Moyashi Fujisawa: “I particularly wanted my manga to be as realistic as possible”

Translated by: Dylan Acres

The exciting thriller Burn the House Down, published by Akata since June 2023, landed on Netflix on July 13th. Its author, Moyashi Fujisawa, gave us an exclusive interview in Tokyo. Selected pieces.

It's within an editorial cycle of "female thrillers" that Akata Editions have decided to publish the manga Burn the House Down by Moyashi Fujisawa beginning in June 2023. This thriller will keep you in suspense throughout its eight volumes (the series has ended in Japan).

Young Anzu had a golden childhood: eldest daughter of a distinguished doctor who manages a family clinic, a loving mother and a very jovial little sister. But a tragic fire abruptly puts an end to this idyllic picture. Ten years later, Anzu finds herself working as a housekeeper for Makiko Mitarai, and despite the latter's obnoxious behavior, she wishes to remain her employee. What are Anzu's motivations?

Within a synopsis of investigation and revenge that is quite classic at first glance, Moyashi Fujisawa constructs a manga of very appreciable complexity and depth. Her mastery of cliffhangers and twists is to be commended, as it is difficult to stop reading this series. A series that captivated the Japanese readership, but also the producers at Netflix, which acquired it for a television adaptation that has been available worldwide since July 13, 2023 under the name Family in Flames.

It was in Japan, through Akata editions and those responsible at Kodansha, that we were able to speak with the talented Moyashi Fujisawa.

Linternaute.com: How was Burn the House Down born?

Moyashi Fujisawa: What came first in this project was the word enjo . It literally means "flame", "burn", but it can also express revenge and convey the idea of vehemence and violence.^[1] It's often used in the media; it's an unambiguous term. All its various innuendoes will speak to everyone, at least in Japan. I wanted to use this term which inspired me.

After that?

Fujisawa: As we absolutely wanted to use this term of enjo, from the beginning we had to include a fire in the story. Then, to make it thrilling, we had to reveal who started the fire. These were my two starting points, and I then I built the story little by little.

Anzu waited ten years to enact her revenge. Would you have this level of patience?

Fujisawa: I wouldn't be able to wait ten years to finish something (laughs). The self-sacrifice and strength of will she demonstrated during that decade to prepare her revenge are qualities that escape me. This is actually the most difficult point I had to face in bringing the character of Anzu to life: making character traits that are foreign to me realistic.

They say that when you're an author you put a little bit of yourself into your characters. Which one is most like you?

Fujisawa: Paradoxically, the character who resembles me the most is Anzu. Not deep down in her psyche. But she is rather controlled, restrained, almost taciturn, especially if we compare her to her little sister who is extroverted and cheerful. I also have a little sister who smiles a lot more than me. In this, I feel close to Anzu.

What are your references and influences for Burn the House Down?

Fujisawa: These are mainly television series and films that I consume a lot. For example, the movie Gone Girl with Ben Affleck inspired me for the story between Makiko and Osamu. ^[2]

And what about the staging?

Fujisawa: My references are very linked to horror films. You should know that we watched a lot of horror films at Rumiko Takahashi's house, she is fond of the genre. ^[3] And I naturally ended up being influenced by them. I love the way horror films play with the zoom, using wide shots to build pressure, then getting closer little by little until the horror hits us. I play a lot with camera positioning in my manga.

By working on a thriller and watching films, are you able to live each day without being suspicious of everything?

Fujisawa: Indeed, I watch a lot of horror films, but I am extremely afraid of them (laughs). I'm very fearful basically. Hearing a horror film scares me, and when there are ghosts, I wait for someone to tell me "it's okay, they're no longer on the screen" to open my eyes (laughs).

Your manga addresses many issues in society: the question of appearance, the importance of social networks, social pressure, fake news. Do you think things are moving in the right direction?

Fujisawa: Since 2017, when the work was released, there have been improvements, especially regarding the condition of women in its entirety, especially with regard to violence against women. Particularly with the emergence of the #MeToo movement. There is also much more talk in the media about the problem of cyber-bullying. However, there are still a lot of things to change and battles to fight.

I have a three-year-old child, and I watch cultural and educational programs adapted to his age with him. I've noticed an evolution at this level. I would say that we are heading in the right direction, even if the road still seems long...

What can be done to improve things?

Fujisawa: Unfortunately, there's not much we can do. There will always be people who seek to take advantage of people's gullibility in any way possible. Without wanting to be defeatist, I think these problems will not be resolved in my lifetime. However, at our level, let's do our best every day.

In Burn the House Down, as in any good thriller, there are a lot of twists and turns. How do you imagine them? Do you create the situations to place these narrative surprises within or do they come later?

Fujisawa: What's important is above all the construction of the different stages. The narrative is built on a classic pattern: a problem arises or threatens the protagonist, who, after a series of adventures, seeks a solution and moves forward in the story. We must measure the seriousness of these threats, these disruptive elements, and create a progression curve. It's essential that no matter how difficult a problem may appear, it is not insoluble. The reader should feel the tension, but should not have to endure it.

