風音
”Fūon” [The Crying Wind]
JAPANESE TEXT:
Medoruma, Shun. “Fūon” [The Crying Wind]. Suiteki [Droplets]. Tokyo: Bungeishunjū, 1997. 51-128.
ENGLISH TRANSLATION:
Medoruma, Shun. “The Wind Sound.” Trans. Freedman, Alisa, and Kyoko Selden. Review of Japanese Culture and Society, Special issue on literature, film, and war memory, Summer 2009.
1. Introduction
“Fūon” was first serialized in The Okinawa Times from December 26, 1985 through February 5, 1986. In 1997, the author revised it, and republished it as a collection of short stories, which includes “Suiteki,” “Fūon,” and “Okinawan Book Review,” a review of imaginary books.
Medoruma rewrote the story into a script for a movie also entitled Fūon. The movie was directed by Higashi Yōichi, and was first shown in 2003. The film received the Montreal Film Festival Innovation Prize in 2004. The man who played the lead character, Seikichi, and the Okinawan boys in the film, are Okinawans who passed an audition.
Medoruma wrote the novel, Fūon: the Crying Wind (2004), which was the basis for the film. The movie and novel have some differences from the short story. In Fūon, Akira is the grandson of Seikichi (whose last name has been changed to Tōma), and new characters (for example, Fujino, Kazue, and Masashi) have been added. Fujino is a middle-aged woman who comes to the village from the mainland, and who had a secret crush on Kanō (who has been given the first name Shinichi). In “Fūon,” Kanō is described as a mysterious and cynical man; however, Fujino’s addition adds a love element to the story, so that readers can see a more human aspect of him. Another difference is that Kazue escapes to the village with her son, Masashi, from the violence of her husband. Kazue kills him at the end. In this way, Medoruma attempts to show how the violence of the war continues to have an impact on the presence.
“Fūon” tells the story of an Okinawan man, Seikichi, who survived the Battle of Okinawa and who feels guilt about stealing a pen from the corpse of kamikaze pilot who washed ashore during the war. In his village, people revere the kamikaze pilot’s skull, which makes a sorrowful sound. However, the young boys place a jar near the skull, which prevents it from making the sound. Two reporters, Fujii and Izumi, come to see the skull, and Seikichi spurns them in order to keep his past actions secret. Seikichi, Fujii, and the young boy Akira each have feelings for the skull. In this way, Medoruma’s story also considers how different generations remember the war.
2. Character List
Tōyama Seikichi 当山 清吉
An Okinawan man in his fifties. One of the three main characters of the story, Seikichi feels guilty about stealing a fountain pen from a dead body of a kamikaze pilot when he was fourteen years old. He has kept people away from the skull of the kamikaze pilot to hide his guilt, so he turns away two outsider reporters, Fujii and Izumi.
Tōyama Akira 当山 アキラ
One of the three main characters, Akira is Seikichi’s son and an elementary school student. After making a bet with his friends, Akira climbs the cliff and puts a jar next to the skull. This causes it to stop making its sound. Later, he gets scared and decides to remove the jar.
Fujii Yasuo 藤井 安雄
A man in his late fifties who comes to Okinawa from the mainland to gather material about the Battle of Okinawa. He was a kamikaze when he was in his late teens; however, before flying, Kanō pushed him off a cliff. Fujii feels guilty about surviving the war.
Kanō 加納
Kanō was a kamikaze pilot, like Fujii. His superior officer beat him almost every day in the barracks because of his terrible attitude; however, Kanō didn’t seem to care. During the war, he died in Okinawa, and his body was found by Seikichi’s father.
Ishikawa Tokuichi 石川 徳一
The ward head, who accepts Fujii and Izumi because he thinks it will be good publicity for their village to let Japanese people know about the skull. He talks proudly about his memories of the war.
Jahana, Imadomari, and Ishikawa Fumio 謝花、今泊、石川文雄
Villagers who believe that tourism is important for their village, in contrast to Seikichi, who does not. As a result, they get into an argument with Seikichi.
Izumi 泉
The reporter who comes to the village with his superior, Fujii.
Tōyama Yoshiaki 当山 喜昭
Seikichi’s father. During the war, he found the dead kamikaze pilot and carried it to the top of the cliff on his way back from searching for food.
Mitsu ミツ
Seikichi’s wife, who always tenderly cares for Seikichi and Akira.
