#GA: I'm so funny~~

[leucoratia]

My favourite loser scientist (we are legally married)

Handplates!Gaster by @zarla-s (thank you so much for this AU it has given me life for the past 6 years)

[scalpho]

yttd sibling death reactions we didn't get to see

[keikotwins]

Mokumokuren

Birds of different feathers flock together

Noticed online by head-hunting publishers, Mokumokuren hasn’t waited very long before polarising the attention of Japanese readers. With strange The Summer Hikaru Died, horrific bromance dealing with body dispossession, the mangaka signs a series of sophisticated oddity, that sets itself apart from the predictability of current fantasy productions.

Interview by Fausto Fasulo. Original translation: Aurélien Estager. English translation: “Keikotwins”. Bibliography: Marius Chapuis. Thanks: Camille Hospital & Clarisse Langlet (Pika), Yuta Nabatame, Mayuko Yamamoto & Mana Kukimoto (Kadokawa), Chiho Muramatsu (Tohan)

(T/N: Interview given to ATOM in winter 2023; 2 volumes were out in French.)

-

In an interview given to the CREA website in November 2022, you confided inventing stories since very young. Did your first fictions resemble the ones you draw nowadays?

It’s true that there are quite a lot of common points between the stories I imagined when I was a child and the ones I tell nowadays in my mangas. Especially a specific motif, that has been haunting me since the time when I wasn’t really aware of the world surrounding me: the presence amongst us of “non-human” beings, that nonetheless have a perfectly normal, ordinary appearance…

And how was this “obsession” born?

Precisely identifying the origins is complicated, my memories are too blurry, I think… What I can tell you is that I’ve always been fascinated by “creatures”. For example, I remember being very impressed by Peter Jackson’s bestiary in the Lord of the Rings trilogy. By the way, still in a fantasy register, I am also a big fan of Harry Potter adaptations… (She thinks.) And I’ve always liked yōkai stories, you know. I think that what I like in all these mythologies is the idea of species classification: each has its own characteristics – physical, biological – its own way to apprehend its environment.

In Japan, yōkai are integral part of regional folklore. Did the place you grew up in have some specific beliefs?

I was born and grew up in Tokyo, and, as you must know, yōkai are mostly associated with rural areas. I was thus never really bathed in this type of regional fantasy folklore. There are all kinds of yōkai and we can perhaps see in some more contemporary urban legends the echo of certain past beliefs? (She thinks.) I am a bit frustrated, because I believe that I could remember a legend that would have impacted me, but nothing comes to mind immediately, sorry!

You have already said so in an interview and it’s quite obvious when reading your work: you are a big amateur of horrific fiction. What has been your first contact with the genre, all medium included?

It was television that introduced me to horror: special shows, television films, series, I was watching these programs with a mix of fear and enthusiasm, a confused sensation that particularly delighted me! (She thinks.) And amongst all the aired shows, I will remember two titles: Hontō ni atta kowai hanashi and Kaidan shin mimibukuro*.

* Inspired by the homonymous manga magazine published by Asahi Shimbun, Hontō ni atta kowai hanashi (lit. “Scary stories that really happened”) is a series produced by Fuji Television that has been airing more or less weekly since 2004. Derived from literary material (a series of compilations of hundreds of short stories by Hirokatsu Kihara and Ichirō Nakayama, published from 1990 to 2005) Kaidan shin mimibukuro is a series made of several short movies depicting ghost stories based on real testimony.

Did you read horror mangas when you were young?

Let’s say that I was more interested in live-action productions. Nowadays, I obviously appreciate some horror manga authors, without pretending to be any expert in the subject. For example, I like Junji Itō’s work, but I am far from knowing it for a long time… (She thinks.) I could also talk about Shigeru Mizuki, who I also appreciate a lot.

The mechanics of fear aren’t the same in occidental and oriental fictions. You like American horrific productions – like Ari Aster movies – as much as ones from Japanese origin – you notably quote Ichi Sawamura novels and Kōji Shiraishi feature films. Can we say that you are tying these two perspectives with The Summer Hikaru Died?

