ページ 51 – SILENT MANGA AUDITION®

GOOD MORNING MASTER CLASS! #01 ICHIROU Master Class, the Future Manga Stars from SILENT MANGA AUDITION®. Now it’s time to unveil their faces…! Watch their manga creation skills! The very first volume is Ichirou, winner of 2 Grand-prix in a row! The most detailed and boldest work has been produced by the most logical man!

INTERVIEW WITH ICHIROU 1. What’s your work space like? Do you usually play music when drawing? Messy. I do play music when I am drawing, but when I’m planning a story I need absolute silence. 2.What kind of tools do you use and which is your favorite? Let us see it! Generally I use G-pen, brushes, and draw on A3 size paper.

Simple tools, complex drawing.

3. Tell us how you schedule your creations! How long does it take for each step in the process? Which step is your favorite and least favorite? First, I need to write the story – like creating characters, doing some research, and all the preparation I need to draw the storyboard. Then I do the storyboard, which is my favorite process. It could take a day, a week, or more depending on the length of the story. Once I have the storyboard done I just need to draw the pages, which often takes me a day per page. 4. Tell us about your preferences when creating manga! I often draw the scenery first. Or at least the basic lines of the scenery. I guess that’s easier for me, rather than drawing the character first, and working on the scenery later. To practice drawing I normally sketch everyday, mostly my surroundings.

Dynamic use of a double page spread!

5. Tell us about your preferences for manga storytelling! I mostly focus on the composition, including the layout of the page, the arrangement of the elements in each panel, lighting and shadowing, etc. Regarding these elements, I always try asking questions to myself about “how the readers will read/feel my manga,” and “how I control the rhythm of the story.” Then, I ask myself the most important question: “Is the element going to add something to the development of the story, characters, or scenario?” If the answer is “no,” I take it out. Another point I find important in storytelling is the “panel-to-panel transition,” although I feel some manga artists overlook this aspect and only draw “action-to-action” style. I always try to find the best transition in each moment of the story. I prefer “aspect-to-aspect” transitions, which I especially find a lot in Japanese manga, rather than other comic styles.

Ichirou’s signature style, “panel-to-panel transition.“

I’m also quite keen of human emotions and expressions. As Paul Ekman allegedly said, “It’s the most sincere response you can get from someone.” So to draw them, I keep the “Six Core Universal Emotions” in mind. Those are: “Happiness,” “Sadness,” “Anger” “Surprise,” “Fear,” and “Disgust”. Once you have those emotions and corresponding expressions in mind, the rest are just a variation of intensity or a combination of the six. Of course, having photo references or FACS (Facial Action Coding System, used by animators) makes the job much easier.

Explosion of happy emotions!

Sad emotion weeping out.

6. Where do you get ideas from? I don’t know, actually… Mostly from books, maybe from news, sometimes from music… It depends on the story. However, I think one’s entire life experience cannot be excluded when he/she is creating something. So, it’s mostly a mix of everything that was saw, heard, read, felt, lived, etc. during the life time.

Ideas come from anywhere…like when you are on a bus?

7. Do you have any other skills or experiences that help you create manga? I guess any skill or knowledge is useful somehow. I’ve read that Tezuka Osamu’s knowledge in medicine helped him a lot in his creations. I know a bit about digital games, programming, practiced some sports, etc. And it sometimes helps me when I need to draw something specific. 8. Do you have a favorite manga or manga creator that influenced your creative style? Well, my favorite manga artist is Naoki Urasawa sensei, yet I don’t know whether his works influenced my art style directly. I guess I’m influenced by lots of different artists indirectly. Tsukasa Hojo sensei and Takeshi Obata sensei have an outstanding art style I admire as well. Or artists such as Greg Tocchini, Kim Jung Gi…the list goes on.

“Platinum End,” the latest series by Takeshi Obata seisei (art) and Tsugumi Ohba seisei (story).

“City Hunter” by Tsukasa Hojo sensei

“BILLY BAT” by Naoki Urasawa sensei

9. What are the specific areas you focus on when creating a manga for SMA? Mostly the storytelling. As it’s a silent competition, I tried my best to deliver the message as clearly and effectively as possible. 10. Are there any moments you felt, “I’m glad to have entered this contest!”? At the announcement of the results, I had a nice sense of accomplishment. 11. Have you received any useful help advice from the editor? I guess Mocchi’s advice are among the best I’ve received, one that stuck in my mind was: “It’s always best to do what you love.” 12. Are you planning any future projects? What genre would you like to attempt in the future? Well, as you may know, I’m very interested in sci-fi stories, so I think I’m going to stick with this genre for my next project.

