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Rokurokubi
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Rokurokubi (ろくろ首, 轆轤首) is a type of Japanese yōkai (apparition). They look almost completely like humans with some differences. There is a type whose neck stretches and another whose head detaches and flies around freely (nukekubi). The Rokurokubi appear in classical kaidan (spirit tales) and in yōkai works.[1]
Etymology
[edit]The word rokurokubi may have derived from the word rokuro which refers to a potter's wheel,[2] a water well's pulley (since it elongates)[3][4] or an umbrella handle (which also elongates).[2][3][5]
Head flight
[edit]


The nukekubi are rokurokubi whose heads come off and float about. These were the last of the rokurokubi whereas the other kind came before.[7] Nukekubi sometimes perform bad deeds such as attacking at night and drinking their victims' blood. It is theorized that the nukekubi has a weakness when it is sleeping and the head is floating around: if the body moves, then the head cannot be re-united to the body.[8] Classical literature about rokurokubi describe tales of people witnessing and encountering floating heads at night time.[8]
Sometimes, the action of the head separating from the body is seen as the soul wandering away from the body, i.e. somnambulism. For example, in the Sorori Monogatari (曾呂利物語, 1663 CE), in the chapter A Woman's Wild Thoughts Wandering Around (女の妄念迷ひ歩く事, Onna no Mōnen Mayoiaruku Koto) the head separating from the body interpreted to be the woman's soul wandering while asleep. In the same book, a man saw a nukekubi that changed into a chick and a woman's head, so he took his sword and chased the head. The head fled into a home and people said that they heard a voice from inside say, "I had a scary dream. I was chased by a man with a sword. I ran away all the way back home and then I woke up."[6] (refer to picture).
A different story appears in Shokoku Hyaku Monogatari (諸国百物語, 1677 CE) which drew a lot of inspiration from the Sorori Monogatari. In About Rokurokubi in the Province of Echizen (ゑちぜんの国府中ろくろ首の事, Echizen no Kuni Fuchū Rokurokubi no Koto), there is a story of a man who chases a nukekubi (who was a woman's soul detached from her body) all the way home. It is said that the woman had been shamed by a crime she has committed, so as a result, she left her husband, shaved her hair, and committed suicide.[7]
Hokusō Sadan (北窻瑣談, 1910 CE) is an Edo period essay by Tachibana Nankei (橘春暉). Here too, it was interpreted to be an illness resulting in a detaching soul. The story goes: in the first year of Kansei, in Echigo Province (now Fukui Prefecture), there was a house maidservant whose head rolled off the pillow while she was asleep, detached from the body. Later in the story, it was explained that it was not really the head, but rather the soul making the appearance of a head.[9]
In Kokon Hyaku Monogatari Hyōban (古今百物語評判, 1686 CE), a book of ghost stories that explains yōkai tales by Yamaoka Genrin, there is a chapter called How Priest Zetsugan saw Rokurokubi in Higo (絶岸和尚肥後にて轆轤首を見給ふ事, Zetsugan Oshō Higo nite Rokurokubi wo Mitamou Koto). In Higo Province (now Kumamoto Prefecture), the head of an innkeeper's wife leaves her body and floats in the air. It returned to normal the next day, but there was a line around her neck. The author made references to examples from Chinese books and then commented "as these kinds of things were often seen in South-East Asia, not just limited to the creation of the heaven and earth, it is difficult to fathom them with ordinary common sense such as the idea that octopuses do not have eyes and as these things are unheard of in the capital, everything strange is in faraway lands."[10] In the same book, there is a story which tells of a woman in the village of Tawa, Nagao, Ōkawa District, Kagawa Prefecture (now Sanuki) who is a rokurokubi and has a ring-like bruise around her neck.[4]
In the Churyō Manroku (中陵漫録) is a tale which describes a "Rokurokubi Village" in the recesses of Mount Yoshino where all the residents, even children, wore scarves to cover a line around their necks.[11]
In the Kasshi Yawa (甲子夜話, c. 1821 CE) by Matsura Seizan is a story which tells of a woman in Hitachi Province who has a terminal illness. A peddler has told her husband that the liver of a white dog will cure her. The husband kills the pet dog and gives his wife the dog's liver as a medicant. The woman is cured but her next-born daughter is a rokurokobi. When the rokurokubi's head detached and flew in the air, the white dog appeared, bit the head and killed the rokurokobi.[12]
Although rokurokubi and nukekubi are usually female, in Shousai Hikki (蕉斎筆記), an Edo period tale, there is a nukekubi that is male. A priest is sleeping in his temple when a head appeared and approached his chest. He grabs it and throws it away and it left. In the morning, the manservant asks to take leave and when asked why, the manservant asks, "did a head come visit last night?" The priest answered yes, the manservant then explained that "I have the nukekubi illness and I fear it will interfere with my work too much from now on." The manservant went away to his home in Shimōsa Province where this "illness" was thought to be common.[13]
