Lady Lazarus’s “Ero Guro” Board on Pinterest

Hello, gentle readers. For those of you who are following my series of ero guro themed posts and can’t quite get enough, I have a special treat. Lady Lazarus has been collecting images on Pinterest for her Ero Guro board. Want to learn more about contemporary artists who work with ero guro themes and subjects? Are you a fan of artists such as Junko Mizuno, Takato Yamamoto, Suehiro Maruo, and Toshio Saeki? Then click on the image below and visit my Pinterest board.

NFSW, but of course you knew that. Nothing too porny, though. This is a classy operation.

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Deviant Desires: Erotic Grotesque Nonsense, Part IV: “Midori — The Girl in the Freak Show”

This is Part IV of my series of posts relating to the Japanese cultural phenomenon called “ero-guro-nansensu”, or erotic-grotesque-nonsense. Part III, which discussed Teruo Ishii’s “pinky violent” contribution to the ero-guro landscape entitled Horrors of Malformed Men, is found here.

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Midori — The Girl in the Freak Show
(a.k.a. Shôjo tsubaki: Chika gentô gekiga).
1992, directed and animated by Hiroshi Harada

Much like Teruo Ishii’s Horrors of Malformed Men, a great deal has been made about the banned status of Hiroshi Harada’s 1992 anime Midori — The Girl in the Freak Show, and similarly, the details concerning its banned notoriety are rather murky. This film has screened at a small number of festivals, but is unavailable on DVD in both the 
Japanese and North American markets. It is only available through a small DVD distributor in France called CinéMalta. To a large extent, the film has been buried due to ongoing issues with the Japanese censors, and Harada has simply chosen not to screen it in his native country. In a videotaped interview that was included as an extra on the Midori DVD, Harada stated candidly:

“The situation in Japan makes it very difficult for films like mine to enter the mainstream. Hayao Miyazaki is well-known in Japan, and his films are seen abroad. If his stories represent the official story of Japan, then “Midori” is a counter-story of Japan, one the Japanese State and powers that be have suppressed and tried to hide away.”

Due to the controversial nature of the content, Harada was unable to secure investors for the project. Thus, he financed and worked on the 52-minute film alone, creating all of the artwork over a 5-year period using the technique of cell animation. This explains, in part, the somewhat limited nature of the animation – i.e. some scenes being just a succession of still images with camera holds, pans and zooms.

Suehiro Maruo's 1984 manga

Suehiro Maruo’s 1984 manga “Mr. Arashi’s Amazing Freak Show” (now out of print).

Midori is a very faithful adaption of artist Suehiro Maruo’s underground manga entitled Mr. Arashi’s Amazing Freak Show (published in 1984, now out-of-print) that tells the story of an abused flower girl in 1920’s Japan. When Midori, a poor girl about the age of 12, is suddenly and tragically orphaned, she seeks the help of one of her former customers, the mysterious Bowler Hat Man, who had previously extended an offer of assistance. Unfortunately, it is soon revealed that the The Bowler Hat Man has tricked the naïve Midori into becoming a virtual slave for a travelling circus show, where he inhabits the role of impresario. Thus begins the bleak tale of Midori’s cruel mistreatment and repeated rape by the grotesque monsters that work the carny sideshow.

Both Maruo’s manga and Harada’s film adaptation are populated by a now familiar set of erotic-grotesque stock characters —  the carny sideshow impresario and his collection of “freaks” including the magician dwarf, the hermaphrodite, and a limbless performer similar to the “human caterpillar” (which reminds us of Rampo’s short story). Several forms of sexual fetishism are on display, and in particular the fetish of eyeball-licking (called oculolinctus, by the way), which is a favourite motif for Maruo.

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Midori opens with a succession of images that flash quickly across the screen, accompanied by different voices that seem to call out a disconnected, nonsensical stream of words. According to Harada, these strangely poetic phrases are the sort you’d hear from carnival barkers back in the 1920’s.

If you’re a fan of Anime, and particularly the more underground and darker examples of the genre, then Midori is definitely worth tracking down. It’s not an easy viewing – and it does have a relentlessly bleak ending—but it is a very faithful adaptation of Maruo’s “ero guro” classic and effectively conveys the very limited options available to a young girl without the benefit (or protection) of a family or husband in 1920’s Japan. WARNING: some animated puppies are squashed.

You can view the entire film here, at least for now.

My next post in this ongoing series on ero-guro-nansensu discusses one of the most notorious Japanese films ever made,  In the Realm of the Senses (1976), directed by Nagisa Oshima.

Deviant Desires: Erotic Grotesque Nonsense, part II. Edogawa Rampo.

This is Part II of my series of posts relating to the Japanese cultural phenomenon called “ero-guro-nansensu”, or erotic-grotesque-nonsense. Part I, which introduced and defined “ero-guro-nansensu” is found here.

