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The Scariest Japanese Creepy Pastas · INSPIRE STORY

• 0:15
  Speaker 1: Welcome back to the Creek Gast. Today we're gonna be
• 0:17
  doing something pretty special. This is the some of the
• 0:19
  best Japanese cultural creepypasta's out there. We're doing a big
• 0:24
  grab bag all Japanese creepy pasta. Is very very excited,
• 0:28
  and I know that there's a Japan Today going to Japan,
• 0:33
  and I know that the there's some that are on
• 0:36
  here that I know that are pretty uh I would say,
• 0:39
  pretty popular, or at least like some of the more
• 0:41
  well known ones, Like I know the first one we're
• 0:42
  going to read is tomtos Hell. I feel like that's
• 0:45
  like a pretty well renowned one. I feel like I've
• 0:47
  seen that one a lot on like the creepypasta websites
• 0:49
  and stuff.
• 0:51
  Speaker 2: Yeah, so I don't know which the story of it's
• 0:54
  so muddled now. I don't know if the legend around
• 0:57
  the creepypasta is true. But supposedly it's not a creepy pasta,
• 1:00
  so it's a home from like the nineteen tens so
• 1:04
  and it's just like made its way into creepypasta culture.
• 1:07
  But that could also be the creepypasta just saying that.
• 1:10
  I don't know, but yeah, there's a bunch of weird
• 1:12
  Japanese ones that it's interesting because a lot of the
• 1:16
  more popular American ones are long, kind of goofy about
• 1:20
  a killer. A lot of the Japanese ones are like, yeah,
• 1:22
  this is a spirit that kills you, sucks for you,
• 1:26
  good luck.
• 1:27
  Speaker 1: I really don't know if there's anybody better at which
• 1:30
  may be a controversial take, I don't know. I don't
• 1:32
  know if there's anybody better at a like folklore or
• 1:36
  folk whore urban legends than Japanese storytelling. Oh feel like
• 1:40
  it's it's always the best. At least it's always my favorite,
• 1:43
  if I'm being honest.
• 1:45
  Speaker 2: Anytime I read about like a Japanese cryptid or like
• 1:48
  a Japanese story of a town or something, it's like, yeah,
• 1:51
  well the devil lives here, and it's gonna kill everyone
• 1:54
  you've ever met.
• 1:54
  Speaker 1: Get Ready, they know, they don't pull any punches. I
• 1:58
  love how superstit just the culture culture is in general,
• 2:03
  like it really adds, like you, that that kind of
• 2:05
  belief system I think really translates really well into uh,
• 2:10
  into all of the writing and art that they do.
• 2:13
  So I'm very excited. I mean, even this first one
• 2:15
  here that we're reading called Tomino's Hell. It's literally about
• 2:17
  a Japanese poem that like you are not supposed to
• 2:20
  read out loud. It's like and like that within itself,
• 2:23
  I'm sure fucked up so many people because they're like
• 2:25
  what you know, like that's like superstitious of like I'm
• 2:29
  not gonna do that.
• 2:30
  Speaker 2: As with most of these stories me when I was twelve, Yes.
• 2:33
  Speaker 1: Yeah, it's like, well how fun is that? And I
• 2:35
  love that. I feel like a lot of these are
• 2:36
  pretty old too, right, Yeah, a lot of these are.
• 2:40
  We're doing a big grab back today. I mean a
• 2:41
  lot of these, like the read time is very short,
• 2:44
  but you know, I think with the kind of obvious
• 2:47
  uh detours we normally take, it will be fine. But
• 2:51
  the uh yeah, a lot of these it's just like
• 2:53
  that that classic old creepypasta, very short, very punchy format,
• 2:59
  which I do think lends to these very quick folk tale,
• 3:02
  urban legend vibes that uh that the Japanese stories tend
• 3:07
  to take. So I'm pretty excited. Yeah, I'm excited as well.
• 3:10
  And you, uh, you have some.
• 3:13
  Speaker 2: You know, background with Japanese horror because you murdered a
• 3:17
  Japanese woman.
• 3:18
  Speaker 1: That is that is what I Japanese. That is what
• 3:21
  I see. I see that a lot in comments. Now right,
• 3:25
  my church, Japan.
• 3:26
  Speaker 2: You post a very weird hypothetic. Well, you post a
• 3:29
  very weird hypothetical to me that sounded kind of suspicious
• 3:32
  after murdering a Japanese woman. Have you encountered any spirits?
• 3:35
  Speaker 1: Uh? That has yet to happen. I when I was
• 3:37
  in Japan, though. For people who are a fan of
• 3:39
  my channel pop Meat on YouTube, please check it out.
• 3:42
  I did we we did yourself? No no, no, definitely not
• 3:45
  but on YouTube YouTube that comes out of what I did.
• 3:48
  What did happen though, is for people that don't know,
• 3:50
  I did go to Japan, uh, almost two years ago. Now,
• 3:54
  good lord, time flies the uh. And when I was there,
• 3:58
  I had I would say, kind of a ghostly experience.
• 4:01
  Well yeah, and we were in we were in Osaka,
• 4:06
  and we were at this intersection of this like basically
• 4:09
  shopping market area outside you know, and we came across
• 4:15
  this man who kind of came up to us with
• 4:16
  this ikea bag. I forget what he said he say.
• 4:19
  He said, uh, oh yeah that's what he said. He said, Uh,
• 4:22
  I sorry, that's what he said. He came it to us,
• 4:26
  big crowded area. We were all just standing in like
• 4:28
  a circle, just chatting. This man walks up to us
• 4:31
  and he looks us dead in the eyes, or he
• 4:33
  looks at Harry dead in the eyesers and say and
• 4:35
  he says sorry like that and like as if like
• 4:40
  excuse me, you know, in a in a weird way.
• 4:42
  And we were like, oh, you know, no problem, and
• 4:45
  it was just very haunting. And then he like kind
• 4:47
  of like barely walked past us, is like sandals scraping
• 4:52
  on the ground. We kind of looked at each other
• 4:55
  and we were just like, what the fuck is this?
• 4:57
  And I'm not even joking, Isaiah when I tell you that.
• 4:59
  We turned and he was gone. And it wasn't like
• 5:02
  a busy, like a big, big crowd. I mean like gone, gone, gone,
• 5:06
  not there anymore, blown him the way in the wind.
• 5:10
  I have no idea where the fuck he went. But
• 5:12
  that was that that really stuck with us.
• 5:15
  Speaker 2: One time in New York, I saw a Chinese man
• 5:18
  throw a cigarette at a seagull and it died. Which one,
• 5:22
  So that's kind of its kind of like a spirit
• 5:24
  the seagull died. Yeah, Yeah, that must have been a
• 5:27
  powerful flake. Well, I just kind of just kind of
• 5:30
  bounced off it and it just kind of fell over.
• 5:32
  That's what I mean. It was kind of spiritual, you know.
• 5:35
  So is it possible that the Japanese man recognized Harry
• 5:41
  is Korean and was like.
• 5:44
  Speaker 1: Sorry for what we did to you. Yeah, it was an.
• 5:47
  Speaker 2: Apology on behalf of the country, or it's or alternative
• 5:52
  he mistook Harry as a Japanese man and possibly thought
• 5:57
  he was related to him and said he sorry. Or
• 6:01
  third option, that was actually Harry's grandfather and he just
• 6:06
  doesn't know.
• 6:07
  Speaker 1: As fun as all of these hypotheticals are, I think
• 6:09
  that you're gonna be disappointed to find that. I think
• 6:10
  it was a man where we were just in his way,
• 6:14
  even though it looked like he walked out of his
• 6:17
  way to be inconvenienced by us, and then said I sorry.
• 6:23
  We were baffled for maybe maybe a second, maybe two,
• 6:27
  I'd give it two seconds, and then looking back over
• 6:29
  it to be completely gone. Was still even if it
• 6:34
  is those things of him coming up, Even if it
• 6:35
  was any of these hypotheticals, you said, where did this
• 6:38
  man go? How could he have moved so fast without
• 6:41
  us knowing? I don't know. I don't know. You know,
• 6:44
  if I was.
• 6:47
  Speaker 2: Somewhere and a group of Americans came up and I
• 6:51
  was a Japanese man and I was like, oh, excuse me,
• 6:53
  and they just stared at me dumbfuddled, I'd probably be like.
• 6:56
  Speaker 1: You know what I'm gonna do.
• 6:57
  Speaker 2: I'm gonna disappear, so they think I'm a ghost.
• 6:59
  Speaker 1: There is a well, first off, that would not happen
• 7:02
  in Japan. Every time. In Japan, no one really talks
• 7:05
  to each other. It's not a very social society. If
• 7:08
  you go into a business, it's different. Well possibly, well
• 7:11
  then anything then that's the case, then too, it'd be
• 7:12
  weird that they would do that. But I would say
• 7:14
  that like, also, we I don't think that we're being
• 7:18
  disrespectful in any way. And also I think that the
• 7:20
  only thing that we were looking at that was a
• 7:22
  bit odd was that he got so close to Harry's face,
• 7:26
  which is also very odd that kind of to him.
• 7:32
  Speaker 2: Harry knows that guy, then he's lying to you and
• 7:37
  him if.
• 7:38
  Speaker 1: He is, and that is downright cruel because he sold
• 7:41
  it very well. I mean it was so I mean
• 7:44
  an inch or two from his face and then to
• 7:46
  say I'm sorry and then scuttle off. It was you know,
• 7:49
  I don't know if it translates well, but I will
• 7:51
  say it was a very I mean it shook us.
• 7:54
  It shook us. I was shook.
• 7:56
  Speaker 2: That's a pretty it's a pretty supernatural experience. So you
• 7:59
  don't have any like ghost stories or anything from like
• 8:02
  the suicide Forest just.
• 8:04
  Speaker 1: Now, And I didn't.
• 8:06
  Speaker 2: I didn't.
• 8:07
  Speaker 1: I didn't go to the Suicide Forest. But I did
• 8:10
  get a blu ray of a movie.
• 8:13
  Speaker 2: Called hold On, what's the what's the logan?
• 8:18
  Speaker 1: Oh?
• 8:18
  Speaker 2: Yeah, I've made a severe and continuous laps and judgment.
• 8:22
  Speaker 1: It's a blue ray called Fuji ju Kai Appreciate you said, Fujijukai.
• 8:27
  Speaker 2: You're a hintie I type that in? Is it going
• 8:30
  to be a bunch of like naked Fuji under nicks office.
• 8:34
  Speaker 1: Fuji underscore Jukai dot movie. It is about a girl
• 8:37
  who tells other girls in our school that she wants
• 8:39
  to kill herself, and these other girls in our score
• 8:41
  are like, we want to watch uh school concept. The
• 8:44
  movie itself is all recorded on an iPhone, I believe,
• 8:49
  and it's like at the very beginning of the movie
• 8:51
  they find the iPhone in the at the base of
• 8:55
  the suicide forest. Yeah, a lot of interesting ideas. It's
• 8:59
  I it's definitely not like a super great movie, but
• 9:03
  you know, if you like found footage hoar movie, you
• 9:04
  might dig it. So I wouldn't. I wouldn't say it's
• 9:07
  anything spectacular, but it's a really cool concept. There's a
• 9:10
  lot of fun things that they just don't know. It
• 9:12
  doesn't make it all the way, but Fuji Jukai I
• 9:15
  thought it'd be a fun shout out for this episode.
• 9:17
  Speaker 2: So here it is very cool. That's that's a lot
• 9:19
  better than uh, you know, that was very respectful and
• 9:22
  like kind of Japanese culture. It's a lot different than
• 9:24
  we started this podcast. I was like, hey, we should
• 9:27
  do the Japanese episode. You're like, oh, you mean the
• 9:29
  anime people.
• 9:30
  Speaker 1: That's what you said. You've got so you have got
• 9:33
  to reel in the raso. I haven't said anything.
• 9:38
  Speaker 2: I'm referring to what you said.
• 9:40
  Speaker 1: I don't think I ever said the anime people. That's
• 9:43
  what you said. That's what you told me. All right, Well, uh,
• 9:47
  Tomino's hell, Hanako Son the toilet Ghost. There's a lot
• 9:51
  of if I've noticed it with a lot of Japanese
• 9:53
  horror storytelling. There's a lot of they are not they
• 9:56
  are not happy with being disturbed in the toilet. That's
• 9:59
  like a real the real there.
• 10:01
  Speaker 2: I didn't say anything there. That was you that made
• 10:03
  that point. I don't want I had nothing to do
• 10:05
  with that, the point you just made. You just said
• 10:07
  that all their stories are about toilets.
• 10:09
  Speaker 1: I didn't say all their stories said that they that's
• 10:11
  what you said. That is what you said.
• 10:14
  Speaker 2: That is what you said the and I had nothing
• 10:16
  to do with it.
• 10:16
  Speaker 1: I'm defending them.
• 10:17
  Speaker 2: You're the one coming in here with your problem, like
• 10:19
  old man bumps in and says I'm sorry, and you're like.
• 10:22
  Speaker 1: Was that a ghost? All right? The uh? The the
• 10:25
  toilet ghost an old urban legend about the ghost of
• 10:27
  a little girl that haunts the toilets of schools, Hashako sama,
• 10:30
  which is an herbal ledge of a toll woman and
• 10:32
  a hat that brings about generational doom. Kind of damn.
• 10:35
  Speaker 2: We're gonna start with tomtos Hell. Thank you so much
• 10:38
  to all of our patrons and all of our supporters.
• 10:40
  Speaker 1: It really does mean the world.
• 10:41
  Speaker 2: You can listen to these on Spotify and Apple Podcasts
• 10:45
  and where you listen to podcasts and we really appreciate
• 10:47
  your all support. Thanks a bunch, Love you guys.
• 10:51
  Speaker 1: If you want to check us out on audio platforms,
• 10:53
  be sure to check us out on Spotify and Apple Podcasts.
• 10:55
  I just gave us a nice writing. I just you
• 10:57
  just said, you only said, you only said Patreon's.