In the essay Mimibukuro by Negishi Shizumori, a woman who was rumored to be a rokurokubi is married, but manages to live well since the rumor was nothing more than a rumor. She was not actually a rokurokubi, so she achieved a happy ending, which is unusual for tales about rokurokubi because bad fortune almost always results when the true identity of a rokurokubi is discovered.[8]
In the Edo period encyclopedia, Wakan Sansai Zue Rokuokubi like creatures from Chinese lore are described. They are written as 飛頭蛮 meaning flying head barbarians. They use their ears like wings and they eat insects. The ones from China and Japan were believed to be foreigners.[14] The foreigner nukekubi also appears in Rokurokubi by Lafcadio Hearn. In his story, the spirits masquerade as a family of woodcutters from the city who kill and eat travelers and mostly men.
Neck extension
[edit]

Starting in the Edo period, tales were written about people's necks stretching when they were asleep. Examples of these tales are Buya Zokuda (武野俗談), Kanden Kōhitsu (閑田耕筆) and Yasō Kidan (夜窓鬼談).
It is thought that the idea of an extending neck originated from people misinterpreting visual depictions of nukekubi, the earlier kind of rokurokubi. There was the idea that nukekubi had a string attaching the head to the body and when this string was depicted in visual depictions, people misinterpreted this string as an elongated neck.[15]
In the Kasshi Yawa (甲子夜話), there is a tale which tells of a female servant with a pale face who is suspected to be a rokurokubi. One night, her master checks on her while she is sleeping and sees something like steam gradually rise from her chest. The steam becomes thick and obscures her head and then suddenly it appears as though her neck has risen up and stretched. Perhaps due to being surprised from seeing her master, the girl stirs, turns over and her neck returned to normal. This servant had a pale face, but otherwise looked completely normal, but despite this, she was fired and in fact has had trouble staying in any job, always being fired shortly after being employed.[17] For the soul to leave the body and create the shape of a neck, as seen in this story and the before mentioned Hokusō Sadan, is sometimes interpreted to be "ectoplasm" in parapsychology.[18]
In the late Edo period yomihon (illustrated novel), Rekkoku Kaidan Kikigaki Zōshi (列国怪談聞書帖) by Jippensha Ikku the author suggests the elongated necks of rokurokubi originate in the spiritual principle, karma. In Ikku's work, Kaishin, a monk from Enshū and a woman called Oyotsu elope together. However, when Oyotsu collapsed from an illness, they ran out of money, so he killed her. When Kaishin eventually returned to secular life, he slept with a girl he met at an inn. When they sleep together, the girl's neck stretched and her face becomes that of Oyotsu, who then told him about her resentment. Kaishin felt regretful of his actions and proceeded to tell Oyotsu's father everything. The girl's father then told Kaishin that he has also killed a woman before. He stole her money and with it, he opened his inn. He had a daughter soon after who, due to karma, became a rokurokubi. Kaishin then reentered the priesthood. He built a grave for Oyotsu, said to be the Rokurokubi no Tsuka (Rokurokubi Mound), which told the story to future generations.[16]
In some stories, rokurokubi are not a yōkai, but rather people who have an affliction that affects the body. For example, the Edo period author Ban Kōkei in his work "Kanden Kōhitsu" told a tale of a geisha at the Yoshiwara brothel whose neck would elongate in her sleep. It stated that her neck stretched due to her "heart becoming loose".[19]
Oral tradition
[edit]Rokurokobi also appear in the oral tradition of Japanese myths. For example, there is a myth about an old highway between the villages of Iwa and Akechi in Gifu Prefecture where it is said that a snake shapeshifted into a rokurokubi.[20] Another example is a myth from the oral tradition of the Koikubo area of Iida, Nagano Prefecture where it is said a rokurokubi appeared in someone's home.[21]
In the Bunka period, a kaidan story became popular, where there was a prostitute whose neck would smoothly stretch and would lick the oil of paper lanterns when she slept with guests, showing how rokurokubi were spoken of as things that women would transform into or an illness that they would be afflicted with. In this period, rokurokubi were also popular in freak shows.[4] The Shohō Kenbunroku (諸方見聞録) records a freak show in 1810 (Bunka 7) in Edo, now Tokyo where a male rokurokubi with an elongated neck appeared.[12]
Tales of rokurokubi appeared even in the early Meiji period. There was a tale of how a merchant and his wife from Shibaya town, Ibaraki, Osaka Prefecture who witnessed their daughter's neck stretch every night. Despite their supplications in Shinto and Buddhism, their daughter did not get better and eventually the whole town learned of it. The couple couldn't bear it anymore, so they left, leaving no clues as to where they went.[22]
Magic shows
[edit]The rokurokubi is also a kind of Japanese magic trick using curtains and life-sized dolls without heads. It's reported that a doll without a head wearing a kimono in seiza is put in front of the curtain. There's a rope behind the curtain and a female performer connected to it who shows only her face. As she stands and squats, the fake neck would stretch and contract, as if it were a rokurokubi.