Ichirou’s self portrait

ICHIROU From Brazil

The GRAND PRIX Award Winner of SILENT MANGA AUDITION Round 2

The GRAND PRIX Award Winner of SILENT MANGA AUDITION Round 3

Thank you very much, Ichirou senpai! He’s currently preparing his next manga series on SMAC! Web Magazine. Let’s make it great series together! Stay tuned! Please send us your manga! Hopefully you, too, will join our SMA MASTERCLASS and create the future of manga together 😉 !

Manga is like FABRIC – the "Vertical/Horizontal THREADS"- Japanese Manga 101 #047b Hey guys! It’s been sometime since last update, So for today we’d like to cover a very special topic. “The secret art of story art creation”, that my senpais and great artists have been practicing for many decades. This is originally a method for manga editors to master the way of manga creation. But it helps greatly for all manga creators, please do pay special attention for today’s episode! Secret 1 : “Story Manga is like Fabric – WOVEN with vertical and horizontal threads.”

This may not be too obvious at first. This is the wording of the fifth chief editor of Weekly Shonen JUMP, Nobuhiko Horie – our CEO at COAMIX, Inc. He has many hit manga titles to his credit. Fabric, is woven with horizontal threads and vertical threads. Each direction of the thread making each other stronger, forming a sheet of fabric, which of course is much stronger and useful, than any single thread can ever be. Here, the vertical thread is the story, and the horizontal thread is the characters.

You can’t weave fabric, with just vertical loom only, nor horizontal loom only. Story manga is woven, by combined movement of both Vertical and Horizontal looms working in synchronized motion. Secret 2 : “Editors can help the Vertical Thread – Horizontal threads are creator’s own”

Editors can help with the story making process, but the CHARACTER can only be created by the Manga-ka self. The word “Character” may not mean much to you. In this context, when we say “Characters” – what we mean is “The everyday life of the characters”. Now imagine, your afternoon, with a person you like – feel attracted even. Without doing anything in particular, just being in the same space with that person, somehow feels good, maybe even joyful. There is nothing new or surprising, but just hanging around with that person, Talking about nothing important, observing just ordinary gestures and just the fact that person is there, somehow just feels satisfying. When we say “Characters”, this “Being in the same room-ness”, is the horizontal thread. ONLY the manga artist, can make those moods and feelings come out as drawings on paper. The editor can never make that happen. So what is this “Vertical Thread” that we editors can help? Being in the same room with the person you feel attractions to, is enough for some time but it will eventually become, BORING. Not good. And that excitement and surprises, are what that may cause chemical reactions to happen in your relationship. This, is what we call “STORY”, the vertical thread, that interlocks the Horizontal threads. Very often, just the horizontal threads alone are more than interesting. However, the editor will assist the artists adding Events and Incidents, the vertical threads, that will form Manga as one expanding fabric. Let’s take “Dragon ball” as an example. Goku and Burma, Kuririn and Master Roshi… Their happy everyday lives, are the colorful horizontal threads. By adding vertical threads of events and incidents, such as the Tenkaichi-Budokai tournament, the horizontal threads knows their colors and purpose, expanding the fabric of Manga to wider world. The secret art of Story Manga creation is to know that it’s a fabric, and that combined motion of Vertical and Horizontal thread is the only way to weave it. Secret 3 :“Many hit titles are woven in the ratio of ‘1 : 3’ / 1 vertical thread, to 3 horizontal threads.”

Would you like to spend your afternoon with someone you don’t really know, or go dating several times with that person? I don’t think you do. Exciting events and extraordinary things are pointless, if a reader doesn’t know who this character, who is in the same room as him or her. We very often talk about the importance of “Characters” in Manga, more specifically the atmosphere, the mood, the kind of warm, cosy and cheerful that only good characters can present to the readers. This is not an easy concept to grasp at first, but a vital key element that any manga just can’t exist without. Please have a good, deep think about this one!

