This must be a lie, G.

It’s M or O.

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Isn’t this just a patchwork of developments from works that the otaku guy saw in the Narou genre?

Are you considering the development as a buildup of stories to properly express the theme?

>>11

The fact that this post is getting so many Yeahs shows that the comments about the thread’s image are really hitting home for wannabes…

I always wonder if there’s really much that the creators want to convey.

I wonder if the viewer needs to be aware of that.

>>14

If it’s not clear where the axis of the story lies, it will be difficult for both the writer and the reader.

>>14

If it’s funny without it, then that’s fine, but isn’t your manga different, Otaku-kun?

>>17

That’s true, but it’s made in such a complicated way that you can’t easily judge it at first glance…

>>14

Most works have a part that they want to showcase the most, and they create a story to effectively present it. If the viewer does not also become aware of this, they cannot understand what the work is trying to convey, and they cannot truly enjoy the piece.

>>14

It sounds lofty when the words come rushing out, but if the content isn’t organized enough to be summarized briefly, it makes it hard to read.

>>14

It might be easier to say the concept of the work.

When the concept wavers, things become messy.

>>14

It’s not about inserting themes like environmental destruction; what I want to convey is whether you want this character to shine now or if you want to give the heroine a moment to shine.

Just because the character is talking and time is moving forward doesn’t mean we can have a nice conversation.

>>14

It’s not about some grand, correct theme; it’s more about not really understanding what this work was trying to convey.

The viewer doesn’t need to be consciously aware of it; it’s more about what impressions are left after seeing it.

This is just the gal being strict from an editing perspective.

>>14

At least if you don’t decide on a theme throughout the work or series, the story is going to end up a total mess.

I think that is necessary even for just entertainment works.

>>14

That’s where individuality comes out.

If you think you can draw interesting things even without an individuality, it feels like you must have quite an impressive skill.

>>14

It’s not a noble topic.

I was exiled by someone irritating, so getting revenge feels great, doesn’t it!

Being kind to the slave girl and having a popular development is the best! That’s fine too!

What did you want to show throughout the work? That’s all there is to say.

It’s not that you’re required to talk about a difficult theme; it’s more about clearly defining what makes the work stand out.

Do they want to showcase the protagonist’s achievements, highlight the cuteness of the female characters, or draw the audience in with the story development?

There are works that make you wonder, “What do you want to achieve when it’s not fully completed?”

If you want to be “the best,” you have to stick to it; otherwise, you’ll just end up with a half-hearted work, right?

>>24

If you want to make “Ore Tueee” the main focus, I guess it means you need to properly establish the protagonist’s motivation and accompanying leads that revolve around it…

Why are you suddenly criticizing someone’s personal hobby from a superior position when it’s not even something publicly shared?

>>25

Isn’t it because she’s a gal?

What is a gal…?

If you’re doing it as a joke against cheating, it lacks boldness, and if the story is supposed to be about being the strongest with cheating, then the lack of action is not good at all; being half-hearted is not acceptable.

Creation that doesn’t even face the content as a consumer.

It’s great that you’re evaluating it as interesting, at least!

I don’t know what kind of guy Kobayashi is, so I can’t say much, but just looking at the thread image, those are some unpleasant gals.

This story is about whether it is written in a way that clearly conveys the core message of the story.

I understand that expressing what you want to convey to the reader can sound like a petty nuance related to the message.

This thread seems like it would resonate with the writers who usually hang out in the Narou forum.

It’s difficult to find a work that you can say has something good (interesting) about it, even if just for some vague reason!

Coming up with one-off jokes is really fun.

Well, a skilled writer can incorporate a sense of message without any discomfort…

>>44

If you want to introduce a new character and have a new development, then you should take care of the revenge first.

>>44

It will happen even if it’s not “Narou.”

I think girls with realistic breast sizes are good.

If you’re going to apply somewhere, that’s one thing, but please don’t say it in a hobby doodle notebook…

Isn’t “That Time I Got Reincarnated as a Slime” just a 10-year-old Naro template like “The Rising of the Shield Hero”?