How do we know if a plot twist is “too much”?

Fujisawa: This is indeed the main risk when writing this kind of story: not being credible, making one twist too many... For my part, I was particularly keen for my manga to be as realistic as possible. So, each time, I asked my editor if I was doing too much, if I wasn't going too far. I happened to adjust certain elements following his feedback.

However, with each conception of events, I tried to push a little further than the previous time, so that my readers, who are quite perceptive, could also be caught in the trap.

How did you manage the pacing of your manga?

Fujisawa: Initially, I had established a breakdown for a story in five volumes. But, even if the sales were correct, without being fabulous, my manga regularly found itself at the top of the magazine's poll rankings. ^[4] The editor-in-chief once told me that he was giving me carte blanche for this title. As I began writing the first chapters of the 4th volume, it was decided by mutual agreement with the editors to finally extend the story to 8 volumes.

Did you have to add twists and turns? Introduce new protagonists?

Fujisawa: No, in fact, the reason for the change in story length is precisely linked to the narrative rhythm. For the story I had planned to be thrilling, I had to manage the pace of the revelations and the appearances of characters. In five volumes, it would have been too dense and wouldn't have been pleasant for the reader. You have to take the time to introduce the protagonists and the initial situation, to build and reveal the antagonists, to set up revenge, to develop a heavy atmosphere. The story hasn't changed from the initial concept, but I've adjusted the pacing. It was a pretty natural process.

In volume 2, you involve Claire. How was this very original character born?

Fujisawa: It started from a fairly simple need. I wanted to show that despite her desire for revenge, Anzu had not sacrificed everything about her adolescence. That she had a friend who supported her in this quest. For the character itself, I was inspired by the character Garcia in the series Criminal Minds.

What was it like to see your manga adapted into a television series, especially on Netflix?

Fujisawa: There are many works from Kiss which are adapted into television series, so the probability existed. ^[5] I told myself that it would be great, but that I shouldn't dream too much. So obviously, when the adaptation project arrived, and moreover on a distribution platform as prestigious as Netflix, it was an incredible surprise. An undeniable highlight. I still find it hard to comprehend today.

Why, in your opinion, are shojo more suited to dramas than to anime?

Yosuke Taoka (editor in charge of Ms. Fujisawa): In my opinion, it's above all a question of budget. Shonen manga have a lot of action scenes, fantasy settings or other imaginary worlds, which would be very expensive to produce in animation. Shojo, on the other hand, often have a story anchored in a realistic universe, with everyday situations such as work, school, etc. This makes it an easier medium to adapt into a drama.

Your first series won the Kiss magazine grand prize. Your second series is being adapted into a drama on Netflix. For the next one, are you aiming for Hollywood?

Fujisawa: I'm still very surprised by all of this. I'm surprised that my works are adapted into series. However, my main goal is not to aim for Hollywood adaptations, but rather to ensure that my manga appeal to readers. My goal is to be recognized as a mangaka.

How did you become a manga artist?

Fujisawa: Since my childhood, I have drawn in my notebooks, whether at school or at home. Drawing became an integral part of my life before I knew it.

Did you copy other works or did you already create your own characters?

Fujisawa: I've always created my own characters and my own universes. I haven't been in the habit of copying other works.

If you had to name a manga and a manga artist who inspired you who would that be?

Fujisawa: Sailor Moon was the first manga I read that made me understand what manga was. ^[6] This title awakened in me the true essence of manga, with its depth, its richness, its expressiveness and its art. These elements go beyond the simple concept of a drawn story.

We cannot copy or be strive to emulate Rumiko Takahashi, she is apart, on another planet, at a higher level. We can be inspired by the work of these genius mangaka in terms of their creative will, but to say "I was inspired by" is impossible. And then, artistically speaking, I prefer to be myself.

You were Rumiko Takahashi's assistant. What advice did you take away from this experience?

Fujisawa: I worked for seven years with Ms. Rumiko Takahashi. This started roughly on the last three volumes of Inuyasha until the 30th volume of Kyokai no RINNE. She never gave me any particular advice regarding what I was drawing on my own at the time. However, she taught me to look at series, films, etc., with an artistic eye and to note and understand what might be interesting or not in the context of creating a manga. She helped me develop this ability to decipher and analyze everything we watched, to see life with the eyes of a mangaka.

Regarding drawing, since I was responsible for the sets, she mainly taught me composition. Each board and each box must clearly answer the “who, what, when” questions to be readable. I still use this instruction in all my manga, because these elements are essential for the balance of a work.

What is the first memory you have of this collaboration?

Fujisawa: At Takahashi-sensei's house, we worked at night. She gathered us all together at 11 p.m. to work until 10 a.m. Everyone brought a series or film that they found interesting, and we put these series or films on in the background while we worked, commenting on each scene and sharing our appreciations. When I look back on these years of assistantship, it's these interactions that have marked me the most.

