Resource Tycoon Reborn

Chapter 11 The first meeting with Miyamoto Oriichi

In Fengyuan in 1988, the places suitable for business discussions were really limited. The teahouses, bars and cafes that dotted the streets and alleys in later generations are still a rarity today. Therefore, the meeting between Fang Mingyuan and Miyamoto Oriichi was also rare.

We could only choose a corner of the hotel lobby. Miyamoto Oriichi's Chinese was pretty good, and Fang Mingyuan's Japanese was also passable. There was no problem in communication between the two.

When they first met, Miyamoto Oriichi couldn't believe that this young man who looked exhausted and was only fourteen or fifteen years old could be the author of "Yu Yu Hakusho". After several assurances, Fang Mingyuan even drew a concise drawing in front of him.

Two characters from "Yu Yu Hakusho", Miyamoto Oriichi still looks in disbelief.

"Fang Jun, this is really in line with the old saying in your country - heroes have been born in youth since ancient times! When I was as old as Fang Jun, I was still living in ignorance in school. Don't say that I can draw such outstanding paintings.

I can't even speak Chinese." Oriichi Miyamoto expressed his heartfelt emotion. Although Fang Mingyuan has heard this kind of praise many times now, he still couldn't help but feel a little bit in his ears when Miyamoto Oriichi said this.

Hot.

"Well, Mr. Miyamoto is right. When I was his age, I would run around in the yard all day long, and career was still something out of reach for me at that time.

"Su Aijun felt the same way about Miyamoto Oriichi's emotion. Fang Bin and Fang Ya just listened quietly to the side, but the pride in their hearts was hard to suppress.

"Fang Jun, I have to say that although you are Chinese, you have the same habits as our Japanese comics in this comic. This is naturally the best. I believe that the Japanese people are reading your comics, Fang Jun."

I won’t feel any inconvenience when reading comics.”

Seeing Su Aijun and Fang Ya present, Fang Bin and Fang Bin looked confused. Miyamoto Oriichi explained to the three of them again.

Japanese comics are basically composed of grids, characters, backgrounds, word balloons, phonetic metaphors, comic symbols, lines and other techniques. The reading order is generally from top to bottom, from right to left; in the same grid, word balloons

The text in it is also read from top to bottom and from right to left. This is consistent with the order of traditional Japanese text. The words and thoughts of the characters are recorded in word balloons. Onomatopoeia is written in handwritten fonts.

Formal expression. Comic symbols are used to reflect the character's psychology and movements. For example, drawing sweat drops on the character's forehead and back of the head represents the character's surprise, indignation or confusion; making veins appear on the character's forehead and fists to represent anger, etc. Part 1

Fang Mingyuan, who has been used to watching Japanese comics all his life, naturally went with the flow in this aspect.

"Although generally speaking, most publishers maintain this style when publishing foreign language versions of Japanese comics, there are still some foreign language publishers that change the reading direction of comics from left to right. This approach may violate the original

The author's intention sometimes results in a complete picture. For example, the grid covering two pages is broken. But Fang Jun's work is completely in line with the appreciation habits of our people." Miyamoto Oriichi's explanation made Su Aijun and others

Fang Mingyuan looked as if he were looking at a monster. He actually even considered these details?

"When I was studying Japanese, I saw some comics from your country in the 1970s, so when I drew this story, I naturally followed their habits." Fang Mingyuan found an excuse for his behavior.

, but everyone present had no intention of delving into this point.

The two parties discussed some topics about the Japanese animation market. Miyamoto Oriichi was surprised to find that Fang Mingyuan was quite familiar with the Japanese animation market and spoke eloquently.

"Your country's vigorous development of the animation industry is undoubtedly a wise choice in my opinion. Although the share of the animation industry in your country's GDP is still limited today, I think in the future, maybe twenty years from now

, it will become a pillar industry in your country that surpasses the automobile industry. The tentacles of the comic industry can extend to various economic fields in Japan, including animation, games, advertising, film and television, tourism, clothing and even construction, etc., thus forming a

The entire industrial chain promotes the development of Japan's economy. Moreover, this kind of industry has low demand for resources, has little environmental pollution, and can absorb a large number of employees. It can be said that it kills several birds with one stone." Fang Mingyuan's words are very accurate.

The first thing I did was to nod my head repeatedly, as if I had heard the news.

Fang Mingyuan's words were not to praise Japan's animation industry, but he knew for sure that in future generations, two thousand years later, the annual turnover of Japan's animation industry would reach 230 trillion yen, making it the third largest industry in Japan.

industry, and the animation industry has accounted for more than ten percent of Japan's GDP. According to data released by the Japan External Trade Organization, Japan's total revenue from animation and related products sold to the United States in 2003 was US$4.359 billion, which was Japan's largest export to the United States.

Four times the total revenue of steel. The animation industry has become a veritable pillar industry in Japan, surpassing the automobile industry.

"What Fang Jun said makes sense. I really didn't expect that in China we could see talents like Fang Jun who know the animation industry so well. Uh... please don't misunderstand me. I don't mean to look down on your country." Gong

Halfway through Motoori's words, he realized that his words seemed a little disrespectful to China, so he quickly apologized. In 1988, China-China relations were still in the honeymoon period after the establishment of diplomatic relations, and Miyamoto Oriichi was also in Japan.

He is considered a person with left-wing ideas. The reason why he was sent to China this time was not only because he was the staunchest supporter of this work among the editors, but also because he had a good impression of China.

Su Aijun and the others smiled slightly awkwardly. They understood what the White House originally meant, but in China today, the animation industry can almost be ignored. When people say this, they are not slandering or despising themselves.

"I'm sorry to bother you. Who is Comrade Su Aijun?" The waiter in the hotel suddenly came over and asked.

"Uh, I'm just, what's the matter?" Su Aijun asked confused.

"There is your phone number at the front desk. They say they have something urgent to call you." The waiter's answer left everyone confused.

It turned out that the caller was Su Aijun's lover. Since she could not find Su Aijun in the school, and she knew that a guest from Japan was coming, Su Aijun was probably accompanying her, so she rushed here like a dead horse.

The content of the phone call was beyond Fang Mingyuan and Su Aijun's expectations - the editor of "Weekly Shonen" would not arrive in Fengyuan until the next day or the third day as they had imagined, but would transfer at the Beijing Airport tonight.

They would arrive at Fengyuan City. Bai Lin called Su Aijun and asked them to pick him up here.