>>50

Most of them can’t compete with that template.

Can the same ingredients or theme really change so much just by the cooking method…?

There was something I thought, but I can’t remember it.

But if it doesn’t say that it will resonate, it tends to get consumed without a second thought, so it’s great that you wrote it.

This is a manga drawn by an otaku, based on the premise that it’s interesting…

The protagonist has abilities that only make their body glow.

>>58

？？？？？？？？？

>>60

Keisuke Itagaki

>>61

Sorry, are you saying that as a joke?

>>62

Do you immediately disregard other people’s kindness like that?

>>74

I simply don’t understand the meaning.

>>76

Unhindered

Buddhist terminology. Also known as “mushōgai.” It refers to a state of being free and unobstructed, without hindrance or interference. “Yūzōmuge” (free and unobstructed). Among the twelve virtues (twelve lights) of Amida Buddha is the virtue of “mugai light.” The wisdom of all Buddhas is referred to as “mugai wisdom,” understanding as “mugai understanding,” and eloquence as “mugai eloquence,” each of which is further subdivided into the four categories of Dharma, meaning, saying, and discourse (such as Dharma mugai wisdom, meaning mugai wisdom, saying mugai wisdom, and discourse mugai wisdom. This is referred to as the four mugai wisdoms).

>>78

What I’m asking is about the intention of mentioning the name of Baki in the context of Narou, not about that.

>>78

I’ve started to understand what gratitude is.

“Don’t say ‘What did you want to convey through the work?’ to works written for amusement.”

>>63

It was just good enough to be readable, which probably made them want to say something.

Did you slip while trying to go with the flow?

Isn’t it true that those who create follow-up works heavily influenced by popular creations tend to come up with grand and impressive justifications for it?

“Imitation is the very history of creation~” or “From a commercial standpoint, it is only natural to capture popular elements~”

Isn’t it something that wouldn’t come out unless you have the confidence that you can accurately grasp the demand and have the skill to imitate it?

This gal is probably reading Save the Cats!

What did you want to say? The climax is scattered.

There are too many works that just leave aside the issue of the development and ask, what does this protagonist actually want to achieve?

Even though it’s a popular work, those that stop updating are often the ones that, after just doing what they wanted to do, lose sight of how to develop the story further.

The theme, or rather the direction you are heading, is important.

It’s not about the author’s thoughts or beliefs.

I think it’s really important to clearly define what you want to convey in order to summarize the story in an easy-to-understand way.

Works that pretend to be strong (TUEEE) but actually aren’t often exist, and it’s troubling.

Someone who extremely refuses to hurt others or never gives their all because they are constantly worried about the damage to those around them.

In a world where the level is around 100, the protagonist is level 1000, but enemies that are level 10000 appear.

>>79

One Punch Man is popular, isn’t it?

I think it’s also a talent to be able to portray patchwork stories in an interesting way.

If you want revenge, you might as well go on a journey for revenge.

I don’t want the cute, adorable main character to be troubled by dark and painful elements like revenge.

Depicting someone falling and ruining themselves on their own and saying “serves you right.”

After that, I will continue to drag out the part called “slow life,” which is a cheat-like solution to problems, in order to structure it as a long-form piece aimed at publication.

>>84

I think that the way to pass the time when you can’t decide on a purpose is what slow life is about.

Ah, this person really doesn’t realize they’re saying something completely off the mark…

>>86

Baki, was that such a confident joke of yours…?

It’s someone who can’t create anything but feels like they’re drawing manga by making sarcastic critiques!

If it’s going to be a story about the protagonist, it doesn’t really matter what you convey or how deeply you think about it; it will still become that character’s story.

If you delve into an ensemble drama without a proper theme, it tends to become disjointed.

>>91

No, I won’t!

>>91

If you don’t think about the protagonist’s goals and what you want to show, it will later turn into a manga where you neglect the protagonist and get absorbed in drawing other characters.

>>113

It’s a common thing among amateur creators, right?

Characters that you like or find easy to move around take over the work.

>>119

It’s a scary phenomenon that even non-amateurs sometimes mess up.