GOT IT? We will be covering deeper in the secret art, of Story art creation. What we talked today is super useful once you grab the idea. I personally recommend watching this video again, and again till it begins to make sense. It’s seriously that good.

Manga CHARACTER Thinking “The WAY OF LIFE”- Japanese Manga 101 #048 Hey guys! Last time, we talked about how we WEAVE manga like a sheet of fabric, with vertical threads and horizontal threads. Today, we continue talking about the SECRET ART of manga creation. We have learned from great artists themselves and our senpais. The secret art: MANGA is CHARACTERS.

This is a famous line by a great manga writer and storyboard creator Kazuo Koike, and is handed down as the most important principle in the world of Japanese manga creation. To be quite honest, when I was young, I also thought, “Hey wait a minute, the world and story are also important in Manga”. But through the years of working a with great many manga creators, I realized the truth and importance of this principle, more and more. In series manga, we often hit the creators block, as to how the story should proceed. There is nothing WRONG with the story, but the manga is just not satisfying to read. “Will the readers, really be entertained by this?” That moment we scratch our heads, late into the night. What to do, in times like this? The next secret art: WHAT EMOTIONS of the characters, will make the readers happiest? What ACTIONS will move the readers? Concentrate hard on thinking about just those two points.

So, we focus on the protagonist and supporting actors, imagine being them ourselves. And think, what situation will make our characters REALLY struggle, REALLY scared, REALLY happy, REALLY Angry, REALLY full of tears, and EXPLODE with laughter? We think deep, hard, and dig REALLY deep into the characters’ mindset.

That often gave us great turn of events, that we just didn’t see before. Many of those ideas were just what made the whole manga, a big success. We have said this several times here on Japanese manga 101, and say it again. The readers experience the world and story, though the eyes and senses of the characters. For the readers to want to TURN THE PAGE of the manga, we must first make the readers, feel attached to the characters, feel sympathy, and wish to become the characters themselves. Not a page of that manga story will progress, without the reader turning the page. It’s not some grand ideas like a big world, or a mission to save the world that makes readers to turn the pages of your manga. First you got to entertain the readers with your characters living everyday life like Sleeping, getting up, and eating breakfast. Really everyday stuff. THEN the next step is to show the readers what makes the characters to show changing emotions, On what principles, do they make important judgement in their life. You show the readers, their way of life, their missions and goals through the decisions your characters make. This is how you make the reader, feel the empathy, become one with the character. Put simply, The secret of art: The CHARACTER, is IT’S WAY OF LIFE.

Here in Japan, we often hear how people say, “I have learned all important things in life, through MANGA.” That may be an indication of the fact, how many readers project themselves onto Manga characters, and how many important lessons in life are told through all those characters. GOT IT? We will continue to uncover the secret art of Manga creation. Stay tuned!

The FOUR Part construction "Ki-Sho-Ten-Ketsu" – Japanese Manga 101 #049 Today, we will talk about one subject, that great manga god Tezuka Osamu, as well as senseis like Tsukasa Hojo and Tetsuo Hara sensei, ALL been telling over and over and over again.

While this is known as THE MOST BASIC thinking in Japanese manga creation, but many of you outside Japan may never heard about it. If this is the first time you heard this, then please do pay close attention! The secret art: MANGA is “Ki-Sho-Ten-Ketsu” – “Introduction / Development / Turn / Conclusion”

In Japan, not only Manga, but any story or novels are constructed in 4 parts. Pretty much everything here is written, drawn or presented this way! Internationally, “Three-act structure” is more widely adapted in education and production. For example, any English teacher would tell you to write using, the basic paragraph structure. Topic sentence Supporting sentence Concluding sentence

In film making, “Three-Act-Structure” is widely known as the standard: Set-up Confrontation Resolution The “Three-Act-Structure” is widely regarded as the standard, Used in comic, TV Drama, Documentary or even computer games. So why do the Japanese Love “Ki-Sho-Ten-Ketsu”, the FOUR part structure ? We believe it’s all thanks to a Chinese Poet, whose works became a national hit, influencing many poets and novelist in Japan, around fourteen hundred years ago. Spring Dawn by Meng Haoran

In Spring one sleeps, unaware of dawn; everywhere one hears crowing birds. In the night came the sound of wind and rain; who knows how many flowers fell?

This, is a very famous poem “Spring Dawn”, by Meng Haoran. What does each of the 4 lines in poem tell us?

