"Hello, Mr. Ken Obata. Pen Fun Pavilion www.biquge.info"

Miyahara ...... President? ”

It wasn't until Miyahara Shizune stretched out his right hand to Ken Kobata that after Ken Kohata shook hands with him mechanically, the other party didn't seem to confirm his identity.

This president of Miyahara seems to be different from the president of Shueisha that he once met.

Young, this one is really conspicuous.

But more importantly, the positive temperament that comes with being young.

The president of Shueisha, in one word, businessman.

At first glance, this may be a comics, real estate, or investment.

But after explaining Miyahara's identity in advance, it can be seen that he is a manga maker, which can be seen from his attitude towards manga artists.

"Mr. Kohata was a little surprised to see me?" Miyahara asked again.

At this time, the location of these two people is actually the café where Miyahara Shizune met with Yakushiji Izumiko in the past, and asked Kobata Ken to come out to talk about things, he wanted to be as relaxed as possible, so he didn't need to go to too serious occasions.

"Sort of." Kohata Ken smiled, probably thanks to Miyahara Jing's attitude, Kohata Ken couldn't talk about it stiffly, but it was indeed a little embarrassing.

Either way, he didn't want the president of a publishing house to feel like he was belittling him because of his age.

Ken Obata is now twenty-six or seventeen years old, which is not too old to say alone, but as a manga artist, he has been at Shueisha for almost ten years, but if you want to talk about achievements...... It's an exaggeration to say that nothing was found, but in reality it's pretty much the same.

In terms of age, Ken Obata is probably not much different from Yoshihiro Tomiyatsu, but comparing the two of them, they are completely the two extremes of a manga artist.

One is a talented genius who is a cartoonist, but he devotes his limited life to unlimited mahjong services.

The other, although extremely diligent, has never been given the opportunity to prove himself.

Although when Shizune Miyahara invited Ken Obata, he claimed that he couldn't succeed because of Shueisha's problems, but in fact, did Shueisha really have problems?

Shueisha doesn't have any problems, Ken Ohata's original work and storyboarding ability are really a mess.

Objectively commenting on Ken Obata's words, even if he has a clear conscience, it is difficult to say that he is a so-called genius manga artist, but he is a person who constantly pursues to draw better manga and is willing to work hard to achieve it.

If you talk about Ken Obata's painting style and painting skills after becoming a master, some people say it is good, some people say it is good, some people think it is amazing, and few people think that his painting skills are bad, because his painting skills are really good.

But if you talk about his original work and storyboard ability, even if it is a fan of the loyal Ken Obata can only say hehe.

This is the shortcoming of Ken Obata's shortcomings.

In the later dream eaters who cooperated with Ken Obata and Thrush Oba, the identity of the protagonist Mashiro is actually set up with Ken Obata's "personal autobiography".

"It's easy to become a cartoonist, all you need is pen and paper."

"But it's hard to live a lifetime out of it."

"Only those who can live their lives on comics are cartoonists, and the rest are just gamblers."

"There are two kinds of manga artists, one is the genius manga artist, and the things they draw are naturally popular...... The other is computational, drawing popular comics through data analysis and reasoning. ”

These words are spoken through the mouths of the characters in the work, but it is clear that they were inspired by Ken Ohata.

Because he's not the kind of cartoonist who draws things out of the right and becomes popular, he has to calculate to come up with popular works.

Even the calculations can't come up with popular works.

He is actually the tallest in the real city, and in terms of the twists and turns he encounters, he is much more miserable than the protagonist of his comics.

After all, Dream Eater is a juvenile comic, so you can't abuse the master too much.

Ken Obata can't draw his protagonist so miserable in the manga that it's bloody, but in reality, he did have a period of time when he was miserable to that extent.

"As long as the comics are interesting, they can get serialization opportunities if they are interesting."

This may really be the selection criteria for Shonen JUMP, but the word funny seems to have a low standard, but it is actually too broad and general, what is interesting, and who can give an accurate definition? Can anyone draw a clear line? What is used to distinguish between interesting and interesting?

So interesting is actually a super high standard, it may not be difficult for a person to find interesting, what about ten people, what about a hundred people?

What about JUMP's 6 million readers?

Many cartoonists can't come up with so-called interesting works in their lifetimes.

"It's not so much about strength as it is about luck."

Among the Dream Eaters, what does the highest sentence of Mashiro contain? It's really a mixed bag.

Faced with the problem of how to solve his own shortcomings, Ken Obata chose to be very single, and where he was thin was thin, he couldn't think of a good story because he couldn't think of it, so in a sense, he gave up this part, and the story concept was biased towards something abstract after all.

Ken Ohata's choice is more specific, more immediate or can definitely see results.

He began to hone his painting skills, and even more diligently honed his painting skills, and even went to the point of learning sketching specifically for this purpose, so in the future Kobata Ken's comics can be seen in a lot of realistic style, sometimes it makes people feel amazing, sometimes it can also make people feel dull.

This is something that has advantages and disadvantages, after all, comics are different from other forms of painting, what comics pursue, the meaning of expression is not what other forms of painting can express, comics are comics, it doesn't matter whether it is popular or elegant, no matter what techniques you learn, when drawing comics, after all, you still have to choose the most suitable way to express comics.

But even if Ken Obata worked hard to hone his painting skills, did he succeed? No, no matter how brilliant his drawings are, he is still a mortal among mortals when it comes to conceiving plots and stories, and a manga artist like Ken Obata needs a good original author if he wants to stand out.

In fact, it seems that excellent original authors are more rare and difficult to find than cartoonists with excellent drawing skills, and the original works are undoubtedly more selective, and many times it is the original author who chooses the cartoonist, rather than the cartoonist who chooses the original author.

At least Ken Obata hasn't come across such an original so far.

Is the puppeteer left a good story? It should be.,If nothing else.,Considering that this work can be animated.,It should belong to the category of high-quality in comics.。

But in terms of manga sales and serialization popularity, it really hit the streets.