he was befriended by the local Tolai tribespeople, who offered him land, a home, and citizenship via marriage to a Tolai woman. Mizuki acknowledged that he considered remaining behind, but was shamed by a military doctor into returning home to Japan first for medical treatment to his arm and to face his parents, which he did reluctantly. Upon arriving home, Mizuki had initially planned to return to New Guinea; however, the occupation of Japan changed that. His injuries did little to help, nor did the fact that his older brother, an artillery officer, was convicted as a war criminal for having prisoners of war executed. After his return to Japan he worked at a variety of jobs including as a fish salesman and kamishibai artist. In 1957, Mizuki released his debut work, Rocketman. He published numerous works afterwards, both dealing with the military and with yōkai. He has also written many books on both subjects, including an autobiography about his time on New Britain Island and a manga biography of Adolf Hitler in 1971. This book was published in English in 2015 by Drawn & Quarterly. Mizuki began a rental manga adaptation of the kamishibai in 1960. In 1965, it was renamed Kappa no Sanpei and began serialization in Weekly Shōnen Magazine, before being renamed again to GeGeGe no Kitarō in 1967. In 1972 he publishes the gekiga graphic novel Nonnonba about his childhood friendship with old maid and his nanny, who impressed him with the yokai stories. In 1991, he released a short work titled War and Japan (Sensō to Nippon) published in The Sixth Grader, a popular edutainment magazine for young people, detailing the atrocities committed by the Japanese Army during their rampage in China and Korea and is narrated by Nezumi Otoko. The work serves as a counterpoint to revisionist manga like the works of Yoshinori Kobayashi and by extension a way for Mizuki to express his anger at those responsible for all of Japan's victims. From 1989 until 1998 he worked on Showa: A History of Japan, which follows the same approach and conveys Mizuki's view of the Shōwa era through a mixture of personal anecdotes and summaries of major historical events. His character Nezumi Otoko often appears as the narrator in these works. When not working in either field, he painted a number of subjects, though these works are not as well known as his