This bibliography covers academic/scholarly publications on Shigeru Mizuki and his works written in English that I am aware of, and will be updated on a continuing basis as I identify new items to add.
Last update: July 7, 2017
- Greene, Barbara. Furusato and emotional pilgrimage: Ge Ge Ge no Kitaro and Sakaiminato. Japanese Journal of Religious Studies, 43(2), 336-346.
- Spanjers, Rik. Wartime weddings: Realism and war representation in Shigeru Mizuki’s Onwards Towards Our Noble Deaths. Image [&] Narrative, 17(4).
- Olutokun, Deji Bryce. The Showa masterwork of manga pioneer Shigeru Mizuki. World Literature Today, 89(3/4), 24-28.
- Berndt, Jaqueline. Ghostly: ‘Asian graphic narratives,’ Nonnonba, and manga. In Daniel Stein & Jan-Noel Thon (Eds.), From comic strips to graphic novels: Contributions to the theory and history of graphic narrative (pp. 363-384). Berlin: De Gruyter.
- Shamoon, Deborah. The yōkai in the database: Supernatural creatures and folklore in manga and anime. Marvels & Tales, 27(2), 276-289.
“I consider the Japanese anime and manga narratives Gegege no Kitarō by Mizuki Shigeru and Inuyasha by Takahashi Rumiko, which draw on Japanese folklore, and discuss how they reinterpret supernatural creatures, or yōkai, for a modern audience. Since the Edo period (1603–1867), yōkai have been presented in encyclopedic format. Mizuki, through manga, has continued and enhanced that approach to yōkai discourse. The encyclopedic format has made the yōkai easily assimilable not only into modern culture alongside more recently invented cartoon characters, but also into manga and anime, such as Inuyasha. This speaks to the power and creative possibility of the yōkai database. There is a striking similarity between the database of yōkai and the database approach to narrative that Azuma Hiroki describes as an identifying trait of otaku consumption of manga and anime. I argue that database creation and consumption is not a recent development, nor is it unique to otaku. The database is one way to talk about both anime and yōkai more productively and to expand the ways we talk about how texts are produced and consumed.”
- Suzuki, Shige. Learning from monsters: Mizuki Shigeru’s yokai and war manga. Image [&] Narrative, 12(1), 229-244.
“This paper first attempts to identify and explore the thematic and formalistic continuity of his manga by illustrating his lived life and career as a cartoonist. Mizuki has an experience of drawing paintings and comics in various mediums in the course of the development of postwar Japanese comics, which stylistically distinguishes him from other postwar story manga creators. By situating his life in wartime and post-war periods of Japanese history, I will bring his aesthetics, philosophy, and nuanced critique of society to the surface. Featuring anti-heroic and grotesque human and non-human characters as main protagonists, Mizuki’s manga demonstrates a critique of wartime imperialism and postwar Japanese society, both of which seemed to him to be suppressive and dehumanizing. As a whole, I argue that the preferred use of premodern cultural traditions and unique aesthetic components epitomize not merely a nostalgic longing for a disappearing Japanese tradition in the progress of rapid modernization, but also his utopian cosmology, which critically addresses the alienated condition of modern human life.”
- Foster, Michael Dylan. Haunted travelogue: Hometowns, ghost towns, and memories of war. Mechademia, 4, 164-181.
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- Foster, Michael Dylan. The otherworlds of Mizuki Shigeru. Mechademia, 3, 8-28.
[ed. note: The author incorporated much of this article into a chapter in Pandemonium and Parade: Japanese Monsters and the Culture of Yokai, Berkeley, CA: University of California Press, 2008]
- Penney, Matthew. War and Japan: The non-fiction manga of Mizuki Shigeru. The Asia-Pacific Journal: Japan Focus.
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- Rosenbaum, Roman. Mizuki Shigeru’s Pacific War. International Journal of Comic Art, 10(2), 354-379.