Isamu, Shin, Hitoshi, and Kaju イサム、シン、ヒトシ、カジュ
Akira’s friend who go to the cliff with him. Isamu is the leader, so Akira views him as a rival. The story begins with Shin’s challenge to Akira, which leads Akira to put the jar next tot the skull.
3. Plot Summary
In the first section (53-61), Akira and his friends look up a cliff to a fūsōba, or open-air burial site. A skull called nakiunkami [crying god] makes a sorrowful sound, which is called fūon. It is said that the sound is produced by the wind passing through the hole in the temple of the skull. However, no one has ever made sure that that was true. Akira puts a tilapia in a jar next to the skull, and the boys bet on whether the fish will be dead or alive seven days later.
The second section (61-74) starts with an ominous description of Mt. Uppa, as if it is a warning to Seikichi, who can recall the Battle of Okinawa clearly even after forty years. Then Fujii and Izumi visit him on the introduction of the ward head, Ishikawa. After Seikichi rejects their request for cooperation, he goes to Ishikawa to complain about accepting the two reporters.
In the third section (74-76), Seikichi stands at the bottom of the cliff and looks up at the skull. He still cannot forget the fear he felt when he heard fūon for the first time. With that, he recalls his first visit.
The fourth section (76-89) is a flashback to when Okinawa was at war. Seikichi follows his father, Yoshiaki, to get food for their family waiting in a cave. On the way, they find the body of a dead kamikaze pilot. Yoshiaki carries the body on his back to the cliff and dries off the body. Seikichi is fascinated because he has never seen such a beautiful body. After they go back to the cave, Seikichi becomes eager to see the body again. Additionally, he wants to get the fountain pen, which he saw near the body. He goes back and steals the pen but sees a the hideous scene of crabs swarming over the body. He hears a terrible sound from the body and runs away in fear with the fountain pen.
The fifth section (89-93) returns to the present. Seikichi notices a jar next to the skull, and Fuji appears from behind a tree. They hear fūon. Seikichi scares Fujii and runs away.
The sixth section (93-97) switches to Fujii’s point of view. He stands at the bottom of the cliff with Izumi and Ishikawa. Ishikawa says proudly that he was a member of tekketsu kinkō tai (the student corps in Okinawa) and that the skull was that of a kamikaze.
The beginning of the seventh section (97-109) is a flashback to when Fujii was a kamikaze. The night before leaving for Okinawa to attack against U.S. forces, Kanō pushes Fujii off a cliff after a short conversation. Fujii still wonders why Kanō did that. Suddenly, Ishikawa interrupts Fujii. They think the reason why the fūon sound has stopped is the jar.
Recreation of the barracks where kamikaze pilots stayed before their flights. Photos taken at the Chiran Peace Museum by Kasumi Sminkey.
The eighth section (109-113) is told from Akira’s point of view. The rumor spreads that the skull has stopped making its sound. The boys, including Akira, hear the news from Shin and get scared. Akira decides to go to the cliff to retrieve the jar.
In the ninth section (113-117), Seikichi takes out the pen from a drawer and feels guilty. He thinks he will never have another chance to return it, so he decides to do so that night.
In the tenth section (117-120), Seikichi and Akira run into each other at the cliff. Akira inadvertently drops the skull, and it breaks into tiny pieces.
In the eleventh section (120-125), Fujii and Izumi are on a plane leaving Okinawa. Fuji recalls that the day before, the villagers stared at Fujii and Izumi because they thought the strangers were the reason why fūon stopped. Fujii thinks he would be better off to leave the village early. Therefore, he goes to the cliff to see the skull and the fūsōba for himself. At the bottom of the cliff, the three, Seikichi, Akira and Fujii, meet each other. The skull falls down and breaks into pieces. After Fujii sees it, he goes back the way he came. On the way, he topples into a river, and knocks into a school of tilapia fish. On the plane, Fujii reminds himself to face the enmity of his comrades.
In the twelfth section (125-128), the last part of the story, Seikichi is on the predawn beach with pieces of the skull in a shirt. Last night, he gathered up the pieces and went back home with Akira. Now, he has returned to scatter the pieces into the ocean. He takes the pen, which has never before used. from his pocket and throws it into the ocean, too. But even after he does so, he can hear the fūon sound.
