After numerous deaths in his family, he relinquished his samurai status, married a merchant's widow, and became an Edo townsperson.

Born in Edo (present-day Tokyo) on 4 July 1767, Bakin was the fifth son of Bunkurō Omon and Takizawa Okiyoshi.

His death forced the Matsudaira clan to reduce the Takizawa stipend by half, starting the steady decline of Bakin's family.

He would study medicine but find the profession uncomfortable before pursuing jobs as a comic poet, fortuneteller, comedian, and Confucian Scholar.

[5] Bakin's turning point came in 1790 when he approached the very successful author, Santō Kyōden, seeking help with the publication of the former samurai's first work, Tsukaihatashite nibu kyogen (尽用而二分狂言).

Tsukaihatashite nibu kyogen (尽用而二分狂言) was published in 1791 under the pen name "Daiei Sanjin, Disciple of Kyoden".

Bakin was able to avoid the punishments levied on his contemporaries like Shikitei Sanba, Jippensha Ikku and his friend and patron, Santō Kyōden.

These two works, Tatsunomiyako namagusa hachinoki and Jitsugo-kyō osana kōshaku were written by Bakin and copied by Kyōden before being sent off for publishing.

In 1796, he published his first yomihon Takao senjimon (高尾船字文) and his works spread to Kyoto and Osaka, earning him nationwide acclaim.

These encounters and experiences made their way into Bakin's novels and lent them an honesty that would make his works popular through the entire social strata of Japan.

[3] From 1803 to 1813, Bakin published thirty historical novels, marking the beginning of his full career as a professional writer.

By 1810 Bakin was making a comfortable living as a writer, exceeding the stipend that had been allotted to his family while they served under Matsudaira and he was considered the preeminent author of historical novels.

There are various theories as to why Bakin and Hokusai dissolved their cooperation, such as discordant personalities and conflicting opinions on how to draw illustrations.

[7][8][9][10] By 1818, with the purchase of a second household with the profits of his book sales and wife's business, the Takizawa family was officially restored.

Like most of his works, Hakkenden focused on samurai themes, including loyalty and family honor, as well as Confucianism, and Buddhist philosophy.

During its production, Bakin would recede from public life and split from his contemporaries causing rumors to circulate that he had died.

Sōhaku, after a prolonged illness that kept him from his duties as a clan physician, married a young woman named Otetsu in 1827.

His wife's frequent illnesses taxed him as did his son's continued invalidity and Bakin's rheumatism and vision loss progressed.

Fearing the collapse of his newly restored family, Bakin decided in 1836 to hold a party to celebrate his birthday.

The gala attracted leading writers and publishers, poets and entertainers, and important officials form the Shōgun's court.

In order to be closer to his grandson's post, Bakin sold the family house in the city and moved into a rural estate.

[11] and authors like Mori Ōgai used Bakin's methodology for adapting Chinese literature to bring Western works to Japan.

A series of ukiyo-e containing 50 pictures depicting characters from Nansō Satomi Hakkenden and featuring leading kabuki actors was created by Utagawa Kunisada II.

[12] Excerpts translated by Chris Drake are included in Early Modern Japanese Literature: An Anthology, 1600-1900, edited by Haruo Shirane (Columbia University Press, 2002).

His Chinsetsu Yumiharizuki (Strange Tales of the Crescent Moon) was adapted for the kabuki stage by Yukio Mishima.

If Kyokutei Bakin reaches their Third Ascension, the spirit of Fusehime takes over Michi's body who is then accompanied by the dog familiar Yatsufusa.