If the manga I created with an original story becomes a hit and continues for a long time, that work will always follow me as my representative work throughout my life. During meetings for original manga, if I have thoughts about the original work, it can become a heavy burden, don’t you think? Well, yes… More importantly, we’re starting a “comic adaptation” of the original story at our place soon, so what do you think, Sensei? Huh? This… I was about to die and got expelled, but I managed to live somewhat happily. For a work that we’re going to sell from now on, I think this is lacking impact… Is that so…
Sometimes I hear it from actors too.
Even if I’m happy about the role I landed, there are times when I get tired of being typecast and only being offered similar roles throughout my life.
>>1
It’s common in tokusatsu.
>>2
Is it true that there are still people who recognize Masaki Suda as just Philip?
>>11
I am here.
Recognizing Tori Matsuzaka as either a lord or a duelist.
>>14
I’m sorry for the red shoulder, but isn’t this thing with the Duelist unrelated to any role and just a characteristic of the person…?
>>11
I can only imagine the person who met Downtown and cried.
>>11
Philippe back then and now, Masaki Suda is totally different.
Even Oda Joe still thinks of Godai…
I hope you forgive me as long as I don’t call them that directly, like a nickname.
>>2
Actors who are particularly well-liked here are mostly related to special effects.
>>1
I thought it was that kind of anti recently, but it’s already been 10 years.
>>3
Having that anti give roles only as a scary-looking yakuza or as an old guy just to eat food is ridiculous.
The staff is awesome.
It’s not that it’s a comic adaptation, so you can’t say it’s just about that; similar things can happen in originals too.
The disadvantage of manga adaptations is that even if they become hits, they don’t count as personal achievements.
It doesn’t matter if it’s based on an original work; if it becomes a hit, it will be part of your career anyway.
Isn’t it that being told to bring it in and not have it comicized is because it’s not the main magazine?
Your originality isn’t interesting, but the art isn’t bad, so it’s just kindness to say you should work with an existing story…
I used to hear that comic adaptations aren’t very profitable in terms of royalties because they are separated from the original work, but I wonder how it is now.
>>9
It’s about 30% original story and 70% artwork.
Somewhere it’s 5:5, but…
Recent comic adaptations seem to be almost entirely the achievements of the manga artists.
>>10
In the case of Naro comic adaptations, it has become a game of how to expand interpretations without depicting the shortcomings of the original work.
The novel adaptations in comic form have become nothing more than a foundation for the original work.
Naito Amahiro was deeply affected by the strong influence of Sister Princess and became troubled for a while.
Thinking about a story is a significant burden for manga artists as well.
The loss of talented manga artists due to this is a significant loss for the industry.
It’s common among voice actors.
>>18
Young Matsuoka, who has come to be sought only for his roaring voice…
>>19
I preferred performances with fewer old quirks.
Deliciousness and Aim for the Top!
>>19
I can’t put it out since over 10 years ago…
The person in the thread really has a strong hatred for comic adaptations and the so-called Narou system…
It’s sad because I liked the previous works…
Tatsuya Fujiwara was saying that he keeps getting cast in roles of scum…
I think that the situation with One Punch Man should not give other works the chance to redo their work.
I wonder if it’s impossible because there are no editors involved.
>>24
The paperback is selling well, you know.
No new book is coming out.
A manga artist whose background in comic adaptation is holding them back.
I can’t think of any off the top of my head, but I wonder if there are specific examples from anyone.
If you casually take on the artwork for a comic adaptation, the original creator might stop writing, and you’ll have to be in charge until the final chapter is reached.
Even if there are other things I want to do, I don’t have the time, and I’m bound by works that I no longer know who is reading.
There are countless such comic adaptations.
>>26
I think it’s difficult unless you’re someone who is determined to make a living solely from drawing.
I thought that One Punch Man would definitely have some conflicts with the original creator over Eyeshield.
>>28
Riichiro Inagaki mentioned that he finally met an artist who illustrates his original work 100% in “Trillion Game.”