Explanations and pictures about what's behind this trick were written in magazines of the Meiji period (1800s), giving a date for how early these shows first appeared.[23] This was a time period when mystery phenomena were vigorously exposed by the scientifically-minded, so for magic tricks to be revealed is fitting with the zeitgeist.
In the Taishō period, there were businesses arranging rokurokubi to appear in show tents in festivals and fairs at temples and shrines and they were quite popular.[12]
Similar tales from other nations
[edit]The type of rokurokubi whose necks separate from the rest of the body is said to have derived from stories of the Chinese yōkai, the hitōban (飛頭蛮) a yōkai whose head separates from the body and floats about.[4] Like the rokurokobi, the hitoban has a line around its neck.[4] Chinese stories also tell of a yōkai called a rakutō (落頭) whose head comes off and floats about while the torso remains at rest on the futon. There is a tale that in the Three Kingdoms period, an Eastern Wu general, Zhu Huan employed a female servant who was a rakutō. It's said that she used its ears like wings. Another tale relates that in the Qin era, there was a clan from the south called rakutōmin (落頭民) who could fly around with only their heads.[24]
There are legends of creatures including Palasik, Kuyang, and Leyak from Indonesia, Penanggalan in Malaysia, and Krasue in Thailand. The heads of these creatures would separate from the body and float about with the entrails attached.[4]
The Chonchon is a mythical creature of South America which takes the form of a human head flying around in the air, sucking the life out of people.
The manananggal is a creature of Philippines mythology. This female monster is slightly different since its whole body from the waist up detaches and grows giant bat-like wings.
The yōkai researcher, Tada Katsumi states that these stories arrived in Japan in the Muromachi to Azuchi-Momoyama periods, when there was still trade with southern China and Southeast Asia. In the Edo period, when Japan adopted an isolationist policy an original Japanese yōkai, the rokurokubi evolved.[4]
In popular culture
[edit]- The rokurokubi was cited as an inspiration for the design of The Teacher in Little Nightmares 2.[25]
- Jimmy Jupiter meets an old woman resembling a rokurokubi, albeit caucasian, in his first appearance in Marvel Mystery Comics #28 (February 1942).
- The Pokémon family of Misdreavus and Mismagius is based on the nukekubi.
- In Hellboy: Sword of Storms, Hellboy has encounters with both nukekubi and rokurokubi.
- In the video game Tomodachi Collection, a Mii can have a dream where they are a rokurokubi, their neck extending when interacted with by the player.
- Sekibanki, the stage 2 boss of Touhou 14: Double Dealing Character is a rokurokubi. However, her attacks also show the ability of a nukekubi's head to fly freely.
See also
[edit]Notes
[edit]- ^ 村上健司 編著 (2005). 日本妖怪大事典. Kwai books. 角川書店. pp. 356頁. ISBN 978-4-04-883926-6.
- ^ a b 井之口他 1988, p. 520
- ^ a b "Yahoo!辞書". Archived from the original on 2007-01-24. Retrieved 2015-10-22. Yahoo Japan, ヤフー株式会社 Accessed 22 January 2008.
- ^ a b c d e f g 多田 2000, p. 159
- ^ 阿部主計 (2004). 妖怪学入門. 雄山閣. p. 115. ISBN 978-4-639-01866-7.
