When we read about the profundity and complexity of the Buddhist tradition, we are hard pressed to imagine how the earliest Japanese priests propagated this tradition and how the common people accepted it. Kyokai's collection of 'miraculous stories throw much light on this.

This is the first collection of Buddhist legends in Japan, and these stories form the repertoire of miraculous events and moral examples that later Buddhist priests used for preaching to the people. As Kyokai describes his own intentions, "By editing these stories of miraculous events I want to pull the people forward by the ears, offer my hand to lead them to good, and show them how to cleanse their feet of evil" (p.222). Nakamura's book is actually two works in one: first an introduction to the Nihon ryoiki, and then an annotated translation. The introduction analyzes the life of the author and the influence of earlier writings, and provides a valuable synthesis of the world view reflected in the work. The annotated translation renders the more than one hundred stories into English narrative, with copious notes. Difficult terms are identified in the text with the original Chinese characters, while historical matters and Buddhist technical terms are explained in the footnotes.

The Nihon ryoiki, a collection of setsuwa, or "anecdotal" tales, compiled by a monk in late-eighth- or early-ninth-century Japan, records the spread of Buddhist ideas in Japan and the ways in which Buddhism's principles were adapted to the conditions of Japanese society. Beginning in the time before Buddhism was introduced to Japan, the text captures the effects of the nation's initial contact with Buddhism—brought by emissaries from the king of the Korean state of Paekche—and the subsequent adoption and dissemination of these new teachings in Japanese towns and cities. The Nihon ryoiki provides a crucial window into the ways in which Japanese Buddhists began to make sense of the teachings and texts of their religion, incorporate religious observances and materials from Korea and China, and articulate a popularized form of Buddhist practice and belief that could extend beyond monastic centers. The setsuwa genre would become one of the major textual projects of classical and medieval Buddhism, with nearly two dozen collections appearing over the next five centuries. The Nihon ryoiki serves as a vital reference for these later works, with the tales it contains finding their way into folkloric traditions and becoming a major source for Japanese authors well into the modern period.

In Japanese culture, oni are ubiquitous supernatural creatures who play important roles in literature, lore, and folk belief. Characteristically ambiguous, they have been great and small, mischievous and dangerous, and ugly and beautiful over their long history. Here, author Noriko Reider presents seven oni stories from medieval Japan in full and translated for an English-speaking audience. Reider, concordant with many scholars of Japanese cultural studies, argues that to study oni is to study humanity. These tales are from an era in which many new oni stories appeared for the purpose of both entertainment and moral/religious edification and for which oni were particularly important, as they were perceived to be living entities. They reflect not only the worldview of medieval Japan but also themes that inform twenty-first-century Japanese pop and vernacular culture, including literature, manga, film, and anime. With each translation, Reider includes an introductory essay exploring the historical and cultural importance of the characters and oni manifestations within this period. Offering new insights into and interpretations of not only the stories therein but also the entire genre of Japanese ghost stories, Seven Demon Stories is a valuable companion to Reider’s 2010 volume Japanese Demon Lore. It will be of significant value to folklore scholars as well as students of Japanese culture.

Traditional Monster Imagery in Manga, Anime and Japanese Cinema builds on the earlier volume Anime and its Roots in Early Japanese Monster Art, that aimed to position contemporary Japanese animation within a wider art historical context by tracing the development of monster representations in Edo- and Meiji-period art works and post-war visual media. While the previous volume concentrated on modern media representations, this work focuses on how Western art historical concepts and methodology might be adapted when considering non-Western works, introducing traditional monster art in more detail, while also maintaining its links to post-war animation, sequential art and Japanese cinema. The book aims at a general readership interested in Japanese art and media as well as graduate students who might be searching for a research model within the fields of Animation Studies, Media Studies or Visual Communication Design.