How to raise a random guy's wife

Upon setting sail from Po Island, I was startled: "An interview?!"

"After all, it's our official debut, and the results have been so good, so of course we should do an interview to expand the influence of our work," Kobayashi Megumi explained. "Don't be too nervous."

"I'll do the interview." Kobayashi Sora has quite a few influential accounts. "I'll release it in text form later."

Feeling much more at ease about the boat trip to Po Island, I said, "Then I'll get ready."

"No need to prepare." Kasumigaoka Utaha waved her hand. "You can't prepare as much as Sora Ao. Just say what you have to say."

“That’s right,” Eriri agreed wholeheartedly. “Anyway, what was written in the end had nothing to do with what you said.”

Bo Island setting sail: "Huh?!"

With the final storyboard finalized, production naturally began.

Whether it was Mayu Sagara, who was in charge of setting, Eriri, who was in charge of original illustrations, or Izumi Hashima, who was in charge of directing, they didn't have much time to chat and quickly got into their work.

“I’m starting to understand your joy.” Kasumigaoka Utaha was clearly in a good mood, repeatedly flipping through the storyboard. “It’s really heartwarming to see someone who is influenced by themselves yet can still shine with their own unique brilliance.”

Clearly, the final episode of "Hajime Island Goes to Sea" has a strong Kasumi Utako style, but the ending does tend towards a heartwarming reconciliation.

Having grasped the true meaning, the exorcist vanquished the storyteller's spirit with a single strike.

The next shot abruptly cuts to the moment the rakugo performer's performance ends.

"over."

With a relieved smile, the rakugo performer finished telling a story and left the stage amidst applause from the audience.

“Master,” a child came up from the back of the stage, “what a wonderful story!” His tone was quite similar to that of his master back then.

The twelve episodes of "Mononoke" ended with a smile that appeared on the face of the rakugo performer after a slight pause.

The disciple wrote a wonderful story, and the master left with satisfaction and peace of mind.

Disciples who do not want their master to leave continue the story in vain, unwilling to accept the reality that their master has left them.

And those stories that never have an ending gather into storytelling spirits, bound to their disciples.

If we really let the associations run wild, this is no longer an implication, but an explicit statement.

The cartoonist drew a great story, and the readers enjoyed it very much.

Cartoonists who don't want readers to leave, or those who want to earn more money for themselves, or others who want to make more money from the work, have no choice but to continue drawing.

So what could have been a peaceful ending became longer and longer, until all the emotions were exhausted and the story was sustained only by nostalgia. The author was exhausted from drawing, the editor was exhausted from pushing, and the readers were exhausted from reading... Everyone was suffering.

A work that should bring joy has become a work that brings pain; this tragic core is consistent with the spirit of storytelling.

Such situations are not uncommon.

Taking Dragon Ball as an example, Akira Toriyama originally intended to end the story after Goku and Pied Piper had a decisive battle in the martial arts tournament.

However, due to the immense popularity of "Dragon Ball," ending the serialization would not only directly affect JUMP's circulation, but also the performance and stock prices of companies at the center of the comprehensive media effect, including the publisher Shueisha, such as Bandai, Fuji Television, Toei Animation, and other companies with various commercial activities related to the work. Considering this possibility, it has created a situation where ending the serialization is simply impossible.

In the end, even Akira Toriyama commented on the Majin Buu Saga, saying, "This part of the story has become a series of intense and grueling battles that even I, the author, am tired of. Now I've become an old man with high blood pressure and I can no longer draw such fights. Rather, I don't want to draw any more manga about fighting in the future."

Before the Buu Saga began, Akira Toriyama had already agreed with Shueisha to end the serialization after completing the Buu Saga. Nobuhiko Horie, the editor-in-chief at the time, only found out about this later.

Even though Akira Toriyama was so determined to end the serialization, it was only after various considerations and preparations, such as the various affiliated companies holding meetings with their superiors for adjustments, and the company leaders assessing the business situation and controlling the stock prices and performance of the affiliated companies to the minimum extent of loss, that the serialization was finally brought to an end.

