Attack! - Hiroko Yoda Yokai ATTACK! Series

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sorts among the living for a certain period of time. It is during this period that fierce emotion, whether positive or negative, can bind a soul to this world. The deeper the emotion, the higher the chance of a soul manifesting itself among the living again.

      In the vast majority of cases, a yurei will remain trapped in our world until its onnen is soothed or appeased in some way. But there are exceptions. Some are so powerful that they remain in our world permanently. These represent the most dangerous sorts of spirits in Japanese folklore. A perfect example of this can be seen in Taira no Masakado (page 40), the samurai warrior whose furious spirit is believed to reside in downtown Tokyo even today, a millennium after his death on the battlefield. The perceived power of onnen is precisely why his shrine has remained untouched for centuries, even though it sits atop what is now some of the most expensive real estate on the planet.

      Yurei vs Yokai

      In times of old the inhabitants of Japan believed that they shared their country with all sorts of other worldly inhabitants. These ranged from kami (gods), to oni (monstrously powerful ogres), to bakemono and yokai (shape-shifters and other supernatural creatures).

      The yurei are often lumped together with the yokai, which we cover in great detail in the predecessor to this book, Yokai Attack! The Japanese Monster Survival Guide. In a nutshell, yokai are the things that go bump in Japan’s night: mythical creatures from fairy tales and folklore. But make no bones about it: yurei and yokai are very different sorts of things.

      There’s actually a handy rule of thumb for differentiating the two. A yurei is a someone. A yokai is a something. Yurei is a specific term. Yokai is quite general.

      A yurei can cause all sorts of phenomena, from audible and visible manifestations to outright attacks. On the other hand, yokai tend to be personifications of phenomena themselves, attempts to put names and faces to inexplicable happenings. Yurei are human spirits, whereas many yokai are considered lesser gods of the natural world.

      Another critical difference: yokai often come across as mischievous, in some cases borderline cute. Rotund tanuki (raccoon-dog) statues and glowering tengu (mountin goblin) masks are common sorts of decorations in Japan. But you will almost never find a yurei painting gracing a home or establishment. They have an unparalleled ability to put the fear into even modern-day Japanese.

      An 18th century painting by Okyo’s student Nagasawa Rosetsu, in a style inspired by that of his master.

      Historical Portrayals Of Yurei

      The undisputed originator of the distinctive appearance of a yurei, at least graphically, is the artist Maruyama Okyo. His painting Ghost of Oyuki featured many of the characteristics of a “stereotypical” yurei: long, unkempt hair, an ethereally pale pallor, a floating body that lacks clearly defined legs. Most importantly, it’s a woman. And like all great ghost tales, it’s even supposedly based on a true story: in this case, a vision of the artist’s mistress, who died young and returned to him for a last visit in a dream.

      But don’t get the mistaken impression that Okyo was the first person to see a ghost in Japan.

      A haunting 18th century painting by a pair of brothers, Goshun (who did the ghost) and Keibun (who did the willows on the mounting.)

      Not by a long shot. His painting merely represented a longtime interest in the phenomenon that was clawing its way into the mainstream of popular culture. The “golden age” of the Japanese ghost story, when the conventions of the genre were clearly laid out, came in the early half of the 19th century.

      Japan’s booming middle class formed the perfect market for all sorts of mass entertainment. Elaborate kabuki stage productions complete with special effects rivaled modern-day Hollywood blockbusters for their ability to put people in seats. But feudal Japan wasn’t a democracy, and strict regulations forbid playwrights from portraying anything that might be seen as critical of the Shogun or his government. Ghost tales came to the rescue. Stories of servants mistreated by their masters, loyal wives betrayed by their husbands, or innocent villagers killed for sport by aristocrats were framed not as social commentary but rather as “ghost-exploitation” stories, allowing artists free reign to wryly comment on contemporary issues without incurring the wrath of the authorities. (This wasn’t idle paranoia; criticizing the status quo, even indirectly, landed many a writer in jail — or worse.)

      Another popular way of letting off some steam, particularly during the sultry summer months, was a parlor game called Hyaku Monogatari — the “Night of a Hundred Tales.” The idea was simple: gathering a group of friends and freaking each other out with ghost stories until the sun came up. Discussing weird happenings in the dead of night undoubtedly amplified the thrills and chills, as did rumors that a real ghost or creature would appear in the room after a successful session. It was interactive entertainment centuries before the advent of televisions, control pads, and keyboards.

      Yurei culture

      Some of the yurei tales portrayed in this book are based on the lives — and deaths — of people who actually existed. Others are obvious flights of fancy. More than a few are a little of both. But they form the bedrock of what could be called “yurei culture” in Japan.

      Ghost stories represent some of Japan’s greatest works of literature and entertainment. Nearly every Japanese has heard of Oiwa-san from the Horror at Yotsuya or Okiku, the Plate-Counting Ghost, for example. From the nearly thousand-year-old Tale of Genji to the 18th century chiller Tales of Moonlight and Rain, from Akira Kurosawa’s Rashomon to “J-Horror” movies like Ring and The Grudge, it seems ghosts still have the power to terrify Japanese and non-Japanese alike.

      Knowing what frightens someone is a wonderful window into their personality — which makes knowing what frightens an entire nation of people a powerful tool for understanding what makes them tick.

      Using This Book

      There are a lot of yurei and haunted spots out there, so we’ve organized things for easy understanding — the better to help you make it through any close encounters.

      Chapter 1 focuses on the most famous female ghosts. Chapter 2 collects stories of angry ghosts. Chapter 3 focuses on spirits driven by sadness or despair rather than fury. Chapter 4 covers Japan’s scariest haunted spots, including information about how to get to them. Chapter 5 details dangerous games that can bring people into contact with the spirit world. Chapter 6 showcases some of Japan’s most famous encounters with the supernatural. And Chapter 7? Well, let’s just say it’s a vision of what lays in store for all of us. It explains what happens when things go “right” and your eternal soul passes into the afterlife without turning yurei.

      So let us ask you again: do you believe in ghosts? Trust us, the yurei don’t care. They’re here, and they aren’t letting you off the hook that easily. Fortunately for you, everything you need to know about them is contained right between the covers of this book. So what are you waiting for? You’d better get started. And if you have to sleep with the lights on for a while, just look on the bright side: you aren’t alone.

      —Hiroko Yoda & Matt Alt

      Tokyo, Japan

      2012

       KNOW YOUR YUREI

      Yurei come in many shapes and forms. Yet there are traits and accoutrements common to many of them. Very few if any yurei possess all of these features, but each is strongly indicative of things from beyond the grave. We created this composite illustration to help familiarize you with the basics. Think of it as a “generic Japanese ghost.” The numbers refer to the illustration on the following page.

      1. Triangular headdress.

      This archaic Buddhist funerary headdress hasn’t been used

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