#hamidashikko

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Notes:

Spoiler Alert: The conversation touches on contents in volumes 4 and 5 of the manga, some of which I believe starts being revealed on episode 5 of the TV drama (airing Feb. 7, 2022). Though no major plot spoilers are revealed (probably not fully understandable without context anyway), character names, certain events that occur, themes, and suggestions of mood/tone of certain parts are conveyed. If you want to remain completely “in the dark” about volumes 4 and 5 (episode 5 and onward in the drama) until you actually experience them, then do not proceed. If you don’t mind knowing some things without context, then feel free to read on. However, in either case, you may still want to skip over Caption 4 (see Note # 5), as I think it may kind of spoil a surprise later on leading up to volume 9 if you haven't read up to that point.

The terms “original work” and “manga” are used interchangeably in this fan translated version when referencing Mystery to Iunakare manga.

Stating the obvious that this is a fan (amateur) translation for the purposes of practice and spreading awareness of Yumi Tamura and her work. Copyright belongs to Yumi Tamura and Shogakukan. I do not claim accuracy on these translations, and in fact, may revise them from time to time. Corrections are welcomed.

If you’re able, please give support and let the publisher (and manga author) know that you enjoy this manga, this kind of special content, and would like more in the future by purchasing the original publication. Digital version is available to purchase on Book Walker Japan (https://bookwalker.jp/de41a49e7d-4bfd-4a82-a1d4-1536484849b2/). If the link doesn’t work, try copying & pasting “月刊flowers 2022年2月号” in the search bar, even on other sites where you can purchase similar Japanese publications (that accept your country’s currency). Note that you will need to register an account on Book Walker, either a Japan or Global account, to make purchases on the site.

I purposely excluded the images from this interview but included the image captions, except the bios for Tamura and Suda. They are labeled with caption numbers and appear as small, green italic text throughout. So, if you would like the full experience, not to mention a peak at other great works included in the magazine, do purchase the original. 😊

/end Notes

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TV Drama Adaptation Confirmed…

------First of all, Ms. Tamura, can you please share what your honest feelings were when you received the announcement about the drama adaption?

Yumi Tamura (Tamura): I was so surprised, I wondered if it was even real. I thought to myself, “Mr. Masaki Suda!? It can’t be… Really?” But when I tried to imagine it, he was so perfectly suited for the role. In the first story, Totonou’s character is a little different [from now] because I originally intended the story to be a one-shot, but from the second story onwards his emotions gradually emerge, and parts of him that are a bit cute and careless begin to show. So, when I imagined Mr. Suda in those various forms of Totonou, I just thought, “Wow, so wonderful, he’s perfect for it!”

Masaki Suda (Suda): No, no, you flatter me.

Tamura: When I first received the proposal for the drama from Fuji TV, I was deeply moved by how much importance they placed on the original work. Due to the nature of live-action dramas, some parts will of course be different from the original, but I felt that they created the character of Totonou with great care. Moreover, with Mr. Suda playing the role, there was a sense of assurance like Totonou would be properly represented over there. This is the first time I’ve received a TV drama adaptation, and I am, with all of my heart, so grateful for this wonderful project.

Suda: I, too, am thankful to hear you say that.

Tamura: Actually, when this work was first published, a manga artist and an editor I knew told me that they would like to have Mr. Suda as Totonou if this was ever to be made into a live-action drama.

Suda: Was this before talks of the drama?

Tamura: That’s correct. It was during the very early stages. At the time, I couldn’t even imagine that something like a drama was possible. But after we actually talked, I was able to easily visualize Mr. Suda’s Totonou in my mind. But his Totonou is ridiculously cool! (laughs)

------Mr. Suda, what were your thoughts when the offer came?

Suda: This was during my so-called period of continuous manga live-action adaptations… which I’m really grateful for, but my manager and I talked at that time about whether I should hold off on manga-based works and go after more original works [written specifically for the screen]. But then a few days after that conversation, my manager came to me and said, “So, there’s this project that’s based off a good manga…” (laughs). As I was thinking to myself, “Here it comes,” I replied to him, “Well, I’ll at least read it for now, but didn’t you just say I should stop doing this stuff?” Then I started reading the manga, which was Mystery… and then I was all for it like, “Let’s do it!” (laughs). I pretty much made the decision on the spot after reading the first story.