• 11:00
  Speaker 2: I said Patreon, then I said, and you can listen
• 11:02
  to us on audio platforms like Spotify and Apple podcast Okay, Doki,
• 11:06
  I think you're trying I think there's a mutiny going
• 11:08
  on here. I think you're trying to make a case
• 11:10
  that I am mentally unfit to continue to host this show.
• 11:17
  Speaker 1: Well, I don't. I would hate to comment on that.
• 11:20
  I don't. I'm not gonna comment on that.
• 11:22
  Speaker 2: I bet you would at this time, but there will
• 11:24
  be a lot of comments made about later. And you're
• 11:26
  trying to replace me with Nick. This is all coming
• 11:29
  This is all coming back to your collective IP where
• 11:33
  there's just a bunch of shows and stuff that you
• 11:35
  and Nick, and Nick's gonna come to my house and
• 11:38
  he's gonna dress up as me and he's gonna set
• 11:40
  in my room.
• 11:40
  Speaker 1: It's gonna raise your.
• 11:43
  Speaker 2: Yeah.
• 11:45
  Speaker 1: Ultimately, my wife the ultimate. The ultimate goal is to
• 11:49
  find this Asian man who this Japanese man who? Right?
• 11:53
  Who said I sorry? He's he's gonna be the new host.
• 11:56
  Speaker 2: He's the new host.
• 11:57
  Speaker 1: He's replacing me.
• 11:58
  Speaker 2: I come home one day, like I go to get
• 12:00
  milk and I walk in and like the seven year
• 12:02
  old Japanese man's wearing my clothes.
• 12:05
  Speaker 1: Like what? And Kaylen's like, oh are you?
• 12:08
  Speaker 2: She's like freaking out of me, and she looks at
• 12:09
  the Japanese man. She's like, Isaiah, stop him, and she says,
• 12:13
  she says, I just smile.
• 12:14
  Speaker 1: She says, Isaiah, were you in a house fire? And
• 12:16
  You're like, no, no, no, I just wrecked the dirt
• 12:18
  bike again. That's why these layers of skin are off
• 12:20
  my face and hat arms. She's like, is that seal
• 12:25
  kissed from a rose? You're like, no, no, no, it's me,
• 12:27
  your husband. We were having fun. Okay, we were having fun,
• 12:30
  all right.
• 12:30
  Speaker 2: Okay, Tomino's hell, Tomato's hell.
• 12:32
  Speaker 1: So real quick though, this is a I'm just going
• 12:36
  to read this little part. It says this is us uh.
• 12:39
  I'm on David Bowl's website David Bowls dot us, so
• 12:43
  just saying this is a thing. That he put here.
• 12:45
  I just wanted to read. Apparently, the story of a
• 12:47
  young boy's damnation for unnamed acts Tomino's Hell was published.
• 12:51
  I discovered in a nineteen nineteen collection of poetry by
• 12:54
  saijoe Yasso. I say that I think so titled Sakan
• 12:59
  or it translated to gold Dust. The poet was university
• 13:03
  professor and lived in France for a time, studying at
• 13:05
  this Saurobone. His work is heavily influenced by French poets,
• 13:08
  especially symbolists like Arthur Rimbu, Stephanie and Paul v with
• 13:14
  whom he became friends with those Sidow's later work was
• 13:17
  ostensibly for children. It was filled with strange symbols and
• 13:20
  wordplay that could be quite unsettling. So I just thought
• 13:23
  that was kind of interesting. Uh So, now you're saying, though,
• 13:27
  from what we were saying earlier, you think that that
• 13:29
  might not be true, or you do think it is.
• 13:32
  I don't know. I think I think it might be real.
• 13:38
  Speaker 2: I mean, obviously the way to check it out would
• 13:40
  be to look up sake in gold Dust, but I
• 13:42
  don't know.
• 13:42
  Speaker 1: If I want to try, I will say, David does
• 13:44
  something kind of interesting here and the next party says,
• 13:47
  here's my rendering of this dark and disturbing poem, with
• 13:49
  footnotes of important matters. I've not actually read the thing aloud,
• 13:52
  so I can't speak to whether the curse is real.
• 13:55
  I'll leave that to your own discretion.
• 13:56
  Speaker 2: I think that's interesting. We'll see if I read first,
• 14:00
  We'll see if I get cursed, and we'll see what happens.
• 14:01
  Speaker 1: Yeah, I'm praying for no speaking parts.
• 14:03
  Speaker 2: Yeah, well, it's a poem, so I think you're good.
• 14:06
  So I'll also read the forward on the creepypasta wiki,
• 14:09
  because in every version that was circulated around online it
• 14:13
  had this intro. Tomino's Hell was written by Sejo Yasso
• 14:16
  for his twenty seventh collection of poems, Second or gold
• 14:19
  Dust in English, in nineteen nineteen. There's a Japanese legend
• 14:22
  surrounding it which states it should only be read with.
• 14:25
  Speaker 1: The mind and never out loud.
• 14:27
  Speaker 2: It's uncertain how this rumor started, but it goes on
• 14:30
  to say that tragic things will happen if you do.
• 14:32
  The story used to be very popular on two Channel.
• 14:35
  Many users said that nothing happened after reading it, and
• 14:38
  uploaded pictures and videos as proof. There were also posts
• 14:42
  where the user did not come back to post any results.
• 14:45
  Speaker 1: Huh.
• 14:45
  Speaker 2: And then it says if you were to read this
• 14:47
  out loud, it'd be better to do so in Japanese,
• 14:50
  which I'm not going to attempt. You're welcome. An alternative,
• 14:53
  more accurate translation by David Bowles can be found here,
• 14:56
  which is the one Hunter has pulled up. There's also
• 14:58
  this image that's always passed around the web, pain of
• 15:01
  this girl that looks like it's drawn with these very
• 15:05
  harsh strikes like these like dark reds and bright whites
• 15:09
  and stuff. Looks like a girl without a nose who's
• 15:11
  spin scarred or burned. And at the bottom of the
• 15:14
  page on the Creepypasta week it says the image associated
• 15:17
  with this story is a crop version of a painting
• 15:20
  by Yuko Tatsushima entitled I Can No Longer Be a Bride.
• 15:25
  It was supposedly made after the artist became a victim
• 15:28
  of sexual assault. The title refers to how, according to
• 15:31
  Japanese tradition, women who are often have ensuing difficulties with
• 15:36
  marriage and reputation due to the perception of them having
• 15:39
  lost their innocence. That is depressing, okay, So with that
• 15:44
  happy note out of the way. Are you ready for
• 15:46
  me to read the poem that curses me?
• 15:48
  Speaker 1: Yeah, very very ready. Also, there is a translation at
• 15:50
  the end that is in the original Japanese that I
• 15:52
  could attempt to read if you only do you want
• 15:55
  to sit here and do the whole thing of Japanese afterwards?
• 15:59
  I could if you want, hold on, let me do the.
• 16:03
  Speaker 2: Let me do it first. Okay, you want to you
• 16:04
  want me to read the quote unquote more accurate David
• 16:07
  Bow's version.
• 16:08
  Speaker 1: Well, in the David Bows there is a at the Okay, yeah,
• 16:11
  just go ahead.
• 16:11
  Speaker 2: Because when I was a kid, I read like the
• 16:13
  creepypasta version that's passed around, but maybe I didn't get
• 16:15
  cursed because that was less accurate.
• 16:17
  Speaker 1: So this is different. So way, wait, this is different
• 16:19
  than what you read. Yeah, well it's the same poem.
• 16:22
  Speaker 2: It's just the one that circulated around, like on creepypasta
• 16:26
  websites was apparently not as accurate of a translation.
• 16:29
  Speaker 1: I see. Okay, so this is so this.
• 16:32
  Speaker 2: Is David one is like the real one. So we'll
• 16:34
  see if I really get curses.
• 16:37
  Speaker 1: H here we go.
• 16:38
  Speaker 2: Elder sister vomits blood, younger sister breathing fire while sweet
• 16:43
  little Tomino just spits up the jewels. All alone does
• 16:47
  Tomno go falling into that hell, a hell of utter
• 16:51
  darkness without even flowers. It's Tomino's big sister, the one
• 16:54
  who whips him the purpose of the scourging things dark
• 16:58
  in his mind and thrashing him ah, but never quite shattering.
• 17:04
  One sheer path to a vichy, the eternal hell, into
• 17:09
  the blackest of hells. Guide him, now, I pray to
• 17:12
  the golden sheep, to the nightingale.
• 17:15
  Speaker 1: How much did he put in.
• 17:16
  Speaker 2: That leather pouch to prepare for his trek to the
• 17:19
  eternal hell. Bringest coming to the valley, to the wood,
• 17:24
  to the spiraling chasms of the blackest hill. The nightingale
• 17:27
  in her cage, the sheep aboard the wagon. The tears
• 17:30
  well up in the eyes of sweet little Tomino, singing
• 17:34
  o Nightingale in the vast misty forest. He screams, he
• 17:39
  only misses his little sister. His wailing desperation echoes throughout Hell.
• 17:44
  A fox peony opens its golden petals down past the
• 17:48
  seven mountains and seven rivers of Hell, the solitary journey
• 17:53
  of sweet little Tomino. If in this hell they be
• 17:56
  found may they then come to me, please, Those sharp
• 18:01
  spikes of punishment from Needle Mountain not just on some
• 18:04
  empty whim, his flesh pierced with blood red pins. They
• 18:09
  serve as hellish signpost for sweet little tomato.
• 18:12
  Speaker 1: Wow, beautiful, it's actually like a very beautiful poem.
• 18:16
  Speaker 2: My god, it's like a child is It sounds like
• 18:20
  he's in like a miserable place where it starts with
• 18:22
  elder sister vomited younger sister's fire. But he just fits
• 18:25
  up the tools. Now it's like he dies and falls
• 18:27
  into hell. So he's going through hell, but there's almost
• 18:31
  a hopefulness for it. It's like, you know, he goes
• 18:35
  through the red silver, the red rivers of Hell, and
• 18:39
  there's like the needles, but they're signposts for him. It's
• 18:41
  like wishing him well as he walks through the underworld.
• 18:44
  Speaker 1: Yeah. Almost feels like a almost kind of like a
• 18:47
  Dante's Inferno kind of parallel.
• 18:49
  Speaker 2: Of Yeah, well connects well, that connects to Buddhist hell.
• 18:57
  Speaker 1: I believe that is layered. I think it's ten. I'm
• 19:02
  pretty sure. Also, David had a very interesting footnote thing
• 19:08
  that I thought was interesting that we should probably go
• 19:09
  through his first point here is the term here trans
• 19:13
  translated hell is jigoku the Buddhist hell complex, the Buddhist
• 19:19
  hell complex into which very sinful people can be reincarnated.
• 19:23
  Note also the poem follows a seven seven seven to
• 19:26
  five syllabic pattern, evocative of most traditional Japanese versus interesting.
• 19:33
  Speaker 2: Yeah, so I looked it up. Buddhism as eight hot
• 19:35
  hells and eight cold hells. So when it talks about
• 19:38
  him walking past the seven mountains, it almost sounds like
• 19:40
  he's going to the very bottom of hell.
• 19:41
  Speaker 1: It's kind of interesting to at the beginning we get
• 19:43
  all those descriptions of Tomino's sisters basically suffering while he
• 19:49
  is not. Is the second point that he made. The
• 19:51
  third point was apparently the lastest Tomino's receiving on his
• 19:54
  way to Hell are deserved. Although another possible reading of
• 19:58
  the Japanese might be the purpose of the scourging worries him,
• 20:01
  suggesting possibly that he doesn't know why he's being punished.
• 20:05
  To me, it seems he knows. It's kind of interesting,
• 20:08
  like the translation of him knowing is also just like
• 20:11
  a person living with that, like guilt or sin, something
• 20:14
  is very pretty horrifying.
• 20:17
  Speaker 2: I like this. Uh, this part where it says the
• 20:20
  poem reveals that Tomino is headed to mujin Jigoku. The
• 20:24
  Japanese translation of this handskirt avichi avici is the lowest
• 20:28
  of hells in Buddhism, one whose torment lasts so long
• 20:32
  eons and eons, that soul seem to be trapped there
• 20:34
  for eternity. There are five horrible sins you can commit
• 20:38
  to end up in this place. Creating a schism within
• 20:40
  the community of Buddhist monks and nuns, shedding the blood
• 20:43
  of a Buddha, killing an enlightened person, or intentionally murdering
• 20:48
  one's father.
• 20:48
  Speaker 1: Or one's mother. Mmmmm woh.
• 20:52
  Speaker 2: So when it's talking about Tomino going down there and
• 20:55
  the relation to his sisters, perhaps that's implying that's what
• 20:57
  he did, and that's why he goes all the way
• 20:59
  to eight.
• 21:01
  Speaker 1: Yeah. The fifth, the fifth, which is this is all
• 21:03
  once again in relation to David bows Uh yeah, uh
• 21:09
  is it bowls or bows bowels? I think yeah. One
• 21:13
  of his fifth points is it struts me that the
• 21:15
  sheep and nightingale or symbolic of Tomino's sisters, we see
• 21:18
  them like dancing around a lot and Yeah, you know,
• 21:21
  singing and you know all the all that stuff.
• 21:25
  Speaker 2: So the seventh post this is interesting another that we're
• 21:30
  by seven. We're looking at the points that David has
• 21:32
  outlined Underneath the poem, he says, another possible translation would
• 21:35
  be not just on some empty whim while I pierce
• 21:38
  with blood red pins the marks upon the body of
• 21:40
  sweet little Tomino. Either way, the conclusion is chilling. Now,
• 21:44
  given that the poet has a predilection for symbolist poetry,
• 21:47
  it's very likely that all this talk of Tomino's decending
• 21:49
  into hell is mere.
• 21:52
  Speaker 1: Autonomy. Yeah, autonomy, but I think it's atonomy wherever that.