<Meaning> I slept too much this lovely spring morning, the sun’s already up. From everywhere I hear the birds, chirping happily Last night, I heard loud sound of wind and rain, I hope the flowers are okay, but who knows how many flower petals had fallen?

This 4 line poem, is the classic example 4 part structure, “Ki-Sho-Ten-Ketsu”. 1, Introduction 2, Development 3, Twist 4, Conclusion Introduction – The intro Development – Develop further on the intro Turn – Look at the event, from a completely different point of view Conclusion – Bring both points of view, to a unified ending

To be frank, this 4 part structure is a bit, illogical. Often doesn’t make instant sense especially compared to the three part structure. And “being illogical” is often treated as bad, or perhaps a little immature. BUT! The Japanese readers as well as the creators absolutely LOVE this 4 parts structure. Japanese Manga creators use “Ki-Sho-Ten-Ketsu” – NOT ONLY in story writing, but ALSO, how they layout the PANELS on each and every page. Sound interesting, doesn’t it? We’ll talk more about this mysterious 4 parts structure “Ki-Sho-Ten-Ketsu” next week. Stay tuned!

Japan's Most Popular Manga is "4koma" – "Ki-sho-Ten-ketsu" 2 – Japanese Manga 101 #050 Last time, we talked about “Ki-Sho-Ten-Ketsu”. The 4 part construction method, originating from Chinese poems that became the absolute foundation of Japanese Manga. Today we are looking at it with actual examples!

The origin of today’s Japanese comic style, Manga, is said to have originated in the 1800, the Edo period. Named after a master painter, “Hokusai Manga” is a series of books that resembles today’s manga style, the pages are divided into panels, with dialogues in each panel. Japan had a rather solitary time back then, then the westerners arrived in Japan bringing them with exciting new technologies, as well as cultural influences like books and comic strips.. Those were a great inspiration for the Japanese creators of the time. And it was in 1920, when a peculiar style of manga was born. And there was a national hit manga in that style, one hit title after another. That is “4koma”, the 4 panels manga style. Even today, every major newspaper has a daily 4 koma series right at the top. There are also Manga magazine that solely focus on 4 koma, the 4 panel manga only.

Did you know the most popular, longest running Anime series in Japan? It’s this, “SAZAE-SAN”.

The anime is the most well known, but it’s adapted from the four panel original. Four panel manga, so the oldest format, yet the most loved. Why is it so so popular? It’s because the set of 4 panels is “Ki-Sho-Ten-Ketsu” 4 part construction in Action! This, is a four panel piece by our masterclass senpai, Mikko Rassinna sensei. Let’s look at each of the panels, how story is constructed.

Introduction Development Twist Conclusion

<Detailed explanation> KI “Introduction” – Show the environment, the characters are in.

SHO “Development” – Something develops in that environment, building anticipation.

TEN “Twist” – A surprising twist, drawing in readers interest, the CLIMAX

KETSU “Conclusion” – What’s expected from SHO, with unexpected TEN, leading to a unified conclusion.

To make it easier to feel and understand, let’s focus on “reader’s change of emotion”.

<Reader’s reaction> Intro – Oh, so this is how a story begins.

Development – So this is how, the story will go on…

Twist – Oh the Climax Whaaat? Oh my what’s gonna happen?

Conclusion – Aha! So that’s how it is. Haha that was fun! This four panel manga is a classic four part construction executed brilliantly!

The important point we’d like you to pay attention to is the importance of the “TWIST” panel. Because something “Unexpected” happens, as a twisted extension of “the Expected” from previous development, it works as a great anticipation builder, rather than just some random shocker events.

Because the reader doesn’t know how it will conclude, the built-up momentum of anticipation is used to max effect in the conclusion panel. Tease the reader and build up max anticipation, then turn that momentum into one big smile. The greatest joy of 4 koma manga may be in the technique of “Teasing”, that builds anticipation. GOT IT? So the wonderful world of 4 koma manga. Our manga god, Osamu Tezuka once said,

“4 koma manga, is the foundation of plotting out a long story manga”

In a nutshell, that means no matter how long the story, think of it as long four panel manga. If it’s a 32 page piece, think of it as 4 separate parts. That is Ki-Sho-Ten-Ketsu.