My relationship with horror is more imbued with oriental sensitivity. But what I find remarkable in occidental horrific productions is work on image. In The Shining like in Ari Aster movies, for example, there is real research made on frame composition and choice of colours. I also try to follow this aesthetic reflection in my work as a mangaka.

In Ari Aster’s work, beyond the very precise staging, there is this permanent desire of ambiguity. Do you try to dig this same equivocal trench?

Absolutely. I try to tell complex feelings as well in The Summer Hikaru Died, like fear dyed with nostalgia or attachment, repulsion mixed with fascination, with attraction…

How do you “sort out” the shots that inspire you in cinema?

I don’t draw while freeze-framing during specific scenes. I would always rather watch a movie as a “focussed” spectator. However, I pay a lot of attention to the way the director composes their frame. I sometimes take some notes, but I most often simply keep it in a corner of my mind.

Could you tell us when and how the story and characters of The Summer Hikaru Died appeared to you? Have they matured a long time within you?

I’ve started thinking about this story when I was preparing university entrance exams. I was aspiring to join an art uni, and I was drawing every day. I can’t really say I made my characters “mature”: back then, I wasn’t thinking that the drawings I was making would one day end up being published, way less being serialised! I innocently created characters close to me, without guessing that one day they’d become manga protagonists.

One of your foundational reads was Sui Ishida’s Tokyo Ghoul manga. Can you tell us how you discovered it and what effect it had on you?

I don’t really remember how I discovered this series, but what I know is that I became crazy about it at first read. What I liked – and what I still like – is this idea of telling a story that confronts humans to these “different” beings while following the point of view of a character that represents alterity. Beyond this strictly dramatic aspect, Sui Ishida’s storyboarding and character design have had a strong impact on my work. However, I want to add that Tokyo Ghoul isn’t the only title I took inspiration from, I obviously have other references…

Do you do a lot of researches to define the design of your characters? You seem to draw them easily, in a very natural gesture…

I haven’t spent a long time defining my protagonists. First, there are few in the manga, then, they evolve in a rather realistic universe. My goal was rather simple: they had to look believable in the reader’s eyes. I wanted people to be able to imagine crossing them in the street, you see?

It’s after seeing illustrations posted on social media that depicted the future characters of The Summer Hikaru Died that the publishing department of the Young Ace Up magazine noticed you. How have you reacted when approached?

I was very surprised, because I absolutely wasn’t trying to become a mangaka. I would have never projected in such a future, you see. And, very honestly, if they hadn’t suggested working on this series, I don’t think I would ever had pushed the doors of a publishing house… I am then very thankful towards the persons who have allowed me to enter.

And what would you have done if you hadn’t been solicited?

Back when I’ve been contacted, I was considering – still vaguely – working in the video games field. But I wasn’t really proactive, I wasn’t contacting anyone, wasn’t sending resumes…

Did you want to do chara-design?

Why not, yes. What I like in video games is the range of possibilities they offer. You can then create an entire universe and this is rather exhilarating.

So you’re a gamer…

I have dropped my controller since I’ve started drawing manga. But yes, when I had more time, I played rather regularly, especially Nintendo productions…

Even if you play rather little nowadays, do video games influence your work?

I can’t say whether it really is an influence, but the Undertale game has left a big mark on me. I felt its creator’s strong will to surprise players, to make them feel unprecedented sensations…

Horror manga only relies on art and storyboard to provoke fear, whereas cinema and video games can also rely on sound. Is it from this observation that you have decided to particularly work on your sound effects?

Absolutely. I have thought a lot about the way to introduce and stage sound in The Summer Hikaru Died. The sound effects that you can find in the manga are indeed the result of this approach.

In an interview given to the Realsound website, you mention the use of the シャワシャワ (“shawa shawa”) sound effect. Knowing that occidental readers are way less sensitive to these graphicoustic details, can you explain its meaning?