- ^ a b 著者不詳 (1989). "曾呂利物語". In 高田衛 編・校注 (ed.). 江戸怪談集. 岩波文庫. Vol. 中. 岩波書店. pp. 13–15. ISBN 978-4-00-302572-7.
- ^ a b c 篠塚訳著 2006, pp. 76–78
- ^ a b c 柴田 2005, pp. 30–36
- ^ 柴田 2008, pp. 704–705.
- ^ 山岡元隣 (1993). "古今百物語評判". In 山岡元恕編 太刀川清校訂 (ed.). 続百物語怪談集成. 叢書江戸文庫. 国書刊行会. pp. 12–13. ISBN 978-4-336-03527-1.
- ^ 佐藤成裕 (1976). "中陵漫録". In 早川純三郎編輯代表 (ed.). 日本随筆大成. Vol. 第3期 3. 吉川弘文館. p. 354. ISBN 978-4-642-08580-9.
- ^ a b c 笹間 1994, pp. 27–29
- ^ 柴田 2008, p. 702.
- ^ 稲田篤信・田中直日編 (1992). 高田衛監修 (ed.). 鳥山石燕 画図百鬼夜行. 国書刊行会. p. 64. ISBN 978-4-336-03386-4.
- ^ a b 京極夏彦 (2007). "妖怪の形について". 妖怪の理 妖怪の檻. 怪 BOOKS. 角川書店. p. 386.
- ^ a b 十返舎一九 (1997). "列国怪談聞書帖". In 棚橋正博校訂 (ed.). 十返舎一九集. 叢書江戸文庫. 国書刊行会. pp. 246–248. ISBN 978-4-336-03543-1.
- ^ 柴田 2008, pp. 700–701.
- ^ 多田克己 (1990). 幻想世界の住人たち. Truth In Fantasy. Vol. IV. 新紀元社. p. 264. ISBN 978-4-915146-44-2.
- ^ 柴田 2008, pp. 701–702.
- ^ 鈴木孝司他編 (1971). "口承文芸". 旧静波村の民俗 岐阜県恵那郡明智町旧静波村. 東洋大学 民俗研究会. p. 191. ncid: BA5494848X.
- ^ 巻山圭一 (1989). "家・屋敷に出る妖怪". In 所三男他編纂 (ed.). 長野県史. Vol. 民俗編 2巻3号. 長野県. p. 100. ncid: BN00168252.
- ^ 岡市二洲 (September 1933). "怪談茨木附近". 郷土研究上方. 3巻 (33号): 34. NCID: AN00045163.
- ^ 富田昭次 『絵はがきで見る日本近代』 青弓社 2005年 ISBN 4-7872-2016-0 p.131 滑稽新聞 社発行の雑誌「絵葉書世界」(雑誌とは言っているが、絵葉書 の画集)の中に「見せ物の内幕」と題し、ろくろ首の仕掛けを暴く絵がある。絵師は、なべぞとあり、切手 を貼る所には、驚いている少年が描かれている
- ^ 水木しげる (1993). カラー版 続妖怪画談. 岩波新書. 岩波書店. pp. 152–153. ISBN 978-4-004-30288-9.
- ^ Klepek, Patrick (2021-03-15). "Inside the Creation of the Terrifying Teacher from 'Little Nightmares 2'". VICE. Retrieved 2024-09-16.
References
[edit]- 井之口章次 (1988). 相賀徹夫 編 (ed.). 日本大百科全書. Vol. 24. 小学館. ISBN 978-4-09-526024-2.
- 今野円輔編著 (1981). 日本怪談集 妖怪篇. 現代教養文庫. 社会思想社. ISBN 978-4-390-11055-6.
- 笹間良彦 (1994). 図説・日本未確認生物事典. 柏書房. ISBN 978-4-7601-1299-9.
- 篠塚達徳訳著 (2006). 新釈諸国百物語. 幻冬舎ルネッサンス. ISBN 978-4-7790-0051-5.
- 柴田宵曲 (2005). 妖異博物館. ちくま文庫. 筑摩書房. ISBN 978-4-480-42108-1.
- 柴田宵曲編 (2008). 奇談異聞辞典. ちくま学芸文庫. 筑摩書房. ISBN 978-4-480-09162-8.
- 多田克己 (2000). 京極夏彦編 (ed.). 妖怪図巻. 国書刊行会. ISBN 978-4-336-04187-6.
