Well, that’s true.

I wondered how such worries would appear from the perspective of an era when making money from manga was considered unreasonable.

What kind of person?

There are aspects that can be inferred from the recognition that it should not exist.

I understand your feelings, but we need to distinguish between human ideals and reality.

Those who talk based on their own satisfaction rather than whether something sells are generally not that impressive.

Even though I can draw manga, I get caught up in playing around with theories of creation.

What does he think work is?

If anything, we live in an era where you can make money from manga without going through a publisher, so you should just create the works you want to make.

The purposes of comic adaptations vary, so I wonder if the example image might not resonate well with recent audiences.

When you’re in business and have connections with competitors, it’s really hard to talk about things like this.

No matter how great a work is, if it doesn’t sell, it’s a failure, and even if you’re not satisfied with the content, just selling it once makes everything worthwhile up to that point.

It’s finally from there that I will be in a position to choose the work that comes to me.

Rather, the Narou (Shousetsuka ni Narou) manga adaptations often get anime adaptations too, so isn’t it the most profitable for manga adaptations?

Recently, there have been more adaptations of manga instead of direct adaptations from the original works.

I feel like we’re quite free with things like Pupu Pua Hour.

It’s terrible to ignore the existence of people who can only draw but struggle with story creation, in addition to the dis towards those involved in comic adaptations.

The same aftertaste as when I saw my rival on Monday.

There are many people who show their own style even when they are in charge of the illustrations for comic adaptations.

If you hit a popular work on Narou, your career will be finished for life.

A person who writes without distinguishing between “to write” and “to draw” when talking about artists will fail at anything they do.

A web novel’s comic adaptation can really hit big if it lands a hit like those in Jump.

I understand that being twisted enough to draw things like thread images is the reason for not succeeding.

It’s funny how there are so many manga adaptations that get abandoned halfway, yet some people say they can only draw manga adaptations for life.

While they are undoubtedly a professional who has been active in business for many years,

I wonder why it feels a bit off for a manga artist to draw manga…

I still feel more convinced by Bakuman and Shimamoto… even though Bakuman is not a work meant to be persuasive.

It’s not that there is no future if you receive a comic adaptation.

Isn’t it a mistake to say there is no ability or talent?

It seems like an interesting thread when the ID comes out.

Mob Psycho was drawn for eight years before being handed over to another manga artist.

Thank you for your hard work.

When a comic adaptation succeeds, it can continue for a long time, but those who succeed with their original works have already found success before creating a comic adaptation…

Even a long-running series like Kochikame won’t take a lifetime.

Unless the author dies midway through

Fools tend to exaggerate everything.

Whether you want to create good works or works that can earn money is similar but different, you know…

It would be nice to make money from good works, but that’s only possible for the top tier of the industry.

It’s funny that these high-awareness accusatory manga are drawn by no-name artists who definitely won’t get any calls.

I realize again how amazing Shimamoto is for turning themes like the inner workings and absurdities of the manga industry into interesting manga.

The word “lifetime” really flips a switch for me.

“If it’s depicted as ‘reluctantly,’ it would be disrespectful to the original creators! Wouldn’t that phrasing have been better?”

The author of A Certain Magical Railgun, well… if they say prison time, I can only respond with “Yeah.”

If it’s a long original work, it might be split up and serialized concurrently.

It’s been about 9 and a half years since Tensei shitara Slime Datta Ken.

It’s long, but it’s far from a lifetime, and if it sold this well, it can probably be quite highly regarded as a career.

Shimamoto’s manga has grown another troublesome issue by believing all of that.

It’s just that a loser independent contractor wants to be a contractor but can’t make a living, so he becomes an employee.

How arrogant can you be to begrudgingly accept this? You’re just incompetent, aren’t you?

If it’s clear that the downside of comic adaptations is that they bring in less money than creating original works, that’s fine, but when a writer who has never been published says that, it’s unclear whether they still have room to spare or if they are being reckless.

It’s not just about manga, but if you’re going to talk about your ideals in work, you should at least produce results once before saying anything…

If you’ve already lost once, then it makes it even more so.

It’s really terrible to look down on comic adaptation writers when you have no decent achievements yourself.

The position of a manga adaptation author is incredibly weak, huh?

In today’s world, if you want to express yourself or showcase your originality without being directed by an editor, you can just create a doujinshi or post a web series.

From an erotic doujinshi author to an official author

Completely sealing off all doujin activities is too professional.

When Fujiryu announced the comic adaptation of “Legend of the Galactic Heroes,” I thought it took a lot of guts, especially since the version by Katsumi Michihara was already well-received as a masterpiece.

Is this an image edit?