• 21:56
  Speaker 2: Word is, and that some other sort of earthly hell
• 22:00
  of interpersonal relationships is being described. The Japanese Wikipedia article
• 22:04
  of Sejo suggests that he wrote this poem upon the
• 22:07
  death of either his sister or father. Given the aims
• 22:10
  of symbolist poetry to avoid to describing things themselves and
• 22:14
  instead describing their effects, it strikes me that the poem
• 22:17
  is meant to show Seijo's emotional distress upon someone's death,
• 22:21
  comparing his survivor's guilt to a journey into hell, and
• 22:24
  that would relate back to the point where he's going
• 22:26
  to the eighth layer, reserved for those who killed their parents.
• 22:29
  Speaker 1: It feels like perhaps maybe wasn't theirs.
• 22:32
  Speaker 2: You know, whatever happened in the poet's life, he's attributing
• 22:35
  to me no suffering, as if he killed his own parent.
• 22:38
  Speaker 1: My God, look at the comments, Isaiah, Look at the
• 22:40
  fourth comment down I pooped my Jamis this good? God?
• 22:50
  That's good? That's good. Yeah, very very interesting. You know
• 22:54
  what this is gonna sound so fucking stupid, so please
• 22:57
  hold it against me. This is like what I want
• 23:00
  two sentence horrors to feel like, two sentence horror stories
• 23:03
  to feel like you know what I mean, which is
• 23:05
  obviously impossible because they're only two sentences long. But this,
• 23:09
  it's so so short, and it's like it's just so
• 23:13
  simple of talking about one thing. Yet I feel like
• 23:16
  it really uh you get you just get so much
• 23:20
  out of it. It's very uh, I don't know, very enlightened.
• 23:24
  Speaker 2: How would you want two sentence horror to feel like that?
• 23:27
  Speaker 1: I guess in the way that which, once again, I
• 23:29
  know it sounds so fucking stupid. I don't even know
• 23:31
  why I said it out loud. In God, I'm so
• 23:33
  fucking dumb. But I guess it's just the idea that
• 23:35
  it's like you you want the two sentence hors to
• 23:40
  just be like it's something that that's that short and
• 23:42
  has that much of an impact. But once again, it
• 23:44
  doesn't make any sense. I'm a fucking idiot. It's because
• 23:47
  it's obviously more than two sentences. Never mind even said it.
• 23:51
  Just forget I even said it. I'm a idiot.
• 23:53
  Speaker 2: I think what you mean, it's like yourself, it's so funny.
• 24:01
  Speaker 1: Well, it's because it's such a fucking stupid thing. It's
• 24:03
  the most like, uh, I don't know, it's just the
• 24:06
  most like, it's just so fucking dumb. What a dumb
• 24:09
  thing to say. It's unbelievable that I have a microphone.
• 24:12
  Fuck my life. If I had to justify it all,
• 24:18
  it's probably supposed to be something a lot of the
• 24:20
  lines of like, you know, every two sentence horror that
• 24:24
  we are, even even outside of two sentence hour, I
• 24:27
  think a lot of things that are this short it
• 24:29
  just ends up being like, oh, it's a monster, Oh
• 24:33
  this is this is a Yeah. The entire payoff is
• 24:36
  like it's a spooky monster versus these things of like
• 24:40
  something that's this short yet packs in all of this
• 24:43
  emotional weight while also giving us like there's almost no exposition.
• 24:48
  It's like you're handed everything on this like beautiful platter,
• 24:53
  and you're able to like run with it in all
• 24:55
  these different directions. I just think is really really fun.
• 24:57
  Also probably, I mean, so, I don't know, must be
• 25:01
  so difficult, you know, have something which is just no
• 25:04
  fat like this is uh, it's very admirable and also too,
• 25:07
  it's just a beautiful, beautiful translation to But you know,
• 25:10
  at the same time, Man with here's my two sentence
• 25:13
  horror story. Man with podcast open's mouth. That's my fucking
• 25:17
  two sentence horror That's a pretty good one.
• 25:21
  Speaker 2: That's pretty creepy. I looked up Japanese two sentence horror
• 25:24
  stories and they're all like they're also normal to sentences.
• 25:29
  Speaker 1: Of course it is. It's the It might be the
• 25:31
  dumbest thing I've ever said, and I apologize for it.
• 25:34
  I know that I'm I'm gonna get absolutely railed.
• 25:40
  Speaker 2: I heard a woman laughing softly behind me, but when
• 25:43
  I turned there was only my reflection smiling back. Man
• 25:46
  with thought, the toy fish and the ponds stared up
• 25:49
  at me. The mouth's moving as if chanting. It's just
• 25:53
  a toy fish.
• 25:55
  Speaker 1: Here, here's here's here's mine. Hunter had a thought. He
• 25:58
  thought it was good. That's my due.
• 26:01
  Speaker 3: Now I go.
• 26:02
  Speaker 2: You mean the idea of like having a very short,
• 26:05
  concise thing that means something more than just what the
• 26:08
  sentences say.
• 26:09
  Speaker 1: You're kind, You're sweet U one of the dumbest things
• 26:14
  that's ever been said on this podcast, easily, h Should
• 26:18
  we move on to Hanako Son. It's time to talk
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  to the episode.
• 28:49
  Speaker 2: Let's move on to hug nakos Son.
• 28:50
  Speaker 1: All right, so I'm on a website by the way
• 28:52
  that says Japan Makes Me Scared dot com.
• 28:55
  Speaker 2: Yeah, yeah, this is where Nick goes as soon as.
• 28:59
  Speaker 1: The clocks now is that's the opposite, Nick would say
• 29:02
  the Jampan makes me happy dot com as what would be?
• 29:05
  Speaker 2: He just looks at the page upside down. So I'm
• 29:08
  reading off of again our source here. These are the
• 29:10
  sources Harry provided to us. So I'm just I'm just
• 29:13
  the messenger Harry's which you may have got him from
• 29:17
  the old man in Japan who knows it says. Hanako's
• 29:21
  Son is one of the most well known Japanese urban
• 29:23
  legends and the name of the girl that appears in
• 29:25
  the story. Because she usually inhabits a school toilet, she
• 29:28
  is often called terrey no Hakos terreno Hanako Son, which
• 29:34
  means Hanako of the toilet as well. The original story
• 29:38
  is said to be an urban legend called the Third
• 29:40
  Hanako Son that appeared in the fifties that it spread
• 29:43
  to children and the rest of Japan in the eighties.
• 29:46
  In the nineteen nineties, it came with the occult boom
• 29:48
  and appeared in pop culture, including films, manga, and anime,
• 29:51
  making it even more well known. Since then, her popularities
• 29:54
  continued to be passed on to future generations. That's all
• 29:58
  according to this website. Don't know how true that is now,
• 30:00
  would you like to read the story. Yes, one day,
• 30:04
  a Chan, a primary schoolgirl, attended a school committee and
• 30:07
  stayed in school until late afternoon. When she returned to
• 30:10
  her classroom, the sun had almost set. She was the
• 30:13
  only one in the classroom. Achan wanted to hurry home,
• 30:16
  but suddenly wanted to go to the toilet.
• 30:19
  Speaker 1: Toilet. Oh no, oh, that's such a good.
• 30:28
  Speaker 2: Toilet. Oh no, there is a reason why she hesitated
• 30:33
  to go to the toilet. It was because there was
• 30:35
  a rumor going around at school that a ghost called
• 30:37
  Honako Son with Bob's hair and a red skirt appeared
• 30:41
  in the toilet. She thought she wouldn't make it until
• 30:44
  she got home. With no other option, a Chan decided
• 30:47
  to go to the toilet. It was the nearest toilet
• 30:50
  to the classroom. On the third floor, there were three
• 30:54
  private stalls. A Chan hurriedly entered one of them and
• 30:58
  breathed a sigh of relief. When she finished her business
• 31:01
  and washed her hands, she looked in the mirror and
• 31:03
  felt uncomfortable. Did someone come in when she entered the
• 31:07
  toilet earlier? The doors of all the private stalls should
• 31:10
  have been open. Now, the door of the third toilet
• 31:13
  at the far end was closed. There was no sign
• 31:16
  that anyone had entered.
• 31:17
  Speaker 1: Could it be Chan from the next class?
• 31:20
  Speaker 2: She thought about it. B Chan also attended a committee
• 31:23
  with a Chan. She wanted to make sure, so she
• 31:26
  knocked on the door, knock, knock. A reply came back,
• 31:30
  apparently someone was there. Relieved, Achan called out to her inside, Ah.
• 31:35
  Speaker 1: Be Chan, isn't it Let's go home together? No reply,
• 31:40
  wasn't it? Beechan?
• 31:41
  Speaker 2: Feeling awkward, Achan put her hand on the outside door
• 31:44
  to leave the toilet.
• 31:46
  Speaker 1: It won't open.
• 31:47
  Speaker 2: Should open easily by pulling, but the door wouldn't open
• 31:51
  even if she pushed or pulled. The sudden change reminded
• 31:54
  her of the rumor about Anako san and the toilet.
• 31:57
  Speaker 1: Don't tell me it's Anakusan in that stall with a.
• 31:59
  Speaker 2: Bit of a hope like that, she asked, fearfully.
• 32:03
  Speaker 1: Got a knucko on in there? Then bom bom, boom
• 32:06
  boom boom dundun.
• 32:08
  Speaker 2: The door was banged on from the inside with a
• 32:10
  tremendous force. Chan, terrified and panicking, tried to get out
• 32:13
  of the toilet while screaming, but the door didn't budget out.
• 32:19
  Hm broke down crying in front of the door. Then
• 32:21
  the banging on the door suddenly stopped. At the door
• 32:23
  of the private stall, which had been locked opened and
• 32:26
  inside a girl with bob tear in a red skirt
• 32:29
  was floating.
• 32:30
  Speaker 1: I love that.
• 32:31
  Speaker 2: Yeah, that seems like a classic, uh like middle school
• 32:38
  horror story, like oh, there's a ghostchool floating too the
• 32:40
  bath This is literally.
• 32:42
  Speaker 1: The uh the cartoon I made, which is just like
• 32:45
  being afraid to take a shit in public is like
• 32:47
  the most universally, I mean, like it's every culture. No
• 32:51
  one wants to take a shit in public. It's like
• 32:53
  the haunting idea that someone is listening to you do
• 32:56
  this like thing that you're like fucking embarrassed by, and
• 32:58
  no one wants to hear your you're fucking you're pooping,
• 33:01
  your farting sounds or anything like that. This idea of
• 33:05
  this bathroom etiquette or this like bathroom invasion is uh,
• 33:09
  it's it. I love this idea too. That it's from
• 33:11
  this they said. As early as the fifties is when
• 33:14
  this was really yeah yeah.
• 33:16
  Speaker 2: Even that's when the legends started to make the rest
• 33:18
  Yeah yeah, yeah, how about you, even the fucking romans
• 33:20
  that had the aqueducts.
• 33:21
  Speaker 1: Were just like, hold on, don't come in that kind
• 33:24
  of thing. I mean, it's it's it's forever, you know,
• 33:27
  I mean, it's so uh universal, but no, I mean
• 33:30
  that kind of just fun urban legend though, is uh
• 33:33
  is really really fun. There's this great anime Asaul and
• 33:37
  Almo draft House that uh it flowed like this. It
• 33:40
  wasn't like a toilet spirit, but it's just this idea
• 33:42
  of like did you hear that there's a ghost here?
• 33:45
  And then somebody is like, oh, that that sucks, and
• 33:49
  they immediately go there and are immediately haunted by said ghosts.
• 33:53
  It's like there's really no build up or payoff. It's
• 33:56
  just kind of like here I am, like in this story,
• 33:58
  it's here, I am a watch in my hands, or
• 34:00
  I'm taking a shit whatever, and all of a sudden
• 34:02
  it's like, oh God, I hope it's not that ghost.
• 34:04
  Are you that ghost? And it's like yep, but in
• 34:10
  this like in this like style or it just works.
• 34:12
  I don't know, like the one that I was referring to.
• 34:14
  I cannot remember the actual title of the story, but
• 34:16
  I do I do know it was a a causo
• 34:19
  umaz I believe is how you pronounce his name. He's
• 34:21
  like he's like a Japanese horror mangaka like legend. It's
• 34:26
  the guy that was inspired by But it's just so.
• 34:28
  Speaker 2: I see the guy that did the classroom one that
• 34:31
  you know, yep, yeah, the dissolving the melting classroom or whatever.
• 34:36
  Speaker 1: Yeah, or I think Edo did that one, or at
• 34:40
  least he did a rendition of it. The drifting classroom
• 34:43
  I think is what he's is what you're referring to. Oh,
• 34:46
  but that's yeah. Anyways, those those animes are those like
• 34:50
  kind of like horror uh, Japanese storytelling. It's just I
• 34:54
  don't know why. There's something really satisfying about just like
• 34:57
  I'm gonna tell you exactly what's gonna happen, and it's
• 35:00
  going to happen like I like, And that's the That's
• 35:03
  to be fair, that's true with almost any ghost story.
• 35:06
  But I just love how to the point it is here,
• 35:08
  it's just kind of fun.
• 35:09
  Speaker 2: And reading Oh no, go ahead, go ahead and reading
• 35:14
  down the description it's some of the like stories around it.
• 35:17
  It says that uh she is a knocko song is
• 35:21
  normally associated with the number three, so most stories she'll
• 35:24
  either be the third stall, or it will happen on
• 35:26
  the third floor, or she'll respond to the third knock.
• 35:30
  Speaker 1: I love this idetails like this. I well, you want
• 35:33
  ideal I love is she is the third thing that
• 35:35
  happens in the bathroom. You to either take a number
• 35:38
  one and number two or she is the number.
• 35:40
  Speaker 2: She's the number three. That's what the number three is.
• 35:43
  Speaker 1: Yeah, and it has to be that has to be
• 35:45
  in reference somehow. I love that. You either taking a
• 35:48
  piss of ship or you getting killed by a ghost.
