Small Town Horror: Interview with Mumulian, Creator of “Death of Summer Light”

comic creator Mumulian This year has been great. Their debut manga Xia Guang is dead It was recently picked up for an anime adaptation, but before that it made it to the top manga charts in the US and Japan several times. Drenched in the heat and humidity of summer, Xia Guang is dead It focuses on the introverted protagonist Yoshiki and the frictions in his life in rural Japan. He’s already struggling with a difficult home life, and things only get more complicated when his best friend Hikaru dies, and he’s back Something else.

we interviewed Mumulian About the emotional themes of the story and how their artistic careers have soared so far.

Japanese readers, please click here to read the interview in Japanese.

Congratulations on your recent Eisner Award nominations for Best Writer/Entertainer and Best International Material US Edition—Asia Award. How did you feel when you first heard about the nomination?

Mu Mu Mu Lian: It was a great honor to hear that I had been nominated for such a prestigious award. I’m happy to know that my work is recognized not only in Japan but also overseas.

What was your experience like from sharing art on social media to selling nearly 250,000 copies of your first published comic? Has your artistic journey been a long and arduous one, or does it feel like overnight success?

Mu Mu Mu Lian: From the time the publisher contacted me to the time it was published, the time was so short that I didn’t really settle down. I have little experience in drawing comics, so it took a lot of effort. But I’m also lucky that I don’t know the standard procedure.

Xia Guang is dead The story takes place in a rural town in Japan. What attracts you to this setting? Do you have any personal experience growing up in a small town? Do you think country life makes it easier to incorporate the horror elements of comics?

Mu Mu Mu Lian: Japanese rural towns are a classic setting for horror stories. I love horror stories so I chose this background out of respect and I wanted to incorporate traditional horror visuals. I grew up in the city, but my grandparents lived in the country. So, my experience there helped me portray it. All the stories I heard about the countryside from my parents were also useful in my work.

Part of the reason is Xia Guang is dead The emotional vulnerability of the characters is very interesting. What do you think is the emotional core of Yoshiki and “Hikaru” and their relationship?

Mu Mu Mu Lian: When we interact with people who are different from us, we tend to develop preconceptions. We fit them into existing values ​​but lose sight of their true nature. The same goes for Jixi. At the beginning of the story, he interacts with the monster “Light” with many preconceptions. However, as the story progresses, he realizes that his preconceptions were wrong and he needs to see the truth of the matter.

“Light” is non-human and very different from human light. In fact, he does not understand natural human emotions and logic. As he interacts with “Hikaru”, Yoshiki realizes his inner bias. The relationship between Yoshiki and Hikaru is very complicated. However, one of the major themes of the work is how to deal with complexity without getting bogged down by preconceptions. I don’t know if that’s the answer to the “emotional core,” but I think it’s an important theme in their relationship.

Much of the horror is also mixed with the eroticism between the two boys, much like what Yoshiki felt in “Hikaru”. Is there a deeper meaning behind these moments?

Mu Mu Mu Lian: I drew the scene where Yoshiki puts his hand into Hikaru’s belly, thinking that some people would find it erotic, while others would find it “disgusting” and uncomfortable. Both of these feelings are valid and are exactly how the main character Yoshiki feels. I want people’s feelings about the “unknown” to be not just “scary,” but sometimes sexual, sometimes unpleasant, and deeply complex. In fact, the harder something is for us to accept, the more sexy or scary it becomes and awakens something primal within us.

How did the idea for Double Story first come about? What folklore or certain media inspires you? By coincidence, have you ever seen John Carpenter’s work? thing?

Mu Mu Mu Lian: I’ve never seen it, but it’s one of the movies that interests me. Additionally, there are many stories of monsters replacing humans. But I wanted to read a story that focused strongly on the monster’s struggle, and that’s where the idea started.

Do you see yourself in any of the characters or their experiences?

Mu Mu Mu Lian: Much of the story is based on my imagination and research, but I added some of my own experiences to the psychological scenes to make it more realistic. Unfortunately, I’ve never seen a ghost, so the scary scenes are based on Japanese urban legends.

Xia Guang is deadof Volume 5 is now available in Japan. What’s the most important thing you’ve learned while working on the series so far?

Mu Mu Mu Lian: When it comes to comic making, I learned that the balance between suspense and psychological depiction is important. I like both, but if you have too much of either, it becomes difficult to read. I try to keep a good balance between the two and emphasize rhythm.

If you could give some advice to teenagers who feel similarly to Yoshiki, what would you want to share?

Mu Mu Mu Lian: Fang Shu grew up in a secluded rural town and had many difficulties in life. His mother was an outsider, his sister didn’t go to school, his parents fought, and the way the people around him looked at him. He also worries about his gender. He is by no means a particularly unfortunate character, but rather a protagonist with problems everywhere he goes. And when Yoshiki faces the monster named “Light”, he must also face himself.

Almost every teenager, no matter where they are, has to face their own moments. They need to face the parts of themselves that they are unwilling to admit and the conflicts within themselves. I believe the same is true for adults. I don’t want Yoshiki to be an ideal hero, but a protagonist close to those real-life problems.

After getting so much positive response to this series, what do you want to accomplish next?

Mu Mu Mu Lian: I’m considering writing a fantasy story for my next work, but I’m still on the fence. I like stories of all types, so I want to take on many new challenges.

The series was also recently announced to be getting an animated adaptation. Do you have any opinions to share about the upcoming anime?

Mu Mu Mu Lian: As the original author, I am participating in the production of the animation and exchanging ideas with the production team. I will try my best to create an improved animation without changing any important elements of the original. I hope you all look forward to it.

Translation for this interview was provided by Ken Iikura-Gross.

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