Everyone: (Laughs)

Suda: I already knew about Mystery to begin with, because there were talks of it among the manga fan community. So, I’m sure I would’ve read it eventually even without the TV drama news… When I actually read the manga, I felt that I absolutely had to do this project.

[Caption 1] From the first story, which instantly captivated Mr. Suda. Totonou’s words are “piercing” and even become hot topics on social media.

Tamura: Thank you. It makes me very happy that you thought so. I’m honored.

“Reverse” Data Collecting before Filming

------It seems that Mr. Suda had a talk with Ms. Tamura before the shooting started, is that right?

Suda: That’s right. The opportunity for us to do it appeared, so I asked on my side for a meeting with Ms. Tamura. After all, wouldn’t anyone be curious to know what kind of person is Ms. Yumi Tamura, the one creating this kind of work? I wondered if there’s really any way one could draw this kind of work just from imagination. Without a great deal of life experiences and various perspectives, one probably wouldn’t be able to draw up something like this. So, I wanted to know what was going on inside Ms. Tamura’s mind.

Tamura: No, no, it’s not like that…

Suda: I’m naturally the type of person who wants to meet and talk with the author of the original story when I get to perform it. I can see what the author values from these conversations, and I like to hear directly from them about their intentions. When I read Mystery in particular, I could feel something immensely that resembled a “wish” [someone’s wish]. It’s not like I’m trying to say what’s right or wrong in this world, but somehow, I could totally agree with the future that Totonou hoped for beyond what was happening in the world he was living in. That's why I wanted to meet and talk with Ms. Tamura more.

------What did you two talk about?

Suda: Let’s see, what did we talk about?

Tamura: I feel like I got so nervous that I couldn’t really talk.

Suda: Wait, wait, wait, but you actually talked a lot! You were talking so much, Ms. Tamura! (laughs)

Tamura: (Laughs) Did that happen? Well, I got anxious and rambled on then... We talked for about an hour, didn’t we?

Suda: Probably around there. It was so much fun. I’m glad to know that there are people like Ms. Tamura, who question and turn over many different things in their mind. I’ve always believed that everyone should think more about the “why” behind all kinds of things. It doesn’t only have to be about the offensive stuff. Contemplating over things by itself is interesting, isn’t it? For example, I wondered why the nice hotels only have toilets with lots of buttons.

Everyone: (laughs)

Suda: I don’t know which button is for closing the lid, flushing, or activating the bidet (laughs). I think we’ve become too smart for our own good [e.g., advanced in our technology,] that the opposite happens and we inadvertently become simple-minded. Even that kind of conversation is fun to have. And the more we talk it through, the more we can see the process that led to the thought behind something. I had many conversations like that with Ms. Tamura. And they were really interesting because I got to hear a lot about Tamura’s writing method directly from her mouth, like she’d say, “I did it this way because I was wondering why such and such is the way it is….” What impressed me in particular was the way that she was kind of saying, “With Mystery, unlike my previous works, I’m just throwing things out there that I’ve been thinking about, that’s it.” And that switched on my light bulb. “That is Totonou,” was my exact thought. That’s why I’m glad I got to meet Ms. Tamura, or else I wouldn’t have been able to bring Totonou to real life.

------It was an interesting and very precious time to prepare for the role then.

Suda: Yes, it was. But thankfully, I’ve been able meet her a lot since filming started because Ms. Tamura has often come on set.

Tamura: I really wanted to see the filming (laughs).

------Does it make you nervous to have the original author on set?

Suda: Of course I’m nervous, but I’m also grateful. It’s like there’s nothing more reassuring [about an adaptation than having the original author’s support]. The general public tends to perceive it as the live-action versus the original work, but I think that’s such a shame.

Tamura: I agree.

Suda: Isn’t the original and the live-action about the same work? Of course, it goes without saying that the original takes precedence, but I want to bring the distance between the the two closer in any way possible. So, if the author can come on set and speak with us directly, then that would be the fastest way to close the gap.

Tamura: I'm really touched that you thought of facing this work in that way. I could feel that sentiment in all your scenes. As the author, it made me really happy. But, before I started visiting the set, despite being excited and hopeful, I still had worries about how Totonou would turn out…

Suda: Well, no doubt about that. I was worried too. I’m still worried.

