You enjoyed how Where the Wild Ladies Are turns legends like Oiwa from Yotsuya Kaidan and the women of “The Peony Lantern” into sharp, contemporary encounters. Nagamatsu does something similarly bold: kappa, tengu, and kaiju walk into offices, bedrooms, and hospitals, and the result is tender, uncanny, and slyly political. If Matsuda’s haunted beauty salon and late-night lantern visits thrilled you, these stories’ everyday brush-ups with myth will feel like coming home to another friendly ghost.

If it was the crisp, episodic snap of Matsuda’s stories that hooked you—the way one tale about a modern ‘Peony Lantern’ gives way to a makeover-turned-haunting in the next—Motoya’s compact pieces will land perfectly. Her heroines discover their husbands’ faces are subtly wrong, sales clerks warp reality with politeness, and a gym routine becomes almost mythic. The same playful slide from everyday oddity to the supernatural that made Matsuda’s vignettes sparkle is alive here.

Part of the charm in Where the Wild Ladies Are is how ghosts clock in alongside the living—those late-night visits in the ‘Peony Lantern’ riff feel practical, almost office-like. In The Ghost Bride, Li Lan is drawn into a marriage proposal from a dead man and must traverse hungry ghosts, paper-offering economies, and an afterlife that runs on rules the living barely grasp. If Matsuda’s low-key hauntings in apartments and workplaces intrigued you, Choo’s elegant, grounded brush with the dead will delight.

Matsuda’s ghosts aren’t just spooky—they’re women reclaiming space, like the reimagined Oiwa refusing the roles men assign her. Vo’s novella follows an empress and her confidante, Rabbit, whose archived ‘small things’ reveal how women bend empires. If you loved how Matsuda’s heroines slip past expectations—whether in domestic corners or late-night offices—this intimate tale of hidden agency and quiet revolt will scratch the same itch.

If the sly humor in Where the Wild Ladies Are made you grin—those deadpan meetings between ghosts and salarymen, the playful update of classic tales—Lavery’s retellings will be catnip. Fairy tales and parables get twisted with mordant wit and gender play, much like Matsuda’s wry lens on ‘The Peony Lantern’ and other classics. You’ll get the same crackle of recognition and laughter as familiar stories tilt into something sharper—and funnier.