Despite being in great pain, Akira Toriyama maintained the quality of his work, a feat many manga artists lack.

This has led to many works starting off very well, only to fall apart later.

Whether driven by the pursuit of profit from a practical standpoint or by an emotional attachment to the readers, this continuation of the story has lost sight of its original purpose.

Like a storyteller spirit in the Night Parade of One Hundred Demons, if he wants people to listen to his stories, he will grab people and tell them stories, or even strangle them and hold them in his arms.

Do people who are captured really listen to stories? They just want it to end quickly.

Reminded by Kasumigaoka Utaha, Hashima Izumi realized that she had become a storyteller spirit who was binding her, and finally gave her own answer.

Ending things properly means letting go of others' burdens, and also letting go of your own.

“I love the last scene the most, where the child says what the master said, which has a sense of cyclical reunion.” Kasumigaoka Utaha exclaimed, expressing the surprise that the trip to Hashima Island had given her. “A good ending is a good beginning. The audience who say goodbye because of the ending will meet again because of the beginning. It’s not an infinite continuation of a story, but a series of stories with a beginning and an end.”

Kobayashi Sora stood behind Kobayashi Megumi, her arms draped over her chair. "It's rare to see you praise someone so directly."

"Going to sea won't make you as arrogant as Eriri, who gets cocky after just a little praise."

“So,” Kobayashi Megumi said gently, “your abilities in this area aren’t as weak as you think.”

Kasumigaoka Utaha avoided her gaze, "I was just doing what you told me to do."

Kobayashi Sora noticed something unusual: "Is tsundere contagious?"

Kasumigaoka Utaha: "You're the one who's being arrogant!"

Chapter 803 Specific Details

It seems that being arrogant is indeed contagious.

Kasumigaoka Utaha's words and reactions were almost identical to Eriri's.

It seems that in the past few years, not only has Eriri learned Kasumigaoka Utaha's screenwriting skills, but Kasumigaoka Utaha has also learned the ability to be tsundere from Eriri.

Why act all tsundere...?

Kobayashi Megumi and Kobayashi Sora smiled at each other.

Kasumigaoka Utaha was so angry that she started shaking her leg.

In this situation, whatever she says will be interpreted as being arrogant.

Tsk.

"The anime has come to an end here," Kasumigaoka Utaha changed the subject. "There's one more thing."

Kobayashi Megumi didn't dwell on the topic of tsundere. "Oh?"

"White Album," Kasumigaoka Utaha said, arms crossed, a look on her face that seemed to say, "I'm so amazing, come praise me!" "I've already finished writing the final chapter of the story."

Ah... that expression.

Noticing that Kasumigaoka Utaha's gaze had turned hostile, Kobayashi Sora immediately got down to business, "As for the final chapter, if we start production now, it seems we won't make it in time for Christmas."

“There’s no need to release it at Christmas, Eriri is so busy right now.” Kasumigaoka Utaha’s lips curled up. “I have a better option.”

Kobayashi Megumi seemed to see the black aura emanating from Kasumigaoka Utaha. "You wouldn't...?"

“Valentine’s Day is a good time,” Kasumigaoka Utaha’s smile gradually turned wicked. “A galgame should be released on Valentine’s Day.”

Kobayashi Sora sighed, "Could your... malice be any more obvious?"

“This is out of concern,” Kasumigaoka Utaha corrected. “We’ll discuss the specific details later, once Eriri has finished her work.”

Kobayashi Megumi did the math and wondered, "Isn't the time a bit too rushed?"

“This timing is just right,” Kobayashi Sora explained. “After all, it’s a work released on RGW, so maintaining the previous production quality is enough. Anyway, we’ll still be releasing a physical remastered version and a remastered collector’s edition later.”

“And…” Kasumigaoka Utaha’s eyes sparkled, “Eri will be even busier afterward.”