Film big-shots like Akira Kurosawa, who is said to had an influence on great creators such as George Lucas and Steven Spielberg, has also said the same thing. He used the same “four part construction theorem” Ki-Sho-Ten-Ketsu for every one of his films. Next week, we’ll look at not only the all time masters, but also the how nearly all Pro manga creators utilised 4 koma format, the four part construction to create much longer stories.

"Ki-sho-Ten-ketsu" at the bigger scale – Japanese Manga 101 #051 Hey guys! It seems our episodes on “Ki Sho Ten Ketsu”, the 4 part construction technique, has been very new to many of you. We received several questions too. Let us show you one of them:

«Question» This was a great episode! I see that Ki-sho-Ten-ketsu can also be applied to a long story, now if that story is divided into separate volumes, can Ki-sho-Ten-ketsu be applied to each volume at the same time? Thanks a for the excellent job that you do.

So, can we utilize the four part technique for each Tankobon book volume? The answer is, of course we can! And it’s wise to do so. Before explaining how it works, let’s let us dig into the ways, how Japanese pros use Ki-Sho-Ten-Ketsu for long stories. In the case of Japanese series manga, that each new episode coming out on a weekly or monthly anthology magazine, NO MATTER how great the long story you plan, If ONE chapter is not interesting, the readers are not gonna like it. Meaning, it’s OVER for your manga.

So, to create long running series, it is vital that EACH AND EVERY ONE of 20 pages or so chapter, must be an interesting and complete reading experience. That means NO EXCUSES like these are allowed : “This series will pick up pace at chapter 3”, or “This secret be revealed in chapter 5 or later”, or some NEW character abruptly entering the scene at the last page. We know from experience, that those will receive very BAD reactions from the readers. Readers feel betrayed, that the book they bought was an INCOMPLETE piece and NOT a COMPLETE entertainment. Instead, to make the experience as entertaining and complete as possible, Japanese pros utilized and sharpened the use of Ki-Sho-Ten-Ketsu, As the building block for a complete chapter of 20 or so pages.

Example: Intro – “Aha, so this chapter is about those guys” Development – “I see, this is how story goes, I can kinda guess…” Twister – “Wow the climax, whattttt this can’t be happening !?” Conclusion – “Aha! I see that’s how that all happened. I Enjoyed it!” We’ve learned from experience that it’s best NOT to divide it up into equal pieces, But put emphasis on the part where SHO gradually develops. Then turn into the beginning of the TWIST. Taking time and pages, using many panels to gradually build momentum, introduce how the twist develops. We said “Teasing the reader” here is the key. No matter how surprising or amazingly drawn the “Twist” itself may be. If it doesn’t come at a good pace, that is not just SLOW or FAST, But at the right “timing”, with momentum of anticipation built up, up, and really UP. Then strike with that event that turns all the momentum to strike the reader! In summary, Use Development Sho, and Twisting TEN, to engage the readers, and build up momentum of anticipation. Then using all that charged up anticipation, released all in one go! for the impactful concluding moment. There is an easier way to remember this! You’ve seen Dragon ball? Then you know, it’s NOT Kamehamehat. It’s “KA-ME-HAA…. MEHHH…. HAAAAAAAAA!!!!!” See how “charging” the energy makes “HAAA” all so more exciting? This “Charging up” effect, to make the “RELEASE” more exciting, is called “TAME”, or Creating “MA” in Japanese.

It might help you to remember those words too. Now, just one episode with Ki-Sho-Ten-Ketsu is already exciting to read, But if you had 10 of those then it would be even more exciting isn’t it? That is why we have Tanko-bons. Separate volume of books of just one series, out of monthly anthology.

On average, each volume contains about 200 pages, 10 chapters worth. We tried to visualise it as a graph, like this. Put simply, each volume of Tanko-bon, contains 10 sets of “Ki-Sho-Ten-Ketsu”s.

