Although in the second half of July, the Hibiscus Society cartoonists, represented by Takama Koyama, jumped up and down, and the Hibiscus Society was also very worried, but in fact, their voices did not spread widely among Seamaril's readers. Pen × fun × Pavilion www. ｂｉｑｕｇｅ。 ｉｎｆｏ

To put it simply, in terms of the end result, Seemaril's supplement was a success.

Not a single copy was sold as before, but after two weeks, less than a thousand copies of Sealiel were sold, and the East Dealer would not have sent them back to the Hibiscus Society, because judging by the basic situation, those leftovers would be able to sell sooner or later.

But of course, it's impossible for everyone not to notice this incident, and there are still some die-hard fans of girls' high school who have noticed its republication.

And the place where it was republished was Margaret of Shueisha.

One of them is Ninko Komikawa, a junior high school girl who has been a loyal reader of Seemarire since the beginning of the series at girls' high school, but she has been unhappy with the magazine lately.

First of all, in June, her favorite girls' high school suddenly stopped publishing two or three things, but she still liked the short stories that were temporarily replaced, so I thought it was nothing at the time, and it was common for cartoonists to temporarily suspend publication for various reasons.

Then in the second issue, to her surprise, the girls' high school not only did not republish, but at the same time, more comics suddenly stopped.

And the new issue of the serialization is obviously not to her liking.,Although the new serialization is very good in terms of painting style、Characters、Composition.,But except for the unheard flower name.,The others are obviously not girl comics.,It's not the women's funny daily department she likes.、Works like the campus love department.。

And Hibiscus didn't explain that it had stopped publishing so many works until she saw the news of the resumption of serialization on Shueisha's Margaret by the girls' high school and Koyama's statement.

Then, by chance, she saw the news of the launch of a new shoujo manga in a tabloid and the interview records of those cartoonists who left the Hibiscus Society.

Of course, he was angry at those contents, and she couldn't understand why the Hibiscus Society expelled so many "meritorious men" for the sake of new cartoonists.

As a student with excellent grades, integrity, and noble humanity, if what those cartoonists said was true, she decided never to buy Celelia again, and the works made by dishonest publishers were not worthy of her liking.

However, the recent progress of the unheard flower name made her very concerned, so she decided to buy the last issue, well, it was really the last issue.

So after self-persuasion on this lame reason, she firmly bought the first issue of Seamarle in August.

In the last issue, the unheard name serialized about the male protagonist Renta, who went to school because of the anticipation of the ghost heroine's face code, but because of the ridicule of his classmates, he turned halfway to the secret base when he was a child, where he met another childhood companion who claimed to be able to see the face code, so they began to discuss how to let everyone see the face code......

Komigawa is very concerned about how the stock market will progress in the future, and after buying the new issue of Sealaire, he can't wait to look through the unheard names.

After opening a new issue of Seemaril, she found a passage at the front of the catalog.

"A Letter to the Readers of Seemarelle."

"A refutation of Simiel's method?" Komigawa thought silently, she thought that this might be Killiel's rebuttal to Koyama Takamasa's statement, and perhaps this side should also explain the beginning and end of the closure incident.

Thinking of this, she became somewhat interested in this statement, so she followed it and read it down.

On May 22, the day before the second issue of May was printed, manga artist Takama Koyama suddenly announced that he would leave Hibiscus Society, and then unilaterally lost contact, and the girls' high school was forced to suspend publication for two or three things.

On May 26, at the same time as the release of the second issue of May of Killire, eight manga artists, including Daigo Nagano and Kihara Suzuki, along with six Simariel editors, left Hibiscus in default, and if Koyama Takama was the same, Hibiscus Club could not contact them.

After many unsuccessful contacts, the Hibiscus Society could only urgently use the new cartoonist of Hyakumi Ghost Jing, the original author of the main project of Amber Hayami, and at the same time urgently set up two comic groups from the original cartoonists and assistants to prepare new works under a collective pseudonym.

On June 11, a new issue of Simariel went on sale, with four new works and other cartoonists overworking to ensure the number of pages, and the suspension was avoided.