Murata would probably think so if he saw the current situation, but Boichi also seems to have a strong personality in his own way.
A creepy manga by an insignificant and unremarkable manga artist.
Fofui’s Foui
The creator of Sam 8, Okubo-kun!
>>31
It’s pitiful to be treated as a debut work.
>>31
Half of it is correct.
My ears hurt.
I wonder why it has turned into this kind of comic adaptation warring states period.
>>35
I guess it’s because the penetration of digital art has lowered the barrier to drawing, right?
“Given enough time and money, anyone can learn to draw reasonably well.”
>>35
There is a conversation that it’s actually strange to expect that one person can handle both the original script and the artwork alone as a matter of course.
>>35
No one goes out of their way to buy and read novels.
Is One Punch Man in that terrible of a situation…?
>>37
It’s not like I redid it twice for no reason (the second time completely disregarded a whole year).
Moreover, at first glance, it’s hard to tell what has been redrawn, and the update frequency is still the same, leaving me completely behind.
That’s why there haven’t been any new volumes published, and Zero Panman is still not included.
It’s better to redraw the most important parts, but instead, you’re getting hung up on trivial details, which has even led to discussions about whether Murata is necessary.
>>37
I might have to completely rewrite everything we talked about before, go back, change the story, and if I’m trying to keep up week by week, it gets really confusing.
When you think about it calmly, doing both the original story and the artwork by yourself is like making a movie all on your own, so of course it’s difficult.
>>41
Geez.
>>43
?
“Hey, what are you messing around for?”
Fujisaki Ryu, primarily known for his comic adaptations…
>>47
I think it’s safe to say that Fengshen Yanyi is almost an original work based on classical sources, as it is only based on translated texts.
>>48
It’s a bit different from a normal comic adaptation, isn’t it?
I don’t know about Shiki or anything like that.
Thanks to the manga adaptation! I mean, the market scale between light novels and comics is just too different… it’s easily 60 times larger.
If there are no representative works that can be called a comic adaptation, the former is definitely better, but I understand that as a creator, there are feelings to consider.
I think it’s definitely something to be proud of as the person in charge of animation, but I guess wanting to do the story myself is also a natural desire.
>>52
If you’re a manga artist, you definitely want to conquer the world with your own manga! It’s different for illustrators, though.
Jiro Sato has recently been taking on exaggerated and strange roles like those in Fukuda’s works, and I’m feeling a bit weary of it…
I was recommended to watch “Anno’s Things” because it was serious, and Jiro Sato was really great…
The movie was mentally exhausting.
If it’s being recommended like this, the artwork is highly regarded, so it’s not bad.
Usually, it starts from a competition gathered from people who want to participate.
Rather, it could be said that the number of job opportunities for manga artists is increasing due to comic adaptations.
>>55
It has been said that there has been a shortage of manga artists for the past few years.
Jiro Sato is playing the role of a food crime detective.
Even though it was a subdued role, it had a lot of flavor and was great.
Recently, I feel like all comic adaptations have really great art.
Since a certain number of readers are already secured, it’s certainly easier for the publisher to have it written.
I think many people who want to tell stories are manga artists, and manga inherently relies on having a story.
There have always been people who have trouble coming up with ideas, and especially recently, there’s been a lot of diversification.
>>62
There are many opportunities to present, and even if the deadlines vary, as long as readers are keeping up, the publisher is okay with it.
Moreover, there are more people who aren’t drawing just for the sake of money, which has led to diversification, hasn’t it?
There are some people who don’t even think of it as their own work because there are so many editing opinions, even with the original.
It seems there are many general people who think that Hikaru no Go and Death Note are solely works of Takeshi Obata, and it’s a case of “the winners take all.”
>>64
It’s just that the artwork also overlaps with everything in the opposite situation.
What I did wrong will be perceived by those who only know it from the original work or the news as, “Oh, so this guy is a criminal.”
>>71
The incident with Act-Age was sad for Shiro-sensei, wasn’t it?
I’m glad to be rewarded with one.
There are also manga artists with serialization experience, and their work tends to be consistently good.
