John UM
The producer of Magical Studio Magical Girl, Yukio Sato, announced on Twitter that the company has started to operate a brokerage package for “photo idol animators” to provide digital painting support for qualified young people in order to increase the income of animators. Rent subsidies, doujinshi production and other services. Fixed salary of 100,000 yen, plus performance and commission. .
Sato also said that “photo idol animator” is just an easy to understand statement, as well as “YouTube anchor animator” “Cosplay animator”. .
(.https://twitter.com/ikumaru_s).
The cartoonist Shusaki San and the former editor of the weekly juvenile JUMP, S (Tokyo Kazuhiko?) and the cartoonists he once worked on. At the banquet, the former editor-in-chief said a word that made Shusaki very impressed: “All those who have modified according to what I said are not able to debut.”
That is to say, only those who can go beyond the requirements of editing, or draw completely different things, can make a difference. .
As far as editing is concerned, when you see the mirror that you propose to change your opinions and become more demanding and unexpected than you want, the pleasure is too strong. Since writers want to create comics with editors, they must also let the editors feel the pleasure. .
Shusaki’s previous editor in the monthly magazine Afternoon once said to him: “The ‘fun’ felt by modern readers is mostly accidental.” That is, the reader’s request to the writer is positive. It is an idea that most people don’t think of. .
(.https://twitter.com/saintkisaki/status/1001097107757981697).
Tokyo Institute of Technology’s comics professor Ito Gang said that when he talked about the history of comics at school, he was very concerned about whether he could talk to the comics that the students “know”. However, this has been harder to do every year. Although there are still students studying in the handcuffs, but Shisen Zhang Taro is basically no one to read, almost can only move out of the name of “Kamen Rider”. It’s also very difficult for Akasaka to be a husband. The time to use the “Ason” to raise students’ interest may be only for the next two or three years. In the group of Fujiko Fujio, there may be only F who knows. .
The animation of “Gantaro” is still being broadcast, but when it comes to Shuimu Mao, Ito is very worried that his explanation will be too boring and lengthy. Shuimu and other cartoonists are not a generation, nor can they be regarded as a representative of loans and dramas. .
Ito feels that the current students are watching “Manga Boys” (manga magazines published from 1947 to 1954), and that sense of distance may be related to their generation’s “New Youth” (released from 1920 to 1950). Detective novel magazine, not Chen Duxiu’s “New Youth” is almost the same. .
When Ito talked about these masters in class, I felt that the students in the audience were quickly losing interest. This made him feel very uncomfortable. .
Perhaps some middle-aged and older people think that the current students will of course read the masters of Handcuffs, Shisen, and Akasaka, but this is not the case. Because of the local library and children’s activity center, the handcuffs have been read as more people. .
And looking back from now on, another 10 years. Perhaps works such as “Slam Dunk” and “Dragon Ball” will become classics, and no one has read them. Tracing back from 2030, “Slam Dunk” and the like are already comics 40 years ago. .
This problem does not only exist among college students who want to work in comics. For example, Ito gave a young man from a TV production company to see the handcuffs of the Showa era in the 1930s and explained it. The young man also blinked and said “it is too difficult.” When Ito gave him a cartoonist friend who was about 50 years old, when he saw Inoue Kazuo’s “The Ball Jun”, the friend called him “this kind of thing” and made him feel very sad. This experience, he is not once or twice. .
And such Ito himself has only recently begun to become interested in the comics before his birth. .
(.https://twitter.com/GoITO)
Ito did not want to blame the young people who did not know the works of the past masters. It is his job as a teacher to fill the gap left by time. Although it can also let students memorize, but Ito is very disgusted with the argument that “learning the sea without a hard work”, or hope that students can be interested in the master. .
If the young people who specialize in comics in colleges are still like this, it is even more worrying for the average comic book enthusiasts to know more about the past classics. Ito’s speech has sparked a lot of emotions and discussions among comic lovers. .
But at the same time, some people have raised the question: Is it really necessary for young cartoonists to learn the history of comics? What do the masters of ancient times have to do with future cartoonists? .
In the light novel classroom, the writer Ge Xishen explained the significance of teaching history to the students. .
One of them is that you can understand the history and cultivate a longer-term perspective. Ge Xi said that the type of works that began to be popular last year, who can not guarantee will not be angry next year; but after 50 years of trials still remain the same, the possibility of sudden no one in a few years is very low. .
Gexi has repeatedly said this many times: just 15 years ago, “None world fantasy novels have no one to watch” “strong and active male protagonist can not sell” or common sense in the light novel world. .
For 15 years, Kasai, who has known the destiny, is only a short period. They have personally experienced it, knowing why there was that kind of ethos at that time, and how to change from the current atmosphere to the current trend. However, young people in their 20s and 30s will certainly not know the history, or just have a vague perception. .
Gexi believes that it is the responsibility of their elders to pass on the changes they have experienced to young people as a reminder of their predecessors. Providing this information and knowledge to young people is definitely not meaningless. .
Another meaning is that learning to understand classic entertainment works can also bring hints to your own creative practice. .
Mastered the basics of classics and can avoid “reinventing the wheel”. On the one hand, if the creators understand the history, they can avoid ignoring the “wheels” that have already existed for their own “singularity”; on the other hand, they are no longer popular, but they have been used in the past. Practical “tools” can also provide a reference for their creation. .
(.https://twitter.com/kasai_sinya).
Taking history as a guide, you can know the rise and fall. So at this time, you should advertise some of Anitama’s historical serials.