Rumiko Takahashi has great intellectual curiosity. At home, there are a lot of books, because every week she reads all the ones she has collected, and she constantly buys more to continue to document herself. She has an unquenchable thirst for knowledge.

What made you want to move on to shojo after working on shonen with Rumiko Takahashi?

Fujisawa: After working on shonen with Rumiko Takahashi, I tried a few projects in this genre, as well as seinen. However, I felt that my style was naturally closer to shojo. At that time, Kiss magazine began a major promotional campaign for the launch of a sister magazine called Hatsu Kiss and they were looking for new authors. That's when I decided to enter a competition and try my luck in shojo.

Your new series, Watashi no Akira, is a seinen. Why change gender?

Fujisawa: It wasn't so much a desire to change genre that motivated my decision, but rather the pace of publication. I started my career quite late and realized that if I continued working on monthly magazines, I would only be able to produce two or three more works, which I found a bit sad. When an editor at Young Magazine asked me to publish a weekly series, I seized the opportunity. ^[7] This gave me the opportunity to work on more titles and explore new horizons.

What impact does this move from monthly to weekly publication have on your schedule?

Fujisawa: Working on a weekly has the advantage of being able to establish routines, because you can quickly see if you're falling behind. In the case of Watashi no Akira, where I am mainly responsible for the storyline rather than the art, I devote my thoughts to this work from Monday to Thursday. Then the rest of the week I work on other projects and also take care of my child. This new schedule allows me to organize my activities in a more balanced way and to better manage my different responsibilities.

Pages with comments by Moyashi Fujisawa:

Contrast, staging design:

Fujisawa: For this division, we can clearly observe the influence of horror films on my direction. In the first panel, I started by drawing Anzu's eyes, then I worked on the surprise present in the background of the panel. Then I completed the rest of Anzu's body to create a contrast with the background. The opposition between black and white is a simple trick. Just like the vertical lines that are part of the visual language of the manga to represent a cold sweat, they also help to freeze Anzu in this scene.

If I brought dynamism to the second panel, it's not only to amplify Anzu's surprise, but also to break with the calm and peaceful rhythm of the first volume. The panel is narrower not only because the time is shorter, but also because I want the reader to focus more on the right panel.

Finally, in terms of the camera angle, I only show the lower part of the stranger's body, because at that moment, even if I know who it is, I had not yet chosen his face (laughs).



Here I used a “zoom out”, where I gradually move away from the scene. The reason is very simple: the previous pages show Anzu worrying about not being alone in the house and checking if there is anyone hiding. The view was at its height. By switching to an outside view of Anzu, I reinforced the idea that there was someone outside observing her, creating a feeling of unease. Likewise, I chose to draw her from behind in the second panel.

You also play with the borders of boxes, asymmetries...

Fujisawa: When my husband saw this page, he asked me if any text was missing (laughs). But it's actually a classic trick that we find in many manga. I love Naoko Takeuchi and took a reference from a volume of Sailor Moon where this trick is used. It not only shows the passage of time, but also changes in location and dimension. A simple white box thus becomes a spatial and temporal marker immediately understood by readers.

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I would like to thank Emmanuel Bochew for the interpreting, as well as the Akata and Kodansha teams for making this interview possible.

Burn the House Down, Akata editions, €6.99.

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Footnotes

• [1] The term enjo is used in the original title of the manga: Mitarai-ke, Enjo Suru (御手洗家、炎上する).
• [2] Gone Girl is a 2014 film directed by David Fincher starring Ben Affleck and Rosamund Pike, it was based on a 2012 novel by Gillian Flynn. The story finds a husband suspected in the disappearance of his wife.
• [3] Moyashi Fujisawa (藤沢もやし) worked as an asssitant to Rumiko Takahashi under the name Moeko Fujii (藤井萌子). She worked as an assistant from roughly November 2007 to September 2015. Her Twitter account is located here.
• [4] Pre-publication magazines organize popularity polls to rank works within the magazine's table of contents. Weekly Shonen Jump is the manga magazine most known for this practice.
• [5] Kiss (キス/Kisu) magazine is the original monthly publication home of Burn the House Down from 2017 to 2021. It is one of Kodansha's primary josei (adult women) magazines along with Be Love and Dessert.
• [6] Pretty Soldier Salior Moon (美少女戦士セーラームーン/Bishojo Senshi Seeraa Muun) is, of course, the legendary shojo manga by Naoko Takeuchi (武内直子). The manga ran in Kodansha's Nakayoshi magazine from 1992 to 1997.
• [7] Weekly Young Magazine (週刊ヤングマガジン) is a weekly magazine that caters to seinen or "young men." Other series published in the magazine include Ghost in the Shell (攻殻機動隊/Kokaku Kidotai), 3x3 Eyes, and Gambling Apocalypse: Kaiji (賭博黙示録カイジ/Tobaku Mokushiroku Kaiji).

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