Mokumokuren, a manga creator, is enjoying his year. Their first manga, The Summer Hikaru Died, was recently picked for an anime adaption, but not before it appeared on several lists of the best manga in both Japan and the United States. The Summer Hikaru Died, a summertime masterpiece drenched in the sweltering heat, centers on the introverted protagonist Yoshiki and the conflicts in his life as a Japanese country boy. His best buddy Hikaru dies and then returns as someone else, compounding the already challenging home life he is leading.
We chatted with Mokumokuren about their rapidly advancing artistic career thus far, as well as the story’s emotional elements.
Thank you for your recent Eisner nominations for Best Writer/Artist and Best International Material—Asia, U.S. Edition. When you initially learned that you had been nominated, what was your reaction?
MOKUMOKUREN: Learning that I was a finalist for such a renowned award filled me with immense honor. Knowing that my work is appreciated outside of Japan makes me pleased.
How did you go from posting artwork on social media to selling over a quarter of a million copies of your debut manga? Did you have a difficult and drawn-out artistic journey, or did it seem to come together quickly?
MOKUMOKUREN: It didn’t really register because the time between the publisher’s contact and the publication was so brief. I was relieved, but I was also under a lot of strain. It was quite labor-intensive because I had never drawn manga before. I was fortunate not to be aware of the usual protocol, though.
The setting of The Summer Hikaru Died is a little Japanese town. What drew you in to this setting? Have you ever grown up in a small town yourself? Do you believe that the scary themes in the manga fit in better with country life?
MOKUMOKUREN: Japanese rural communities are a popular backdrop for horror films. I picked this location because I adore horror stories and wanted to honor the genre by using classic horror imagery. My grandparents lived in the country, but I was raised in the city. My depiction of it has been aided by my experiences there. My parents’ stories to me about the countryside were all helpful for my job.
The emotional gullibility of the characters is one of the things that draws the reader in to The Summer Hikaru Died. What do you think the fundamental emotional connection between “Hikaru” and Yoshiki is?
MOKUMOKUREN: We often have preconceived notions about persons who are different from us when we interact with them. We lose sight of their actual nature when we attempt to fit them into our preexisting values. Yoshiki shares this. He interacts with the monster “Hikaru” at the start of the story with a lot of preconceived notions. But as the narrative goes on, he comes to understand that his assumptions were incorrect and that he must perceive reality as it truly is.
The non-human “Hikaru” is not the same as the human Hikaru. In actuality, he lacks human-natural understanding of logic and emotions. Through his interactions with “Hikaru,” Yoshiki learns to recognize the prejudices he carries within. Yoshiki and Hikaru’s connection is highly intricate. Nonetheless, a central subject of this work is navigating complexity without succumbing to stereotypes. This may or may not be the solution to “the emotional core,” but it seems to be a major motif in their relationship.
Is there a deeper meaning behind these moments where Yoshiki feels inside of “Hikaru” and much of the terror also combines with sexuality between the two boys?
MOKUMOKUREN: I thought that some people might find it erotic, while others would find it “disgusting” and uncomfortable, so I sketched the scene where Yoshiki inserts his hand inside Hikaru’s tummy. Both emotions are legitimate and precisely what Yoshiki, the main character, is experiencing. In addition to being “scary,” I want people’s attitudes toward the “unknown” to be complex, occasionally sexual, and unpleasant. In actuality, something is more sexualized or frightening and stirs up something primitive in us the harder it is for us to accept.
What inspired the original doppelgänger narrative idea? Were you influenced by a piece of media or folklore? By coincidence, have you watched The Thing directed by John Carpenter?
MOKUMOKUREN: It’s one of the movies I’m interested in, but I’ve never seen it. I was inspired by a lot of things, but ever since I read about the “Swampman” thought experiment, I couldn’t stop thinking about it. There are other tales of monsters replacing people as well. However, the idea for the story originated with the monster’s sufferings, and I wanted to read a novel that emphasized those struggles heavily.
Do any of the characters or their circumstances remind you of yourself?
MOKUMOKUREN: I incorporated some of my personal experiences to the psychological situations to make them more realistic, but the most of the story is based on my research and imagination. Sadly, I’ve never encountered a ghost, therefore Japanese urban legends serve as the basis for the scary scenarios.
Japan now has the fifth volume of The Summer Hikaru Died available. Which lessons have you learned most from working on the series thus far?
MOKUMOKUREN: From the perspective of producing manga, I’ve discovered how crucial it is to strike a balance between psychological portrayal and suspense. I adore them both, but reading gets challenging if there is an excessive amount of either. I aim to stress the tempo and maintain a healthy balance between the two.
What guidance would you wish to impart to youngsters who might be experiencing emotions akin to Yoshiki’s?
MOKUMOKUREN: Yoshiki faces numerous challenges in life, having grown up in a remote rural community. His parents quarrel, his sister doesn’t attend school, his mother is an outsider, and the way that people perceive him. In addition, he worries about his gender. He’s a protagonist with issues that can be found anywhere, not a particularly sad one. Yoshiki must confront not just the creature known as “Hikaru,” but also himself.
Almost all teenagers, regardless of where they live, have to face themselves at some point. They must face the paradoxes and aspects of themselves that they find uncomfortable. That must also be the case for adults. Yoshiki should be a protagonist who is near those kinds of grounded worries, not an idealized hero.
Given the overwhelming good response this series has received, what more would you like to achieve?
MOKUMOKUREN: I’m debating whether to write a fantasy story for my upcoming project, but I’m not sure yet. I enjoy reading books in a variety of genres, so I’m eager to try out a lot of new things.
Recently, it was also revealed that an anime adaption of the series was in the works. What thoughts do you have regarding the impending anime?
MOKUMOKUREN: I’m the original author and I’m working on the animation with the production crew, sharing ideas with them. I’ll try my hardest to make an enhanced animation while keeping all the key components of the original production. I’m hoping you’ll be excited about it.