4. Point of View
The entire story is narrated in the third-person; however, the narration is always close to one of the three main characters and focuses on their thoughts. The sections narrated from Seikichi’s point of view (61-93, 113-117, 125-128) have flashbacks to when Okinawa was at war. Similarly, the sections narrated from Fujii’s point of view (93-109, 120-125) have flashbacks to when he and Kanō were kamikaze pilots.
Sometimes, the narrator has descriptions of Okinawan nature (for example, the Irikami River, the ocean, wind, banyan trees, fireflies, and crabs). These descriptions seem to express the thoughts or subjective views of the characters metaphorically. This helps readers to understand the thinking of the characters. For example, there is a graphic description of plants in the boys’ section (53-61), which shows their friskiness. Additionally, in the scene of Seikichi’s flashback (76-89), crabs are described as clammy and hideous. This obviously shows his fear and traumatic feelings. Interestingly, the story never gives Kanō’s perspective. As a result, readers can only guess about his thoughts and motivations.
5. Symbolism and Imagery
The Crying Skull 泣き御頭
The skull at the outdoor burial site has a small hole on the left side. Most likely the skull is that of Kanō, who died in Okinawa as a kamikaze pilot. When the wind comes from the sea, it passes through the hole and makes a sorrowful sound. Villagers call the skull nakiunkami, which means “ holy crying skull,” and they call its sound fūon, which means “sound of the wind.” The skull seems to represent all the people who died in the Battle of Okinawa. Thus, the fūon sound is described as sounding “like the plaintive tone of a flute” (Medoruma, “The Wind Sound” 2). In other words, the sound is like the voice of the war dead.
Fireflies 蛍
Whenever the fūon sound comes from the skull, a firefly always shows up. Fireflies have a short-lived glow and a fragile life. Through this image, Medoruma tries to tell readers that people died suddenly like fireflies during the war.
Fountain pen 万年筆
The fountain pen is the pen that Seikichi stole from the body of Kanō. To begin with, it seems to represent masculinity because it is described sexually as being “something black and smoothly lustrous projecting” (14). In addition, when Seikichi touched the pen for the first time, he “grasped the object with trembling fingers and slowly brought it before his eyes” (17). These obvious references to the male sex organ show that Seikichi was extremely attracted to the masculinity of the pen and the body. He was just a boy who followed his father, but after he saw that his father was injured, he began to desire the pen, as if he needed more masculinity to survive the war.
Another symbolic meaning of the pen is unrecorded war memory. A fountain pen is generally needed to write down our memories, but in this story, the pen is never used for writing. This symbolizes that unspoken memory goes unrecorded. Seikichi always feels guilty about stealing the pen, so he spreads a false rumor to keep a tight lid on it. Finally, the pen becomes the thing that reminds him of his war memories. That is why he cannot escape from those memories. At the end of the story, Seikichi throws the pen into the sea, as if throwing away the last chance to record his memories. This symbolizes his resolve to never talk about the pen again, and to bury his memories of the war forever.
Tilapia テラピア
In the opening scene, Akira puts a tilapia in a jar next to the skull, and bets with his friends on whether the fish will be dead or alive after three weeks. When Akira later goes back to retrieve the jar, he discovers that only a small amount of water remained. Moreover, he sees that the fish had struggled to survived: “Part of its flesh had been chewed away, and its bones showed at the root of its dorsal fin. But the tilapia had lived” (31). This description suggests how difficult it is to survive the war, and implies that for many in Okinawa that struggle continues.
Towards the end of the story, when Fujii falls from a bridge into a river, he sees a school of tilapia. Many of the tilapia brush against his hips and legs, so he considers the tilapia his comrades. However, to the fish, Fujii is just a barricade in the river. This symbolism suggests that Fujii misunderstood what he did for his comrades. He thinks that he should tell about the war and how the kamikaze died during the war, but actually, he just does so from a sense of guilt.
6. Setting
The story takes place in a small Okinawan village with a river flowing through the middle. Although the name of the village is not mentioned, the description of the river and other hints suggest that the village is Nakijin, which is Medoruma’s hometown. The strongest hint is the description of Mt. Oppa, which is located in Nakijin. Hints about the time suggest that the story takes place in the late 1980s to the early 1990s. For example, when Seikichi recalls the past, the narration mentions that “despite the fact that forty years had since passed, his memory was vivid” (“The Wind Sound” 5).
