If the scope of comparison is limited to the field of light novels or "pan-light novels", in terms of the quality of the original story, the works selected by Miyadai are naturally the ones of high quality.

As for the writing...... Well, isn't it a hooligan to talk about the writing of light novels alone?

Other than that, these works are still works with their own distinctive characteristics...... The characteristics here refer to the possibility that the animation company can take the initiative.

For example, "Dragon and Tiger" is an extremely rare "realistic" campus light novel work. Intuitively, this type of work actually has relatively high writing requirements for (light novel) authors, and it is naturally difficult to construct wonderful stories and fierce emotional conflicts in a background structure that lacks gimmicks and is very close to reality, and also ensures the readability of the text.

At the very least, it's much more difficult than exaggerated or overhead works that are more prone to creating conflict.

The audience and readers of this kind of story theme are relatively small, and if you want to arouse the reader's sense of substitution and resonance, character building is more important than plot construction in a sense...... Dragon and Tiger do a good job in these aspects, so it's a successful, high-selling light novel.

However, due to the story theme of the original work, if "Dragon and Tiger" is actually adapted into animation, the possibility of a big hit is not high. First, the work itself lacks gimmicks and exaggerated contradictions; Second, from this point in time, the audience's aesthetic and viewing needs are becoming impetuous, and calming down and watching it has gradually become a relatively high requirement.

"Dragon and Tiger", on the other hand, is the kind of work that comes into a slower pace...... If you "judge in advance", such an anime adaptation will not bring much repercussions in sales.

However, in the end, the animation of "Dragon and Tiger" sold quite a high result - the average volume sales exceeded 30,000, which is extremely commendable.

In addition to the excellence of the original work and the quality assurance of the picture production, there is an important link sandwiched in the middle to ensure the success of Dragon and Tiger animation - the series composition of this animation is extremely good.

In hindsight, the screenwriter became famous with the "Dragon and Tiger" fight: the ability of the series to make up Okada Mari was extremely fully utilized, and she also maintained a considerable degree of restraint and respect for the original...... Okada is used to dealing with the feelings of the characters quite tangled, and even this is a strange woman who was once ready to add a QJ scene to the face code.

However, it is undeniable that "Dragon and Tiger" is the kind of genre that Okada is best at dealing with, and the reason why she can play well can even be said to come from her own "resonance" with the main characters in the work...... Okada's upbringing has similarities with the heroes and heroines of the Dragon and the Tiger.

That's what makes the series come in, they act as one of the most important bridges between the text and the camera, and a good original work and a good screenwriter can be a good animation.

The composition of the series also has a direct impact on the sales that an anime can eventually achieve...... For example, the most typical representative is the "Warrior of Love", and the sales of his works basically start at 8,000, which is why there is a so-called "dotted line".

The main difficulty of Mad Poihat's initiative to attack "Dragon and Tiger" is that it has sold more than 200,000 copies per volume, making it one of the leading works of the Dengeki Library. Such a light novel library naturally has relevant animation planning arrangements, and the competition for such high-quality resources is also fierce.

Miyadai's initiative may conflict with the arrangement of the deneki library, which is a contradiction that prevents Mad Poihat from participating in the production, not because they want to be denied funding.

The animation sells too well, and the denki library will refuse to participate in the profit split of other funds? This is impossible, because no one will know in advance how much it will sell, except for Miyadai.

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In contrast, the dilemma faced by the "Monogatari series" is much simpler - there is basically no possibility of adapting works of this style of writing into animation.

At present, there are only two volumes in the "Tale of Things" series, and the difficulty of its adaptation has been reflected: it is undoubtedly S-class...... The S of the Shake S.

The main reason is that its author is a talker, and the writing process is interspersed with too many fragmented and meaningless dialogues and lines...... Or rather, it's endless, and the text is fine, and it's hard to show the fun through the graphics - if you don't do it well, it's a lot more problematic than Re:talk.

It can even be said that instead of adapting the Monogatari series into an anime, it is more appropriate to adapt it into cross talk.

All of the works of this amazing author have this style in mind, and if such works are to be animated extraordinary, they must require a very personal supervision...... In malice, this is called negative and positive.

The Monogatari set is pretty much the type that can't succeed without an overseer, and can even be made into a piece of shit.

With the right people, it can be a model of the kind of work and supervision that can be mutually fulfilling. Of course, this issue is still being discussed very early, and this is another difficulty in whether or not it can be made after production.

As for the third part of the "Empty Realm",At this time, it should be regarded as a relatively "lacking popularity" work in the type month.,Comparatively, it's easier to take its animation copyright than the rest of the type month...... Of course, this is in addition to the privacy of the other party's treatment of this work.

The choice of such an original work reflects the technical purpose of Miyadai So, so there is actually no such thing as "you belong" in fact...... He hopes that Mad Poihat will continue to refine his photography and post-processing techniques after the "Little Forest".

After 3D animation has gradually become the mainstream trend, especially the mainstream trend of large-screen animation, the pursuit of exquisite pictures is a part of flat animation that must be adhered to, and Miyadai also attaches great importance to this.

For this purpose, "The Empty Realm" is a good story carrier, and it is also quite suitable for Mad Poihat, which is conducive to the use of photographic techniques...... However, it is only suitable, and there are many such works to choose from, and it is not irreplaceable.

If you don't want to go through too much trouble, Mad Poihat can continue to be original.

Finally, it should be noted that what Mad Poihat needs to obtain and partially obtain is the animation rights of these works, or more simply, the DVD revenue rights of the animations, not the "copyrights...... Mad Poihat's brain is pumped to compete with those "behemoths" for what copyright, and only those who have brain pumped will think so.

The reason is simple, they can't have such qualifications.

When a publishing house produces this kind of seasonal or semi-annual TV animation,It's impossible to delegate the copyright of the work to the production committee.,The order of authority of the three is like this.,Publishing house、Production committee、Animation company,Not in any other order。

Gong Daijuan is very sensible, and he knows very well how far an animation company can go at most, so he won't have any thoughts about it...... He didn't even think about the right to benefit from the periphery.

However, as the producers of animation, they want to have the opportunity to participate in the production committee and share the profits from disc sales in proportion to the fact that as an animation company, no one can blame anything.

In addition, if an animation company is willing to participate in the investment, the production committee should always give priority to it...... Objectively speaking, there is no doubt that only when you pay for it will you be more serious and dedicated.

Because if the profit is closely related to the animation company, they are naturally worried about the loss, so they will work harder in the production stage.

Unless...... The copyright owner can determine in advance that their work can be sold to 100,000 volumes after being adapted into an anime, so they will naturally prefer profit exclusivity. But how is this possible? Risk is always tied to profit.

At the start of the project, no one was sure whether the anime would sell for 1,000 or 100 times as much as 1,000.