• 35:50
  That's the number three. A movie radition of this. I
• 35:54
  would hope it would just be called like number three
• 35:56
  or just number three. Yeah, yeah, it says in most
• 35:59
  renditions of the story. When she replies, she opens the
• 36:01
  stall door and drags in the person who knocked and says,
• 36:05
  there's different Depending on who you ask, there's different origins
• 36:07
  to her story. One is that, uh, she was a
• 36:11
  girl who was in the bathroom at school when class started.
• 36:16
  Speaker 2: She did not return. They go to look for her,
• 36:19
  and she was found dead in the toilet. She had
• 36:21
  been murdered. Another one is that she was a victim
• 36:24
  of a family suicide. Suicides are recurring topic with a
• 36:28
  lot of like Japanese stories.
• 36:29
  Speaker 1: Yeah, well, depending on what time period is too. It's
• 36:32
  all reflective of just what's happening in the uh in
• 36:36
  the country. I mean, there's that great culture. There's that
• 36:39
  great Japanese movie called Club, which is about like, which
• 36:43
  is about like a j pop song that makes you
• 36:45
  from That movie was made in response to the economic
• 36:47
  crash and people helves over that kind of economic crash.
• 36:52
  Do you think that also because we see a lot
• 36:55
  of ghosts in bathrooms in a lot of like just
• 36:58
  cinema or storytelling in general, do you think that that
• 37:01
  is just because of like in a school setting it
• 37:05
  especially is do you think that has anything to do
• 37:09
  with like bullying. I feel like so much of like
• 37:11
  old movies and storytelling, you hear so much about people
• 37:15
  getting like, you know, uh, what's it called, yeah, swirly
• 37:19
  when he gets swirly, that kind of stuff. But people
• 37:22
  like talking. It's like a private place for kids to
• 37:24
  talk and like openly bully people without adults being there
• 37:28
  to supervise or something. I'm wondering if that has anything
• 37:31
  to do with these kinds of things popping up too.
• 37:33
  Speaker 2: I think potentially it's also because when you're in school,
• 37:37
  the bathroom is the only place that you're by yourself.
• 37:39
  Speaker 1: Typically it's the only form of privacy.
• 37:41
  Speaker 2: It's also the only place you have privacy, right, so
• 37:43
  if anything were to go wrong to you alone, it
• 37:46
  would have to be while you're in the bathroom. I
• 37:49
  also like some of the details with this. When you
• 37:51
  scroll down, it says if an acusan appears, there's some
• 37:56
  in some stories there's ways to ward off. You can
• 37:58
  show her a test paper with a perf one hundred
• 38:01
  when asked to play with her you say no, say
• 38:03
  sorry over and over again. Or show her milk and
• 38:06
  yellow food, which is said to be something she doesn't like.
• 38:09
  I like little details like that, little things that flesh
• 38:11
  out the story. There's also this fun note that is
• 38:14
  really weird but cool, it says, strange as it may sound.
• 38:17
  The belief in a toilet deity was popular in Japan
• 38:20
  from the Edo period to the early Shoa period. Wow
• 38:23
  this deity was called Kawa yagami, and it was worshiped
• 38:26
  by offering a red and white female doll and beautiful
• 38:29
  floral decorations in the toilet. The worship of Kawa Yagami
• 38:34
  gradually declined after World War Two, but remained afterwards. The
• 38:37
  theory is also supported by several similarities, such as the
• 38:40
  fact that Hanako Sana is dressed in red or white
• 38:42
  and her name is Hanako, which consists of two Japanese
• 38:45
  letters meaning flour and child.
• 38:47
  Speaker 1: That's fun. That's pretty cool.
• 38:49
  Speaker 2: The idea that's like an iteration of a god that
• 38:53
  has no longer been worshiped the people have forgotten about,
• 38:56
  so it appears on its own.
• 38:57
  Speaker 1: Now, that's cool. I hate to always be this kind
• 38:59
  of person too, but there's just so many things. I
• 39:02
  just it just made me think of all these different
• 39:03
  kinds of It's just I love the U. I guess
• 39:07
  I love how every which I once again, this is
• 39:10
  probably true with every culture or whatever. But the way
• 39:13
  that they passed down the storytelling is just really fun.
• 39:16
  Like it just even made me think of the There's
• 39:18
  this game I have on my PC called World of Horror.
• 39:20
  It's like a point and click, black and white horror game,
• 39:25
  very very good, very like reminious. People kept calling it
• 39:27
  look a lot like Juno or like horror Mangakka type style,
• 39:31
  but I always wanted to get it on my wife's
• 39:34
  my wife's switch, which does make me sound like a cock,
• 39:36
  but that it would be a sweet release to get
• 39:39
  on that and her boyfriend really likes it too, so
• 39:42
  it'd be nice. But the uh, but but it does
• 39:45
  make me think, I just love that the way that
• 39:47
  like these things, it's so funny. From the eat from
• 39:49
  the Edo period all the way up now it just
• 39:52
  still like finds new ways to invent itself or it
• 39:55
  just is like a fun thing that's always passed down
• 39:57
  and it like always remains relevant. Is really fun.
• 40:01
  Speaker 2: Yeah, yeah, I agree, it's fun too. How like so
• 40:03
  much of and I think part of it is like obviously,
• 40:08
  as Americans, we have like culture and stories taken from.
• 40:12
  Speaker 1: Europe, and you know, like we're a melting pot. So
• 40:15
  a lot of it's just a melting pot of cultures
• 40:18
  that are you know.
• 40:19
  Speaker 2: Yeah, yeah, there's so many different stories I've been brought
• 40:22
  in from different regions of the world. And like obviously
• 40:24
  there's a lot of Christian influence. There's a lot of
• 40:26
  stories relate to like demons and stuff like that. But
• 40:28
  Japan has existed for so long, like continuously that their
• 40:33
  stories like build and build off each other and change
• 40:36
  and adapt, so everything feels so rooted. I know, their
• 40:39
  stories have so much context to it.
• 40:41
  Speaker 1: Yeah, just so much cultures that have such a long
• 40:44
  lineage of history and stuff. It just must be just
• 40:47
  such a different world, you know what I mean. It's
• 40:48
  it's just fucking it's insane. It's like, I think that's
• 40:51
  what makes everything so fantastical. It's just that we get
• 40:55
  I feel like, we just get the scraps of those
• 40:57
  kinds of bits and cultures of things passed down, you
• 41:00
  know what I mean, nothing ever really rooted, but uh,
• 41:04
  you knows.
• 41:05
  Speaker 2: Yeah, we'll move on to the next one. So it's
• 41:07
  called Hashaku Sama and I look it up and she's
• 41:12
  also known as the eight feet Tall Lady. And I
• 41:14
  gotta say, looking at some of these pictures of her,
• 41:18
  you know she.
• 41:19
  Speaker 1: Kind of I like this reoccurring thing in Japanese storytelling
• 41:23
  as well, or at least Japanese horror storytelling, where it's
• 41:25
  like a simple figure and all they do is like
• 41:27
  walk or they exist in like the like in this
• 41:31
  In a lot of cases, it's like you see them
• 41:32
  through the fog. Usually they walk through a park, maybe
• 41:35
  like a road or some kind and it's just like
• 41:38
  slightly unnatural enough to where it becomes like a creepy
• 41:43
  urban legend or something like the woman who walks alone
• 41:46
  or something. You know, it's it's just like h and
• 41:49
  I love when people put characters in these scenarios where
• 41:52
  they emerge from fog or something, as if it's like
• 41:55
  using your own weather or climate against you to kind
• 41:58
  of like trick your brain to being like, fuck, did
• 41:59
  I just see that? What did I just see? I
• 42:01
  don't know what I just saw. That's really fun, see
• 42:04
  that real quick? Yeah, yeah, that's very fun. That's fun.
• 42:09
  Definitely spooky. I'm real front right now, all right.
• 42:17
  Speaker 2: My father's parents' house was a little less than two
• 42:19
  hours away by car. It was a farming house, but
• 42:23
  I liked that sort of thing, so when I started
• 42:25
  high school and got a bike, I often went on
• 42:27
  trips there by myself during the summer and winter holidays.
• 42:30
  Both my grandfather and my grandmother happily welcomed me.
• 42:33
  Speaker 1: I'm so happy that you were here.
• 42:35
  Speaker 2: However, the last time I went there it was just
• 42:37
  before I started the third grade of high school, so
• 42:40
  I haven't been there in over ten years.
• 42:42
  Speaker 1: Now.
• 42:42
  Speaker 2: It's not that I won't go, but rather I can't
• 42:45
  go It was the start of spring vacation and the
• 42:47
  weather was perfect, so I got on my bike and
• 42:50
  went to my grandfather's house. It was still a little cold,
• 42:53
  but the veranda was pleasantly warm, so I relaxed there
• 42:56
  for a while. Then I heard this strange sound. It
• 43:04
  didn't sound like a machine. It sounded like it was
• 43:06
  coming from a person. In addition to that, it was
• 43:09
  kind of like it was both a voiced consonant and
• 43:12
  half voiced at the same time. What was that, I wondered?
• 43:16
  And then I saw a hat over the top of
• 43:18
  the garden hedge. There's no reason it would have been
• 43:21
  put up there. Then it started to move sideways, and
• 43:25
  once it reached a gap in the hedge.
• 43:27
  Speaker 1: I saw a woman.
• 43:29
  Speaker 2: Ah. That woman was wearing the hat. She was also
• 43:33
  wearing a white one piece dress. However, the hedge was
• 43:36
  about two meters high. If her head could pop out
• 43:40
  over the top of that, just how tall was she?
• 43:44
  I was shocked, But she started moving again and disappeared
• 43:47
  from view. The hat also disappeared. Then at some point
• 43:51
  the po po po sound also stopped. At the time,
• 43:55
  I didn't think much more of it than perhaps an
• 43:57
  already tall woman wearing some high heel boots, or perhaps
• 44:02
  a tall man dressed up as a woman in high heels. Afterwards,
• 44:05
  I was in the living room drinking tea when I
• 44:07
  told my grandfather and grandmother about what just happened.
• 44:10
  Speaker 1: I saw this really big woman. I wonder if it
• 44:12
  was a man cross dressing, I said.
• 44:16
  Speaker 2: They just replied, oh, yeah.
• 44:20
  Speaker 1: She was bigger than the hedge. She was wearing a
• 44:22
  hat and was making a strange sound.
• 44:24
  Speaker 2: Like the moment I said it, the two of them
• 44:27
  froze like they stopped moving at the exact same time.
• 44:30
  After that, my grandfather's face contorted and he threw a
• 44:33
  barrage of angry questions at me.
• 44:35
  Speaker 1: Where did you see her? Where did you see her?
• 44:37
  How much taller than the hedge was she?
• 44:39
  Speaker 2: I answered his barrage of questions, and then he suddenly
• 44:42
  fell silent and went to the phone in the hallway
• 44:44
  and called somewhere. The sliding door was closed, so I
• 44:46
  couldn't hear what he was saying. Very well, my grandmother
• 44:50
  was visibly shaken. Don't fuck me up, I he finished
• 44:53
  his phone call. My grandfather said.
• 44:55
  Speaker 1: You'll stay here tonight. No, there's no way we can
• 44:59
  let you a turn to night. Have I perhaps done
• 45:01
  something awful?
• 45:02
  Speaker 2: I'm worried, but I couldn't think of anything. It's not
• 45:05
  like I went to see that woman by myself. She
• 45:08
  was the one who appeared to me. Then my grandfather said.
• 45:11
  Speaker 1: Grandma, I'm leaving him to you. Now, I'm going to pick.
• 45:15
  Speaker 2: Up cay Son took off in his truck timidly. I
• 45:19
  asked my grandmother about it, and she said, in a
• 45:21
  trembling voice.
• 45:23
  Speaker 3: It seems you have been possessed by Hasha Kusama. Grandfather's
• 45:28
  going to do something about it.
• 45:30
  Speaker 2: There's no need to worry after that, she told me,
• 45:33
  bit by bit until my grandfather returned, and not to
• 45:37
  not hear there's a monster outside, but you've already been possessed.
• 45:42
  Speaker 1: My god. I would look at it and be like, word, hey, grandma,
• 45:46
  roll hey, roll that back again. What the fuck do
• 45:49
  you mean I'm possessed?
• 45:50
  Speaker 2: I do like this, Grandma, What the frick?
• 45:53
  Speaker 1: I do? Like this idea of like knowing that you
• 45:56
  see this person. People were like, oh, yeah, really, how
• 45:59
  big was she anything? It's all cute until it's just
• 46:01
  a specific detail and then it's like, oh, fuck, he's possessed. Ah,
• 46:05
  he's possessing there. It is also not a shot that
• 46:09
  that resident Evil Village or yeah, resident evil Village woman,
• 46:13
  Oh lady to Matresk, there's no way in hell that
• 46:16
  was not reference you know what I mean that they
• 46:18
  had to have been referencing this.
• 46:19
  Speaker 2: Oh I'm sure, I'm sure it came from it.
• 46:21
  Speaker 1: Oh yeah.
• 46:21
  Speaker 2: I can't tell you, by the way, what it was
• 46:25
  like being because I love the resident Evil Games a lot,
• 46:28
  and then to be like so ready for Eights reveal
• 46:31
  and then to see like the nine foot tall woman,
• 46:35
  I was like, ah, capcom.
• 46:38
  Speaker 1: God, beautiful animal. My boy's been bricked these past couple
• 46:43
  of weeks.
• 46:43
  Speaker 2: And tell you what I just I just, you know,
• 46:45
  I just appreciate the arts. That's all it is. That's
• 46:48
  all it is. I want to take a moment to
• 46:51
  think today's sponsor, Harry's Razors. A lot of life is
• 46:54
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  Speaker 1: You, we'd greatly appreciate it.
