Manga author Spica Aoki visited the German convention AnimagiC for the first time. Among her many activities during her stay, Aoki-sensei sat down with us for an interview about her ongoing manga KAIJU GIRL CARAMELISE, her feelings about the anime adaptation currently airing, and how she came up with the unique setting.
The story follows Kuroe Akaishi, a high schooler who suffers from a mysterious illness in which she transforms into a kaiju when she awakens her romantic feelings. With this unique blend of shojo romance and the kaiju and tokusatsu genres, KAIJU GIRL CARAMELISE‘s premise catches your attention from the get-go.
Inspired by the innovative plot, we dive into Aoki-sensei’s mind and creative process in the interview below.
Portions of this interview have been edited for length and clarity. This interview was conducted with the assistance of an interpreter.
Q: An anime adaptation of KAIJU GIRL CARAMELISE is airing now. What went through your mind when you first heard about the adaptation?
A: It felt like a dream coming true. I heard this news from my editor, Akasaka-san, on the phone. I made a lot of noise because I was so happy. An anime adaptation was one of my big goals as a manga artist. I debuted in 2011, but my series didn’t have long serializations, so this is my first work to be adapted into an anime.
Q: How involved were you in the anime’s production? What were you looking forward to the most when seeing your characters come to life with movement and voice for the first time?
A: I took part in many stages of the production: the script conferences, the review of character designs, and auditions for the voice actors. Usually, the characters only move and speak in my head, so seeing that become a reality was incredible. I also saw how many people were working on the production, which I am very grateful for as well.
Q: The core premise—where falling in love transforms the heroine into a kaiju—is extraordinarily unique. How did this idea come about?
A: It occurred to me during my first meeting with my editor. I arrived at the meeting without bringing any ideas, so we did some brainstorming. I was nervous at first, but then I stopped worrying and said whatever crossed my mind. The restaurant where we were working was next to the Sumida River in Tokyo. It’s a nice landscape where kaiju often appear in movies. Coincidentally, the day before, I had watched a kaiju film, so the idea was still in my head. I linked it all together and decided to make the story about a high school girl who transforms into a kaiju, which my editor approved.
Q: How involved were you in the anime’s production? What were you looking forward to the most when seeing your characters come to life with movement and voice for the first time?
A: I took part in many stages of the production: the script conferences, the review of character designs, and auditions for the voice actors. Usually the characters only move and speak in my head, so seeing that become a reality was incredible. I also saw how many people were working on the production, which I am very grateful for as well.
Q: The series shifts between comedy, romantic beats, and powerful monster action. How do you find the right rhythm between these different tones while drawing?
A: My principle is to draw ‘cute things cute’ and ‘cool things cool.’ Kuroe, the protagonist, is cute, so I draw her as cute as possible, and Harugon in a cool way. Because of this, I created this contrast between Kuroe and her Harugon form.
Q: Which character do you enjoy drawing or writing the most?
A: My favorite is Manatsu because she only needs to say one word and the rhythm of the scene changes [laughs]. She can turn a serious scene into a comedic one. She also has a kind side, which I like.
Q: How did you originally get into drawing manga, and which artists or works have had the greatest influence on you?
A: When I was in kindergarten, I watched Sailor Moon, which was a major inspiration. The manga was published in a monthly magazine, which I was looking forward to every month when I was 5 years old. It had very pretty artwork. That is when my dream started: I wanted people to feel the same way I felt when reading those works.
Q: What do you find to be the greatest challenge in keeping a long-running series alive across many years and volumes?
A: It’s very challenging to keep the same level of passion for the whole serialization. I do have assistants, but it’s still a lonely job. Now that we have social media, it’s possible to get readers’ reactions online, but when there’s no reaction I get anxious. Since it’s a commercial work, if it doesn’t get enough attention, the serialization may end. That’s why I feel this pressure every month.
Q: You blend classic kaiju and tokusatsu motifs with a shojo romance. What appeals to you about this combination, and how do you strike a balance between the two?
A: With this setting I can do things that don’t usually happen in love stories. It has many differences from a regular shojo manga story. There are many similarities since it’s about a high school girl who falls in love. But by adding this kaiju motif, the scale gets a lot bigger.
Q: Because of her “condition,” Kuroe feels like an outsider for a long time. How important was this theme of “being different” to you, and what would you like readers to take away from her story?
A: I think everyone has their own complexes, and it’s important not to give up and to keep hope that good things will happen to you. Even if your dreams don’t come true, I want readers to understand that you should try your best. That is what I want to convey through my story.
Q: This is your first appearance at AnimagiC in Germany. What message would you like to share with your German and international readers?
A: My previous work, Beasts of Abigaile, had many fans in Germany. In Japan, it wasn’t as popular—it ended after four volumes—but the enthusiasm of German fans inspired me to keep working.
Q: Now that you have visited AnimagiC, how has your experience with the fans been so far?
A: The passion of the fans is great, and I also felt close to Japan. One thing that surprised me was someone shouting my name, “Spica, Spica,” during the opening ceremony. That doesn’t really happen in Japan, but it made me happy to hear that.
Q: How deep is your personal connection to kaiju and tokusatsu culture? Are you a fan of the genre yourself?
A: Yes, if I had to name one it would be Godzilla. My parents loved Godzilla and watched the early films in black and white in the cinema. In my childhood I watched many Godzilla films at home. While it’s a cool and strong character, it also has a cute side. Looking back, it might be one of the reasons why I came up with the idea for KAIJU GIRL CARAMELISE.
Q: In many Japanese works, the monster is not merely a threat, but an expression of a hidden, “true” self. Do you view Kuroe’s kaiju form in this way—as a symbol of what lies within her?
A: Yes, Harugon is a representation of her true feelings—things she can’t say because she lacks confidence, or things hidden inside of her.
Q: Without giving too much away: Did you have the story’s ending in mind from the very beginning, or did the narrative evolve over time?
A: When I started, I didn’t have the ending in mind, but at the end of Volume 1, I had a vague idea of how the story would end. But I won’t get into details now to avoid spoilers [laughs].
Q: Prior to KAIJU GIRL CARAMELISE, you created works such as Beasts of Abigaile and Devil★Rock. Do you see a common DNA running throughout your body of work?
A: Yeah—as I said before, they are in a similar vein. I really think that if you keep going, even if your dreams might not come true, that in itself is wonderful. I wrote these works to give support to my readers, and also to myself.
Q: Is there a manga, film, or work of art that you would currently recommend to our readers?
A: Yes, I mentioned my previous work Beasts of Abigaile, which some may not know about. It served as something of a foundation for KAIJU GIRL CARAMELISE. It ended somewhat abruptly, but I think I concluded the story in a good way.
Q: Kaiju hold a long cultural tradition in Japan—from yokai and wrathful nature deities to Godzilla as an embodiment of collective anxieties. Do you see your own kaiju within this mythological lineage, and do they carry a symbolic meaning for you beyond just being monsters?
A: In Japan, kaiju often represent fears or some kind of force that can’t be dealt with by human power. But I see a lot of different potential ways to use kaiju, like in this manga. In KAIJU GIRL CARAMELISE, the kaiju is a representation of suppressed feelings that don’t come out.
We want to extend our thanks to Aoki-sensei and her team for giving us their time for an interview during the convention. We hope to see her again at future events overseas.
If the premise piqued your interest as much as it did ours, don’t miss the ongoing manga and anime!
©Spica Aoki/KADOKAWA/Project KAIJU GIRL CARAMELISE
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