#INTERVIEW: Those Snow White Notes Manga Creator Marimo Ragawa
“#INTERVIEW: Those Snow White Notes Manga Creator Marimo Ragawa”
It's always a marvelous experience to experience Japanese artistic culture, and it doesn't happen too often that we stumble upon an anime or manga that has a significant meaning for Japan, but deals with a rather uncommon subject for the West. Those Snow White Notes — last season's adaptation of Marimo Ragawa's manga — was one of those exceptional titles.
The series focuses on traditional Japanese music with the culturally important instrument of the shamisen. The unique melodies of Those Snow White Notes warm the hearts and resonate within the viewers' souls, but how exactly is it possible to evoke these feelings with the visual medium? Crunchyroll had the opportunity to interview the manga creator Marimo Ragawa on how challenging it can be to draw a story about music and sounds.
First, how did you start your career as a manga author?
Ragawa: When I was in high school, I submitted my work to a manga competition held by a certain magazine and won an award. Both the art and story were bad, so it was one of the lower awards. One of the people in charge took note of my name, and through a competition held by the editorial department, my work was printed in the magazine. Readers responded well to my one-shot, and then Baby & Me became my first serialized work.
Those Snow White Notes can be best described as a “manga without sounds,” even though the sounds of the shamisen are crucial to the manga. How do you manage to convey this theme so powerfully only using drawings?
At first, I tried to express the imagery through the scenery, but along the way, I started making heavy use of onomatopoeia. I realized that, even before trying to imagine Tsugaru shamisen, in particular, the reader might not have any idea what the instrument sounds like in the first place, so I felt it was necessary to put words to the art. Now that the series has been running for so long, I feel like even if they don’t know the sound, they can understand the feeling, so I’ll draw abstract imagery and leave the sound to the reader’s imagination.
What is your relationship to the shamisen and music in general? Do you play an instrument yourself?
To prepare for this series, I did start going to Tsugaru shamisen lessons. Back then, it was one of those “culture classes” with many other students, but scheduling was difficult, so now I take private lessons. I never learned any kind of music, so I’ve always admired the piano. I like all genres of music, and I really love songs from the '80s and '90s ― Madonna, Michael Jackson, Queen, Cindy Lauper, etc … That’s my youth!
The main character Setsu Sawamura says he is searching for something and that he feels empty — other characters also describe him as an empty shell if he doesn’t put his heart into playing. Why does he strive to find a sound resembling his grandfather’s to resonate with his soul instead of creating such a sound himself?
Since Setsu was a baby, he’s been raised listening to his grandfather’s sound. It had become his identity, so he didn’t know how to express himself outside of it, and he never had any reason to question that about himself. That’s why when he rushes out of his hometown, Aomori, he’s bewildered about the process of self-expression.
In the beginning, he admired his grandfather’s sound and wanted to be able to play like him, but now, he perceives it as a sound he must surpass.
You mention the professional shamisen musicians The Yoshida Brothers very early on in your manga. Have you worked with them before the anime was made or used their music to reference your manga?
A few years after the serialization of Those Snow White Notes began, they did two concerts for us. And, of course, I’ve used their music as a reference, not as something to use within the manga, but as inspiration when creating the story.
I feel that the many original pieces they’ve created have expanded the possibilities of Tsugaru shamisen.
What do you find most challenging about making Those Snow White Notes?
The harsh realities that arise from having to push through things show up more often than fun things do, which takes a toll mentally and psychologically. I’d like to draw it light and happy, but…
How do you feel about your work being made into animation? Is there a scene so far you are particularly fond of?
The miracle of hearing the sounds, seeing fingers striking the strings, having the characters actually speaking ― it’s unbelievable. I especially love the jam sessions between Wakana and Setsu, and Seiryuu and Setsu.
Is there a particular detail or scene in the anime you feel is important but has not received enough attention?
The movement of their fingers when they’re playing. The shouts of “Ha!” that each musician makes. The actors’ voices are very sexy. They’re really good.
What kind of messages have you received from readers of your manga who watch the anime?
They’re happy to be able to hear sounds that they had no choice but to simply imagine before.
Do you have any messages you would like to share with worldwide fans of Those Snow White Notes?
Thank you for coming to know that there is an instrument in Japan called the Tsugaru shamisen! I hope that if you ever get the chance, you take the opportunity to enjoy the sound live and in person.
Melanie Höpfler is the editor-in-chief for Crunchyroll in Germany. She is passionate about the genres boys love and sports. You can find her Twitter here.
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