Rokurokubi
View on GrokipediaEtymology and Classification
Etymology
The term rokurokubi (ろくろ首) originates from classical Japanese, combining rokuro (ろくろ), which refers to a pulley or the wheel of a potter's lathe that rotates or turns, and kubi (首), meaning "neck." This etymology evokes the image of the neck extending or pivoting smoothly, akin to the mechanical motion of a pulley system, a feature central to the yokai's depiction in folklore.[3][7] The nomenclature gained prominence during the Edo period (1603–1868), particularly through the illustrated works of artist and scholar Toriyama Sekien, whose 1776 book Gazu Hyakki Yagyō (The Illustrated Night Parade of a Hundred Demons) featured one of the earliest visual representations of the rokurokubi, solidifying its place in yokai literature.[8] Prior to this, references to similar neck-stretching entities appear sporadically in earlier oral and textual traditions, but Sekien's systematic cataloging helped standardize the term.[9] Related nomenclature includes nukekubi (抜け首), literally "unrooted neck" or "detachable head," which describes a variant where the head separates entirely from the body rather than merely elongating; this is often classified as a subtype or close kin to the rokurokubi in Edo-period texts.[10]Classification and Types
Rokurokubi are categorized into two primary subtypes in Japanese folklore: those with necks that stretch to extraordinary lengths and those whose heads detach entirely and fly independently. The neck-stretching type, often simply called rokurokubi, maintains a physical connection between the head and body, allowing the head to extend and move about while the body remains stationary, typically during sleep. This subtype is characterized by its serpentine elongation, enabling surveillance or mischief without full separation.[3][2] The flying-head subtype, commonly known as nukekubi, differs in that the head completely severs from the neck and floats away, propelled by an invisible force, while the headless body stays inert. Although sometimes classified as a distinct yokai, nukekubi are frequently regarded as a variant of rokurokubi due to shared traits such as human-like daytime appearances—usually as women—and nocturnal transformations driven by curses or supernatural afflictions. The primary visual and behavioral distinction lies in the detachment: nukekubi heads exhibit greater mobility and predatory tendencies, such as biting or draining lamp oil, unbound by a tethering neck.[10][7] These classifications draw from 18th- and 19th-century sources, including illustrations by Toriyama Sekien in works like Gazu Hyakki Yagyō (1776), which depict the stretching neck as a pulley-like mechanism. Regional oral traditions were later documented in collections such as Lafcadio Hearn's Kwaidan (1904). Yokai studies emphasize criteria like transformation mechanics, gender prevalence (predominantly female), and nocturnal habits for differentiation, with behavioral patterns—such as spying on humans—serving as common threads across subtypes. Rokurokubi must be distinguished from unrelated yokai like ubume, spectral mothers tied to childbirth deaths who manifest with avian features or infant burdens, lacking any neck or head mobility traits.[11][12]Physical Characteristics
Neck Extension
The rokurokubi's neck-extension variant is depicted in traditional Japanese folklore as a woman who appears entirely human during the day, blending seamlessly into society without any visible anomalies. At night, while her body slumbers, her neck elongates gradually to lengths of several meters in a snakelike manner, permitting the head to venture far from the body to spy on households or consume lamp oil and insects. This nocturnal activity is believed to stem from a curse, often inflicted as punishment for moral transgressions such as neglecting Buddhist precepts or committing adultery, with the extension serving as both a means of surveillance and sustenance.[2][13] The behavioral traits emphasize the creature's eerie, involuntary transformation, where the neck stretches uncontrollably during sleep, targeting misbehaving individuals or those guilty of wrongdoing by peering into homes or feeding on unattended resources. By morning, the neck retracts to its normal proportions, restoring the woman's unassuming appearance and concealing her yokai nature. In historical art, Toriyama Sekien's Gazu Hyakki Yagyō (1776) illustrates the rokurokubi with a dramatically extended neck in haunting poses, such as peering over a fence with a mischievous or ominous expression, underscoring the supernatural dread associated with its form.[8][2]Head Flight