>>65
If it’s a first serialization or an illustrator brought in from somewhere, instead of stability, there can suddenly be a leap…
If you win, it feels like you’ll only be asked for that. It’s not really what you want to do at all, so you should say that only after you’ve sold something once!
However, it feels a bit frustrating when something that was selling well as a manga adaptation suddenly starts an original series and the manga adaptation is halted.
As a manga artist, I wanted to do that and drew it, and the editor also approved, so I should probably support it.
>>70
I want to say, “Do it after you’ve finished,” but there are original works that would take decades to complete if drawn all the way through…
>>72
I thought the pharmacy did a great job, but then there was an unexpected brake…
It’s like the story that Daniel Radcliffe can only be seen as Harry.
>>74
I have the image of a Z-class movie person.
The ability to create drafts for manga artists is a special skill, isn’t it?
It’s a common sight to see even skilled illustrators struggle with manga, despite being great at standalone illustrations.
>>76
It’s Yoshikazu Yasuhiko.
Seriously, the manga is terrible.
There are quite a few works that have changed in development and depiction when adapted into manga, so I think it’s good that the manga artists’ ability to structure is being appreciated in that way.
The emptiness that comes when a successful comic adaptation is animated based on the original novel.
>>80
Ninja Slayers that don’t even adhere to the original novel…
>>82
That’s a mysterious work that may no longer even be considered an anime…
I’ve never seen anyone bloom in a comic adaptation just because the original work is good.
Recently, there have been more high-quality comic adaptations, so I feel amazed at the manga artists, but most comic adaptations that aren’t talked about are, well… yeah, they lack manga skills.
They’re not just illustrators; they specifically choose to be manga artists, so it makes sense that they want to draw their own original stories.
Yuji Oda is known for more than just dancing, but that image is really strong, isn’t it?
>>85
Kanchi, dance, World Championships. It’s probably one of these three.
I wonder if a person who is good at drawing and talks nonsense is aware that their talk is nonsense.
It’s not that it’s boring, it’s just so fragmented and incoherent that readers can’t keep up.
>>87
There are also people like Tsutomu Nihei, who has a devout fanbase despite their stories and art being completely chaotic, so it can’t be generalized too easily…
>>87
OH Great seems to draw because there are things he wants to create, and he normally draws works based on original sources as well…
Well, I definitely season it quite a bit.
If you want to do something original, then you should do it in doujin.
If you truly have the skills, you’ll get called.
>>89
Well then, I’ll do it in my doujin…
People with real talent tend to struggle more in the erotic manga industry, which is facing quite a bit of hardship.
>>95
Isn’t that what you brought upon yourself?
>>95
Well, sexual preferences are really at the top of the things I don’t want others to meddle in…
>>95
The existence or absence of original work has nothing to do with erotic manga.
I’m moving forward without understanding what the story is about, like with Obokata Yuto.
>>93
When I look at each scene individually, it seems really interesting, but when I try to read it all the way through, I end up dropping out.
The drawing is incredibly skilled.
>>94
For now, if we look at it in terms of a break, it unfolds like a typical manga with its ups and downs.
When you continue, you start to wonder why you’re going in that direction… ?
Anbiko’s manga is so easy to read…
Isn’t it strange that many teachers who write romantic comedies want to draw battles?
>>97
It’s a pattern where someone who originally aspired to be a battle manga artist ends up drawing a romantic comedy because of what the editor said.
Regarding Wakimoto’s acting, when you watch his older performances, they’re monotonous and embarrassing, and he mentions that he took a certain direction because of it and that he got fed up with being asked too much, but what he says isn’t very consistent.
When I started bulimia, I was already close to 60 years old, so I can speculate about the influence of age and various other unknowns.
But it’s true that the narration has definitely increased a lot.
Even though both the original creator and the manga artist are skilled, it’s tough that the direction doesn’t match; so why did they bring in someone from shoujo manga?
It feels like the person in the thread draws comics and talks about them, but still…
>>103
Despite discussing manga theory, they say they don’t know the manga themselves.