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  Speaker 2: Thank you to Harry's for sponsoring the show. Their link
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  will be in the description, and we are now back
• 48:25
  to the episode. In this area, there was something called
• 48:29
  shaku Sama. Shakusama took on the appearance of a tall woman,
• 48:34
  just like your name suggested. She was about eight feet
• 48:37
  or shackou tall and had a strange, manly laugh that
• 48:42
  went depending on the person. She might appear as a
• 48:47
  young woman in a morning terress, an old lady and
• 48:50
  a formal kimono, or even a middle aged woman in
• 48:53
  farm clothes. Well, her appearance was always different. The things
• 48:57
  she always had in common were her incredible height, the
• 49:00
  fact she always wore something on her head, her strange laugh.
• 49:04
  In the past, there were rumors of her being a
• 49:07
  possessed traveler, but nobody knew for sure. She was sealed
• 49:11
  in this area. Now it's a part of O City,
• 49:15
  but in the past it was part of a larger
• 49:17
  section of ex village by Jesus's statues, so.
• 49:22
  Speaker 1: She's unable to leave.
• 49:24
  Speaker 2: When you are possessed by Hashakusama, you were killed within
• 49:27
  a few days. The last time Hushakusama hurt someone was
• 49:31
  fifteen years ago.
• 49:33
  Speaker 1: It kind of reminds me of a.
• 49:36
  Speaker 2: What's that what's that Japanese movie about incantation? No, that's
• 49:42
  the found footage one. What's the one with the dad
• 49:46
  who's a cop whaling? Yes, the Whaling? Yeah, yeah, where
• 49:49
  it's like his kids possessed and he doesn't know what
• 49:52
  to do about it, so he's going out to try
• 49:53
  to find help, right, And a part of the horror
• 49:55
  of it is like how helpless they are against all
• 49:58
  of this that's happening.
• 50:00
  Speaker 1: Yeah. I love those kind of movies though, Man, that
• 50:02
  Act of faith kind of movie. Love that shit.
• 50:04
  Speaker 2: Yeah, except the end of that one, I mean spoilers,
• 50:07
  But at the end of that one's kind of like, well,
• 50:09
  you tried.
• 50:11
  Speaker 1: Yeah, but no, he broke he broke the rule. He
• 50:13
  didn't he didn't have faith that the woman was telling
• 50:15
  the truth, so he like ruined the he left, ruined
• 50:18
  the ceiling, broke it.
• 50:19
  Speaker 2: Yeah, I heard this after the fact. But the reason
• 50:23
  she was sealed in by the Jesus statues was because
• 50:25
  of Shakusama could only leave the village by certain paths.
• 50:29
  Nobody knows why, and so they enshrined the Jesus statues
• 50:33
  on those particular paths they were to prevent her leaving.
• 50:37
  But apparently they were placed in four locations on the boundaries.
• 50:41
  Speaker 1: Of the east and west and the north and south.
• 50:44
  Speaker 2: As to why they would even try to keep her
• 50:46
  shak Osama trapped here, apparently there was an arrangement with
• 50:49
  the nearby villages where they got, for example, priority to water.
• 50:53
  Speaker 1: Rights and such.
• 50:55
  Speaker 2: Shako Sama only appeared to bother people once every ten
• 50:58
  or so years, so the people who lived there in
• 51:00
  the past found it to be an advantageous deal. Even
• 51:04
  nearing all that there was no way it could be real.
• 51:07
  I thought, of course, not for long. My grandfather returned
• 51:12
  with an old woman in tow.
• 51:13
  Speaker 3: But haven't you gotten yourself into a fine mess?
• 51:17
  Speaker 1: Here?
• 51:17
  Speaker 2: Take this, the old lady said, and handed me a talisman.
• 51:22
  Then she went upstairs with my grandfather to do something.
• 51:26
  My grandmother stayed behind with me. Even when I went
• 51:30
  to the toilet, she went with me and wouldn't let
• 51:32
  me close the door the whole way. For the first
• 51:35
  time since being there, I started to.
• 51:36
  Speaker 1: Think, maybe this really is dangerous.
• 51:40
  Speaker 2: A short while later, they called me up to the
• 51:42
  second floor and put me in a room. The windows
• 51:44
  were entirely covered over with newspaper and talismans, and there
• 51:48
  were piles of salts in all four corners.
• 51:51
  Speaker 1: There was a small wooden box, not.
• 51:53
  Speaker 2: Something you'd really call an altar or anything, and on
• 51:56
  top of it was a small statue of Buddha.
• 51:59
  Speaker 1: Then I don't know where.
• 52:00
  Speaker 2: They came from, but there were two bed pants prepared
• 52:03
  as well.
• 52:05
  Speaker 1: I was supposed to go in those.
• 52:07
  Speaker 4: Listen's about to sit. Listen, you can't leave this room
• 52:11
  until tomorrow morning. Neither myself nor your grandmother will call
• 52:14
  you or try to speak to you. Okay, you must,
• 52:18
  under no circumstance leave this room until seven am tomorrow.
• 52:22
  At seven am, you can come out by yourself. I'll
• 52:25
  call and let your parents know.
• 52:27
  Speaker 2: My grandfather said, with a serious look on his face.
• 52:31
  I could do nothing but nod silently in agreement.
• 52:34
  Speaker 1: Make sure you do exactly as was just said.
• 52:36
  Speaker 3: Keep your townsman close as well. If anything happens, go
• 52:40
  and pray before the.
• 52:41
  Speaker 2: Buddha, Cason said. They said it was okay to watch TV,
• 52:45
  so I turned it on. But even as I watched it,
• 52:48
  my mind wandered.
• 52:48
  Speaker 1: And I couldn't focus.
• 52:50
  Speaker 2: Being locked in the room, I didn't feel like eating
• 52:53
  the on a jerry or snacks my grandmother made for me,
• 52:57
  so I just got in the futon and lay there tremble.
• 53:00
  Speaker 1: At some point I fell asleep.
• 53:02
  Speaker 2: When I woke up, I don't remember what it was,
• 53:05
  but some late night TV program was on. When I
• 53:08
  looked at my watch, it was past one am. At
• 53:11
  this time, I didn't have a cell phone. Oh what
• 53:14
  an awful time to wake up, I thought. When I
• 53:17
  heard something tapping at the window glass, it wasn't like
• 53:21
  a small rocket in it. It was more like a
• 53:24
  finger wrapping across the surface. I couldn't decide whether the
• 53:30
  wind could make a sound like that or if it
• 53:32
  really was a person tapping at the window, so I
• 53:36
  tried to believe with all my might that it really
• 53:39
  was just the wind. Then I heard my grandfather's voice.
• 53:44
  Speaker 4: Are you okay, go push yourself too hot if you're scared?
• 53:49
  Speaker 1: Okay?
• 53:51
  Speaker 2: Without thinking, I walked towards the door. But then I
• 53:54
  remember what my grandfather said.
• 53:56
  Speaker 3: To me, what droll you can come out of you want?
• 54:01
  Speaker 2: The voice sounded exactly like my grandfather, but it wasn't him.
• 54:07
  I don't know why, but I just knew, And as
• 54:11
  I realized that, I got goosebumps. I looked over at
• 54:16
  the pile of salt in the corner, and the top
• 54:18
  had turned black. I ran at full speed of the
• 54:21
  Buddha and sat down in front of it, grasping the towelsman.
• 54:24
  I started to pray as hard as I could.
• 54:27
  Speaker 1: Please on me, Please on me.
• 54:30
  Speaker 2: Then I heard the voice and the windows started rapping.
• 54:37
  Speaker 1: Count Dunn.
• 54:39
  Speaker 2: I knew she wasn't that tall, but I couldn't stop
• 54:41
  picturing her in my mind, reaching up from below and
• 54:44
  tapping on the window. There was nothing I could do
• 54:46
  but keep praying in front of the Buddha. I felt
• 54:49
  unbelievably long, but eventually morning came, and at some point
• 54:52
  the TV that had left on started playing the morning news.
• 54:56
  The time in the corner of the screams at seven
• 54:58
  thirteen am. I had even noticed, but both the tapping
• 55:02
  on the glass and the voice had stopped. It seemed
• 55:05
  I'd either fallen asleep or lost consciousness. A pile of
• 55:08
  salt turned even more black, just in case. I looked
• 55:12
  at my own watch and it said roughly the same time.
• 55:14
  So I nervously opened the door, and my grandmother and
• 55:17
  Kaesaum were standing there, looking worried.
• 55:19
  Speaker 1: My grandmother was crying, I'm so glad, I'm so glad.
• 55:24
  Speaker 2: When I went downstairs, my father was also there. My
• 55:27
  grandfather appeared from outside and told me to.
• 55:29
  Speaker 1: Hurry up and get in the car.
• 55:30
  Speaker 2: I don't know where it came from, but when I
• 55:32
  went out into the garden there was a mini van there.
• 55:36
  There were also several men standing in the garden. The
• 55:40
  van fit nine people. Was put in the middle seat,
• 55:43
  Ason said in the passenger seat, and the rest of
• 55:46
  the men in the garden got in and surrounded me.
• 55:48
  There were nine of us in total. I was surrounded
• 55:51
  in all directions.
• 55:53
  Speaker 1: It's terrible, isn't it.
• 55:56
  Speaker 5: You'll probably be curious, but I want you to close
• 55:58
  your eyes and keep your head down. We won't be
• 56:01
  able to see anything, but perhaps you will until we
• 56:05
  say it's okay. You keep your eyes shut.
• 56:07
  Speaker 2: An old man in his fifty sitting to my right
• 56:09
  said to me. Then my grandfather got into his mini
• 56:12
  truck to take the lead, followed by the van I
• 56:15
  was in, and my father followed in his car. As
• 56:17
  we set off, a line of cars drove rather slowly.
• 56:21
  They probably weren't going over twenty kilometers an hour before long.
• 56:25
  Casan muttered this start part, and the men started chanting
• 56:31
  some sort of Buddhist prayer. Oh, I heard that voice again.
• 56:38
  I gripped the talisman Kason gave me. Closed my eyes
• 56:41
  and put my head down like I was told. But
• 56:43
  for some reason, I opened my eyes just a little
• 56:46
  and looked outside. I saw a white dressed It was
• 56:50
  moving alongside the car. She was following with such long strides. Hey,
• 56:58
  her head was outside the window, so I couldn't see it,
• 57:02
  but she started bobbing her head down like she was
• 57:04
  trying to see inside the car. That imagine that you
• 57:13
  see the dress and then you start to see a
• 57:16
  huge chin like peer down the top of the window. Yeah, yeah,
• 57:22
  like above it trying to look it reminds me, what's
• 57:25
  that eto one? The model the supermodel or whatever, the
• 57:30
  really terrifying girl who comes for the pictures and she's
• 57:32
  like a monster or whatever.
• 57:33
  Speaker 1: She has this monstrous proportion, as there's also a sexy
• 57:36
  one where like a guy in the fog is like
• 57:38
  walking the alleyways too, right through that one too, But.
• 57:44
  Speaker 2: Oh, I don't think I know that one. Unconsciously, I
• 57:47
  let out a sound.
• 57:50
  Speaker 1: Don't look.
• 57:52
  Speaker 2: The man next to me raised his voice and a panic.
• 57:55
  I squeezed my shut and gripped the talisman even tighter. Kotsu.
• 58:00
  A tapping sound on the window began. The people in
• 58:04
  the car around me also gasped in fear. Even though
• 58:07
  they couldn't see her or hear her voice, they could
• 58:09
  hear the sound on the window. Kaison started praying even harder. Finally,
• 58:15
  when I thought the voice and sounds stopped, Kaison said,
• 58:18
  we got to wait. We've been around me, We've been
• 58:22
  quiet until that point.
• 58:22
  Speaker 1: Were relieved and said thank goodness.
• 58:25
  Speaker 2: Soon after, the van stopped in a wide part of
• 58:27
  the road and I got into my father's car. As
• 58:30
  my father and grandfather bowed to the other men, Kason
• 58:33
  came over and.
• 58:34
  Speaker 1: Said, show me the talisman.
• 58:36
  Speaker 2: I was still unconsciously gripping it. When I looked at it,
• 58:38
  it had turned entirely black.
• 58:41
  Speaker 1: Kison said, I think it's all okay now, but just
• 58:45
  in case, you should keep this for a little while longer.
• 58:47
  Speaker 2: And gave me a new talisman. After that, I returned
• 58:50
  home with my father. A few days later, my grandfather,
• 58:52
  one of his neighbors, brought my bike back. Apparently my
• 58:56
  father also knew about Hushaku Sama, and he told me
• 58:59
  about one of his childhood friends who was possessed by
• 59:01
  her and then killed. Even knew of people that had
• 59:05
  to move away and live in other places because of her.
• 59:09
  The men who rode in the car were all related
• 59:11
  to my grandfather in some way, which meant that they
• 59:14
  were all very loosely my blood relatives as well. Of course,
• 59:17
  my grandfather riding in the front and my father riding
• 59:19
  in the back were connected by blood as well, so
• 59:22
  they were all meant to confuse with Shakusama somewhat from me.
• 59:26
  My father's brothers my uncles were unable to come over
• 59:29
  in a single night, so they gathered whatever blood relatives
• 59:32
  they could, no matter how loosely related we were. But
• 59:35
  of course it was still impossible to get so many
• 59:37
  men together so quickly and thinking it much safer to
• 59:41
  leave during the day than at night, I was imprisoned
• 59:43
  in that room for the night. The worst case scenario,
• 59:47
  apparently with my grandfather and father were prepared to sacrifice
• 59:50
  themselves for me as we escaped as well. Now, as
• 59:54
  I explained above, I make sure not to go back
• 59:57
  there anymore. After I returned to him, I spoke to
• 1:00:00
  my grandfather on the phone and asked him if he
• 1:00:03
  spoke to me on that night, but he said that
• 1:00:05
  he didn't, so it really was I got chills down
• 1:00:10
  my spine thinking about it again.
• 1:00:11
  Speaker 1: A Shakusama targeted.
• 1:00:13
  Speaker 2: Youths yet to come of age, and children often saw
• 1:00:16
  her as well. When yous and children are feeling extremely
• 1:00:19
  anxious and they hear the voice of someone from their family,
• 1:00:22
  I think they quickly let their guard down. Ten years passed,
• 1:00:25
  and just as I was about to forget those events,
• 1:00:28
  something terrible happened.