The head flight variant of the rokurokubi, commonly referred to as the nukekubi, features a complete detachment of the head from the body during nighttime hours, allowing the head to fly independently.[10] This mechanism distinguishes it from the neck-stretching form, enabling greater mobility and range for the detached head, which propels itself through the air with bat-like agility.[2] The transformation is considered a curse, often hereditary, affecting individuals who appear as ordinary humans—typically women—by day.[10] Behaviorally, the flying head exhibits predatory instincts, hunting small prey such as rats and insects, but it is also driven by a vampiric thirst for blood, leading it to attack larger targets including humans and animals by biting or sucking vital fluids.[10] The inert body remains in place during these excursions, though folklore suggests it retains a passive awareness of the head's actions, heightening the creature's tragic duality.[2] These nocturnal hunts are violent and opportunistic, with the head capable of traveling significant distances to pursue victims, such as chasing young men through provincial gates in tales from Echizen Province.[10] Folklore emphasizes the imperative for the head to return and reattach to its body before dawn; failure to do so, often due to external interference like relocating the body, results in the death of both components.[10] A prominent example appears in Lafcadio Hearn's 1904 collection Kwaidan, where a group of nukekubi heads—mistakenly called rokurokubi in the narrative—detach to hunt a traveling priest named Kwairyō, flitting about in the moonlight while plotting to devour him, only to perish when he moves their bodies.[5][2] Another account from Hitachi Province describes a cursed wife whose flying head attacks indiscriminately, passing the affliction to her daughter after a failed cure involving a dog's liver.[10] This variant's eerie independence is vividly captured in 19th-century ukiyo-e prints, such as Kawanabe Kyōsai's 1860s woodblock illustrations depicting detached heads terrorizing scenes alongside other yokai, underscoring their role in Edo-period supernatural lore.[2]Folklore and Origins
Oral Traditions
The legends of the rokurokubi trace their origins to verbal storytelling in Japan during the Edo period (1603–1868), where they were transmitted as kaidan—ghost stories—shared orally among communities around family hearths or during summer festivals like obon. These tales formed part of a broader tradition of supernatural narratives that entertained and warned listeners in rural settings, predating widespread literacy and relying on communal recitation to preserve details of the yokai's eerie nocturnal habits.[2][14] Central to these oral traditions are recurring motifs portraying rokurokubi as ordinary women afflicted by transformation, often as a result of curses, karmic retribution from past lives, or divine punishment for moral failings such as vanity or infidelity. In these stories, the extension of the neck symbolizes hidden inner turmoil or retribution, emphasizing ethical lessons about humility and fidelity to deter similar behaviors among hearers; for instance, a vain wife might find her head wandering uncontrollably at night, spying on neighbors and revealing her own secrets. Such narratives reinforced social norms through fear, with the rokurokubi serving as a cautionary figure rather than a malevolent entity.[2] These oral accounts were systematically collected in the 20th century through folklore studies, preserving motifs of punishment and moral instruction before urbanization diminished such practices.[14]Literary and Historical Sources
Early literary references to rokurokubi-like figures appear in 17th-century Japanese texts, with formalized depictions emerging in ghost story collections. More formalized depictions emerge in the 17th century, such as the 1663 Sorori Monogatari, which features a chapter titled "A Woman's Wild Thoughts Wandering Around" portraying a detached head roaming as a wandering soul, akin to the nukekubi variant of rokurokubi.[15] This is followed by the 1677 Shokoku Hyakumonogatari, a regional ghost story compilation that explicitly names rokurokubi as women whose necks extend to spy on or frighten humans, marking one of the first clear literary attestations.[16] By the 18th century, rokurokubi gained prominence in illustrated yokai compendia and emaki scrolls, reflecting the Edo period's fascination with the occult. Explicit visual depictions appear in hyakki yagyō emaki, such as those from the mid-1700s, where rokurokubi join nocturnal parades of demons, their elongated necks emphasizing themes of nocturnal mischief.[14] Toriyama Sekien's seminal works, including Gazu Hyakki Yagyō (1776) and subsequent volumes in his tetralogy through 1784, standardized the rokurokubi's image as a transformed human—often a woman punished for moral failings—with necks stretching like pulley ropes, blending textual descriptions with artistic innovation to cement its place in yokai lore.[17] These illustrations, drawing from earlier kaidan traditions, portrayed rokurokubi as pranksters who drank lamp oil or devoured insects, influencing countless later representations. The portrayals of rokurokubi were deeply shaped by intertwined Buddhist and Shinto beliefs, with Buddhist concepts of karma transforming ordinary women into these yokai as punishment for sins like infidelity or cruelty to animals, while Shinto animism infused them with spiritual vitality tied to the natural and unseen worlds.[18] Influenced by earlier Edo-period works like Ueda Akinari's Ugetsu Monogatari (1776), 19th-century kaidan collections evolved rokurokubi from mere vengeful spirits to cautionary figures warning against moral lapses, aligning with societal shifts during the Meiji era (1868–1912) toward rationalism and modernization.[2] This transition highlighted their role in reinforcing ethical norms amid Japan's cultural upheavals.Cultural Representations