Everyone: (laughs)

Tamura: Each person holds a considerably different impression of Totonou as a character. It’s going to change depending probably on each person’s own problems, worries, and position in everyday life. That’s why I didn’t know what kind of character Totonou would become if an actor were to play him in real life. I wondered what it would look like if his lines were actually spoken in real life.

------How was it when you actually saw Mr. Suda’s performance on set?

Tamura: I thought, “Ah, so that’s what Totonou would be like if he were real.”

Suda: I’m so relieved to hear you say that!

Tamura: It wasn’t like I had a correct version in mind [for real-life Totonou], or that I doubted Mr. Suda. So, the feeling [of when I saw Mr. Suda as Totonou] was like: “This is it, the correct answer!” Then I was honestly able to think, “Oh yeah, that’s what Totonou would be like in real life.”

Suda: Glad to hear that.

Tamura: The first time I saw him perform was the episode when Totonou is hospitalized, and when I saw Mr. Suda dressed as Totonou speaking quietly, calmy, and steadily, I thought: “I see, Totonou is like this,” and from then I could only see Mr. Suda as Totonou (laughs). So, I was delighted. And I kept thinking “yes, that's it.” Even the director said that only Mr. Suda could play this role.

Dynamic Performances by a Star-Studded Cast

------When you visited the filming site, what did you find impressive?

Tamura: I only saw a portion of the scene, so I don’t know how it turned out in the end, but the interaction between Totonou and Leica was awfully cute!

Suda: Yes, Leica!

Tamura: I got to see so much of Totonou’s adorable side! What’s with that atmosphere [between the two of you]?

Suda: Personally, I have worked with Mugi (Mugi Kadowaki), who plays Leica, several times and she’s someone I have the utmost faith in. No matter the situation, we’re always there for each other. That’s why I was able to push my acting with confidence while having a lot of fun. Also, the beauty of Leica that Mugi creates… it’s kind of like she’s standing right there as an illusion.

Tamura: An illusion… yes, even in the manga, readers often wondered if Leica was there only because Totonou imagined he was seeing her even though she may not be real. So, “illusion” certainly fits Leica. Ms. Kadowaki’s graceful and unwavering presence was truly enchanting…! Speaking of enchanting, Furomitsu is also amazing. The exchange between Ms. Sairi Ito, who plays Furomitsu, and Mr. Suda that I got to see overwhelmed with power. In the drama, they made [Furomitsu’s character] a woman who is trying her best to live with courage in the face of her adverse surroundings. I had many opportunities to meet Ms. Ito, and she was cute, strong, and spirited; I came to like her very much. Other famous people have also appeared and played opposite Mr. Suda (Totonou). I can’t reveal their names yet, but they were all amazing… It was like watching them go at it in a one-on-one battle.

Suda: In any case, it’s an extremely star-studded cast. It’s like a different drama every episode because each one is basically about one scenario and the cast continues to change except for me.

Tamura: I’m excited to see how it will turn out.

Suda: I think one of the reasons why we’ve attracted such an all-star cast is because the roles are just that fascinating. As with Totonou, the characters that come out of each and every episode [of the original work] are interesting and intriguing to any actor. Maybe it’s because the original work was written in a theatrical style to begin with, but many of the actors who appear in the TV drama are actually theater inclined. So, I think it would be really interesting to see if this work is adapted for the stage someday.

Favorite Episode Arc from the Original Work

------Mr. Suda, what is your favorite episode arc from the original work?

Suda: I guess it has to be the Kaeru [frog] one (in volume 5 of the manga). The story was interesting and a heavy one, among other things. How do I put it… it’s just the most poignant. In terms of entertainment, I really liked the Hiroshima episode. There was slapstick comedy, action, mystery solving, etc. Still, Roku’s story struck a chord with me the most. Did you have some kind of literary motif in mind when you wrote it? This was the first story where the theme of “child abuse” was put forth in a big way, right?

Tamura: It’s not like I had a motif in mind, but it’s something that I’ve been thinking about for a long time. In Japan, it’s not easy to separate children from their abusive parents as quickly as in the West, so that must mean there’s still many more children who are suffering. However, in reality, I think it’s less likely that an abused child would truly want to be apart from their parents.

Suda: Yes, that seems to be the case.

