Yoshishi Kubo was silent, and Miyahara Shizu's statement is still questionable, how many stories and ideas do you have to mass-produce to be able to use a group of script writers? Could it be that the structure of his brain is different from that of ordinary people?

Although Yoshishi Kubo can't draw manga, anyone knows that for creators, good stories with a flash of inspiration are hard to come by, and as an editor-in-chief, Kubo also considers himself an expert in manga publishing, but Miyahara Shizune has never heard of this kind of approach. Pen? Interesting? Pavilion wWw. ｂiquge。 ｉｎfo

"Jing-kun, if such a so-called drama group or something like that is really established in the Hibiscus Society, then it will definitely replace some of the duties of the manga editor, right? I mean, there's a bit of overlap between the roles of the playwright and the editorial department, right? Yoshishi Kubo tactfully explained.

According to Shizune Miyahara, the crew mainly did manga storyboards, and the manga itself serialized in magazines was not so much the story of the manga artist as the joint work of the manga artist and his editor......

Originally, after the cartoonist made the storyboard, they did not immediately draw the original draft, they had to hand the storyboard to their editor, and after the editor revised and approved it, and then returned the storyboard to the cartoonist, the cartoonist could start the drawing of the original draft.

A manga artist like Miyahara who is directly involved in the original manuscript should be unique if he finds all the manga artists in the 11th district.

And Miyahara Shizune plans to hand over the storyboard to the drama crew for production, so this part of the function obviously overlaps with the editor's work.

But for Yoshishi Kubo's statement, Miyahara Shizune shook his head and responded: "Although the two are somewhat similar, in fact, their work process is different, and the storyboard made by the drama team can be drawn directly by the manga artist after getting it." ”

"In this process, I do the story composition, which can be said to be the first author of the work, and the playwright team makes the story into a mirror, which is a secondary creation, and when it comes to the manga artist, the process of drawing the storyboard into the original manuscript can be said to be the third creation...... But in fact, at that time, cartoonists can only do execution, and it can be said that although the comics for readers are ultimately made by cartoonists, cartoonists have no initiative in storytelling. ”

After listening to Miyahara's explanation, Yoshishi Kubo fell silent again.

Indeed, this approach is actually a separation of manga artists and storytelling, and the only work they have to do is to concentrate on drawing the original manuscript, to put it mildly, in this process, the manga artist is not so much a creator as an assembly line machine, and the control of the original manga is completely concentrated in the hands of Miyahara Shizune and the drama crew upstream.

Is this approach feasible? Objectively speaking, of course, there is, as long as the manga artist focuses on the process of "drawing", the work becomes much easier, but in order for this method to be successful, in addition to the drawing skills of the manga artist in charge of painting, there must be a necessary premise, that is, whether it is the story provided by Shizu Miyahara or the storyboard made by the screenwriting team, it must be good enough.

So Miyahara Shizune proposed that this approach was actually just an attempt, after all, whether in his previous life or in this life, he had never heard of any manga publishing house that had adopted such a method. If the drama system can be successful, then the Hibiscus Society will be able to mass-produce excellent works, and in the early stage, Miyahara Jing can provide stories, and when the system is on the right track, more excellent story writers will definitely be found, and in the future, this system will not rely only on Miyahara Shizu; And if this attempt fails, then Miyahara Shizune will have to return to the form of manga groups, and compared to the former, manga groups undoubtedly limit Miyahara Shizu's creative efficiency.

Again, relying on Miyahara Jing alone, he can draw a best-selling manga at the same time, or two works at the same time, and even three or four works are not impossible, which is enough to make him famous.

But want to support a publishing house with a few works by one author? That's very reluctant. But at least before the Hibiscus Society can form a sufficient scale and move towards a virtuous circle, Miyahara Shizune must improve her creative efficiency.

"If you do that, the cartoonists are not cartoonists, you treat them as workers on the assembly line!"

Of course, this sentence was not said by Yoshishi Kubo, at this time he was still thinking about the feasibility of Miyahara Shizu's plan, and of course it was not said by Natsuki Shinohara, who was eating silently at this time, obediently pretending to be transparent.

It was the young long-haired man sitting across from Miyahara who finally spoke his first sentence and expressed his opposition to the playmaking system.

Miyahara Shizune turned her gaze from Yoshishi Kubo to the long-haired man, who was dismissive of the latter's objections, and as a young man, there was some truth to what he said.

However, Miyahara Jing wanted to complain at this time: Little brother, can you take off your sunglasses? First of all, it doesn't match your face very well, and secondly, is it okay to eat now?

That's right, even during the meal, the long-haired man still firmly buttoned his sunglasses on his face.

So after he spoke, Yoshishi Kubo finally couldn't stand it anymore, and he reached out to help the long-haired man take off his sunglasses with a hand speed comparable to Foshan's shadowless legs, and the latter didn't even react properly!