Traditional Performances
In the Edo period (1603–1868), rokurokubi were incorporated into Kabuki theater as supernatural antagonists, emphasizing their eerie neck extension through stylized acting and stage effects. A prominent example appears in the 1857 play Kasane Ogi Chiyo no Matsuwaka, staged at the Morita Theater in Edo, where a rokurokubi demon emerges from behind a screen to confront an alarmed man gripping his sword, creating a moment of dramatic tension. Ukiyo-e artist Utagawa Kunisada captured this scene in prints, showcasing the yokai's elongated neck snaking toward its victim, which likely relied on Kabuki's innovative techniques such as trapdoors and exaggerated mie poses to simulate the illusion without explicit mechanical details recorded.[19] Rokurokubi also featured in utsushi-e, a form of magic lantern entertainment that projected hand-painted glass slides onto screens during storytelling sessions, captivating urban audiences in Edo. These performances depicted the yokai as a long-necked woman, blending folklore narration with visual spectacle to evoke fear and wonder, often as part of traveling or local shows that toured neighborhoods. Such illusions used light and shadow to mimic the neck's unnatural stretch, contributing to the yokai's popularity in popular culture.[20] By the 19th century, references to rokurokubi shows appeared in literature, suggesting itinerant performers in areas like Edo presented illusion-based spectacles, possibly employing hidden mechanisms to demonstrate the neck extension for educational or startling effect. However, with the Meiji Restoration (1868–1912), these traditional performances declined as modernization and scientific explanations—such as magazine exposés revealing the tricks—eroded belief in yokai, shifting focus from live rituals and shows to preserved artistic representations in theater and prints.[14][21]Modern Popular Culture
In modern Japanese anime and manga, rokurokubi are frequently reimagined with comedic or heroic elements, diverging from their traditional malevolent portrayals to fit adventurous narratives. The long-running GeGeGe no Kitarō series, created by Shigeru Mizuki and adapted into anime since 1968, features rokurokubi as recurring yōkai characters, such as Rokuko, who use their neck-extension ability in battles against other supernatural threats or in lighthearted antics alongside protagonist Kitarō.[22] Likewise, in the Yo-kai Watch franchise by Level-5, the character Lady Longnek (ろくろ首, Rokurokubi) is a Rank C restoration-attribute yōkai introduced in Yo-kai Watch 2 (2014), where she befriends the player and deploys her stretching neck for supportive roles in turn-based combat, emphasizing friendship and mischief over horror.[23] Rokurokubi also appear in films, often retaining horror roots while exploring psychological or societal themes. In the anthology horror film Yôkai kidan (2006, also known as Tales of Terror from Tokyo), one segment depicts a modern woman whose neck inexplicably elongates like a rokurokubi, blending medical drama with supernatural dread as she seeks futile treatment.[24] Earlier, the 1968 kaijū-style film Yokai Monsters: Spook Warfare includes a rokurokubi among the assembly of yōkai who unite to combat an ancient evil, portraying her as a vengeful ally with her signature ability used in fantastical action sequences.[6] Video games have integrated rokurokubi as enemies or allies, leveraging their abilities for gameplay mechanics in action and RPG titles. In Ōkami (2006) by Clover Studio, the "Red Head" enemy is modeled after the nukekubi subtype of rokurokubi, where detached heads fly independently to pursue and attack the wolf goddess Amaterasu, requiring players to sever the neck connection to defeat them.[25] The Nioh series (2017 onward) by Team Ninja features rokurokubi as yokai foes that masquerade as human warriors before extending their necks for surprise strikes, challenging players with agile, deceptive combat in a historical fantasy setting.[26] Contemporary depictions in global media occasionally crossover into Western productions, adapting rokurokubi for international audiences while preserving yokai aesthetics. For instance, recent anime like the 2024 series Ran the Rokurokubi centers on a young rokurokubi aspiring to compete in a yokai martial arts tournament, highlighting themes of perseverance and defying stereotypes as the "weakest" yokai.[27] These portrayals reflect evolving trends since the 1990s, where rokurokubi shift from symbols of punishment to empowered figures in cosplay communities and fan works, often emphasizing autonomy and resilience in creative reinterpretations.Comparative Mythology