Japanese pros try to put all the events as complete as possible within one chapter, definition of goals, sub-plots and mysteries… Each chapter is complete in itself. While overall, those chapters accumulates gradually building up the story towards bigger obstacles, mysteries and their answers. THIS is the ideal form. Each piece is an entertaining read in itself, but combined together, 10 chapters form a bigger Ki-Sho-Ten-Ketsu encompassing the whole volume. As part of the bigger picture, there are many climaxes, one in each chapter that builds up and create momentum to finally make THE BIG CLIMAX, Super effective and impactful. THIS is the art of series Manga production. So, back to the question. Yes, you should utilise Ki-Sho-Ten-Ketsu,by creating small Ki-Sho-Ten-Ketsu every 20 pages, and build-up a much bigger Ki-Sho-Ten-Ketsu, encompassing all 200 pages! GOT IT? Our manga god Osamu Tezuka sensei, said the most important skill in creating long story manga is “The skill to create many short stories”. If you can create one satisfying Ki-Sho-Ten-Ketsu in 20 pages, then you can create longer one-shots, of 40 or 60 pages. To master that “Skill to create many short stories”, many Japanese pros practiced many many 4 panel manga before succeeding with a series manga. One such sensei, is Naoki Urasawa sensei. He is well known for his complex plots and sub-plots, and he has openly said on many occasions that Tezuka sensei has been his single most important influence. He earned his success with manga series in style that “Each chapter is complete in itself”, MASTER KEATON, YAWARA and HAPPY. Those were so brilliant he gained many strong fanship. Only then, he created long series manga, with much more continuation between chapters. So, if you have a great grand idea for manga, of thousands of pages, Why not try following Urasawa sense’s path and create many 4 panel manga? Then create many one-shots of 20 pages that are complete in each chapter! Next time, we are talking about much much smaller set of “Ki-Sho-Ten-Ketsu”. Yes, each PAGE contains set of “Intro-Development-Twist and Conclusion”! See you next time!

TETSUO HARA X KENTARO MIURA – Manga Legends Crossover! Tetsuo Hara & Kentaro Miura, both known worldwide for their intense art in story telling. These two manga masters were brought together on the pages of Comic ZENON, for an epic double interview. When you bring two living legends face-to-face, what kind of dialogue will unfold? Today, SMAC! brings you a report of the results. Read on!

(さらに…)

Kick start SMA6 – Japanese Manga 101 #047a Hey guys! Thank you very very much for many entries in SMA5, Sakuramori, and theme contest for SMA6! As announced, the theme for SMA6 is “CHILDHOOD”, or, “When I was a child…” Popular keywords were, DREAM, MEMORIES, COURAGE, LOVE, FEAR, HOPE and FUTURE. We hope many or maybe all of those keywords can be in “Childhood”, we hope you enjoy much more freedom to imagine your stories and messages!

You can just draw, about the kids’ days, or you can also COMBINE times like when I was a GROWN-UP, to when I was OLD… to make it one storyline. There are many ways and opportunities, to explore this theme from many angles! Let us give you some hints to begin, here goes :

First, imagine your protagonist, then have a good think to what “Message” you want your readers to experience, then. The Present / The Past / The Future

Place your “Childhood” in each of these 3 segments. There are many ways to adapt the theme. And yes, it doesn’t necessary have to be about the past. Hints hints! Flashbacks, expression of time and seasons passing… There are many Manga paneling techniques that can be used to great effects! Use those well, to create SILENT MANGA that entertain, and ignites readers’s emotions!

GOT IT? Please do you best, and remember to have fun!

Manga creation with Pro editor 3- Japanese Manga 101 #045 Hey guys! This is the last of this series of simulating how a pro manga creator and an editor would work in a meeting!

To close the series, we will now use “Communication Tool” as the Main, CORE theme, and create an actual storyline.

<STORY> Protagonist A, often talks on the phone with Friend B, who studies abroad. They’ve been good friends. Friend B is enjoying his stay abroad so much, sometimes he doesn’t pick up calls from A. Back in the day, when A was in trouble, B was always there to cover his back. A felt a little lonely, but he accepted the change. It’s just the way things go. Then the town A lives in, is struck by a big earthquake. Luckily, A survived the quake, but he was forced to live in hardships, of temporary housing. Then A’s mobile phone, now covered in dust and mud, rings. It’s from B. Not wanting to make B worried, A acts tough and says, everything is okay and there’s nothing to worry about. While still on the phone, someone taps on A’s shoulder. A looks back while on the phone to B. There’s a man, covered in mud and with a backpack full of food and water, with big smile on his face. It’s the friend B. He returned from his studies abroad. Public transport was not available so he walked back to their hometown on his own feet. A seems nothing like he said on the phone. He looks completely exhausted. B looks awful too. He is completely covered in mud, from his walk back to town. A and B, feels the friendship. They both hang up the phone, and strongly hug each other in absolute joy.