“Shawa shawa” expresses the song cicadas make in western Japan. It’s a very special noise because in the different regions live different species that make specific sounds. So when I choose this specific sound effect, I convey a geographic and temporal piece of information to the reader, who can then guess the location and season the action takes place in. (She thinks.) When using this sound – that we especially find in the beginning of the manga – my goal was to play with silence, particularly when the song stops. I thus had the idea of representing this sound effect with an easily readable font, so the reader would make no effort to decipher it, as if the sound was asserting itself naturally, you see? I hoped to suggest a saturation they couldn’t avoid and that, when it’d stop, would immerse them in absolute silence.

The Summer Hikaru Died transcribes very well this particular atmosphere of Japanese summers…

Yes, I really wanted to signify this languor in my manga. And the cicadas’ song we discussed earlier contributes to creating this atmosphere: it’s an overwhelming sound, sometimes irritating, you cannot escape from in summer – Japanese readers obviously know what I’m talking about. (She thinks.) I also gave special attention to shadows: summer light being very bright, shadows are very sharp, very deep.

Do digital tools allow you to get this result more efficiently than traditional?

I work on Clip Studio Paint, and it’s true that it sometimes allow me to save time. Consider the work on shadows: I never apply solid black because I like saturating space with hatches and, with digital tools, I can obtain the desired result faster because I can duplicate each of my lines.

Your use of hatches is sometimes reminiscent of Shūzō Oshimi’s…

I don’t know his mangas very well, but it’s funny that you mention him because I recently read his latest series, Okaeri Alice. In any case, I really like his style and I perfectly understand how you can bring his universe and mine together.

The Summer Hikaru Died relies on the concept of body dispossession, that obviously takes back to the Body Snatcher novel by Jack Finney and its movie adaptations. Did you think about it?

I don’t know this book very well, but I know its theme has been approached often, especially in movies. As I was saying at the beginning of this interview, my idea was to adopt the point of view of a non-human and tell his indecision, his moral questions…

We also find this idea in Hitoshi Iwaaki’s Parasite…

I haven’t read the manga fully, but I’ve watched the anime adaptation that was released a few years ago (R/N: in 2014). I remember rather liking it, even if I think I offer something different with The Summer Hikaru Died. What interests me is sounding the inwardness of my non-human character out and expose all his dilemmas. What is his place amongst men? Is he legitimate in our world? Here is the type of questions that pushed me.

One of the impacting scenes of volume 1 of The Summer Hikaru Died is the one when Yoshiki penetrated Hikaru’s body by shoving his arm into his torso. It’s a sequence that is both very sensuaI – to not say sexuaI – and also very horrific. How did you get this idea?

I wanted to put the readers in an uncomfortable position. A stressful situation that could take several forms because, according to your sensitivity, you can feel very different emotions in front of this scene: sexuaI arousaI, fear or disgust. For me, it was supposed to put the reader in some kind of catatonia, you see?

Do you chat a lot with your tantō, especially around these slightly “complicated” scenes?

I have free rein, you know, I can draw everything I want. My editorial supervisor has never asked me to temper some sexuaIIy connotated parts. My discussions with him don’t revolve around this kind of things, but rather around the structure of the scenario itself: where to place this scene in the narration? Is it better to put this sequence before this other one? Nowadays, I am more at ease with all the scripting layout but, at the beginning, I needed support.

What allows you to get, from a dramatic point of view, the mix between bromance and horror?

I wanted to show the differences in sensitivities and values between a human being and an “other than human”, and tell the misunderstandings this can cause when both meet. When Yoshiki “scratches” under the appearance of the one who is supposed to be his best friend, it creates a first point of conflict in the story. I then hoped to make his relationship with Hikaru – or rather with the “entity” that pretends to embody him – a kind of undefinable bond, that wouldn’t be friendship, nor love.

Do you know today where this strange relationship between your two heroes will lead you?

I know more or less how all of this will evolve, yes. I have decided on my story’s general plot since the beginning. I can only tell you that The Summer Hikaru Died won’t be a long series.

How do you explain the almost instant public plebiscite of your series in Japan? You perhaps cannot have perspective on it but, in a saturated publishing landscape, you have managed to stand out…

Hm… Indeed, I don’t really have precise explanations to give you about this success. Maybe the covers’ design has been in favour of the manga? I asked the person in charge of graphics to make sure that the visuals would be noticeable in bookstores. That’s why the books have this monochrome aspect, with the title discreetly placed. I didn’t want obvious advertisement banners, but something simple, like this blue background for the first volume, on which the character stands out. I also wished to create contrast between the jacket’s and the inner cover’s drawings. I thus had requirements that didn’t quite go alongside what we can nowadays see on the shelves of Japanese bookstores.