>>113

And then Blast appears.

If it has about the same level of interest as Dragon Ball, it would probably be fine without needing to create a theme or anything.

>>92

Don’t say it so casually!

>>92

That totally focuses on the theme of parodying Journey to the West in a futuristic world setting.

>>99

The theme of the struggle for the Dragon Balls is consistent.

>>104

Isn’t it ending around Namek?

When I think about what happened to this manga, it’s clear whether this reasoning is correct or not!

If you’re just being defiant and saying that it doesn’t matter if there’s no consistency as long as it’s interesting, then that’s fine too.

Rather, works that try too hard to maintain coherence and end up making excuses are boring to read.

This panel itself is really lame.

The shadow on the girl’s face and her three mouths, as well as the thick lines framing the dialogue with long lines of speech, make it seem like the author is just making the characters express themselves.

>>101

What grudge do you have against the author…?

>>103

I don’t know the work, but I think the anonymous person who posted such an image is really out there.

This message suggests that the work in question is losing its own interesting elements.

>>105

In other words, it means that you can write.

>>108

Yeah, that’s true… There aren’t many works that are interesting when the story doesn’t have a clear through line.

Therefore, I think it’s impossible to have “works that are interesting without a theme.”

>>105

Well then, the theme of Bobobo.

>>109

Burst

>>116

…Well, maybe that’s true!!!!

>>121

I actually think so.

I feel like I’m often seeing someone who shifts between the positions of reader, writer, editor, and publisher.

I don’t know what position you’re in or how much confidence you have in yourself, but…

People who want to talk about techniques for gaining popularity, demand, and commerce.

If the reader can imagine the theme, it means that the theme is being expressed.

>>98

Is there a place where you need to think?

>>114

Basically, isn’t it a story that requires knowledge of meta humor and conventions, along with a background in occult science fiction?

>>115

I feel that many people also transform everything in that area into “the author’s ideology” in their minds.

>>115

I really want to depict a purely erotic development! After all, it’s a noble theme, right?

If you get greedy and put in some weirdly serious or grand story, it might end up being indecisive.

>>115

I wonder if the concept and the charm of the work are easy to convey.

What is the appeal of this work? It definitely increases the attack power quite a bit.

I admire authors who can leave things implied without explanation, since it interferes with the current story.

Only stories that were thought up on the spot, like Kinnikuman, come to mind.

Because there is an easy-to-understand theme or keyword like “friendship power.”

Knowing about the Shield Hero is quite nerdy, huh?

Even if it’s a work that has been forcibly warped and unnaturally formed to create a story where the world and all the characters are the protagonists, if it’s interesting…

Well, I wonder if it will become interesting?

>>126

The Truman Show!!

>>126

That’s it.

Intelligence in the world that is below that of an elementary school student.

>>132

I think that is a masterpiece that has fully completed its theme.

It’s reassuring that the protagonist always makes the final decision in the end, as that’s a common trope.

Amateurs sometimes have people who turn out to be twisted.

I thought it was a famous work, but it’s only two volumes due to cancellation… Why did you post something like that?

>>134

It was meaningful because I got to see someone as interesting as you, who would go out of their way to look into something like this.

>>137

When you responded to this, you probably smiled, right?

I really dislike that criticizing a bad work with sound reasoning is not only easy but also makes one appear impressive.

And then, it’s troublesome because if the theme wavers, it becomes a negative, but even if the theme is consistent, that can be a kind of starting line, and whether the work is interesting or not can depend on what comes after that.

The phrases of the gyaru are all too similar to ones I’ve seen somewhere.

>>139

Such sarcastic comments are already all over social media.

>>145

I thought it was one of those standard episodes with cold sarcasm, but then it added an unexpected twist.

>>139

I am aware of it, if nothing else.

“If it’s interesting, then you don’t need a message, because that’s a fine message in itself.”

A work that is fully committed to entertainment.

“I hope the creators can at least answer right away when asked, ‘What do you want to convey with this work?'”

There are some foolish readers who think they can attack just by saying this for now.

>>141

What does Gundam want to convey?