• 1:00:30
  Speaker 1: Maruso statues keeping Asho ko sama and the village broke.
• 1:00:34
  It's someone on the road leading towards your house, granther
• 1:00:37
  mother told me over the phone.
• 1:00:39
  Speaker 2: My grandfather died two years earlier, and of course I
• 1:00:42
  wasn't able to go to his funeral. Even when my
• 1:00:44
  grandfather was no longer able to get out of bed,
• 1:00:47
  he said for me not to come. Even now, as
• 1:00:50
  I'm telling myself that it's just a superstition, I find
• 1:00:53
  myself getting.
• 1:00:54
  Speaker 1: More and more worried when I think about hearing that
• 1:01:00
  poise a kin. What a wonderful story. That was a
• 1:01:02
  great little horror story. I love that.
• 1:01:05
  Speaker 2: That was my trying to confuse it as you drive
• 1:01:07
  out of the border that it can't pass.
• 1:01:09
  Speaker 1: That was awesome. That was by Tara A. Devlin, And
• 1:01:12
  she actually has a book called Cawabana True Japanese Scary
• 1:01:16
  Stories from Around the Internet, Volume one. I just want
• 1:01:18
  to say, we'll link that in the Uh yeah, we'll
• 1:01:20
  link that in the description as well. I'm picking up
• 1:01:22
  mine right now because that was fucking sweet.
• 1:01:24
  Speaker 2: She has several looks like she has a collection of
• 1:01:27
  three very cool Oh no, what books one through ten?
• 1:01:31
  Oh my gosh, she got a bunch of these things. Man, Yeah,
• 1:01:36
  we'll link that in description.
• 1:01:37
  Speaker 1: That was cool. I enjoyed that. I liked that one
• 1:01:38
  a lot. That was a good that was well paced.
• 1:01:40
  Speaker 2: It got me a little bit with it when he's
• 1:01:42
  in the room and you hear the tapping and stuff,
• 1:01:43
  and he was praying.
• 1:01:44
  Speaker 1: That was pretty good. This idea of a possession story
• 1:01:48
  of someone also just being like, I always love deception
• 1:01:52
  and stuff in these horror stories, and the idea of
• 1:01:54
  somebody being like, you cannot open this door till seven am.
• 1:01:57
  And then it's like, also, this idea to this is
• 1:01:59
  before I phone. Holy fuck, what if my watch was off,
• 1:02:02
  I'd be I would be going insane.
• 1:02:05
  Speaker 2: You step out at six point fifty eight.
• 1:02:07
  Speaker 1: Oh yeah, oh my gosh. Yeah. Should we move on
• 1:02:12
  to the next one.
• 1:02:13
  Speaker 2: Yeah, we can move on to the next one. So
• 1:02:14
  the next one is, how'd you pronounce that? Kiss Aragi?
• 1:02:18
  Speaker 1: Yeah, kiss Aragi station, Kiss Aragi station.
• 1:02:20
  Speaker 2: For the description of this one on creepypasta wiki, it
• 1:02:23
  says the following is a translated transcript of an actual
• 1:02:27
  thread posted on the Japanese message board two channel in
• 1:02:30
  two thousand and four. This man two thousand and four
• 1:02:32
  this is ancient Internet horror. The state of topic was
• 1:02:35
  post about strange occurrences around you. The poster was anonymous
• 1:02:38
  at first before using the name Hasumi. Not long into
• 1:02:42
  the discussion, and Hasumi indicate indicate post made by the
• 1:02:47
  thread creator. H The hashtag two channel indicates a post
• 1:02:52
  made by another two chand user. They are not the same,
• 1:02:54
  They are not all the same person. Okay, so when
• 1:02:58
  we see the question mark, it's like a comment on
• 1:03:02
  four chan, right or not? Four chan anonymous? Two chan anonymous. Yeah,
• 1:03:06
  so the anonymous posts and then people replying asking questions.
• 1:03:09
  So do you want you can be Hasumi the person talking,
• 1:03:15
  and I can be.
• 1:03:16
  Speaker 1: Yeah, I'll be question mark in the Hasumi and you'll
• 1:03:19
  be twoch.
• 1:03:20
  Speaker 2: So when I was so over everyone when I'm voicing,
• 1:03:23
  it's not just the same person, it's just all the
• 1:03:25
  commenters replying to Hasumi.
• 1:03:27
  Speaker 1: Yeah, this may be my imagination. Can I post it anyway?
• 1:03:31
  Go ahead? What's going on? I've been riding a certain
• 1:03:34
  train for a while, but something seems off. I always
• 1:03:38
  take this train to work, but it hasn't stopped him
• 1:03:40
  at any stations for the past twenty minutes or so.
• 1:03:42
  It usually takes five minutes, seven or eight at worst.
• 1:03:46
  Oh and there's five other passengers, but they're all sleeping.
• 1:03:50
  Speaker 2: Did you take the express train by mistake? Is it
• 1:03:53
  a high speed train?
• 1:03:55
  Speaker 1: Well, it's possible. I may have missed my stop. I'll
• 1:03:58
  wait a little longer if anything else strange occurs, so
• 1:04:01
  I might bring it up here.
• 1:04:02
  Speaker 2: Try going to the car on the end to see
• 1:04:04
  the conductor. Maybe it'd be really bad if the driver
• 1:04:07
  had an epileptic fit or something. You should check on
• 1:04:10
  the conductor.
• 1:04:10
  Speaker 1: Still no sign of stopping, so all right, I'll take
• 1:04:13
  a look. There were blinds or something covering the window,
• 1:04:15
  so I couldn't see the conductor or the driver. The
• 1:04:19
  route is a private railway in Shizuka. Knock on the window.
• 1:04:22
  I tried that, but nobody answered.
• 1:04:25
  Speaker 2: Can you see out the window? Names of stations you're passing,
• 1:04:28
  et cetera.
• 1:04:30
  Speaker 1: We came out of a tunnel, so we're dropping speed slightly.
• 1:04:33
  They usually are any tunnels, though it's a train for Shinhamamatsu.
• 1:04:38
  Looks like we're finally stopping at a station.
• 1:04:40
  Speaker 2: You weren't going to get off? There, are you?
• 1:04:42
  Speaker 1: We're stopped at Kissigari station. I wonder if I should
• 1:04:45
  get off. I've never heard of this place before.
• 1:04:47
  Speaker 2: Definitely check it out. No, stay on until the last stop. Oh,
• 1:04:51
  but it's probably already departy. Now, when did you get
• 1:04:54
  on the train.
• 1:04:55
  Speaker 1: I've gotten off the train. The station's unmanned. I believe
• 1:04:57
  they got off the train at eleven forty.
• 1:04:59
  Speaker 2: I'm not finding it any information on Kisseragi station. And Hasumi,
• 1:05:04
  your train was going for over an hour. Well that's
• 1:05:07
  really strange. Yeah, I'm not getting into results for Kisseragi station.
• 1:05:11
  Speaker 1: I'm looking for a schedule so I can get back,
• 1:05:14
  but I can't find one. The train is still stopped,
• 1:05:17
  so you're probably be safest to get back on. Well,
• 1:05:21
  it left while I was riding.
• 1:05:22
  Speaker 2: That is there anyone nearby or any buildings. It's called out,
• 1:05:26
  so be careful.
• 1:05:27
  Speaker 1: I'll look for a taxi from the station. Thank you
• 1:05:29
  very much.
• 1:05:30
  Speaker 2: Sounds good. Take care way past the last train at
• 1:05:34
  an unmanned station really questionable if you'll have any luck
• 1:05:37
  finding a taxi there. And so Hasumi became an inhabitant
• 1:05:41
  of the two dimensional world. That doesn't matter what time
• 1:05:45
  period of the internet it is, there's going to be
• 1:05:48
  someone out there saying you're about to die.
• 1:05:49
  Speaker 1: There don't seem to be any taxis anywhere.
• 1:05:51
  Speaker 2: Call one one zero, which is a Japanese number for police.
• 1:05:55
  Call the taxi company if there's a telephone booth nearby.
• 1:05:58
  Look up the taxi company and phone book call.
• 1:06:01
  Speaker 1: I called home and asked to be picked up, but
• 1:06:04
  neither of my parents seem to know where Kishragi station is.
• 1:06:07
  They'll look for in the maps so they can come
• 1:06:09
  get me. But I'm getting a little scared. Now, what
• 1:06:13
  about the others?
• 1:06:14
  Speaker 2: Are you the only one who got off the train?
• 1:06:16
  I checked online too, and the name Kisseragi station isn't
• 1:06:18
  coming up. Am I wrong in assuming it's around shin Hamamatsu.
• 1:06:23
  Speaker 1: I'll check Yahoo. I look for a public phone, but
• 1:06:26
  there's nothing. No one else got off, so I'm alone now.
• 1:06:32
  It's definitely called kiss Haagi.
• 1:06:35
  Speaker 2: This is good man. I love this, so I would
• 1:06:37
  post it. Just an abandoned train station or a noun
• 1:06:41
  man train station. It's like the last stop before eternity.
• 1:06:45
  Sometimes they have phones outside the station.
• 1:06:47
  Speaker 1: Looking into it. Apparently it's written with the kanji for devil,
• 1:06:51
  but it reads kiss Haragi devil station. Yikes, you shit, dude?
• 1:06:56
  Fuck that.
• 1:07:00
  Speaker 2: Well bye forever me. Are you a gaming nerd? Because
• 1:07:04
  a game comes up if you google it tell us
• 1:07:06
  the names of the stations before and after Kissaragi.
• 1:07:09
  Speaker 1: What do you mean the game? It doesn't say what
• 1:07:12
  the next and previous stations.
• 1:07:13
  Speaker 2: Are walk back along the track. That's an awesome suggestion.
• 1:07:17
  Just start walking under the woods. If you start running now,
• 1:07:21
  you might catch up to the train. There must be
• 1:07:26
  houses around the station.
• 1:07:27
  Speaker 1: Right, Yes, there are. I didn't quite notice since I
• 1:07:30
  was panicking. I wait for my parents to call while
• 1:07:33
  walking along the track. I tried checking town information on imode,
• 1:07:36
  but it gave me a point error or something. I
• 1:07:40
  want to go home. There's really just nothing around here.
• 1:07:43
  All I can see our fields and mountains. I think
• 1:07:46
  I'll be able to make it back if I go
• 1:07:47
  down the track, so I'll keep pushing on. Thank you
• 1:07:50
  very much, trutha says a joke. If you will. But
• 1:07:53
  can I come to you if I can count any
• 1:07:55
  more trouble?
• 1:07:55
  Speaker 2: Of course. Just be careful out there. Sure to make
• 1:07:59
  sure you don't run out out of battery. Your phone
• 1:08:01
  is your lifeline right now. Don't get lost, and be
• 1:08:04
  careful in the tunnel. Huh, you can get a signal
• 1:08:07
  out of the middle of nowhere. I kind of think
• 1:08:10
  you shouldn't straight far from the station all alone on
• 1:08:13
  a cold night at a station with no attendants. Soon
• 1:08:16
  the lights could go out and it'll be pitch black.
• 1:08:19
  It really might be the safest wait for daybreak at
• 1:08:22
  the station. Though, Oh jeezu, this sounds bad.
• 1:08:24
  Speaker 1: I got a call from my father and he had
• 1:08:26
  many questions but simply couldn't find my location. I've been
• 1:08:29
  told to call one one one zero, which I'm a
• 1:08:31
  little opposed to doing. I'll try to ask them to
• 1:08:33
  help me.
• 1:08:33
  Speaker 2: Now, So, Hunter, if you were on a train and
• 1:08:36
  the train drops you off somewhere and you're just alone,
• 1:08:38
  no one else, not assault the station, what would you do?
• 1:08:41
  Speaker 1: God, well, I mean, first off, I would never get off.
• 1:08:44
  There's no way I would live on the train, I
• 1:08:47
  feel like honestly though, realistically, if I I would probably
• 1:08:52
  just stay at the station at least wait till I mean, yeah,
• 1:08:54
  at least wait till morning. I mean I would just turn.
• 1:08:56
  Speaker 2: You're just gonna walk through the darkness of the woods.
• 1:08:59
  Speaker 1: Absolutely, no, no, no, I'm not gonna walk with the
• 1:09:01
  tracks or do whatever, and like, you know, hope that
• 1:09:03
  I'm just gonna wait because then also too, I'm gonna
• 1:09:05
  be like I'm at a train station. We just got off.
• 1:09:07
  Even if it takes a while, maybe there's another one.
• 1:09:09
  I'll just wait get on that one. Yeah, no, no,
• 1:09:12
  there's gotta be something better.
• 1:09:14
  Speaker 2: Yeah, I really think you should wait until it gets
• 1:09:16
  lighter out before you do anything. Waiting all alone in
• 1:09:19
  the dead of night and in some ominous place, yikes.
• 1:09:23
  Going through a tunnel alone in the dead of night
• 1:09:25
  and on some ominous train line, yikes.
• 1:09:28
  Speaker 1: I called one one zero and tried my abso best
• 1:09:30
  to explain the situation, but they thought it was all
• 1:09:33
  a joke and got angry at me. So I got
• 1:09:35
  scared and apologized. Now that would be me.
• 1:09:39
  Speaker 2: That'd be me, like, I'm sorry, Actually, no, I don't
• 1:09:42
  need anything, It's okay.
• 1:09:43
  Speaker 1: I definitely would just be calling back.
• 1:09:49
  Speaker 2: This is so it said this was two thousand and four,
• 1:09:51
  but he has a mobile phone.
• 1:09:53
  Speaker 1: Yeah, I wasn't. I think blackberries were around by then,
• 1:09:55
  and four, really I think. So let me see, Yeah,
• 1:09:59
  ninety nine is one blackberries came out.
• 1:10:01
  Speaker 2: WHOA, that's crazy, and you could like browse the internet with.