"The One-Punch Man anime adaptation..." Kobayashi Sora tapped her forehead lightly. "Let me think... you approached Yoshitomo Kameda, Takeo Oda, Norifumi Kugai, and Kim Se-jun..."

Kobayashi Sora paused for a moment, "Wait, you found them? And you found them all?!"

Kobayashi Megumi didn't know much about these names. "What's wrong?"

"Didn't I say before that Yoshitomo Kameda is one of the Four Heavenly Kings of contemporary action films?" Kobayashi Sora said, calming herself down. "Now all four Heavenly Kings are here."

Each of these four artists has their own unique characteristics. Yoshitomo Kameda's bold, brush-like lines are rugged and wild, Takeo Oda's style is powerful and unrestrained, Norifumi Kubei is used to elongating the movements to make them more dynamic, and Se-Jun Kim, who once drew for "Mobile Suit Gundam," has a wildly imaginative fighting style that makes you feel like you're in space.

But without a doubt, all four of them are masters of action scenes.

When the decision was first made to produce "Mononoke", Kobayashi Sora asked Kasumigaoka Utaha who she needed.

At that time, Kasumigaoka Utaha submitted these four names.

Unexpectedly, she found them all by herself in the blink of an eye.

"Isn't this amazing?" Kobayashi Megumi looked at Kasumigaoka Utaha in surprise. "Utaha, thank you for your hard work."

"It's really not hard work," Kasumigaoka Utaha said truthfully, "I just happened to have availability, and..."

Moreover, after the Hosoya incident, even though she wasn't a freelance illustrator, Kasumigaoka Utaha faced no obstacles when discussing collaborations.

Kobayashi Megumi blinked. "You haven't told Eriri about this yet, have you?"

“There’s still the final preparation,” Kasumigaoka Utaha shook her head. “I’ll talk about it when I’m ready.”

Kobayashi Megumi tilted her head, "I caught it from you."

“This is a positive influence,” Kobayashi Sora said, quite appreciating this approach. “It’s always good to be prepared.”

“Prepare more…” Kobayashi Megumi frowned slightly, then shook her head. “The production of ‘Mononoke’ is nearing completion, the script for ‘White Album’ is finished, the members for ‘One-Punch Man’ are being prepared, and there’s also… ‘Virtual Heaven’?”

“Eri has already completed quite a few character designs,” Kasumigaoka Utaha recalled Eriri’s diligent drawing. “To be honest, I feel it’s a bit too much, and this is a 3D game, right? With RER’s current capabilities, the quality of the models…”

It's not that I don't believe in Mayu Sagara's abilities, but this is indeed a difficult point.

Unlike the 3D modeling of virtual idols, the models in games have a wider range of movements and higher requirements in all aspects.

It's not something that can be done by one person; it requires a more mature and professional team.

"Don't worry about that." Kobayashi Sora glanced at the time. "I've already arranged for a very top-notch team in the industry."

"Extremely powerful?" A name flashed through Kasumigaoka Utaha's mind. "Could it be...?"

“That’s the one.” Kobayashi Sora nodded. “They were the ones who approached me first.”

Ghost Castle.

Back when RER virtual idols were just starting out, RER had already collaborated with Virtual Castle on numerous occasions.

The virtual idol group launched by Ghost Castle is top-notch in the industry. Whether it is 2D characters or 3D modeling, they are so exquisite that they are beyond compare. They are also the first group to use 3D characters to shoot virtual short dramas, including some quite professional action scenes.

Kobayashi Sora arrived at the agreed-upon coffee shop and met the business partner with whom he had been unable to find any information.

"Hello, I'm Bei Ran," the man wearing sunglasses introduced himself. "No need for a handshake."

Kobayashi Sora noticed that Kita Ran's right sleeve was a bit deflated, clearly indicating that he didn't have a right hand inside.

Judging from the shape of the sleeve, it seems that only half of the right upper arm remains.

"Meow~" A cute white cat nestled in Bei Ran's arms, let out a soft meow, and stared at Xiao Lin Kong Qing with its azure eyes.