Tamura: So I remember drawing that while doubting myself over whether a child would actually choose to summon an angel, who promises to kill [the child’s parents] for them.

Suda: It seems to be a story on what it would be like if one were in that position and told such a thing. I felt the reality in that part of the story when I read it. As Ms. Tamura said earlier, it’s really cruel to make a child choose, and Ms. Tamura’s determination to illustrate this kind of situation is incredible.

Tamura: The experience will become a painful one for the child later on.

Suda: I really got that kind of feeling from the manga. Because before lighting the fire, that child, who I couldn’t tell whether was a girl or boy, was standing there looking like a bean sprout without a single trace of life on their face. That scene was really grim.

[Caption 2] What is the sad secret hidden in the arson incident? The episode of the fiery angel that made Mr. Suda say, “It’s the most poignant.” (From Volume 5 of the manga)

Tamura: It really is a difficult subject. But I figured that incorporating such themes might be possible if they were in the form of an encounter with Totonou.

Suda: So it doesn’t sound patronizing and such.

Tamura: Yes, that’s right. The same is true with the issue of bullying; trying to draw a proper picture of the issue itself may very well be difficult. However, I think there are some issues that can be portrayed with the involvement of someone like Totonou. However, I’m trying to be careful, as I don’t think Totonou could stand something horrible like seeing people get killed one after another right in front of his eyes. Thus, I wanted to focus the story around figuring things out to prevent that from happening as much as possible.

Suda: Good point!

Tamura: On the other hand, I don’t care what occurs in Garo’s part of the story. I’m creating his part with the thought that a different genre is okay.

Suda: Garo’s lines in that one part are so interesting when he said, “I have no intention of interfering in other people’s crimes.”

Tamura: I’m hoping that there will be a time when Totonou and Garo can work together again.

Suda: I’m with you on that. But in Mystery, there’s fascination in seeing the three different perspectives—Totonou’s, Garo’s, and Leica’s.

Tamura: I’m glad to hear that. However, creating a story is challenging, and I struggle with it each time. Mr. Suda must have had a hard time as well playing the role, so I hoped there were some fun parts for you.

Suda: No, no, it was fun. It was fun but definitely challenging. I had to go to the hospital in the middle of the day because I had so many mouth ulcers that I couldn’t talk. That was the first time ever, you know, that I had to stop filming on set because of mouth ulcers (laughs).

Tamura: Really?! It’s tough having mouth ulcers in a role that requires so much talking…!

[Caption 3] Garo Inudo, who has a mysterious connection with Totonou. He is one of the few individuals that Totonou would like to be friends with. (From Volume 9 of the manga)

Suda: It sure is. I’ve played a fair number of characters who have talked a lot, but those times were actually when the characters were in quite a heated state. Roles where there’s a lot of talking often call for energetic style of speaking after all, so playing someone like Totonou had its challenges. In the manga, Totonou talks without using much emotion, right? That’s what’s so fascinating and what I love about him, but I think that kind of expression only has an effect on the audience precisely because it’s in a manga. In a TV drama, if the character is actually played by a real person and there’s no emotion, then the character loses their humanity and becomes just a “character.” Of course, it’s important to perform the character of Totonou well and emulate his expressions, but more than that, I wanted to convey to the audience what’s happening in the story that Ms. Tamura created and what Totonou is seeing. So, I consciously played the role keeping emotions in check but letting them show every now and then.

Tamura: I’m really happy you thought about it to that extent. Thank you so much.

Suda: Oh, but I thought it was such a discovery. It was an eye-opening experience to learn two kinds of conversations between people: those that employ emotions and those that do not.

Tamura: That’s so true. It would be nice if we could have more discussions, or on-the-spot conversations without rejecting or attacking each other’s character. I wonder if we can start that kind of training from childhood…

Suda: Right. Love isn’t all about venting out our emotions.

Next Goal is…?

------Please share with us your hope for the future of the manga.

Tamura: I’ve gained a love for the detectives while observing the filming, so I’m kind of thinking to continue Aoto’s story, and next time Furomitsu’s. And of course, Ikemoto’s.

Suda: I bought the manga as a gift and gave it to friends and to children of friends a few times, so...

Tamura: Really? Thank you very much!

Suda: I contributed to the sales (laughs).