"I'm sorry, Jingjun, my nephew doesn't like to be cool with these sunglasses, but his personality is more shy and he doesn't like to talk much, wearing sunglasses may make him feel a little more comfortable facing strangers, although this doesn't seem very polite." Yoshishi Kubo explained.

Miyahara nodded, he could accept this explanation, and according to the law of conservation of energy, people who are shy or don't like to talk tend to magically become very talkative when it comes to a unique field. So as long as they talk about the points that the other party cares about, they can often change their conversation in minutes.

And with this big face, thick eyebrows, and small eyes, why does Miyahara Jing feel a little familiar? Could it be that you beat him up when you were a child? Do you want to ask him about the elementary school graduate?

But this is not the time to think about these messy things, out of respect for Yoshishi Kubo and his peers (mainly the former), Miyahara Shizune seriously answered the long-haired man's question.

"The cartoonist in reality may not be the same as you imagined, if there is no serialization, the direct sale of a single book, and give the cartoonist enough time, then the cartoonist may complete his own work, but in fact this situation does not exist, the cartoon has never been the work of the cartoonist alone, why do cartoonists need assistants? Why do you need to edit? Because manga needs to be serialized in magazines, weekly manga artists draw 20 pages a week, semi-monthly magazines need 40 pages, and some monthly magazines need 80 pages...... The form of the playwright that I planned to do is just an extension of the basic creative process of comics, and it is a little more extreme. ”

That's right, the manga drama system designed by Miyahara Shizune, cartoonists are like assembly workers on the assembly line of automobiles, they don't need to do design, they just need to assemble parts into cars according to the drawings, is there anything wrong with this approach? Nope.

After finishing speaking, Miyahara Shizune then asked the long-haired man, "What's your favorite work?" ”

"Gegege's Kitaro, Akira Toriyama's Dragon Ball, and the slam dunk master who is serializing also like it."

From the works he likes, it can be basically judged that this person is a manga fan, and it is a jump department, Miyahara Jing immediately made such a judgment, he nodded and continued: "Onitaro let's not talk about it, I personally like the works of Akira Toriyama and Yuhiko Inoue, but how many excellent works do you think can there be like Dragon Ball and Slam Dunk?" What percentage of people who can become top manga artists like Akira Toriyama and Yuhiko Inoue can be among manga artists? ”

The long-haired man didn't speak, and Miyahara Jing replied on his behalf: "The answer is one in a million, there are very few excellent works and real manga artists, and other than that, everyone else is a gambler who is eager to succeed...... And what we want to do is just to provide some special opportunities for some manga artists who are destined not to be of the level of Akira Toriyama. ”

Miyahara Shizune uses Akira Toriyama and Yuhiko Inoue as examples, but it is really "convincing", at this time, which manga artist dares to say that he can compare with a manga artist like Akira Toriyama? Compared with him, everyone is on the street.

"Of course, talented cartoonists will not accept this kind of collaboration, and we don't force cartoonists to draw the original manuscript according to our rules, but talented cartoonists are in the minority, so we have to do it. It may be a bit difficult for us to accept this from the standpoint of a manga artist who wants to be an original manga artist, but from the standpoint of a publishing house, it is a good and somewhat new attempt. Miyahara said.

The long-haired man fell silent for a moment.

Of course, silence does not mean that he agrees with Miyahara's views, and trying to convince a person to accept someone else's point of view is sometimes very simple, and sometimes it is as difficult as heaven.

He was about the same age as Shizune Miyahara, but the long-haired man couldn't know much about the affairs of manga magazines or publishing houses, so he naturally turned the subject back to the manga itself.

"I don't understand what you're talking about, but I still think it's not a good practice, if I were a cartoonist, I wouldn't like to be a tool for drawing original manuscripts mechanically, I want to draw my own works and stories."

Miyahara Jing understands the long-haired man's thoughts very well.

Of course, all the people who have just become a cartoonist, or want to become a cartoonist, will think like this, they are eager for creative freedom, and think that as long as they draw a work that they can be satisfied with, readers will "flock to it", and it is as simple as that to become an instant hit, and some people even yearn to be able to carry out long-form serialization without even being an assistant, and then create freely, publish works, and become popular immediately.

However, the reality of publishing houses and sales of works will teach them to be human beings in minutes, and success is definitely not as simple as imagined. No matter how good I think I paint, it's just self-esteem, and it's king that readers can buy it.

"Kubo...... I'm sorry, I don't know your name yet, my name is Shizu Miyahara. Miyahara realized that she hadn't asked the long-haired man's name yet.

"Jingjun, this child is my brother's son, a high school student like you, and his name is Kubo Xuanzhang." Yoshishi Kubo answered on his behalf.

Hearing the name, Shizune Miyahara almost poked her head into the ramen bowl.

He felt that the long-haired man was familiar, and it had nothing to do with whether he had been flat or not when he was a child.

Note: Kubo Shojo is the same as Chika Hakaino, and it is all treated as a real name here.