As for the scenes with Kanō and Fujii, the most likely location seems to be Chiran, Kagoshima. During the war, there were many kamikaze bases in Japan, but Chiran base in Kagoshima is particularly well known. In Okinawa sengo zero nen, Medoruma discusses his visit to the Chiran Peace Museum in Kagoshima, which displays relics and letters of kamikaze pilots. Therefore, it seems likely that Medoruma had the Chiran base in mind when writing those scenes.
7. Cultural Background
Fūsō and Fūsōba 風葬、風葬場
Fūsō (open-air burial) was one of the ways of burial in Okinawa until about 1960. According Shiotsuki Ryōko, there was a custom of washing a dead person’s ashes in Okinawa. Okinawan people used to put a dead body on the fūsōba, which literally means “wind burial place” (ba means “place”). After about three years, people would wash the remains and place them in an urn (100). However, from the Meiji era, the custom of cremation gradually spread to Okinawa. As a result, the custom of fūsō fell into disuse (109). Nowadays, the sacramental image of fūsō has gradually faded away, and some people do not even know what fūsō is.
Freedman and Selden wrote a sidebar about fūsō on their translation, describing the place as a “ritual ground where bodies were left to decompose in the natural elements” (Medoruma, “The Wind Sound,” 35). In the story, the skull is placed on a fūsōba, which “made use of the natural hollow in the cliff had a carefully cut out rectangular opening. It had a depth of no more than one meter” (Medoruma 3). The village elders explain that “the bodies of the dead placed there turned into beautiful, white bones with the help of birds, crabs, and wharf roaches, along with the wind from the sea” (Medoruma 1). The fūsōba in the story is no longer used as a burial place, so Freedman and Selden translated fūsōba as a “wind burial site” (Medoruma 1).
Kamikaze 神風特攻隊
Monument in front of the Chiran Peace Museum. Photo by Kasumi Sminkey.
During the war, Seikichi admired kamikaze, such as Fujii and Kanō. The word kamikaze refers to the Japanese suicide bombers in the Special Attack Forces. The kamikaze were comprised of young men between the ages of about late teens to early twenties. According to Robert Leckie, an American author who has served in the Marine Corps during World War II, the idea of the kamikaze was conceived of by Vice Admiral Takejiro Onishi, who “found the concept of suicide—so popular in Japan as a means of atonement for failure of any kind—a glorious method of defending the homeland” (16).
7. Criticism
Bouterey, Susan. “Dai san shō: ‘Fūon’ ron.” Medoruma shun no Okinawa: rekishi, kioku, monogatari. Tokyo: Kageshobō, 2011, 74-162.
Susan Bouterey discusses the meaning of the skull as follows: for Seikichi, the skull is something which reminds him of his guilt and traumatic memories of the war. For this reason, he encourages villagers to see the skull as a holy object and to stay away from it. At the end, Seikichi throws the fountain pen and the pieces of the skull into the sea; however, the fūon sound never stops. This suggests that he cannot escape from his war memories, even if he tries to bury them (76-7).
Bouterey also points out that the story suggests the loss of Okinawan spiritual culture caused by Japan’s colonial rule and the U.S. occupation (78-9). The skull is placed on the fūsōba, which is a holy place for Okinawan people, but actually, the skull was not an Okinawan but a man from the mainland. Additionally, “villagers concluded” that “the American soldiers who had taken away the stone steps” from the fūsōba “pulled pranks on the skull as to display it with prominence” (Medoruma, “The Wind Sound” 29). These express the invasion to Okinawa from the mainland and the U.S soldiers. Secondly, Fujii seems to be a kind; however, his fluent Japanese makes Seikichi feel pressured. This shows how Okinawa was oppressed by the mainland (121).
Bouterey argues that the fountain pen symbolizes an admiration for kamikaze pilots and the traumatic memories of the war at same time. She argues that this story expresses the complicated psychological state of Okinawan people towards mainland Japan. Okinawa was a colony of Japan, and most people received a Japanese education, but at the same time, many Okinawans felt betrayed by Japan. During the war, Seikichi admired the kamikaze pilots, no doubt as a result of the nationalistic education in those days.
Finally, Bouterey analyzes the importance of Fujii in the story. Fujii gathers information about the Battle of Okinawa, not because he wants Japanese people to know about the war but because he wants know about Kanō. If he intended to talk about the war, he would talk about his memories as a kamikaze pilot (126-9).
