Bakemono of the Edo period is the origin of Japanese Manga and character culture. The purpose of this paper is to examine how Ukiyo–e painters dealt with Yōkai and and how the characters could be used in the way of media mix in Edo culture, in order to contribute to the use of contents in contemporary culture. Exploring the media mix in Edo visual culture can be significant in terms of glimpsing the common culture that accepted classical Yōkai as popular contents at that time and in terms of referring to the creation and various uses of cultural contents imaged by Ukiyo–e painters to develop contemporary cultural contents. Among the numerous Yōkai, this paper has focused on “Tamamonomae” used repeatedly as contents in Ukiyo–e of Hokusai, Kuniyoshi, Yoshitoshi, and Kyōsai. Such Ukiyo–e painters drew on the stories of Dalgi, Lady Kayō, and Tamamonomae, who were shaped by the three countries of India, China, and Japan, to depict her as a figure with narrative historical characteristics, to combine her with contemporary trends to appear with a popular entertainer, and to set up a target to be eradicated in Musha–e. In addition, the painting itself was used as an object to be appreciated as a Japanese aesthetic that recalls the old tale but breaks away from its stereotype so it was reborn as a modern style that symbolizes the entanglement between an animal fox and a woman. This paper has shown that Yōkai Ukiyo–e in the Edo period existed as another kind of representation of simulacre.