godfather of tokyo entertainment

"Fujiwara, are you planning to write about socialism this time?" Itagaki Kazuhiko asked.

Fujiwara Kei shook his head.

"The original style sect? The changed style sect?"

Fujiwara Kei shook his head again.

Itagaki Kazuhiko was stunned for a moment, then said excitedly: "No way, Fujiwara-kun, are you planning to create a new school again?"

The movie "White Night Journey" made the Socialist sect popular. Is he planning to become the founder of the sect again?

Fujiwara Keimichi: "I don't want genre to limit me. I only care about whether the story is interesting for new works. As for what genre, it is not within my scope of consideration."

"If possible, it wouldn't be a problem to write the socialist school, the changed style school, and the original style school together."

Itagaki Kazuhiko quickly shook his head: "Fujiwara-kun, do you plan to make one work have the styles of three genres at the same time? I suggest you not to do this. It is easy to cause problems in a hodgepodge of works. Each genre has its own characteristics.

There are advantages, but if you put them all together, the advantages will turn into disadvantages!”

Hodgepodge is often a mistake made by newcomers, and they are the stupidest newcomers. They want to write everything and stuff everything into the story. The final result is that nothing is written well.

The biggest problem for newcomers is that they think too much, and many newcomers have problems with their writing motivations. They are not trying to write a good story at all, but are trying their best to "challenge high difficulties" and let readers praise their talents.

Itagaki Kazuhiko had a headache, why did Fujiwara Keiya start to make this problem? This shouldn't be the case!

"You misunderstood." Fujiwara Kei took a sip of tea calmly and said, "It would be really bad if one story has three styles at the same time. But a long story can contain countless short stories, and

There doesn’t have to be only one eucalyptus. Mr. Itagaki, I plan to create a series.”

So that was it. Only then did Itagaki Kazuhiko understand.

Serial reasoning is very common in the world of mystery literature, which means that the same detective solves different problems to form a series of stories, and each story can be written into a novel.

For example, the Sherlock Holmes series, the Detective Polo series, the Detective Galileo series, and the most famous modern detective story Conan series.

Compared with independent reasoning, detective series have the advantage that they are more commercial.

Once the protagonist of a series leaves a deep impression on a reader, then the reader will have a certain chance of buying other single books in the same series. Therefore, a certain volume in many famous series is actually poorly written, but the sales volume is not counted.

Low.

"A series..." Itagaki Kazuhiko thought for a moment and said, "This is indeed a good idea, but Fujiwara, if it is a series, the narrative structure cannot adopt the two-line parallel and obscure narrative structure like "White Night Walk".

It is also a new writing field for you, will you find it difficult?"

"No." Kei Fujiwara smiled, "I am confident in the story, but I still want to discuss it with you more about the character setting."

When deciding to create a series of detective stories, Kei Fujiwara's first thought was of course the famous "Detective Conan".

How about writing the story of that little dwarf? Fujiwara Kei gave up the idea as soon as he came up with it.

The reason is obvious: "Detective Conan" was not suitable to be written.

There are many reasons. First of all, there is a natural barrier between comics and comics. It is relatively easy to adapt comics into comics, but the success of comic adaptation requires specific analysis of specific circumstances.

If it is a comic with strict logic, it is relatively easy to extract its plot and adapt it into text, but most shounen comics have exaggerated narrative techniques.

For example, in Conan, Kogoro Mouri's neck, which was shot thousands of times, is often ridiculed in the comics, but it does not affect the overall look and feel of the comics, but it will definitely make readers feel confused.

There is also Conan's scientific equipment that is not scientific at all, such as the pair of shoes that can kick out cannonballs at every turn. According to the setting of the comics, the working principle of those shoes is through

Overcurrent stimulates acupuncture points on the feet, thereby exerting tremendous power.

If this kind of setting were written in this book, readers would probably tear up the book.

Not to mention, the humanoid Gundam Kyogoku Shin appeared in the later stages of the manga. As long as Fujiwara Kei dares to write this kind of character who can blow up a house with one punch, he will be among the top ten most disappointing writers in Japan in the 1990s.

It must be on the list.