8. Themes
Unspoken memories of the war
One of themes of “Fūon” is unspoken memory. For example, Seikichi suffers from guilt about stealing the fountain pen, but he never talks about it. To prevent revealing his act of stealing, “Seikichi even spread a terror-inspiring rumor in the village so that nobody would have anything to do with” the skull (Medoruma, “The Wind Sound” 29). Like Seikichi, some people who survived the war do not want to speak of their war memories, and sometimes, they might even distort the truth. Therefore, not all stories told by survivors are necessarily true.
Unspoken memories are often cited as a feature of Medoruma’s literary works: Murakami Yōko mentions that an important theme in “Fūon” is memories which are not shared with others (42). Similarly, Shimokoube Michiko points out that traumatic memories are memories that are constantly replayed in the possessor’s mind but that are not spoken about to anyone (42). She adds that unspoken memories of war survivors prevent other people from knowing the truth about the war, and that this results in a gap between records of the war and the survivors’ actual experiences of the war.
In Okinawa sengo zero nen, Medoruma points out that many of the photographs or video footage of the war was taken by the U.S. forces, and that we cannot know what was happening outside of that frame. For example, American footage often shows U.S. servicemen helping Okinawan people out of bomb shelters, but that they never show the rape of Okinawan women or young girls (81).
Guilty feelings of war survivors
Even after the war ended, many survivor suffered from trauma and stress. Some felt guilty about having survived, and struggled to find reasons for whey they survived and so many other people died. Many survivors felt a responsibility to tell people about the war, in order to remember family, friends, acquaintances, and others who died tragically in the war. Admitting that people lost their lives for nothing is painful, so some people unconsciously distort the truth in order to glamorize people’s deaths. In this way, people who survived the war still continue to experience the war. For them, the war is never-ending.
Fukahori Michiyoshi, who is the second son of Sugawara Michiō (the commander of strategic air operations to Okinawa), introduces letters about Tokkō no shinjitsu: meirei to kenshin to izoku no kokoro (2001) from Tanaka Fumihiko in Tokkō no sōkatsu. Tanaka writes that military personnel tend to ignore their faults and defend themselves in order to glamorize kamikaze pilots’ deaths. He points out that historians have only recently become aware of the many distortions in the historical record concerning kamikaze (3). Fukahori completely agrees with this point.
The Dilemma of Survivors and Kamikaze Pilots
The fountain pen shows the admiration that Seikichi had for kamikaze pilots and the Emperor of Japan. On the other hand, it reminds him of his traumatic memories of the war, such as the crabs swarming over the body of the dead kamikaze pilot. He wants to let go of the pen and his memories, but at the same time, he wants to hold keep his valued keepsake. This means that he is torn between his feelings of guilt and his feelings of admiration.
Chiran high school girls waving farewell with cherry blossom branches to a taking-off kamikaze pilot. Public domain photo.
During the war, Japanese people were educated to be dedicated to the Emperor and Japan, and to believe that such dedication was beautiful and admirable. As a result of such an education, Seikichi greatly admired the kamikaze pilot. When he saw the body with his father at first, it appeared unnaturally clean and beautiful. This represents the aesthetic of Japanese national education at that time. However, when Seikichi later saw the body it appeared grotesque like a “black wreck, neither eyes distinguishable” (Medoruma, “The Wind Sound” 17). In other words, the change in the description of the body shows that the prewar beliefs have disappeared, and that what once appeared beautiful and admirable, now appears grotesque and unhealthy. This description expresses the dilemma that tormented war survivors, who were forced to recognize that they had been miseducated (Bouterey, 118). Seikichi suffers from this kind of dilemma.
Seikichi, who is a prisoner to the pen and the skull, also symbolizes the fact that Okinawa was also ruled by the U.S and mainland Japan. Towards the end of the story, Seikichi throws away the pen (and symbolically, his admiration for the kamikaze pilot). This act represents his liberation from the illusions resulting from his miseducation. However, the fact that the fūon sound does not stop even after Seikichi throws away the pieces of the skull suggests that it is not so easy for him to escape this dilemma.
