hɜːɹ ˈɪnfluːəns ɪz ˈɛvɪdənt æz fˈɑːɹ ɐwˈeɪ æz dʒəpˈæn, wɪð tˈɑːʃɪˌoʊ suːzˈuːkiz jˈɑːndʒuːnˌɪn nˈoʊ tˈɑːzoʊkˌuː fˈɔːɹɾi bˈɜːɡlɚz, nˈaɪntiːnhˈʌndɹɪd twˈɛnti ˈeɪt, ænd æz ˈɜːli æz nˈaɪntiːnhˈʌndɹɪd twˈɛnti fˈoːɹ, wɪð haɪdhˈɪkoʊ oʊkjˈuːdə, tˈɑːmuː ˈʌtʃɪdə ænd hˈækjuːzən kɪmjˈʊɹɹəz kˈænɪmˌændʒi ɛndʒi ðə tˈeɪl ʌv kɹˈæb tˈɛmpəl.
Her influence is evident as far away as Japan, with Toshio Suzuki's Yonjunin no Tozoku (Forty Burglars, 1928), and as early as 1924, with Hidehiko Okuda, Tomu Uchida and Hakuzan Kimura's Kanimanji Engi (The Tale of Crab Temple).