Another most important problem is that when Kei Fujiwara traveled through time, "Detective Conan" had not yet been completed. He did not know the biggest suspense of the main story line, so he finally decided to abandon the story.

Although Kei Fujiwara had read many detective series in his previous life, the works must be written to suit the tastes of Japanese readers of this era. In this way, the scope was suddenly narrowed.

Kei Fujiwara summarized the detective characters in his works that he knew and wrote down the following names:

Kindaichi - "The Exploration of Kindaichi"

Yukawa Manabu——"Detective Galileo Series"

Kaga Kyouichiro - "Kaga Kyouichiro Series"

Shimada Kiyoshi - "Pavilion Series"

Mitarai - "Genius Detective Mitarai Series"

There are many classic detectives in the history of Japanese reasoning, and there are definitely more than just these few. However, after some sorting, Kei Fujiwara took into account the aesthetic taste of readers of this era and finally selected five candidates.

Fujiwara Kei set up the characters of these five detectives and briefly talked to Itagaki Kazuhiko. Itagaki Kazuhiko looked at the five names, touched his chin and thought seriously.

"Hmm... Kindaichi is the grandson of the great detective; Manabu Yukawa is a physicist and an amateur amateur; Mitarai Aoi is an astrologer... They are all very interesting."

Itagaki Kazuhiko fell into a long exam, and Fujiwara Keiya started thinking while drinking tea.

Since it is a series, once the protagonist's character is determined, it will have a long life, so we must be extra cautious in the early stage. Moreover, the character setting should not be too complicated, and the background should not be involved too much, otherwise Kei Fujiwara wants to incorporate other classics into this

If it is a series, it will be very troublesome.

Suddenly, Itagaki Kazuhiko raised his head and asked: "Fujiwara, I feel that each of these characters is good, but each one is a little bit different. How about integrating the character settings."

This was what Kei Fujiwara said. This was what he thought, so he nodded and said, "That's exactly what I meant."

The two discussed it for a while and finally decided on the portrait of the protagonist.

First of all, in order to give the protagonist room to grow and make it more popular among young readers, the protagonist cannot be too old, but is a college student studying psychology.

At the same time, his grandfather is a famous detective who has helped the police solve many crimes. Because of a deduction in high school, the police also discovered his excellent crime-breaking ability, so he became the police's secret consultant.

.

He is usually a gentleman and gentle, but once he encounters a case, his temperament will change drastically and he will become arrogant and crazy. He will not return to his original self until the case is solved. His pursuit of the truth has reached an endless level.

Moreover, I have a childhood sweetheart whose father is a police officer, and his father rose through the ranks sitting on the shoulders of this prospective son-in-law.

It combines the settings of several detectives and also adds new settings, which means that Kei Fujiwara has to create a certain degree of originality.

The two of them made settings while constantly overturning them. They discussed from day to night before finally deciding on the image of the protagonist.

Itagaki Kazuhiko tugged on his collar and looked at the manuscript papers covering the table, already sweating all over.

Kei Fujiwara drew a portrait of the protagonist through the character image discussed by the two - a young man with messy hair, but a delicate face, and a tear mole on his left eye.

Itagaki Kazuhiko looked at the cartoon portrait and said with some surprise: "Fujiwara, your painting is also good."

Kei Fujiwara smiled and said: "This is storyboard painting, a necessary skill for directors."

Itagaki Kazuhiko stretched his neck to take another look, and said with a smile: "I don't understand, but I think it looks good."

"Then the setting of the protagonist has been decided for now, but Fujiwara-kun, apart from the character, the story is crucial to whether a work can be a hit, but I can't really help you with this."

"I already like the story." Kei Fujiwara said.

"So fast? What's the name of the story?"

"It's called..." Kei Fujiwara was about to say, but Itagaki Kazuhiko suddenly looked down at the portrait of the protagonist on the table, "Wait a minute, you'd better name the protagonist first. What do you want the protagonist to be called?"

Fujiwara Kei looked down at the portrait for a while, then looked at the five names on the manuscript paper next to him. He thought for a moment and said, "Just call Mitarashi Kei."

"And the first case he solved was called "The Bandage Monster Murder Case."