>>107
If they’re a truly skilled manga artist, they wouldn’t be writing theory about manga but just drawing manga normally.
>>107
There are occasionally threads about bicycle travel manga here too.
>>123
I know you were drawing it, but I’ve never noticed the thread…
>>126
Well, maybe it’s best not to notice…
The thread is only about stories like getting in trouble for camping out on store awnings or in the corners of shopping malls while on a bike trip.
>>123
I’m not standing.
Person of ○○
I don’t want you to push the problem of not being able to provide something that can overturn that impression onto the person involved.
>>104
It’s original, after all, and they’re known for their representative work, right?
>>104
It’s something often said by those who haven’t even looked at 〇〇.
Yoshikazu Yasuhiko is good at drawing and has the ability to create manga, but…
The ability to create stories is critically lacking.
>>105
I really felt this.
I mean, I never expected that even though Origin has the core elements of the original story, it would still be considered decent despite the terrible character degradation.
Matsuken, who makes Yoshimune dance samba, blurs the lines of who is the main performer.
It’s a bit late to say this, but being good at drawing and story writing is amazing…
>>111
The production speed is fast, and it’s really amazing.
Even for such a monster, a weekly serialization seems to be hell.
>>111
Talented creators in Japan tend to go into manga.
>>111
It seems like there are many talents, but whether or not there is a perspective to grasp things, the root is just one.
Mr. Monkey is glad to have become a tough person from a strong king.
I can’t believe you brought such a mediocre manga that hasn’t gained any popularity or gone viral.
>>117
There are kind people who know that anonymous ones love to gang up on such things.
>>117
You’re a forum newbie, aren’t you?
The Narou in the thread seems like it will become popular.
In other words, it seems like there might already be something similar in comic adaptations or anime.
It’s called a drawing gacha, so it might become a position that is somewhat expected for the character designer as well.
I don’t really memorize names.
If anything, it’s the publishers that have lowered the barrier.
Nowadays, there are only electronic formats, so publishers with no name or track record are popping up one after another.
>>122
I’ve heard that a young person who seems like a new social employee is running a publishing company; that’s great, right?
I wonder why people with commercial experience who are bad at drawing often end up in industry-related manga or courses.
>>124
I heard that there were vocational schools for people who originally couldn’t make a living from such artistic work.
I don’t know why, but they just start doing it on the internet.
It’s surprising to see that even authors who have become relatively popular and have been involved in media mixes are in charge of manga adaptations.
Akizuki Akira and Nishio have really influenced me.
A level of distance with the original creator, like granting a “chee” (one-shot) is ideal.
>>130
It seems like they have no interest in the original work at all.
>>130
Even if an exception that requires both parties to be strong-willed and not crazy is presented, it’s still not feasible.
“Basilisk: The Kouga Ninja Scrolls is about ideal.”
Segawa Masaki → Yamada Fūtarō’s Dofan
Theme song: Onmyo-za → Fuutaro Yamada’s Dofan
I have the impression that this person frequently releases comics on X that are divided into comic adaptations and original artwork, and they dislike manga.
The rest is some life wisdom.
Ideally, something like “Fictional Inference” would be perfect.
>>139
It seems that the original creator is so enamored with the artist that they pass the name check without reviewing it.
It’s more likely to have a hit by having someone who can’t create an interesting original work draw a manga based on an original work that’s already been rated as interesting.
They say it’s the era of Narou and the Sengoku period of comic adaptations, but…
More than half of the time, it’s about three volumes, and I end up unable to continue and get canceled…
>>142
If there hadn’t been any talk of a manga adaptation based on the original work from Narou, those three volumes would probably never have even been published…
Even the thread image should have ended with a goodbye saying “Come back with another name sketch!”
It seems I’ve been held back as the person in charge of the artwork.
>>145
It doesn’t seem to discuss that kind of thing just with the thread image.
Reading the rest of the story reveals that creating a poorly executed comic adaptation that gets immediately canceled leads to being shunned by all publishers, making it impossible to even be allowed to do any comic adaptations afterward.