• 1:10:03
  Speaker 1: Them, the BlackBerry smartphone, the fifty eight ten ride in
• 1:10:08
  twos and two. So yeah, like right at the beginning, whoa,
• 1:10:11
  because I'm crazy, I know that they were pretty early on.
• 1:10:14
  Speaker 2: I didn't think they showed up to like oh, six
• 1:10:16
  oh seven.
• 1:10:17
  Speaker 1: Now that's that's when the iPhone dropped. Yeah, I guess
• 1:10:19
  it is from the first test that killed the BlackBerry.
• 1:10:23
  Speaker 2: But you got to realize I was born in ninety nine,
• 1:10:25
  so all this is like ancient lord to me. I
• 1:10:28
  do remember being like six or seven in plain of
• 1:10:30
  my parents BlackBerry, So I guess in my mind the
• 1:10:34
  iPhone wasn't out for a long time after that, but
• 1:10:36
  it was.
• 1:10:37
  Speaker 1: Yeah, that's true.
• 1:10:38
  Speaker 2: Apologize for what should probably give up for today. Wait
• 1:10:42
  for the first train. What's it like around the station?
• 1:10:45
  Speaker 1: It's there. I hear what sounds like a beating drum
• 1:10:47
  mix with some kind of bell way off in the distance. Honestly,
• 1:10:51
  I have no idea what to do at this point,
• 1:10:54
  because you're in hell.
• 1:10:55
  Speaker 2: Buddy, brother, they gonna bug you up.
• 1:11:01
  Speaker 1: Yeah, Holy Annie Musha game, Good fucking luck, Bud, you
• 1:11:09
  are fucked. They done.
• 1:11:11
  Speaker 2: Piece that man up. He is gone forever. He's going
• 1:11:18
  straight to the mansion from the last episode. Get back
• 1:11:21
  to the station for now, Hasumi. It's best to return
• 1:11:24
  to where you started when you're lost. Here's where I
• 1:11:27
  love these comments that are egging it on. Here's where
• 1:11:30
  it gets going. Are they having a festival or what
• 1:11:34
  you might.
• 1:11:34
  Speaker 1: Think I'm kidding, but I'm too scared to look behind me.
• 1:11:39
  I don't want to go back to the station, but
• 1:11:42
  I don't dare.
• 1:11:43
  Speaker 2: Turn around, run and don't look back. You can't go
• 1:11:46
  back to the station. Now run through the tunnel. I'm
• 1:11:49
  sure you'll find you're not far.
• 1:11:51
  Speaker 1: Someone behind me just yelled, hey, don't walk on the track.
• 1:11:54
  That's dangerous. I looked around, expecting to see an attendant
• 1:11:57
  and saw one legging old man. I said, I'm too.
• 1:12:01
  Speaker 2: Scared to move, Bro, one legged old man in the
• 1:12:05
  middle of the woods.
• 1:12:06
  Speaker 1: That at least kind of stuff, and I'd be like,
• 1:12:10
  we at least I can beat this old man's ass
• 1:12:12
  if he comes near me. Fuck you up, old man.
• 1:12:15
  Call him tick tech Boom, call him ticktech.
• 1:12:20
  Speaker 2: There's something so menacing about a lot of these Japanese stories,
• 1:12:23
  like their folklore, where it's like you said, someone standing there,
• 1:12:27
  but there's such I don't know, there's such maliciousness associated
• 1:12:31
  with him. So often it's like, yeah, just one like
• 1:12:34
  an old man, but with the drums and everything, it's
• 1:12:36
  like that might be the devil.
• 1:12:37
  Speaker 1: Dude.
• 1:12:38
  Speaker 2: I told you not to look back. Run, calm down
• 1:12:40
  and listen to big Bro. Okay, check out where the
• 1:12:43
  drums coming from. There's this dude's big dogging him. Calm
• 1:12:47
  down and listen to big bro. Okay, check out where
• 1:12:50
  the drum's coming from. There's bound to be somebody playing it.
• 1:12:53
  That's how drums work. Where the hell are you planning
• 1:12:56
  to take? Assuming? Why'd you know it was an old
• 1:12:59
  man if it just had a single leg, I think
• 1:13:02
  assuming met an old man who lost one of his legs. Yeah,
• 1:13:05
  that wasn't just a leg flocking in the distance. Must
• 1:13:08
  have been an old man who died and lost a
• 1:13:10
  leg after walking along the track.
• 1:13:11
  Speaker 1: I can't walk a run any further, but drumming sounds
• 1:13:14
  like it's getting a little closer.
• 1:13:15
  Speaker 2: Wait for dawn. It won't be scary in the daylight.
• 1:13:18
  I'm glad I stayed on the train. I'm still alive,
• 1:13:21
  but I fell and started bleeding. I broke a heel,
• 1:13:24
  so I'm sitting still in the ground. I don't want
• 1:13:26
  to die now.
• 1:13:27
  Speaker 1: It should be safe if.
• 1:13:28
  Speaker 2: You leave the tunnel. Once you get out of there,
• 1:13:31
  call for help immediately.
• 1:13:32
  Speaker 1: I called home. Dad's calling the police. But the sound
• 1:13:35
  keeps getting closer.
• 1:13:37
  Speaker 2: I hope to god that's not the sound of a train,
• 1:13:39
  but it might be too late.
• 1:13:41
  Speaker 1: I family managed to make it to the front of
• 1:13:42
  the tunnel. The name says miss Snooki. This sounds still
• 1:13:46
  getting closer, so I'm gonna have to leave the tunnel.
• 1:13:49
  I'm safe. Once I get out of the tunnel, I'll
• 1:13:51
  post again. Good luck. This is the end.
• 1:13:54
  Speaker 2: Forget about trains and stations, forget about going back, forget
• 1:13:58
  about someone chasing you. Sound you're hearing is just something
• 1:14:01
  you imagined. Run out of the tunnel. If you stop,
• 1:14:06
  you'll only succumb to something which does not belong in
• 1:14:08
  this world.
• 1:14:09
  Speaker 1: Oh if the tunnel. They're so one up ahead. It
• 1:14:13
  looks like all your advice was right after all. Thank
• 1:14:15
  you so much. My face is such a mess from tears.
• 1:14:19
  He might just mistake me for a monster.
• 1:14:21
  Speaker 2: Wait, assume me don't die on us.
• 1:14:24
  Speaker 1: Stop.
• 1:14:24
  Speaker 2: That can't be good. Someone there that's late at night,
• 1:14:28
  that's suspicious.
• 1:14:29
  Speaker 1: He seems gentle and was worried for me. He called
• 1:14:33
  for a train to take me to the near station.
• 1:14:36
  There's some kind of business hotel there. Truly, truly thankful
• 1:14:40
  to all of you. Assume me.
• 1:14:41
  Speaker 2: Please answer me this one thing. Can you ask that
• 1:14:44
  man what that place is Is he really gentle? He
• 1:14:49
  sounds kind of scary from what you said. That guy's
• 1:14:52
  no good. Why is he buy the track at this hour?
• 1:14:56
  He must have been a corpse or something. Assume he run.
• 1:14:59
  Speaker 1: I asked him where it and he said it was Pina.
• 1:15:03
  It seems extremely unlikely, though. Assume me get off the train.
• 1:15:08
  Excuse me.
• 1:15:08
  Speaker 2: Assume me where's Hena.
• 1:15:10
  Speaker 1: We've been headed toward the mountains for some time. It
• 1:15:13
  really doesn't strike me as a place where trains would go.
• 1:15:16
  And he stopped talking to me entirely.
• 1:15:18
  Speaker 2: Probably because you're constantly messing with your phone. Assume me,
• 1:15:21
  Oh no, oh no. Did you contact your parents after
• 1:15:25
  you got out of the tunnel and received aid from
• 1:15:27
  this guy? Assume me please call one one zero. This
• 1:15:30
  might be your last chance.
• 1:15:32
  Speaker 1: My batteries almost run out. Things are getting strange, so
• 1:15:37
  I think I'm gonna make a run for it. He's
• 1:15:39
  been talking to himself about bizarre things for a while now.
• 1:15:42
  To prepare for just the right time, I'm going to
• 1:15:45
  make this post my last post for now.
• 1:15:47
  Speaker 2: Afterward, Assume me has never heard from again.
• 1:15:50
  Speaker 1: I love that shit, dude.
• 1:15:52
  Speaker 2: That's fine, That's really fun. I love that shit he
• 1:15:55
  got on a train that crossed over the afterworld and
• 1:15:57
  he's just walking through like the stops. It almost feels
• 1:16:01
  like an evil version of Spirited Away.
• 1:16:04
  Speaker 1: Yeah yeah, I love this idea of yeah, you get
• 1:16:06
  transported into a spirit world unknowingly, you're kind of just like, wait,
• 1:16:10
  what the fuck? Yeah no. I Also I love that
• 1:16:13
  Ted the Caver shit of like, hey, maybe you'll hear
• 1:16:16
  from me again. And that's where the post ends. That
• 1:16:18
  being on a that being on hate random message board rules.
• 1:16:24
  Speaker 2: Yep, that's just like the whole thing put together. And
• 1:16:27
  it's old too.
• 1:16:29
  Speaker 1: I wonder back then if people really knew about like
• 1:16:32
  not necessarily trolls. But I wonder if it's so much
• 1:16:35
  more where people are like I believe this, Like I
• 1:16:37
  have no reason to believe that this guy is lying
• 1:16:38
  to me like it is now now if anybody says
• 1:16:41
  anything online, you're just like, what the fuck ever? Dude?
• 1:16:43
  Shut up? You know what I mean?
• 1:16:44
  Speaker 4: Uh?
• 1:16:46
  Speaker 1: So, I feel like I, at least I want to
• 1:16:47
  believe at this time that people were just so invested
• 1:16:51
  freaking out. And that's the funniest thing is too, is
• 1:16:53
  you don't even know who the commentors are. Those people
• 1:16:55
  could be. That's I like to think too, Like when
• 1:16:57
  I went to Japan, I mean it's I mean you
• 1:16:59
  travel around trains, That's just that's what you do. There's
• 1:17:02
  like no way to get around, uh without it. So
• 1:17:06
  I like to think how many of these people were
• 1:17:07
  on trains commenting and being like, oh my fucking god.
• 1:17:10
  Speaker 2: You know, so I go, what if I'm Yeah, because
• 1:17:13
  a lot of the best urban legends tie into like
• 1:17:15
  real fears or worries people have. It's like what if,
• 1:17:19
  Because when you get on a train, you're completely at
• 1:17:21
  the wheel of the conductor, right, yeah, what if one
• 1:17:23
  day you got onto a train and you didn't stop?
• 1:17:26
  What if you went somewhere else? How could you get off?
• 1:17:29
  What would you do?
• 1:17:29
  Speaker 1: Yeah? Yeah, Uh.
• 1:17:32
  Speaker 2: It looks like it was actually adapted into a little
• 1:17:35
  It kind of looks low budget, but a horror movie.
• 1:17:38
  Speaker 1: It's fun Sar Station. That's pretty cool. We're going back
• 1:17:41
  to Tara again, thank god. Uh she's doing this is
• 1:17:45
  another she's doing a or it's a story called Kune
• 1:17:48
  Kune yep.
• 1:17:49
  Speaker 4: Uh.
• 1:17:49
  Speaker 2: There's another one by her beneath this called, uh the
• 1:17:53
  Note My Brother Left Behind, which looks pretty anyway. Uh, yeah,
• 1:17:57
  kune kune. Seems like she's put together a bunch of
• 1:18:00
  bangers from the looks of it.
• 1:18:01
  Speaker 1: I mean, I legitim. While we were sitting there, I
• 1:18:04
  ordered her book on Amazon. It looks really good, but yeah.
• 1:18:09
  Speaker 2: Looks sick. All right, Well are you ready for Wait?
• 1:18:12
  Speaker 1: Hold on?
• 1:18:13
  Speaker 2: Where was the where did I read that last one?
• 1:18:17
  Where did we read that last story?
• 1:18:18
  Speaker 1: At? Was that not on creemypasta wiki?
• 1:18:22
  Speaker 2: That's creepypasta. You're right, I was making sure that wasn't
• 1:18:24
  her that recorded it. Yeah, yea, yeah, that's creepas wiki.
• 1:18:27
  Speaker 1: All right.
• 1:18:27
  Speaker 2: So another tara one kune kune, is that you'd pronounced
• 1:18:31
  that kune?
• 1:18:31
  Speaker 1: I think so. I mean, that's what I pictured. It
• 1:18:33
  is a couple of dumb genius. Yeah, a Midwestern The
• 1:18:38
  dumbest thing I've ever said in my life said like
• 1:18:42
  thirty minutes ago or however long you know, it feels
• 1:18:44
  like a lifetime ago. Now it was.
• 1:18:45
  Speaker 2: It was an hour and ten minutes ago. But yeah,
• 1:18:48
  that was not the dumbest thing you've ever said in
• 1:18:50
  your life.
• 1:18:50
  Speaker 1: Don't worry, Oh, thank you said far dumber. Welcome.
• 1:18:53
  Speaker 2: It's kind This happened when I went to visit my
• 1:18:56
  grandmother's house. As a child, we only went to visit
• 1:18:59
  my grand mother's house once a year during obaugh. So
• 1:19:03
  as soon as we got there, I took off at
• 1:19:05
  full speed with my older brother to play outside. It's
• 1:19:09
  entirely different to the city. The air is so fresh
• 1:19:12
  and clean. I took in the refreshing breeze as my
• 1:19:15
  brother and I ran around the rice fields. Then, as
• 1:19:18
  the sun rose high in the sky and stood right
• 1:19:20
  above us, the wind suddenly stopped. Well, that's what I thought,
• 1:19:26
  but then a disgustingly warm breeze blew instead.
• 1:19:29
  Speaker 1: It's already hot at the best of times. Is it
• 1:19:32
  such a warm breeze blowing now?
• 1:19:33
  Speaker 2: I complained, angry that the cool breeze had been snatched
• 1:19:37
  away from me. I noticed my brother was looking in
• 1:19:39
  another direction, towards the scarecrow in the distance.