Finally, “Fūon” also describes the dilemma of kamikaze pilots. The night before leaving for Okinawa to attack the U.S. forces, all of the kamikaze pilots—except Kanō—try to write a suicide note to their families while suppressing their fear and sadness. Undoubtedly, some of them never wanted to participate in the war. Presumably, this was true of Kanō, as can be seen from his defiant attitude. In Tokkō no sōkatsu, Fukahori argues that many kamikaze pilots were against the war, but that they didn’t have the resources to clearly express their ideas. They had no choice but to fight for their family, the Japanese people, and their nation. In “Fūon”, Kanō is clearly opposed to the war. However, he seems resigned to his fate. In other words, many young kamikaze had no way to oppose to the war.
9. Discussion Questions
1. Why did the boys move the skull to the edge of the burial site?
2. How does Seikichi view Fujii?
3. Why did Seikichi’s father carry the dead body to the open-air burial place? What is the significance of his action?
4. Did Kanō commit suicide? Or was he shot down? How does your answer influence the interpretation of the story?
5. Why does Medoruma tell the story from three different perspectives (Seikichi, Akira and Fujii)? And why doesn’t the story give us Kanō’s point of view?
6. What role does Ishikawa play in the story?
7. Why did Seikichi feel fear and an impulse to hold Fujii in the fifth section (90)?
8. What did Kanō whisper into Fujii’s ear before he pushing him over the cliff?
9. What is the significance of the eleventh section (120)?
10. What does the last scene suggest to readers? Why doesn’t the fūon sound stop even after the skull was broken up? Will Seikichi escape from his traumatic memories of the war? Why or why not?
10. Works Cited
Bouterey, Susan. “Dai san shō: ‘Fūon’ ron.” Medoruma shun no Okinawa: rekishi, kioku, monogatari. Tokyo: Kageshobō, 2011. 74-162.
Fukahori, Michiyoshi. Tokkō no shinjitsu: meirei to kenshin to izoku no kokoro. Tokyo: Harashobō, 2001.
---. Tokkō no sōkatsu: nemure nemure haha no mune ni. Tokyo: Harashobō, 2004. Print.
Fūon. Prod. Yōichi Higashi. Dir. Tetsujirō Yamagami. Writ. Shun Medoruma. Film. Shiguro, 2004.
Leckie, Robert. Okinawa: The Last Battle of World War II. New York: Penguin Books, 1996.
Medoruma, Shun. Fūon: The Crying Wind. Tokyo: Ritoru moa, 2004.
---. “Fūon” [The Crying Wind]. Suiteki [Droplets]. Tokyo: Bungeishunjū, 1997. 51-128.
---.“Gyogunki” [Diary of a School of Fish]. Heiwadōri to nazukerareta machi o aruite. Tokyo: Kageshobō, 2003.
---. “Heiwadōri to nazukerareta machi o aruite.” Heiwadōri to nazukerareta machi o aruite. Tokyo: Kageshobō, 2003.
---. “Mabuigumi” [Spirit Recalling]. Mabuigumi. Tokyo: Asahi shinbunsha, 1999. 7-45.
---. Me no oku no mori. Tokyo: Kageshobō, 2009.
---. Okinawa sengo zero nen. Tokyo: Nihonhōsō shuppan kyōkai, 2005.
—. Suiteki. Tokyo: Bungeishunjū, 2000.
---. “The Wind Sound.” Trans. Freedman, Alisa, and Kyoko Selden. Unpublished.
Murakami, Yōko. “Sōshitsu kūhaku kioku: Medoruma Shun ‘Fūon’ o megutte” [Loss, emptiness, memories: on Medoruma Shun “Fūon”]. Ryūkyū ajia shakai bunka kenkyū 10 Nov. 2007: 31-54.
Shimokoube, Michiko. Rekishi to torauma: kioku to boukyaku no mekanizumu. Tokyo: Sakuhinsha, 2000.
Shiotsuki, Ryōko. “Okinawa ni okeru shi no genzai: kasō no fukyū, sōgisha no riyō, sōryo e no irai.” Shi no gihō: zaitakushi ni miru sō no reisetsu, shiseikan. Ed. Noriyuki Kondō and Kazuhiko Komatsu. Kyoto: Mirunevashobō, 2008. 99-112.
Wikipedia Editors. “Wikipedia: Fūsō.” Wikipedia. 10 June. 2014. 25 Nov. 2014. . Search: fūsō.
---. “Wikipedia: Medoruma Shun.” Wikipedia. 10 June. 2014. 25 Nov. 2014. . Search: Medoruma Shun.
Original report by Ayame Yonashiro. Edited and revised by Kasumi Sminkey.