Invariably, any examination of erotic grotesque nonsense will conjure up the name of the single most artistic contributor to that cultural phenomenon, and that name is Edogawa Rampo. In this post, I will introduce Rampo and briefly discuss his cultural legacy and creative output. Rampo serves as a common thread that links Japan of the 1920s-30s to the films I’ll be discussing in subsequent postings, as well as to the artwork of contemporary artists working with ero-guro style imagery. Of the five films I plan to discuss, three are adaptations of stories written by Rampo.

Edogawa Rampo was the pen name of Hirai Taro and the acknowledged grand master of Japan’s golden age of crime and mystery fiction. He is also a major writer in the tradition of Japanese Modernism, and exerts a massive influence on the popular and literary culture of today’s Japan. That his chosen pen name is derived from the Japanese pronunciation of Edgar Allan Poe is a pretty clear indication of his creative inspirations and early passions as a reader.

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The “Edogawa Rampo Reader”, first published in 2008.

Even though Rampo has remained a household name in Japan since the 1930s, translations of Rampo’s fiction were not available in the West until 1956, with the publication of Japanese Tales of Mystery and Imagination. This collection of nine short stories remained the only dedicated volume of Rampo available in English-language translation up until the early 21st-century (some short stories had been translated and published in other anthologies, but there hadn’t been a dedicated volume of Rampo available). In 2008, the Edogawa Rampo Reader was published, which contained short stories and some non-fiction prose that had hitherto been unavailable in translation.

While a university student, Rampo read detective stories by Poe, G.K. Chesterton, and Arthur Conan Doyle, which appealed to him precisely because of their use of careful plotting, logic and reasoning, and dark overtones. Many of Rampo’s stories feature a main protagonist in the character of Akechi Kogoro, a private detective very much in the vein of Arthur Conan Doyle’s Sherlock Holmes character. Like Holmes, Akechi is a brilliant but eccentric detective who consults with the police on especially difficult cases. He is a master of disguise and an expert at judo whose genius lets him solve seemingly impossible cases.

It is Rampo’s more bizarre, fantastic and darkly erotic works of fiction, however, that ultimately established him as the Godfather of Ero-Guro. Rampo’s stories were wildly popular during the turbulent interwar years in Japan, and it is their transgressive spirit that best captures the essence of ero-guro-nansensu.

“The Japanese writer Edogawa Rampo has been called the Father of Japanese Mystery Fiction. This statement, while not inaccurate, fails to adequately consider examples of his writing that border on the macabre or the fantastic. Many of his works tap into the elements of strangeness that Japan’s headlong rush into modernity after the Meiji Restoration had unleashed. Far more than conventional mysteries, these stories incorporate elements of the fantastic, the gothic, and the absurd, in ways that thrill and entertain, and also leave the reader unsettled, and they delve deeply into the fear of the unknown that all humans share.”

— (Quote taken from the foreword written by Patricia Welch in Japanese Tales of Mystery and Imagination.)

I’ve selected two of my favourite Rampo short stories to discuss, the first being The Caterpillar, and the second The Human Chair. These are two of his best known and most celebrated stories, and have been adapted in both film and manga form numerous times throughout the years. First published in 1934, The Caterpillar was the only of Rampo’s stories to have been banned by the prewar Japanese authorities for being ‘anti-nationalist’.

The Caterpillar (1934)


The Caterpillar is a short story about an army wife named Tokiko and her severely injured husband, Lieutenant Sunaga. A recent returnee from an unnamed war, Sunaga has unfortunately become a horribly disfigured quadruple amputee who is deaf, mute and dumb. He is, of course, completely dependent on his wife for all his physical needs, and he communicates these to Tokiko through a series of animalistic grunts and the use of his eyes. While Lieutenant Sunaga is literally trapped within the limbless stump of his body, Tokiko is also trapped in an endless cycle of care for her husband because, as she is continually reminded by those around her, it is her “wifely duty” to do so. As she is told by the retired major general in whose cottage the couple now reside, “The loyalty and meritorious services of Lieutenant Sunaga are of course the boast of our Army.”

Given his condition, Sunaga devolves into something less-than-human and, much like the caterpillar (whose form he now physically resembles), his entire existence focuses on food, and sex. With her new position of power in their relationship Tokiko, resentful of her endless round-the-clock care of her husband, begins to cruelly toy with Sunaga. In a fit of rage at her husband, Tokiko gouges out his eyes with her fingers, thus removing his only sensory connection to the world. The sightless Sunaga manages an insectile crawl out of the cottage and plummets down a well to his death. (I plan to go into greater depth on this story when I discuss the film “The Caterpillar” (2010) directed by Kōji  Wakamatsu, in a later posting.)