[angelsdean]

and what if i started 'dean is too nice to sam' truthing ?

[one-vivid-judgment]

Joongi and Seonhee after leaving Kasuga & co to fuck around and find their way through the Geomijul (they are about to hold them at gunpoint and beat Nanba up).

[samuraiondo-mace-1177]

Ok, but the idea of them just hanging out is fuckin funny to me

(another drawin of past Asahi - evident by his left eye existing for once)

[hazeism]

Hiii @cringe-but-freee thank you for your permission to test some of your designs :D they are so fun and unique (both between themselves and amongst other interpretations)

since there's like four of us who still care about these novels we all have to make an olive wreath or something else equally lovely together <3

[ell-arts]

Sometimes I think back on the 9+ years I've been a fan of PMATGA.

With so much time that has passed, I've come to terms with the fact that the show is never coming back to continue its run. I've made peace with it and know that the chances of Namco picking it up again are next to none because of the show's poor ratings during its run.

It hasn't stopped me from being a fan though, and I can still appreciate its influence in my childhood while acknowledging that the show's over and it's closed its chapter, both in my life and just in the animated series sphere in general.

...BUT THEN sometimes I look back and nostalgia and fixation hits like a runaway brick train and all I can think of is DAMN YOU NAMCO PLEASE BRING IT BACK 😭

[04tenno]

There’s just. Something. About Mine going to hostess clubs but only paying attention to the men that brought him there and his love for working out and all of the stuff about how men are more into that than women and more it’s all so aaaaaaaaaaaa

The note about Mine looking unhappy in the beach card is something I noticed about his face in contrast to the heavy sex appeal of the rest of the image. Makes me wonder what it’d be like then if he was trying to draw in the attention of a man-

YEAH MAN... It's a lot...

Okay funny you say that because at the time, the Charm status effect had yet to be introduced (not that any male characters have it yet regardless), so Mine instead inflicts Confusion at the start of battle. Guy who makes you question your sexuality with but a glance

[frobby]

Babe are you okay? or did you start thinking about hidamari ga kikoeru and Kohei signing 'taichi, I love you' before taichi knew sign

[lanternbats]

I really like connorkyle from the interactions I've read so far, I think they're sweet, but the biggest draw about them is Oliver and Kyle being haters only united by their love for Connor. Kyle swoops in, gives Connor a kiss on the cheek and then flips off Connor's dad, who was already standing there and glaring at him like 😠🖕

[nachtfaust]

[keeps-ache]

i should learn to make hash browns

[tabl3]

update on narcissistic father:

he wants to see my siblings and I for his birthday (which I fully forgot existed, idek how old he is tbh 💀)

so, we're gonna go somewhere expensive and bleed his ass dry wooooo

[nyxqueenofshadows]

so officially finished kiwami 2, majima saga aside which won't take long. ignore how this isn't a screenshot, this was easier

i'm just gonna dump the thousand words or so of thoughts i put in my fic doc here for posterity and anyone who might get a kick out of reading them. lots and lots of messiness, vague spoilers for rgg online plus one itsy bitsy reference to the stage play

hot take that there were maybe some redeemable elements in the last bit (mainly all the times kaoru and ryuji talk to each other) but so much of it is so fucking stupid and full of HE WOULD NOT DO THAT (mainly kiryu). idk. i don’t hate it but it needed some work

interesting things learned tho, ryuji didn’t expect to live long, he says he made it further than he was expecting. as we now know from rggo, he already knew about his jingweonha connection and was actively ignoring it (which is why terada marks him for death in the first place. slot han in here?) and remembered the night where his father died (despite being like 2 at the time, at most). kiryu also reiterates that he sees nishiki in ryuji, which i think is fair (and the stage play people clearly agreed). ‘the least i can do is honour a man like that’ is an interesting attitude to have. also ryuji is like ‘i see why my sister fell fer ya’ which is not quite the japanese line (ish) but it’s also not the straightest thing he’s ever said. ryuji also very clearly would have doted on kaoru quite a lot, if they’d lived together as children or otherwise, and i really think we missed out on seeing more of them. maybe i’m just soft for that kind of thing.