The comic adaptation I liked and followed.

“I’m going on a long hiatus to draw a different world featuring Hiroyuki! It was really tough to say that.”

The Fujiryu version has an incredibly magnificent and wonderful fleet battle.

A long time ago, Yoshinori Kobayashi had an assistant who came to apprentice with him and said he wanted to draw a thought-provoking manga that expresses concern for the country.

First, you need to produce hit works in entertainment; before discussing philosophy and criticism as a manga artist, it’s meaningless if you don’t have the ability to back it up… I was writing that in a manga.

I just suddenly remembered that I thought, regardless of the idea, that it was true.

People with thin boundaries between themselves and others can’t distinguish between their own thoughts and those of others, which is why they create such strange mix-ups…

At one point, GanGan became full of manga adaptations of certain works.

I’m still incorporating serialized comics of other companies’ light novels.

It’s amazing that original works are the majority and adaptations of in-house game IPs are the minority.

There are many cases where the motivation for drawing decreases in long-running series, especially in Narou manga adaptations…

If you don’t like it, you just don’t have to take it, right?

Writing it grudgingly doesn’t benefit anyone.

I thought the Legend of the Galactic Heroes by Fujiryu would be animated.

To be honest, whether it’s original or not doesn’t matter if the prison sentence is a hit work…

It should rather be regarded as an achievement.

Whether it’s imprisonment or something else, Conan probably won’t be able to end it on his own will anymore.

It seems that people who can imitate the art style will continue to draw until they die.

With a long serialization comparable to Index or A Certain Scientific Railgun.

I wonder if they can make claims like in a meme in front of the authors who support magazines by boosting their sales.

In the end, a truly talented writer can make anything interesting, no matter what they write.

The comic adaptation of Index and Railgun is a bit too irregular, isn’t it?

The art style of the person in the thread looks outdated, and they’ve been posting something like “how to draw manga” on Twitter for about eight years now.

I wonder how you are living.

I’m doing the comic adaptation artwork, but the editor…

Please don’t depict the original work exactly as it is; it’s a manga, so adapt it properly and infuse it with your own style.

I was told that.

I think it’s okay to be happy.

You can just come up with original ideas during the breaks in the drawing work.

It seems that if you are overwhelmed with work, you won’t be able to continue a long-term series.

Considering that there are some hit works despite the variations in success.

It’s probably much better than the assistant manga that this person is drawing…

A person whose debut work ended after doing somewhat well was scouted to draw the FGO comic adaptation, and then they were entrusted with character design for Koei’s new game; their life has been skyrocketing in just a few years.

There are actually manga artists who actively come forward and ask me to let them draw the comic adaptation, and they are currently working on it.

It’s saying to ejaculate your color… in other words, didn’t you want to say to fully express your sexual preferences in the comic adaptation?

I think so too!!

Isn’t the comic from Korokoro quite different in style from the manga adaptations that are currently trending?

Are you saying to dye someone else’s original work with your own fetishes?

People who are having fun don’t draw comics like this.

When it comes to stories about Narou comic adaptations, there’s always someone with a pathological lying tendency.

There are manga artists who specialize in drawing and continue to work even after turning sixty, so even if they say there is no future, it doesn’t necessarily mean that.

I’m not sure if I should call it a comic adaptation, but the artist of Dr. Stone is a passionate fan of Sake no Hosomichi.

It was strange to serialize a story that had already been done once with a different art style, but to think that even a manga artist who hit it big could end up creating something so unpleasant… it really was harsh.

Are there other examples of comic adaptations that went viral like the one with the cheat granting?

There are works that are created as a team of illustration and storytelling.

The person in the thread picture probably really wants to create a story, but maybe they ended up making it like this because they’re frustrated that it hasn’t been recognized.

As a reader, if the comic adaptation is interesting, I might consider reading the next work even if this one gets canceled, so I don’t think it’s something to look down on.

Some people are able to showcase their unique style even in comic adaptations.

Well, I can kind of understand the feeling of wanting to succeed with an original work even if it means buzzing with a comic adaptation is meaningless.

Well, I guess I just have to draw things that can sell on my own.

Rather, there are several patterns where the person in charge of animation gives inspiration to the original creator.

If you are physically far away, you won’t get hit.

Ideologically, this is just like being anti-AI, right?

If I can be proud of having my comic adaptation turned into an anime with my skills, then I will be top-notch.

Some people have transitioned from manga adaptations to original works, but in the end, their originals didn’t take off and they ended up returning to manga adaptations.

I think I’m happy just to be able to get work in comic adaptations.

It seems extremely difficult to adapt something with a unique comic-like vibe, like chi bestowal, into a visual format.