>>145
It’s better to be evaluated as “in preparation” than to be labeled as a discontinued manga artist in this era.
>>145
This author has no experience in comic adaptation and there are no experienced people around, so I have doubts about whether this is a story based on actual experience or just imagination.
>>142
In other words, isn’t it the Warring States period?
>>148
It’s funny how the people who look down on Narou are often those whose Japanese is questionable.
>>148
The mass production of poor quality is not something to be called the Warring States period.
I’m just playing the numbers game.
>>154
A discussion with a definition and conclusion predetermined, typical of a fool.
>>157
The typical contrarian behavior of fools.
>>160
It’s convenient, isn’t it, to label it as contrarian?
It’s just being denied, it’s not the opposite.
>>157
>>142
Most of it is for the purpose of filling the pages, or rather, to increase the number of advertisements.
If it becomes popular after Volume 2.3 (which corresponds to one volume of the original work), then there will be a continuation.
The goal is not to turn popular works into manga, but to increase the audience that might be interested.
In light of the recent inflation, the level of expectation for original creators has also risen, so there are many times when you have to be able to create your own storyboard.
You’re just trying to protect yourself by claiming it’s a curse based on the original work.
There are indeed works that are not suitable for comic adaptations or manga.
It seems like we’re going to draw cards, though…
In the first place, there are some excellent adaptations that quietly die without anyone seeing them due to a lack of advertising and poor access, making it truly heartbreaking, regardless of the quality of the work itself.
>>152
Do you have any recommendations?
Well, the site itself is hard to navigate, so maybe that’s why people don’t want to go there.
>>156
I really liked the comic adaptation of “I Wish for Happiness,” but it died.
>>156
Even if it’s called a masterpiece.
When I’m told I can read it with a growl monster, I don’t really feel like reading it… the ads are annoying…
There are a decent number of veteran comic adaptations increasing, so it’s possible to have a state of warring states where many are competing, alongside a place where simple amateurs instantly die from poor quality overproduction.
On the contrary, there are also ridiculous FPS games that continue even though their updates have become extremely infrequent, so the world of serialized works is quite mysterious.
>>161
I can imagine that if it’s that detailed, it must take a lot of time… but it’s a bit confusing when works that aren’t particularly like that are delayed in updates for several months.
I have seen the announcement of the end of the serialization updated several times.
Personally, there are some web-only magazines that are too small to be included in the commercial line.
I wish all web comics could be read only on Seiga, Magapoke, Manga One, and Jumpla!
>>163
The unification of platforms is humanity’s long-cherished desire, but achieving it is impossible.
Sad
>>171
The god who destroyed the Tower of Babel is just a piece of trash.
Just don’t end up like the guardian of the empire.
There are more cases where books are only released as volume 1 and 2 and are discontinued without being published, leading to them being adapted into manga instead.
I don’t know of any examples where the original author does the name (storyboard).
It’s not uncommon to see a separate credit for the composition aside from the original work and art.
I’m more concerned about how the author is managing to live rather than the fact that the next update has been delayed by six months or so due to editorial permissions or similar reasons.
Rebuild World, with its character designs, monster designs, and machine designs heavily supervised, is really great, isn’t it?
The fallen Exorcist becomes the strongest after returning from another world.
This and other updates are really irregular, but it’s still ongoing, so it’s helpful.
It has a scent of the 80s to 90s.
I understand that we cannot unify the platform.
Please don’t increase any further.
>>175
Even so, it’s good that the publishers are managing it.
Many ventures that are hard to understand have poor UI and operations, and they often have conflicts over publishing as well.
I wouldn’t go so far as to call it a product scam, but…
Both the animation side and the original work side think it’s a gacha…
Why is it that the same publisher keeps releasing so many apps?
>>178
In-house politics…
I like the development where a manga artist hopeful, despite not being good at drawing, is praised for their art and then recommended to become the artist for a project.
If I had to mention the most problematic platform, it would be the one that published the manuscript in its original size.
On the contrary, there are no manga artists actively recommending the comic adaptation for Step Up.
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