The Human Chair (1925)


The second Rampo short story I want to discuss is The Human Chair, which was originally published in 1925. The story involves a young woman writer named Yoshiko who receives a mysterious envelope in the mail. At first, she believes it to be a manuscript from an aspiring writer seeking her critique, but as she reads, she quickly realizes it is a rather long and confessional letter penned by an unnamed writer. The mysterious letter-writer, who describes himself as “ugly beyond description”, confesses to a series of increasingly bizarre and perverse crimes. He reveals that he is craftsman skilled in the art of chair-making, and that he had been commissioned by an upscale hotel to manufacture a large, custom chair for its lobby. Deciding that this commissioned chair is his masterpiece, and therefore reluctant to part with it, he opts to fashion a compartment in the inside back of the chair that would accommodate a human being (namely, him). He then accompanies the chair to the hotel lobby, where he hides inside of it during the day, sneaking out of it at night to steal valuable items from the hotel. The chair-maker soon realized, however, that he received a perverse, erotic thrill when female hotel guests sat in his chair — and thus, on top of him.

After months of this strange existence, the hotel came under new management and some of its contents, including the chair, were sold to private individuals. Coincidentally, Yoshiko’s husband had purchased an overstuffed chair a short while back at an auction, which his wife loves to sit in whilst she reads (so, you know where this is heading, right?). The letter-writer then goes on to describe the daily routine of Yoshiko, confessing that he had fallen in love with her. Horrified, Yoshiko jumps out of the chair and runs from the room. Within moments, she receives a second mystery missive – this time a telegram – stating that the confessional letter was, in fact, a work of fiction, and that the author hoped Yoshiko enjoyed the effectiveness of the story.

Toshio Saeki, being the ‘Godfather of Japanese Erotica”, adds a predictably erotic slant to his interpretation of Rampo’s

Toshio Saeki, being the ‘Godfather of Japanese Erotica”, adds a predictably erotic slant to his interpretation of Rampo’s “The Human Chair” story.

My next post in this series will discuss Teruo Ishii’s gloriously schlocky, psychedelic mashup of Rampo-with-butoh, Horrors of Malformed Men (1969).

“Ero guro nansensu”: the dark, disturbed grandchildren of Japan’s era of decadence.

An illustration by Takato Yamamoto, a contemporary Japanese devotee of

An illustration by Takato Yamamoto, a contemporary Japanese artist working in the “ero guro” style.

Ero guro nansensu (a wasei-eigo term that literally means “erotic-grotesque-nonsense”) was a media-driven cultural phenomenon that originated in 1920–1930 Japan. The social climate of Tokyo between the two World Wars can be closely compared to that of Berlin’s Weimar era, with its famous hedonism and nihilistic world view amongst its artists and bohemian fringe. In his essay “Deviance and Social Darwinism in Edogawa Rampo’s Erotic-Grotesque Thriller Koto no Ōni” (2001), Stanford University professor Jim Reichert characterized ero guro as a “prewar, bourgeois cultural phenomenon that devoted itself to explorations of the deviant, the bizarre, and the ridiculous.” The art of ero guro puts its focus on eroticism, sexual corruption, decadence and the grotesque. While ero guro is a specific movement, many of its components can be found throughout Japanese history and culture. In fact, there is a well-established tradition in Japanese ukiyo-e (woodblock prints) of shunga depicting decapitations and acts of violence from Japanese history such as rape, bondage and erotic crucifixion.

Takato Yamamoto.

Takato Yamamoto.

This tradition of morbid eroticism continues in the work of contemporary Japanese illustrators and manga artists Takato Yamamoto and Suehiro Maruo. An obvious and immediate connection can be traced from the aforementioned ukiyo-e prints to Takato Yamamoto’s delicate colour palette and rendering style. Even as his dreamlike scenes reveal bondage and torture, his protagonists — often naked, effeminate boys — are frequently shown staring off in a calm, eerily detached manner. Yamamoto leaves his narratives deliberately opaque: it’s difficult to decipher whether these young boys are willing participants in these sinister proceedings, or have merely resigned themselves to their fate. The horror in Yamamoto’s art — while undeniably present — is tempered by the strange stillness of his scenes, as well as by his beautiful and virtuosic rendering.

The art of Suehiro Maruo.

The art of Suehiro Maruo.

The horror in Suehiro Maruo’s illustrations, on the other hand, is big, bold and shaded bright red. Adopting an illustrative style highly reminiscent of WWII-era Japanese propaganda posters (similar to the Soviet “socialist realism” style), Maruo’s images are typically gorier than those of Yamamoto, though these images are no less beautiful. His favourite motif is the young couple locked in an embrace, a romantic image that Maruo disrupts with the insertion of gore — as seen in the image on the left of the young soldier licking the eyeball of his sweetheart, whose face he’s so tenderly peeled away from her skull. Whereas Maruo’s illustrations tend to celebrate the more grotesque elements of ero guro, they are typically tamer in their representations of sexuality in comparison to the raunchier Yamamoto.