------The manga has surpassed 13 million copies…

Suda: It’s gone that far? So awesome! But really, my friend’s kid, to whom I gifted the manga, has asked if Furomitsu can come back already. Sounds like they’re looking forward to Furomitsu’s parts.

[Caption 4] Aoto, whose daughter was kidnapped. It may be related to the wrongful conviction case from 8 years ago… (from volume 9 of the manga)

Tamura: I’ll do it for sure (laughs). The fact that the work I drew, which I thought was going to be a one-shot of just one volume, has grown this big is thanks to everyone’s support, and that makes me so happy. Also, more than anything, I think Totonou himself is happy to have Mr. Suda play his role.

Suda: I’m soooo happy to hear you say that!

Tamura: I’m really grateful to you as well. There may be some fans of the original work who are worried about the adaptation, but I’m sure they will enjoy watching [the TV drama], and for those who are fans of Mr. Suda and don’t know the original work, I’m sure they will come to love it too. I haven’t seen the final edited version yet either, so I’m looking forward to the day it airs…

Suda: I saw the first episode. I feel relieved. It was good!

Tamura: Okay, then I can’t wait for it!

Suda: I know the show hasn’t even started and I’m already saying this, but I want to play Totonou again. I haven’t actually done a series before, so I’m hoping this could become my first one. Well, I wonder if I can do it, I’m cutting it close as I approach 40 years old.

Everyone: (Laughs)

<END>

Yumi Tamura ✕ Masaki Suda: Bonus Manga Chat between the Two Manga Lovers

Suda: What was the first manga you ever read in your life?

Tamura: The first real manga I read… was Moretsu Ataro by Fujio Akatsuka. When I was in kindergarten, I had a minor surgery and was hospitalized for a week, and at that time my father bought me a shonen [boy’s] manga magazine. I don’t remember what else happened, and I don’t know if it was the only one I liked or what, but I was able to endure the pain of my stitches being removed while reading Moretsu Ataro (laughs).

Suda: So it was enough to make the pain go away? (Laughs) I’ll read it.

Tamura: After that, when I was in the third grade of elementary school, I came across shojo [girl’s] manga and started drawing them myself. The series of works by Moto Hagio are wonderful… In particular, The Heart of Thomas grasped a deep part of my heart. Then when I was in high school, I encountered the Hamidashikko series by Jun Mihara, which is like the bible to me… The power of the words in that work is unbelievable, and I don’t know how many times I cried from them… they pierce the heart a lot. Even now they come back to me in various instances.

Suda: That has my interest now. Thank you for sharing that!

Tamura: Do you like manga as well, Mr. Suda?

Suda: Manga was my only recreation. Whenever I went on location to film, I would buy manga for the number of days I’d stay or frequent manga cafes during in between times. I was thinking that Mystery could be good teaching material in schools. It would be great if everyone reads it together in moral education classes or something. I would do that if I was a teacher. As my mentor, my sixth-grade homeroom teacher really loved manga, and I had wanted to become a teacher too because of him. He left manga in our classroom and called them his bible, and that’s when I came to love manga. Our classroom bookshelf had manga works like Parasyte and Ushio and Tora, and now that I think about it, that environment probably influenced my attraction to works with strong themes.

Tamura: Excellent choice of works, teacher!

Yumi Tamura's Comments:

1. Cyborg 009 by Shotaro Ishinomori

"When I was little, I watched the anime first and loved it, and then I read the manga around the time I was entering junior high school. I wanted to be 003 and go into battle with friends in the same way. I feel like it was my emotional support during the period of my 2nd year in junior high when I was having a hard time and ran away from it all."

2. Lolly no Seishun by Kimiko Uehara

"When I was in the 3rd or 4th grade of elementary school, Uehara drew a lot of one-shots in Betsucomi ('Lolly' was a weekly comic), and they were so interesting and moving every time that I was constantly in a state of emotion. I think because of that, I began drawing manga in my notebook, splitting up the pages into panels. Dramatic & rich with emotion, the depicted characters by Uehara, whether men or women, are full of charm & utterly brilliant. The energy and willpower of the female characters is really wonderful."

