This work uses many preexisting true ghost stories and pieces of net lore as its motif. In particular, this section will note those which have been used directly. It will touch on the content of the main book, so if you are concerned about spoilers, please tread carefully.
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The portrayals of the mujina that appear in this chapter are modeled on Gendai Hyaku Monogatari Shinmimibukuro Daiichiya [Modern-day 100 Stories, Shinmimibukuro, The First Night] (Hirokatsu Kihara/Ichirou Nakayama, Media Factory, 1998) Chapter 63 “Mujina wo Mita Hito Sono Ichi” [The Person Who Saw a Mujina 1] and Chapter 64 “Mujina wo Mita Hito Sono Ni” [The Person Who Saw a Mujina 2].
Both stories are experiential reports of people who called out to a woman who was squatting beneath a telephone pole only to discover she was a strange creature with no face. These powerful reports are colored by unique details such as “She had a face like a nopperabou, but with pores,” and, “Her face was complicated in a way I struggle to describe,” which lend them a sense of realism.
For further accounts of encountering mujina in the modern era, Ichirou Nakamura dedicates Chapter 1 “Mujina no Koto” [The Mujina] of Youkai Arawaru Gendai Youkai Dangi [Youkai Appear, A Discussion of Modern Youkai] (U-Time Publishing, 1994) to the topic.
It’s fascinating that, in addition to the common point of women in kimono who are squatting, the encounterer is also said to experience a sense of déjà vu after encountering them.
In the 2channel message board’s Married Women Board “Chottoshita Fushigi na Hanashi ya Reikan no Hanashi Sono 96” [Slightly Mysterious Stories and Stories About Sensing Spirits 96] thread, post 287~ (29/6/2016), there is a story from a fishing village in the countryside of Wakayama prefecture that took place before the war and involves a mujina that appeared day and night at the entrance to the village.
This story, titled “Bakasareta” [Tricked] on compilation sites, also describes the texture of a “face with no eyes or nose, just bumpy skin” that had “no luster, like poorly made straw paper.”
There is a slightly unusual nopperabou experiential report in the 2channel message board’s Occult/Paranormal Phenomena Board “^^^Yama ni Matsuwaru Kowai Hanashi Part 4^^^” [^^^Scary Stories Involving the Mountains Part 4^^^] thread, post 842 (13/12/2003) which was discussed by Raimei Ichigou.
The nopperabou woman who appears in this story pokes a finger into her own face, creating large holes that serve as eyes and a mouth.
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The scene of being unjustifiably hit with a heated frying pan was based on an experiential report posted to the 2channel message board’s Occult/Paranormal Phenomena Board “Fukakai na Taiken, Nazo no Hanashi ~enigma~ Part 61” [Incomprehensible Experiences, Mysterious Stories ~enigma~ Part 61], post 170~ (18/5/2010).
This story, known under the title “Mixi de Deatta Kanojo” [The Girlfriend I Met on Mixi], doesn’t have a single paranormal element, yet is still incredibly perplexing. It is a masterpiece of the “high strangeness” variety of ghost story.
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This chapter takes no particular ghost story as its motif.
The book which appears in the text Seiteki Gyakutai wo Uketa Hito no Pojitibu Sekkusu Gaido [The Positive Sex Guide For People Who Have Experienced Sexual Abuse] (Staci Haines, Translated by Tomori Itou, Akashi Shoten, 2001) actually exists.
I considered whether it was acceptable to use this book, which was written in order to help real-life victims, as a prop in a fictional story. It was inevitable that the possibility that there had been sexual abuse would occur to Toriko when she tried to think seriously about how to face Sorawo, and it was only natural that, acting on that premise, she would then make an attempt to learn about it.
I felt that avoiding mentioning the title of the work, or switching it for a fictional one would be much worse, and therefore had it appear under its actual title. (In writing this series, I have decided that things that actually exist should be referred to by their proper names when possible.)
Because Sorawo, our viewpoint character, is cynical and detached, even when it comes to herself, there are times when I am forced to write about serious issues as if they’re “someone else’s problem.” However, that is not my own intention as an author, and I do try to avoid the portrayal of them in my work from coming off that way.
I know I always say this, but I would like to give my thanks to the people who reported the many other true ghost stories and net lore from which I have taken direct or indirect influence.
Thank you for your continued enjoyment and for being frightened.
I hope this book can repay my gratitude in some small way.