• 1:19:42
  Speaker 1: What's up with that, I asked him.
• 1:19:45
  Speaker 2: No, not that past that, he replied, strained his eyes
• 1:19:49
  even harder to see. I wanted to see as well,
• 1:19:52
  and looked intently over the rice fields. Then I saw it.
• 1:19:57
  What was that? It was far in the dis so
• 1:20:00
  I couldn't tell what it was. It was about the
• 1:20:03
  size of a human, but it was white and swaying
• 1:20:06
  to and fro.
• 1:20:08
  Speaker 1: I don't like that, dude, No, I don't like that.
• 1:20:12
  Speaker 2: And now you know, the moment I read that, it's
• 1:20:15
  storming right now. See I'm talking now my window right here,
• 1:20:19
  out of my window right here to the left where
• 1:20:21
  this tree limb is, it keeps like bowing in and out.
• 1:20:25
  And I'd thought of that as soon as I read
• 1:20:27
  that it was swaying. About the size of it, I
• 1:20:30
  hate the sentence it was about the size of a human.
• 1:20:33
  There's so many assumptions. They're like, why are you calling
• 1:20:36
  it in? What do you mean about? Which way is
• 1:20:38
  it about? So it's not a human then.
• 1:20:42
  Speaker 1: Like I just even just the thing of swaying to
• 1:20:45
  and fro, like almost like a dance or something, It
• 1:20:47
  is just I don't know.
• 1:20:48
  Speaker 2: Yeah, I also hate that because it's like it makes
• 1:20:53
  me think that it's going to take off towards you
• 1:20:54
  at any moment. You know, there was nothing around here
• 1:20:57
  but rice fields, no reason for any people to be nearby.
• 1:21:02
  For a moment, I felt strange, But then I tried
• 1:21:04
  to explain.
• 1:21:05
  Speaker 1: It isn't that just a new type of scarecrow? It
• 1:21:08
  has to be until now scarecrows have never moved, so
• 1:21:12
  a farmer or someone must have thought it up. It
• 1:21:14
  probably just started moving with that wind just before.
• 1:21:17
  Speaker 2: My brother's expression said that he agreed with my precise explanation.
• 1:21:22
  But in an instant it disappeared the wind had stopped,
• 1:21:27
  and yet the white thing in the distance was still swaying.
• 1:21:30
  Speaker 1: Hey, the things still moving? What the hell is it?
• 1:21:36
  Speaker 2: He said, surprise in his voice. He wanted to know
• 1:21:39
  what it was, so he returned to the house and
• 1:21:41
  came back with a pair of binoculars. He seemed excited.
• 1:21:45
  Speaker 1: I'm going to take a look at first, so just
• 1:21:47
  wait a.
• 1:21:47
  Speaker 2: Minute, he said, and eagerly peered through the binoculars. Then
• 1:21:51
  suddenly his face changed before my eyes. He started to
• 1:21:58
  turn blue and broke out into a cold sweat. Finally,
• 1:22:03
  he dropped the binoculars he was holding. Terrified of my
• 1:22:07
  brother's transformation, I asked him what was it? He answered
• 1:22:11
  me very slowly.
• 1:22:13
  Speaker 1: You're you're better off not knowing. Oh gosh, it.
• 1:22:20
  Speaker 2: Wasn't my brother's voice. Just like that, he turned and
• 1:22:24
  steadily returned to the house. I went to pick up
• 1:22:27
  the binoculars. Loo look at what turned my brother's face
• 1:22:30
  instantly blue, but perhaps because of what he said, I
• 1:22:34
  couldn't find the courage to do it. But something was
• 1:22:37
  bothering me from far away. It just looked like something white,
• 1:22:41
  swaying strangely. It was a little weird, but other than that,
• 1:22:46
  it wasn't especially scary. But my brother I had to look.
• 1:22:52
  I had to see what my brother saw. You're that scary? Huh, Well,
• 1:22:57
  I'll decide that with my own two eyes. I picked
• 1:23:00
  up the fallen binoculars and went to look. My father
• 1:23:04
  suddenly came running towards me. Before I could even ask
• 1:23:07
  what's wrong? My father rushed towards me.
• 1:23:11
  Speaker 1: Don't look at that white thing. Did you see it?
• 1:23:14
  Did you look at it? To the binoculars?
• 1:23:16
  Speaker 2: No, not yet, I replied, confused, Thank god, my father said,
• 1:23:22
  falling to the ground in relief. We went back to
• 1:23:25
  the house. I had no idea what was going on.
• 1:23:28
  When we got back, everyone was crying. Was this because
• 1:23:31
  of me?
• 1:23:33
  Speaker 1: No? Not me.
• 1:23:34
  Speaker 2: When I looked closer, I could see my brother laughing
• 1:23:38
  like a madman. He was moving about like that white thing,
• 1:23:43
  swaying sway. Seeing my brother like that, he was scarier
• 1:23:49
  than whatever that white thing was. Then, when it was
• 1:23:54
  time for us to return home. My grandmother said.
• 1:23:56
  Speaker 3: It would be better for everyone if you left him here.
• 1:24:00
  It'll be easier for him to live here. No place
• 1:24:03
  is small, and if you think about your neighbors, it
• 1:24:05
  won't wait even a few days before leave him here.
• 1:24:08
  The best thing to do is to release him into
• 1:24:10
  the rice fields after a few years.
• 1:24:12
  Speaker 1: My fucking lord, oh my god, dude, God damn.
• 1:24:20
  Speaker 2: Hearing those words, I broke out into tears. I never
• 1:24:24
  see my brother like he was again, even if we
• 1:24:28
  came back again the following year, that wouldn't be my brother.
• 1:24:33
  Why did this happen? We were just playing around, having fun.
• 1:24:38
  Speaker 1: Why?
• 1:24:39
  Speaker 2: I furiously wiped my tears, got in the car and
• 1:24:42
  we left the house behind. As our grandparents wave goodbye.
• 1:24:46
  Just for a moment, I thought I saw my brother
• 1:24:49
  wave too. As we got further away, I wanted to
• 1:24:53
  see my brother's face one more time, so I looked
• 1:24:56
  through the binoculars and he was most definitely crying. His
• 1:25:01
  expression was out of laughter, but it was the first
• 1:25:03
  and last time he would smile so sadly again. And
• 1:25:08
  as we turned the corner and I can no longer
• 1:25:09
  see him, broke out into tears once more, not taking
• 1:25:14
  my eyes away from the binoculars.
• 1:25:16
  Speaker 1: What did you come back? Right? I thought?
• 1:25:19
  Speaker 2: I looked out over the green fields while remembering and
• 1:25:22
  missing my brother. Then while I was thinking about my brother,
• 1:25:28
  I looked through the binoculars. That was when it happened.
• 1:25:33
  I saw the thing up close that I knew I
• 1:25:36
  should never see.
• 1:25:38
  Speaker 1: And what a great one man.
• 1:25:40
  Speaker 2: Man that got me a great man, just like the
• 1:25:45
  thing in the field. So there's a recurring thing in
• 1:25:47
  a lot of these stories about like adults knowing something
• 1:25:50
  that the kids exposed to. You know, I just like
• 1:25:53
  never been panicking or having to do something to help.
• 1:25:55
  Speaker 1: Never fully given the reader the full gist of the story,
• 1:26:00
  and just kind of coming in on a random moment.
• 1:26:01
  It's just so fun, Honestly, I think that's a great
• 1:26:03
  one to end on. I think that's a that's a
• 1:26:06
  really really fun one.
• 1:26:07
  Speaker 2: I really like a lot Again, how a lot of
• 1:26:12
  the Japanese legends have so much weight behind them. There's
• 1:26:15
  so much you could do with them, and a lot
• 1:26:16
  of them are just so brutal, like the train station
• 1:26:19
  to Hell or that takes you to the afterlife, and
• 1:26:22
  Tomino's Hell. Of course that one's a classic, but then
• 1:26:24
  you also have stuff like the one we just read,
• 1:26:27
  where it's something unspeakable in the fields, or kind of
• 1:26:30
  the same vibe that the hashuku Hashakusama does. Where's this
• 1:26:34
  tall woman And there's some other popular Japanese legends who like,
• 1:26:37
  there's a slit mouthed woman who approaches you and she
• 1:26:40
  has a mask on. She says, want to see my smile,
• 1:26:42
  and she pulls it down and her face is cut
• 1:26:44
  open and she kills you. There's the other one, the
• 1:26:46
  tech tech, which is the woman who, if I believe
• 1:26:49
  in most regards, was run over by a train or
• 1:26:52
  someone throw her on the train tracks that she was
• 1:26:54
  run over. So she's just an upper torso with arms
• 1:26:57
  that like chases you down the road at night, but
• 1:26:59
  she can move really fast. There's so many really brutal ones.
• 1:27:03
  It's interesting how you can take these horror concepts and
• 1:27:07
  do so much with them that makes them so much
• 1:27:09
  more than just the initial scare or premise, Like the
• 1:27:13
  white thing in the field, Like the white swaying thing
• 1:27:15
  in the field's enough, but then seeing what it does
• 1:27:17
  to the brother and things like that terrifying. Like, dude,
• 1:27:20
  there's it's like you said earlier, if there's one group
• 1:27:22
  who knows how to keep you up at nights, the Japanese.
• 1:27:25
  Speaker 1: The uh just so much good shit today, beautiful poetry. Also,
• 1:27:30
  I will say I am very, very curious to keep
• 1:27:33
  reading Tara's work. Tara A. Devlin once again will link
• 1:27:36
  her Amazon shop or just some books or whatever in
• 1:27:40
  the description. Both stories you read by her were phenomenal.
• 1:27:45
  I'm just I mean also too, I really love just
• 1:27:48
  even the screenplay format of the or not screenplay, but
• 1:27:50
  just like it's nothing but comments. I feel like we
• 1:27:52
  haven't done that since h Is that kind of how
• 1:27:55
  face my my girlfriend messaged me on Facebook? Is that
• 1:27:57
  kind of the similar of like the conception or not? Really?
• 1:28:01
  Speaker 2: I can't remember. I think that one was just longer posts,
• 1:28:05
  but I see, Yeah, we've done some before that are
• 1:28:09
  comment sections like that.
• 1:28:10
  Speaker 1: I always like that back and forth. It's really really fun.
• 1:28:13
  And I think that the once again just these things
• 1:28:15
  of it's just a fun way of doing like we're
• 1:28:18
  not seeing the horror, we're kind of like experiencing it
• 1:28:20
  with the commenters. I think that's a lot of fun.
• 1:28:24
  I liked all of them, though, I mean, I really
• 1:28:26
  I don't know if I have a favorite one out
• 1:28:28
  of all of them. I mean, I think the Hashakkusama,
• 1:28:31
  I really like that one. I think of like just
• 1:28:33
  the tall woman, just the bobbing of the head. I
• 1:28:35
  think the setup is good. I like the kind of
• 1:28:37
  like ritualistic. Also two different stories from Tara here where
• 1:28:43
  it's like a generational horror of like a dad at
• 1:28:47
  the end of kune kune running up and being like,
• 1:28:50
  don't fucking look at that, while the grandfather in a
• 1:28:53
  Hashakusama was pretty much like, well, fuck, I guess I
• 1:28:57
  gotta go kill a demon or got to go deep,
• 1:28:59
  you know, extra size you or something.
• 1:29:01
  Speaker 2: Well, it's kind of like the thing with there's so
• 1:29:03
  much history behind all the whore it stands to reason
• 1:29:06
  that generations would be affected by it, you know.
• 1:29:08
  Speaker 1: Yeah, no, it's it just seems like things that are
• 1:29:11
  just like undeniable or like they're not they're totally you
• 1:29:15
  have no control over it is one. But then also
• 1:29:17
  it's like things that don't just affect every generation. Like
• 1:29:20
  that's one thing I really liked with Ashakusama is it's
• 1:29:23
  a spirit that does possess people, but you're just hoping
• 1:29:26
  it's like a cancer or something. You're just praying to
• 1:29:29
  God that it's like does not affect you, you know,
• 1:29:32
  which I thought was really just a lot of fun.
• 1:29:34
  I don't know. Also too, just as this themed grab
• 1:29:37
  bag was just really fucking fun, I feel like we
• 1:29:39
  need to do more themed grab bags.
• 1:29:41
  Speaker 2: Yeah, well, normally we try to put something to them,
• 1:29:44
  but yeah, you're right, the Japanese once have been pretty cool.
• 1:29:46
  Speaker 1: I guess, just even culturally, I think maybe just a
• 1:29:48
  cultural grab bag, Like maybe next time we can do
• 1:29:51
  something just from you know what I mean, stories that
• 1:29:53
  are fixated in other people's culture that are all specifically
• 1:29:57
  the same versus just like you know, subject matter, you know,
• 1:30:00
  oh they're all ghost stories or something. I think that
• 1:30:02
  doing more cultural grab bags would be a lot of fun. Yeah. Well,
• 1:30:08
  thank you all so much for listening to Creepcast today.
• 1:30:10
  We hope you enjoyed this one. Thank you to all
• 1:30:12
  of our audio listeners on Spotify and Apple podcasts, and
• 1:30:15
  also thank you to our patrons who have been getting
• 1:30:17
  some exclusive streams, been watching, been watching episodes before they
• 1:30:20
  come out, getting exclusive episodes that you won't see up
• 1:30:23
  on the YouTube. So we appreciate you as well for
• 1:30:26
  checking that out and supporting us. Until next time, guys,
• 1:30:29
  stay creeped bye.
• 1:30:31
  Speaker 2: Bye, stay creeped out.
• 1:30:34
  Speaker 1: Uh.
• 1:30:34
  Speaker 2: And you know what, maybe because of his appreciation for it,
• 1:30:38
  the Japanese can forgive Hunter. We'll see, we'll find out,
• 1:30:41
  We'll see if he murders any more women, time will tell.
• 1:30:44
  Speaker 1: Bye.