3. Thomas no Shinzou by Moto Hagio

"Of course I love 'Poe no Ichizoku' & '11-nin Iru!' too. Needless to say, Hagio is the greatest treasure. When I was in the 1st year of junior high, my friend & I were crazy about 'Thomas'. I liked Juri and my friend liked Oskar... we talked about going to Germany someday. It links together my own happy memories. I'm sure I didn't understand everything Hagio was trying to draw, but in the end, even now I cry at the image of Juri smiling faintly in a small panel."

4. Hamidashikko by Jun Mihara

"To me, this work is like the bible. It relentlessly strikes the deepest part of the heart and brings forth a flood of pain and tears. It wraps you up in a warmth that's helplessly miserable, sorrowful. Sincere gazes and intense dialogues. The power of the dialogues is truly unbelievable. The way the dialogues are presented along with the drawings make the best use of that power. Mihara's careful thoughts are at the root of all this. Even though I'm already this grateful, I will never get used to it. It's just amazing."

5. Kyoufu Shinbun by Jirou Tsunoda

"This is the most terrifying manga I've ever read. It's so captivating, & even decades later, it's still ingrained in me. There are various scenes that I'll recall whenever something happens. My younger sister & I would look at each other & go like ‘it's that’ or ‘that one scene, right?!’ & it would send shivers down our spines. We're already at a level of trauma. It's uncommon for a main story line to be most interesting while introducing all sorts of horrors."

6. Hyouryuu Kyoushitsu by Kazuo Umezu

"If I was told to read a manga now that would make me cry right away, then I would choose this one. Particularly the last scene of the mother crying. This work is unbelievably fierce, grand, rich in ideas, & just too fascinating. And the themes are so broad & deep that it makes you think about many things. It's a rare transcendental masterpiece that will, in the end, leave you feeling comforted & positive, thinking ‘it was a good ending,’ even though the journey is extremely scary & painful. Also, my contempt for Sekiya is strong.”

7. Macaroni Hourensou by Tsubame Kamogawa

"This is explosively entertaining. Fun. Cute. Cool. I love it! 25-year old Toshi-chan is the best! He's so cool. I don't know how many times I've read this. I still say the lines out loud even now. This is a very popular work that I can only describe as fun. There are not many other gag manga that make me burst out laughing quite like this one. I love it!”

8. Akaaka Maru by Minako Uchida

"I just can't stop admiring this work in general. The drawings, the rhythm, the stunning midpoint [?], the ability to think in a scientific way. And the proficiency of observing people. I admired it so much that I tried drawing contours of people & handwriting with permanent markers & brushes, but my drawing skills were so different that I ended up with nothing but doodles. ‘BOOMTOWN’ & the short stories are also very interesting & fun!”

9. Genji by Yun Kouga

"Innovative, I thought. I could clearly understand it. Kouga seems to be the kind of person who has a lot of sense. I've always thought it was amazing how her work & she herself had leadership qualities of the time to pull others along. I would very much love to know what kind of ideas Kouga has in mind for the rest of this work, since it hasn't been completed yet.”

10. Nodame Cantabile by Tomoko Ninomiya

"There was a period when I was having a very tough time, & it got to the point where I was having unhealthy thoughts like, ‘Is manga even enjoyable?’ But then this work came along & I was like ‘Aah, manga is fun after all! Thank goodness, I'm okay!’ So, this is a super popular & famous work to which I owe a debt of gratitude for making me realize & genuinely feel this way. I think it would be the greatest if I could portray the world in a similar way with such thoroughness. I envy that power of Ninomiya's! It's magnificent!”

Additional side comment from Tamura (in the speech bubble):

“I wanted to include the Bijohime series (Hana no Bijohime) & PARTNER by Tomoko Naka too! (I think it's obvious that these have an influence on my characters.) Other works that also left a strong impact on me are Ryouko Yamagishi's Arabesque; Yuko Kishi's Tamasaburou series and short stories; Rising! (Saeko Himuro/Author, Kazuko Fujita/Artist); the Palm series (Yasei Kemonogi); Astro Kyuudan (Shirou Toozaki/Author, Norihiro Nakajima/Artist); & Dark Green by Junko Sasaki. Makoto Kobayashi's Judo-bu Monogatari & Nanae Haruno's PaPa told me are also excellent! There’re also many other works that I'll never forget, such as those by Shinji Wada & Udou Shinohara, which have all influenced me in some way. I've always loved TONO's Karubania Monogatari too.”