After the crisis of Simariel, the joint efforts of all the cartoonists and newcomers avoided the fate of the closure, and we did our best to ensure that readers can continue to see Sealile.

We also knew what our priorities were, and who we were working for, so we didn't hold accountable the cartoonists who defaulted for the time being - and that's how a large number of Simiel's comics were suddenly shut down.

Later, we learned that Takama Koyama had left the Hibiscus Society and gone to Shueisha, and Margaret had made a request to buy the rights to the girls' high school on his behalf.

In order not to bury the excellent works due to the change of publishing house, Hibiscus agreed to this request, and later the two parties negotiated and resolved the contract issue of Koyama Takazan through economic means, and this came to an end at this time.

Thanks to the efforts of the new manga artists and the support of our readers, we were able to avoid a sharp drop in sales due to the closure of a large number of manga, and due to the excellence of the new works and the appropriate measures taken by Hibiscus Society, we decided to try to increase the circulation of each issue of Similia.

Then while we were increasing our circulation, manga artist Takama Koyama made statements that distorted the facts. Judging by the period, his purpose is self-evident, so we feel very sad and ashamed of this cartoonist who walked out of Similil.

Other cartoonists who later defaulted and left their jobs also made the same remarks in a certain media.

This is not only a breach of contract, but also a slander against the reputation of Hibiscus.

There is a simple lack of plausibility in this, which readers can easily understand.

First, why did Simiel drive away the manga artists who were selling well and abandon the works that were selling in favor of new cartoonists and works with unknown futures? Although the response to these new works is good, we are not sure that readers will like them until then.

Second, even if Simariel had any intention of replacing the existing cartoonists with new cartoonists, it would not have been possible to stop so many works at the same time, but could only gradually replace them, and suddenly stop half of them, which would undoubtedly disappoint readers and put the magazine itself in crisis.

Third, with the exception of Koyama Takamasa, the remaining retired manga artists went to Miura Shosha, a publishing house that had four times the circulation of a single issue of its magazines than Hibiscus, and as for Shueisha, where Koyama went, Hibiscus was not comparable. How can a publishing company like Hibiscus Society, which is at the end of the industry, 'drive' its own cartoonists to more publishing companies that are in better operating condition? Driving or giving up can only send them to the end and downstream, and it is not possible to be a stronger enterprise than us.

No one, no matter how tough the tone, can explain the irrationality of this.

We at the Hibiscus Society respect the freedom of creators, and although they have signed an exclusive contract with us, we do not want to make strict restrictions because of this paper contract, and if they can leave the Hibiscus Society according to the procedure, we will not hold them accountable.

However, it seems that the tolerance of the Hibiscus Society has not been understood by the cartoonists, so now we have decided to take legal measures to protect the reputation and legitimate rights and interests of the Hibiscus Society.

We believe that Simil's readers have their own judgment and are able to judge right from wrong.

In fact, the matter has already entered the legal process, and we will inform our readers as soon as the outcome is available.

Simiel hopes to gain the trust and support of her readers. ”

At the end of this statement, a photocopy of the copyright transfer agreement for the two or three events of the girls' high school and the exclusive abolition agreement of Koyama Takashin are attached, and the date of signing on it can clearly show the time of the incident.

Compared with Koyama Takamasa's unilateral claim that he is right, the statement from the Hibiscus Society is undoubtedly much milder and more reasonable.

In fact, this statement is not true, and there are many ambiguous claims, such as the fact that Miura Shosha's monthly circulation is twice as large as that of Hibiscus Press, not quadruple, and there are also untruths, because after the manga artists left, Hibiscus did not contact them at all. But by comparing it to Shueisha and Miura Shosha, Hibiscus puts itself in a weak position, and the whole statement is to talk about how the comics were ungrateful, how they abandoned their original owners and turned around and bit back.

On the surface, it is said that readers should be allowed to make their own judgments, but in fact, the statement of the Hibiscus Society has long allowed them to make unilateral judgments.