Similar Creatures in Japanese Folklore
In Japanese folklore, the rokurokubi shares notable similarities with the nukekubi, another type of neck-related yōkai that also originates from human transformation due to curses or sins. Unlike the rokurokubi, whose neck elongates while remaining attached to the body, the nukekubi's head detaches completely at night and flies independently, often with a trail of blood, to scout for prey or cause mischief.[10] This distinction highlights the nukekubi's more aggressive and vampiric tendencies, as it is known to bite humans and animals viciously, whereas rokurokubi typically observe or frighten without direct harm.[3] Another close relative in terms of extending features is the chōchin-obake, a tsukumogami yōkai born from neglected paper lanterns that animate after reaching 100 years of age. The chōchin-obake's paper body splits to reveal a large mouth with a long, lolling tongue that extends playfully, mimicking the rokurokubi's protruding neck in a grotesque, lantern-like form.[28] However, while the rokurokubi maintains a human appearance during the day and reverts by morning, the chōchin-obake is a permanent, inanimate object turned sentient monster, lacking the reversible human disguise and instead startling passersby with erratic movements and cackles.[28] Broader thematic connections exist between rokurokubi and onryō, vengeful ghosts driven by intense emotions like rage or hatred at the time of death, which prevent them from passing into the afterlife. Both embody human origins altered by supernatural forces—rokurokubi through living curses, onryō through posthumous grudges—resulting in nocturnal wanderings that unsettle the living.[29] Similarly, yamauba, mountain witches who were once human women exiled or abandoned, transform into monstrous hags over time due to isolation and bitterness, echoing the rokurokubi's curse-induced change but manifesting as a more permanent, cannibalistic form without the daily reversion to normalcy.[30] These distinctions underscore the rokurokubi's unique blend of subtlety and reversibility: it blends seamlessly into human society by day, extending only at night in a non-permanent state, in contrast to the nukekubi's detachable ferocity, the chōchin-obake's object-born permanence, and the enduring monstrous or spectral natures of onryō and yamauba.[3] This reversible human disguise allows rokurokubi to infiltrate households undetected, differing from the overt or inescapable transformations seen in these other yōkai.[10]Parallels in Other Cultures
In various Asian mythologies, rokurokubi share conceptual similarities with spirits featuring elongated or detachable necks, often tied to themes of hunger, curse, or nocturnal mischief. In Chinese folklore, the e gui (hungry ghosts) are depicted as tormented spirits with unnaturally long, thin necks that prevent them from satisfying their insatiable hunger, mirroring the rokurokubi's extension as a form of supernatural affliction resulting from past misdeeds or unresolved karma. These entities, prevalent in Buddhist-influenced tales from the Tang dynasty onward, roam at night seeking sustenance, much like rokurokubi who prowl after dark to spy or feed on lamp oil and small creatures.[31] Southeast Asian folklore provides closer analogs through vampiric entities with detachable heads, suggesting possible cultural exchanges along ancient trade routes. The penanggalan of Malay and Indonesian traditions appears as a woman's severed head trailing viscera, detaching at night to prey on blood from pregnant women and newborns, akin to the nukekubi variant of rokurokubi where the head fully separates for predatory flights. Similar beings include the Thai krasue, a floating female head with dangling organs that hunts in the darkness, and the Philippine manananggal, which splits at the torso to send its upper half aloft for vampiric attacks—both emphasizing female transformation into monstrous forms under curses like excessive vanity or sorcery. These motifs of bodily detachment and nocturnal predation parallel rokurokubi behaviors. Thematic overlaps extend to broader patterns of female monstrosity and nocturnal predation in global folklore, where such creatures often embody societal fears of women's hidden dangers or moral transgressions. In Slavic traditions, the rusalka—water spirits of drowned maidens—lure and drown men at night with seductive yet lethal forms, evoking the rokurokubi's deceptive normalcy by day and eerie extension by night, though without literal neck elongation.[32] Diffusion theories propose that these shared elements arose from Silk Road and maritime trade networks, facilitating the spread of supernatural narratives involving cursed women who threaten communities under cover of darkness, as seen in comparative studies of East Asian and Eurasian mythologies.[33]References
- https://wikizilla.org/wiki/Rokurokubi