Edo-period strange tales and works of natural history describe Isonade as a sea monster that approaches without disturbing the surface. A crew may notice only a change in the water's color or the wind before the danger is already beside the ship. Its body resembles a shark, with coarse projections and needlelike growths extending from the back toward the tail. Isonade is most often associated with cold, cutting winds, and days of strong northerlies were treated with particular caution. Sailors avoided noisy work, put nets and ropes in order, and kept away from the rail. Such practical rules became part of the story's warning. Names and details differ from place to place, but the core remains the same: Isonade arrives invisibly, and by the time it is seen, a sweep of its barbed tail has already pulled someone overboard.

This version of Fujiwara-no-hirotsugu bears the political history before he became a vengeful spirit (onryo). He was not a monster from the beginning. While involved in central politics as a member of the Fujiwara clan, he was distanced to Dazaifu during political strife, and raised an army claiming criticism against Kibi no Makibi and Genbo. His onryo nature is born after that defeat. Hirotsugu's rebellion was an incident where the power struggle of the capital was moved to the military space of Kyushu. Dazaifu was a key point of diplomacy and military affairs, and the dissatisfaction of Hirotsugu placed there expanded beyond mere personal feelings. Gathering an army, being pursued, captured, and executed. The plot of the rebellion is short, but the spiritual shadow it leaves behind is long. What is important in this version is not to view an onryo as a "ghost that suddenly appears after death." In Japanese Goryo belief, divine aura is created by intertwining political injustice, regretful death, fears of plagues and disasters, and pacification rituals. Hirotsugu can be read as a figure who demonstrated the structure leading to Prince Sawara and Sugawara no Michizane at an early stage. In other words, he is a foreshadowing of the Goryo belief. The folklore related to Kagami Shrine shows the process of a central rebel turning into a regional divine spirit. The name of the person defeated in the capital remains in the land of Kyushu, pacified in rituals and folklore. The one removed from the center of history gains another center in a peripheral land. This reversal pairs well with YOKAI.JP's place articles. The connection with Genbo is a strong thread that turns Hirotsugu into a narrative. The story reading the later misfortune of the monk named as a political enemy as the work of Hirotsugu's spirit shows the imagination of onryo tales, separate from the confirmation of historical facts. Grudges do not return straight to the opponent, but are spoken of over time, wrapping in anxieties about politics, religion, and disease. In modern cards and diagnoses, it is better to express Hirotsugu as a pressure lingering between the lines of records, rather than a flashy monster. Rather than armor, the dark government offices of Dazaifu, the execution ground by the sea, the torn memorial, the shrine of Kagami, and a gaze turned toward the distant capital suit him better. He demonstrates the pattern of someone nearly erased by the victor's story returning to history as a spirit. Hirotsugu is worth writing about carefully precisely because his form as an onryo is not flashily fixed. An ambiguous spirit can be expressed not as thin documentation, but as a layer of history. The rebellion recorded in the official history, the rituals remaining in the region, and the connection with political enemies overlap little by little, becoming a pressure with an unclear outline. That is where his terror lies. In the group of Goryo belief pages, Hirotsugu is suited for both introduction and deep dives. Going to Prince Sawara reveals the tragedy of imperial succession; going to Sugawara no Michizane reveals the transformation into a god of learning; going to Taira no Masakado reveals the martial might of the eastern provinces. Placing Hirotsugu before them allows one to understand how onryo are born from political history over a longer timeline. If making this version into a card, rather than terrifyingly exaggerating the face, one would want to combine the torn memorial, the sea facing the distant capital, the Kagami Shrine, and the shadow of the subjugation army. Rather than a monstrous appearance, Hirotsugu is a spirit standing between record and memory. That modest darkness fits YOKAI.JP's profound onryo lineup.

This version looks at Hyōsube as a distinctly Kyushu kind of kappa, one tightly bound to the taboos of the home. Where most kappa tales unfold at rivers and deep pools, Hyōsube's stories push indoors—into the bathroom, the bathhouse, and the stable. The water a hairy Hyōsube has used is held to be defiled, fouled with floating hair; a horse that touches it collapses, and anyone who drains the water without leave is cursed and loses his horse. Stories of this kind are told all across the region. When to drain the bath, who may use it—such admonitions about the manners of everyday life were voiced in the form of Hyōsube's curse. In the fields it is said to love and ravage eggplant, and people offered the first of the crop to keep it content. Its birdlike cry of "hyō-hyō" is said to be the very origin of its name. The hairy, bald-crowned, comical figure drawn in the Edo-period Hyakkai Zukan and Gazu Hyakki Yagyō conveys less a thing of terror than a familiar creature living right beside human life.

This form is based on the block-printed wording copied into Katō Eibian's Waga Koromo. Jinja-hime has a human face, two horns, a crimson belly, and a tail ending in three swordlike points. It appears on the shore as a messenger from the Dragon Palace and announces that abundant harvests will be followed by epidemic disease. Printed notices claimed that pasting Jinja-hime's likeness at a doorway, or viewing the image with devotion, could avert calamity and prolong life. As woodblock prints and hand copies circulated, the figure travelled far beyond the place of its reported appearance. Hirado's Himeuo and related prophetic mermaids from Echigo have similar pictures and captions, showing how popular responses to epidemic disease could spread through the publishing and peddling networks of the late Edo period. Attempts have been made to identify Jinja-hime with a real marine animal, but no such identification is supported by conclusive evidence. In folklore, it is better understood beside Amabie and Amabiko: a creature that comes from the sea, predicts harvest and illness, and leaves human beings an image to use as a charm. Its importance lies less in zoological identity than in the meeting of prophecy, print culture, and the wish to survive an epidemic.

Spirit Wind is spoken of as an invisible wind that brings sudden chills, fever, and lightheadedness to those it touches. Its timing on the morning of the sixteenth day of Bon is emphasized, and the “spirits” here are the souls of ancestors or the unconnected dead. The wind is understood as carrying the aura of spirits crossing the boundary between return and departure. In the Goto Islands, people strictly avoid graves and grave roads on that day and refrain from going out. On Iki Island, illness is seen as a possessing wind, with graveyard-origin termed dead-spirit wind and grievance-origin termed living-spirit wind. It aligns with regional beliefs in malign winds, where seasonal fatigue and sudden gusts intersect with folk explanations and are remembered as spirit afflictions. It is not told as a yokai with active malice, but as a taboo that warns of misfortune for those who mistake the date or place.