i feel like a more interesting conundrum would have been both ryuji and kiryu being wounded from their fight, delaying it again (cos they’d done it once no reason not to do it again) but neither are moving the way they should and (believing the bomb is real) kaoru has to pick one to carry and one to leave behind. (maybe halfway down the stairs or smth?) it wouldn’t be especially original but it would make more sense imo. her going down the lift does nothing but slow her down (ig she has access to the controls and doesn’t use them for hashtag drama reasons) which i don’t think fundamentally changes her position that much from before the second ryuji fight. it also gives her smth to fucking do that isn’t just crying and grabbing fences and doing that dumbfuck charge that i don’t think she would have done (her gun hadn’t gone far! then again i have hindsight and am thinking clearer than she is). anyway kiryu pushes her to take ryuji (guilt over nishiki?) and locks them in the lift thingy and sends them down, fully ready to die now. his and ryuji’s wounds mirror each other but i feel like kiryu got the shorter end of the stick? plus he was shot slightly earlier so has been bleeding for longer.

i cannot say this enough, kiryu would not leave ryuji. like, he just wouldn’t. if there was even a chance he was still alive, he would make sure he got to someone or he would at least try. he’s at his most inactive in cutscenes in kiwami 2 (i think) and it’s frustrating as a player asdfghjkl

ALSO if sudo and date and haruka went to the effort of preparing and going up in that helicopter, why didn’t they also prepare a rope?? or smth to rescue people who were on top of the tower???? they clearly knew there was a bomb up there (beforehand or not is unclear but we don’t see them have a conversation about it) and want kiryu and co. to leave. (and not MAKE OUT ON A ROOFTOP they were really going at it huh, ryuji’s ?corpse? is right fucking there guys oh and goda jin’s? he sort of vanishes from that last bit)

also it would have been kind of funny if, while there was still that ten minutes, everyone sprinted for the stairs and made it down and they’re waiting for the building to blow and when it inevitably doesn’t they’re all just standing there checking their watches like is it late? did smth break? who wants to be the sucker and go check? can we call an ambulance for the two idiots? majima is down in the construction yard i think so he’d probably send nishida, maybe?

idk kiryu has no interest in kaoru to me. he treats her no differently to anyone else aside from the two times they kiss, both of which feel very out of character for him, and that romance subplot takes away any and all girlboss power kaoru had. she went from beating men up and threatening them with bokuto and shit to like, i love man, so sad. (they knew each other like a week!!!!!! and they’re dying for each other!!!! give me a break!!!!!) that’s not to detract from the awful fucking week she has of learning who her family are (some racism in there??? i’m not qualified to speak on that, maybe it’s just the gang thing, ) and then watching literally all of them die one after another. except mama, she’s fine and never appears again. it’s very much aiming for a ‘she can be a ‘woman’ (i.e. be emotional and like cute things and not try and match the locker room attitude of the men) and also take names’ but it doesn’t succeed at that at all. from kiryu’s conversation with her on their little date thing (which is cute, i’ll give it that) he was telling her to be true to herself, right? it's his go to line. which suggests that her kicking dudes in the face a lot and working incredibly hard (she’s a prodigy, in multiple fields! this doesn’t get explored enough) is NOT her true self, the one who plays with teddy bears and falls in love is. which, again, not that those two things can’t co-exist, but the game doesn’t allow them to either. just, ah. more wasted woman potential in a yakuza game. yayoi gets the same treatment :((( you gave me two step on me yakuza ladies and dropped the ball on both of them, come on guys. hopefully she gets to live a little in 8.

[sksninja]

So apparently I'm at the point in my life where when I see a funny post with a ko-fi link I can actually just give them money sometimes.

Like I got a motherfucking shit-post budget???

I think that's very sexy of me.