Itō’s work has enjoyed a murky fame outside Japan since the early 2000s, even before there was much of an infrastructure for North American manga publishing. It haunted her, a friend told me, because it captured “the horror of being alive … where most horror stories would end at death, he keeps his characters in the hell of surviving.”
The Enigma of Amigara Fault ends abruptly, with the implication that it could have gone on for dozens of pages more.
Fascinated onlookers start squeezing inside the holes, desperate to find one that will fit them. The premise of The Enigma of Amigara Fault was odd, a little unnerving, not exactly terrifying: after a massive earthquake, authorities find human-shaped openings lining the new landscape.
O ver the past decade, one particular work by the Japanese cartoonist Junji Itō kept popping up on blogs and message boards, bootlegged by amateur translators.
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