I want to sell toys, but do I need to prepare something essential?

>>158

Isn’t that the purpose of creating a work that has been mentioned here and there, which is different from the concept of the work itself?

Interesting works are so interesting that they don’t provoke any nitpicking.

All ideas for theoretical armor that suggest doing it this way or that way end up looking like amateur thoughts.

Are there comics that can roll on just the power of their characters and world-building…?

Like a men’s school.

>>143

That’s exactly a work that fully embraces entertainment.

Based on what can be inferred from the thread image, it seems like it’s a strong type of revenge story where revenge cannot be achieved.

I understand why even a gyaru would want to point out where you’re headed…

>>144

I wonder if my conscience kicked in and made me calm down while I was in the middle of writing a “serves you right” scenario…

>>146

It seems that the creator of the protagonist found them so cute that they wanted to continue the story and ended up delaying the achievement of revenge.

>>155

One reason there are a certain number of slow life stories is that they can continue without having to postpone the achievement of such goals.

There are many stories where the protagonist doesn’t want to dirty their hands, so they either let someone else do the killing or make others fall without realizing it.

No matter how much one specializes in entertainment, as long as a story is constructed, there will definitely be a theme present.

>>149

To put it more bluntly, it means we are just recycling ideas that have resonated with the readers.

If the content is off from what the readers suggested, then it’s really no good.

>>149

“When you’re told to put in a theme, it means to convey a strong thematic essence that resonates powerfully with the other person.”

“It’s not a low-level conversation like ‘well, there is a theme, but?'”

Is it necessary to convey what you want in entertainment works?

If you’re worried about that, just read Nietzsche.

>>152

I guess that means you should at least read Nietzsche…

>>152

Isn’t it because it hasn’t become entertainment?

What does this work want to convey? This line is often seen in manga and is frequently written in a negative light, but for editors, it’s a phrase used to clarify the author’s intentions and provide advice to ensure that it is easily understood by the readers, so it shouldn’t be seen as a negative expression…

>>157

If it doesn’t come across even after reading that, there’s no way I can give advice…

>>157

It looks incredibly negative when it’s just text information.

The way of receiving it changes between readers who have never talked to the manga artist and editor and those who are actually editing and having meetings with them.

What I want to convey is that it’s a manga that feels like utter emptiness with not even a millimeter of emotional impact.

What I want to express is that I love breasts, buttocks, and thighs! If that’s the case, then it’s perfectly fine.

Well then, let’s show that libido more through the composition and the story.

When asked what I want to say at the meeting stage, of course…

Isn’t it synonymous with being hard to understand and boring?

So even if we get hung up on themes and all that…

I think saying “What do you want to convey?” is a hundred times kinder than asking “What’s interesting about this?”

If you’re going to include that “I’m super strong” feeling, then don’t be shy about it, I get that.

What do you want to say through the work…?

I want to say that when a girl’s skirt flips up, the sight of her panties is the best!

That’s the level we’re good with, or something like that.

There are really works where you wonder what kind of feelings you should have while reading this manga…

Works where the author skillfully guides you in that regard are really easy to read.

So what does TOUGH want to convey to its readers?

>>171

Aren’t you continuing your life’s work as long as the readers wish to read more?

“It’s like, ‘What does this manga even want to do?’ It’s already lost in a maze of confusion.”

There are quite a few long-running mangas that go through such phases, but if it’s done in a one-shot, it’s a complete failure.

>>174

Even though it’s a superhero story, there are times when they are told by the police that they can’t fight the villains…

I’ve already said this, but I think it’s easier to understand if we say concept instead.

Is it wrong to want to be successful and praised by the greatest common denominator of what you want to convey, like reading or writing in a certain style?

>>179

What theme should I write about to sell well in the greatest common divisor?

>>179

Isn’t that the purpose of creating a work?

I thought it was a mess when I saw the protagonist become a giant in Attack on Titan, so I stopped reading.

It expresses something, but there’s really nothing it wants to convey—what is actually being put out there…?

If you can write a manga that conveys the message to readers without any advice from the editor, then you don’t need an editor.