The Summer Hikaru Died Director Ryohei Takeshita on Crafting a Sense of Dread

The upcoming The Summer Hikaru Died anime series has big shoes to fill. The anime series, written and directed by Ryohei Takeshita (Jellyfish Can't Swim in the Night), is based on Mokumokuren's best-selling manga series. With over three million copies in print, the series has garnered accolades, including an Eisner nomination.

Starring Chiaki Kobayashi as the introverted Yoshiki and Shūichirō Umeda as "Hikaru," his best friend who is different after he goes missing, the story takes Yoshiki down a path of no return as he tries to understand what his best friend is and if this Hikaru is better than no Hikaru.

Now, the team at CygamePictures is tasked with bringing the chilling tale to the screen this summer. We talked with Takeshita-san about the pressure of adapting the hit manga series and how his team brought Mokumokuren's world to life.

What first attracted you to this project? Were there any elements in Mokumokuren-san's manga that appealed to you as an anime director?

Ryohei Takeshita: When I first read this manga, I thought, “This is such a fresh and unique approach to manga expression.” The way sound effects are used, and each panel's composition—it all felt very trendy. As a creator, I was deeply drawn to Mokumokuren-sensei's expressive style, and I immediately felt a strong desire to turn this work into animation.

Also, I've always wanted to take on the challenge of working in the horror genre. This project marks my first time directing a full-fledged horror piece, but I once worked on a horror-themed episode in the original anime Flip Flappers when I was younger. That experience gave me a sense that horror might actually suit my sensibilities. So, while also taking that point into consideration, I'm really glad to be part of this project.

Were there any particular aspects you were conscious of in depicting horror in this adaptation?

TAKESHITA: Even when I first read the manga, I was struck by a strong sense of “eeriness.” It's not the type of horror that relies on jump scares—it's more about the feeling that something might be there, an eerie stillness, or a strange heaviness in the atmosphere. That's the kind of fear it evokes.

I felt that this atmosphere absolutely had to be recreated in the animation. Of course, the original manga is already incredible, but I was constantly aware of the need to go beyond that through the unique possibilities of animation.

Did you do anything in particular to capture the rural setting of the story? Was the team able to visit the Mie prefecture for reference?

TAKESHITA: After hearing from Mokumokuren-sensei about the locations that inspired the setting, I immediately went to scout the location myself. I spent about three nights there on my own at first. After that, I returned with the main staff and then again with the directing team. In total, we made more than three trips and stayed several nights each time, capturing the atmosphere of the area through photos and videos.

To depict a realistic rural setting, I believe it's essential to experience it firsthand. For example, things like plastic bottles stuck into fences, rusted-out cars left abandoned, or old signs still standing—scenes you wouldn't normally see in the city. These are subtle details, but we made a conscious effort to incorporate exactly what we saw there, guided by our intuition.

How did you develop the Dorodoro animation with Masanobu Hiraoka-san to bring Mokumokuren's artwork to life?

TAKESHITA: The “DORODORO” is arguably one of the most remarkable elements in the original work, and we were very careful to translate it into animation without disrupting Mokumokuren-sensei's innovative visual expression.

Initially, we considered taking a more efficient production approach, like inserting paste-ins into the layouts. But then Masanobu Hiraoka said, “I'll draw everything by hand.”

Honestly, my first thought was, “Is that even possible!?” (laughs). But I had a deep trust in Hiraoka-san, and I decided to fully commit to that direction. Neither of us tried to avoid the sludge—we faced it head-on. That's why we created a special role called “DORODORO Animator” within the main animation team. We wanted to emphasize how vital it is to the anime.

Sound effects play an important role in the original manga; how did you work with the sound director to capture this in the anime?

TAKESHITA: The biggest thing I focused on in terms of sound was the “DORODORO” sound. Since Hikaru is established as a being “without a soul,” I asked the sound team to create an “inorganic sound” to match that.

Also, rather than a music-driven direction, I chose an SFX (sound effects)-focused approach. Like in Japanese live-action films, I emphasized the importance of pauses, using only visuals and SFX to convey the atmosphere. We carefully selected the sounds to deepen the subtle and quiet form of horror.

The Summer Hikaru Died is both a horror series and an emotional drama about the relationship between Yoshiki and “Hikaru.” What kind of voice performance were you looking for when casting the lead actors?