We stick with the basics. Characters A and B are “Best friends”. Place them far apart – Hometown and Abroad. The communication tool, is a mobile phone, again a simple everyday item.

Just those, won’t make the story moving. So we inject some “Negative Factors”, to the otherwise good relationship between A and B. “B not picking up calls” and “Big Earthquake” By injecting “Negative Factors”, like hardships and obstacles, the emotion of A is affected, and this makes the story moving. And the climax, A confirming the friendship with partner B, is easier to create. When we have an outline like this, we try to improve it further. Like : “The protagonist A is a bit passive, let’s make him go save friend B in trouble”. “The disaster causes disruption in the phone network, we should bring some other tool for communication”. And we keep on trying to brush-up, making the story even better! That really was a basic outline, but once you organize ideas like this, it really helps you to understand, what messages, you wanted to get across to the readers. Once you have that understanding, of the message, now all you need is to keep on asking yourself, “Will the readers like this?”, “Is this, clearly illustrated and understandable?” “Will they be moved?” That is how, you create your own, unique manga and styles. The way we just demonstrated, is just one of many ways. We may not always be right. Our master judge Tsukasa Hojo sensei, said the greatest joy of creating Manga is how one re-invents oneself, with unique ways of coming up with ideas, creating characters and stories, then directing the scenes, and drawing. We hope our channel helps you, to create your own, original silent manga stories. We are sincerely looking forward to reading your manga! Please do your BEST!

Manga creation with Pro editor 2- Japanese Manga 101 #044 We’ve been showing, how you can tackle SILENT MANGA AUDITION Round5. By simulating, how a pro Creator, and an Editor would work in a meeting.We are nearing the climax of this series! To close off the series, we are now using “Communication Tool” as the Main theme of SMA Round5. Let’s see how we can come up with episodes, the building block of the storyline! When we editors and manga creators meet and discuss this, we’d probably start with the fundamental question : “What is a COMMUNICATION Tool”?

“Communication Tool” means that, there are minimum of Two people. Protagonist A and the partner B, are trying to “Communicate”,something to one another. But if A and B, are close to each other, and they have no issues talking, Then there is no need for a “Tool”. They can just talk, to communicate.

Therefore, there are certain situations, in which a “Communication Tool” is a requirement. Like these: Situation1: “A and B, are not able to talk directly, to each other.” Situation2: “Something one says, is not understood by the other” We just stated the obvious, but once you have that organised as words, There are actually many opportunities for interesting stories. Situation1, “A and B, are not able to talk directly, to each other.” ・They are physically far apart ・They have NOT MET yet ・They are FORBIDDEN to meet in person ・They keep missing each other. Situation2, “Something one says, is not understood by the other” ・Something one doesn’t want to say ・Partner doesn’t want to listen ・One is unable to talk ・They speak different languages Already sounding good isn’t it? Now let’s dig deeper into the details. Situation1:“A and B, are not able to talk directly, to each other.” ・They are physically far apart ⇒Abroad / Another planet / Another dimension… ・They have NOT MET yet⇒Pen-Pals / HAM Radio Friends / Mail Friends… ・They are FORBIDDEN to meet in person⇒Rival / Enemies / Time Traveler… ・They keep missing each other⇒Too busy / Wrong timing / Not being honest… Situation2:“Something one says, is not understood by the other” ・Something one doesn’t want to say⇒Shy / Idol / Shameful / Fear… ・Partner doesn’t want to listen⇒Busy / Uninterested / Unnoticed / Hearing impaired… ・One is unable to talk⇒Animal / Plantation / Machines / Ghosts… ・They speak different languages⇒Foreigner / Enemies / Alien lifeform… There are many ideas, you can come up with, by methodically digging into the meanings around “Communication Tool.” You can already see some great ideas, or “seeds” of ideas, for episodes, storyline, characters and their relations, can’t you? Combine those ideas, and randomly collected ideas from the theme “Communication tool” like we did earlier on;

We then begin to write a draft plot, story and episodes ideas. IMPORTANT THING to remember here, is to KEEP IT SIMPLE. Do NOT start with grand ideas or tiny details, and keep it to a minimum.

GOT IT?