Many of Yoshitoshi's prints of the 1860s are depictions of graphic violence and death.
These themes were partly inspired by the death of Yoshitoshi's father in 1863 and by the lawlessness and violence of the Japan surrounding him, which was simultaneously experiencing the breakdown of the feudal system imposed by the Tokugawa shogunate, as well as the effect of contact with Westerners.
In late 1863, Yoshitoshi began making violent sketches, eventually incorporated into battle prints designed in a bloody and extravagant style.
The public enjoyed these prints and Yoshitoshi began to move up in the ranks of ukiyo-e artists in Edo.
With the country at war, Yoshitoshi’s images allowed those who were not directly involved in the fighting to experience it vicariously through his designs.
The public was attracted to Yoshitoshi’s work not only for his superior composition and draftsmanship, but also his passion and intense involvement with his subject matter.
Besides the demands of woodblock print publishers and consumers, Yoshitoshi was also trying to exorcise the demons of horror that he and his fellow countrymen were experiencing.

As he gained notoriety, Yoshitoshi was able to have ninety-five more of his designs published in 1865, mostly on military and historical subjects.
Among these, two series would reveal Yoshitoshi’s creativity, originality, and imagination.
The first series, Tsūzoku saiyūki ("A Modern Journey to the West"), is about a Chinese folk-hero.
The second, Wakan hyaku monogatari ("One Hundred Stories of China and Japan"), illustrates traditional ghost stories.
His imaginative prints set him apart from any other artist of the time.

Between 1866 and 1868 Yoshitoshi created some extremely disturbing images, notably in the series Eimei nijūhasshūku ("Twenty-eight famous murders with verse").
These prints show killings in very graphic detail, such as decapitations of women with bloody handprints on their robes.
Other examples can be found in the strange figures of the 1866 series Kinsei kyōgiden, ("Biographies of Modern Men"), which depicted the power struggle between two gambling rings, and the 1867 series Azuma no nishiki ukiyo kōdan.
In 1868, following the Battle of Ueno, Yoshitoshi made the series Kaidai hyaku sensō in which he portrays contemporary soldiers as historical figures in a semi-western style, using close-up and unusual angles, often shown in the heat of battle with desperate expressions.

It is said that Yoshitoshi's work of the "bloody" period has influenced writers such as Jun'ichirō Tanizaki (1886–1965) as well as artists including Tadanori Yokoo and Masami Teraoka.
Although Yoshitoshi made a name for himself in this manner, the "bloody" prints represent only a small portion of his work.
They tend to be over-emphasized by critics, which has led to an inaccurate perception that overlooks the true variety, subtlety and insight of Yoshitoshi's art.
Many of Yoshitoshi's prints of the 1860s are depictions of graphic violence and death. These themes were partly inspired by the death of Yoshitoshi's father in 1863 and by the lawlessness and violence of the Japan surrounding him, which was simultaneously experiencing the breakdown of the feudal system imposed by the Tokugawa shogunate, as well as the effect of contact with Westerners. In late 1863, Yoshitoshi began making violent sketches, eventually incorporated into battle prints designed in a bloody and extravagant style. The public enjoyed these prints and Yoshitoshi began to move up in the ranks of ukiyo-e artists in Edo. With the country at war, Yoshitoshi’s images allowed those who were not directly involved in the fighting to experience it vicariously through his designs. The public was attracted to Yoshitoshi’s work not only for his superior composition and draftsmanship, but also his passion and intense involvement with his subject matter. Besides the demands of woodblock print publishers and consumers, Yoshitoshi was also trying to exorcise the demons of horror that he and his fellow countrymen were experiencing.
As he gained notoriety, Yoshitoshi was able to have ninety-five more of his designs published in 1865, mostly on military and historical subjects. Among these, two series would reveal Yoshitoshi’s creativity, originality, and imagination. The first series, Tsūzoku saiyūki ("A Modern Journey to the West"), is about a Chinese folk-hero. The second, Wakan hyaku monogatari ("One Hundred Stories of China and Japan"), illustrates traditional ghost stories. His imaginative prints set him apart from any other artist of the time.
Between 1866 and 1868 Yoshitoshi created some extremely disturbing images, notably in the series Eimei nijūhasshūku ("Twenty-eight famous murders with verse"). These prints show killings in very graphic detail, such as decapitations of women with bloody handprints on their robes. Other examples can be found in the strange figures of the 1866 series Kinsei kyōgiden, ("Biographies of Modern Men"), which depicted the power struggle between two gambling rings, and the 1867 series Azuma no nishiki ukiyo kōdan. In 1868, following the Battle of Ueno, Yoshitoshi made the series Kaidai hyaku sensō in which he portrays contemporary soldiers as historical figures in a semi-western style, using close-up and unusual angles, often shown in the heat of battle with desperate expressions.
It is said that Yoshitoshi's work of the "bloody" period has influenced writers such as Jun'ichirō Tanizaki (1886–1965) as well as artists including Tadanori Yokoo and Masami Teraoka. Although Yoshitoshi made a name for himself in this manner, the "bloody" prints represent only a small portion of his work. They tend to be over-emphasized by critics, which has led to an inaccurate perception that overlooks the true variety, subtlety and insight of Yoshitoshi's art.
Yoshitoshi