TAKESHITA: The relationship between Hikaru and Yoshiki is the most central aspect of the story. So even during casting, I thought a lot about how to recreate their unique chemistry.

Kobayashi-san is a very passionate actor. His ability to express explosive emotion, especially from a state of repression, matched Yoshiki's character perfectly. On the other hand, Umeda-san is a very versatile actor who can visualize the direction and intuitively adjust his performance to fit.

During recording sessions, their balance was exactly what I had envisioned—it was truly remarkable.

As an example that shows their bond, one day after a recording session, I saw Kobayashi-san and Umeda-san walking home together. They were walking side by side, and I thought, “Wow, they really get along.” Seeing that made me think, “Yes, we chose the right cast.”

You're not only directing the series but are also responsible for writing the series as well. Can you talk about your writing process? Was Mio Nukaga-san's light novel used as a reference?

TAKESHITA: While I have previously shared credits, this is my first time being solely responsible for series composition.

When writing storyboards, the most important thing for me is the pacing of the scenes. I first design how long each shot should be and where things should flow faster or slower—then I write the script based on that internal blueprint.

Of course, consistency and logic are important, but even more than that, I focus on crafting a smooth emotional flow that works well as animation. I constantly adjust the rhythm to avoid boring the viewer. Whether it's the structure, scriptwriting, or storyboarding, I aim to connect it all seamlessly.

Is there an animation sequence you're particularly proud of?

TAKESHITA: First and foremost, I feel we really succeeded in animating the “DORODORO.” I think even fans of the original manga will find it faithful and satisfying. This is entirely thanks to Hiraoka-san's skill and hard work.

Another highlight is Tanaka's first appearance in episode one. By combining the choir scene with his intense action sequence, we were able to create a very striking moment—I'm very pleased with how that turned out.

Also, Matsuura, who only appears in episode one, plays a key role in the story's first major horror sequence. We focused our animation resources on her scenes. Episode one serves as the barometer for both viewers and staff. If it doesn't have enough impact, or if the director's episodes aren't strong, it would be disastrous—which added pressure. But I think we succeeded in expressing the unease to full effect.

There appears to be a lot of anticipation for the upcoming anime series in Japan and abroad. Have you been feeling any pressure, and how do you handle these expectations?

TAKESHITA: I definitely feel immense pressure—just like I do with every project I take on. There are plenty of younger, more talented creators out there, and I often think, “Maybe they would've been a better fit for this.”

But if there's any meaning in me doing it, it lies in the time I spend truly engaging with the work. That's the one thing that can't be faked. Taking the time to honestly struggle, reflect, and make decisions—the accumulation of these things is probably what gives me confidence in the end.

As a director, are there any horror films that left an impression on you, either for their technical attributes or because they were so creepy?

TAKESHITA: I've watched a ton of horror films over the years, but the one that sticks with me the most is Aliens (1986) by James Cameron. It feels presumptuous to compare, but Cameron's work goes beyond simple horror—it masterfully manipulates human psychology.

For example, the fear evoked by enemies that appear on radar but remain invisible, and the panic of not knowing where the danger is. There's more than just horror in that film—it's packed with elements that keep the audience thoroughly engaged. I think that mix is part of its brilliance.

Finally, do you have a message for fans and readers of the original manga who are eagerly awaiting the anime adaptation of The Summer Hikaru Died?

TAKESHITA: Expectations for the original work are very high, and I believe many of Mokumokuren-sensei's fans are drawn to the unique psychological depth and masterful expression of this manga. Naturally, we're aware that those fans will judge the anime with a critical eye.

But myself, along with Takahashi-san (Character Design/Chief Animation Director), producer Kamiuchi-san, and our incredible team, are all sincerely giving everything we have, aiming to somehow surpass the original. The passion we've poured into this project is 100% real.

I truly believe this anime deserves to be shared with the world, so I hope everyone looks forward to it.

Anime Expo will host the North American premiere of The Summer Hikaru Died on July 4 at 7:00pm PDT with special guests Mokumokuren, Chiaki Kobayashi, Manami Kabashima, and Chiaki Kurakane. Manga creator Mokumokuren is a Guest of Honor at Anime Expo 2025 and will participate in the Yen Press Presents: A Discussion with Mokumokuren—Creator of The Summer Hikaru Died panel on July 4 at 11:30am PDT. The anime series will stream on Netflix on July 5.