What does it have to do with me if they hate vests?

She has pictures that can be ranked in the top ten in the history of comics. Not to mention every page, even every frame is like an exquisite work of art, which makes people dazzled and unable to help but fall for it.

Even some veteran illustrators who had long retired could not help but re-emerge after the release of "That Snow", commenting on it as "a masterpiece that treats each frame of the comic as the highest quality game CG illustrations."

What shocked them even more was that even such an exquisite picture had unparalleled ingenuity in composition. Exquisiteness itself often means complexity and piling up of elements, but "That Snow" was able to grasp the balance of the picture just right. Every page is pleasing to the eye, but it does not make people feel that there is too much information in the picture and subconsciously feel cluttered.

Some well-known cartoonists even said that just based on this kind of storyboard composition, from which they have learned a lot, there is no suspense about winning this year's Tezuka Award.

Almost soon after "That Snow" was published, it was labeled a work of art based on the picture itself, so much so that even some people who don't usually read comics would buy a copy as a collection and display it on their bookshelf to show off their taste.

If the graphics of "That Snow" received unanimous praise and were even almost praised to the sky, then the plot of this comic book generated polarized reviews among readers in the few days after its release, and both reviews were very extreme.

This is not incomprehensible.

First of all, this comic book, which has the words "pure love" and "joyful" prominently marked on the cover and paper waist, has undoubtedly severely tortured the Reiwa fat otakus who have been obsessed with the otherworldly dragon Aotian for a while. They were caught off guard, and the wall of their hearts was torn open. After the beautiful things in their hearts were taken out and ravaged, they were carefully packaged and stuffed back into their chests.

The pain was so heart-wrenching that it naturally brought out all their stress symptoms. After all, who in this world doesn't have a bright and beautiful white moonlight in their heart?

Some otakus even developed PTSD because of "That Snow". As soon as they saw the labels of "pure love" and "funny", they started to have palpitations and shortness of breath...

Although the reviews on the Internet seem polarized at first glance, if you look at the comments on both sides you can find an interesting phenomenon.

Most of the comments with low ratings did not attack the work itself, but attacked the author. They cursed the old thief named "Fuyuo Kishiku" for being heartless, threatened to send razor blades, and even quite a few actually sent razor blades. In addition, some parents said, "This is also called R15? You might as well just print the book" and threatened to report it. Some others expressed their sympathy for the heroine and their pity for the hero.

The comments with high ratings are almost all discussing the work. Some of them associated themselves with the plot of "That Snow", some expressed regret for not being able to take the brave step to confess to the white moonlight in their hearts, and some simply felt that this kind of sad and beautiful plot was like the falling cherry blossoms in late spring, with a unique romance and beauty. Even the final flaw did not lower the tone of the work, but further sublimated the work itself.

The phrase "authenticity is the most important thing" has been used over the years to whitewash the stupid operations of some comic book authors, so when you see this phrase, you will think that the author must be simply feeding you.

But "That Snow" has such magic. When you are attracted by the beautiful and exquisite picture and captured by the initial sweet love, you have completely walked into the trap of no return. When everything is revealed, it becomes so natural for the girl to walk into the obscure future that is destined to never have any light again. The phrase "truth is the most important" has also become the best annotation of the story. It is no longer a light and floating word used to whitewash, but a resounding existence that can make people feel about reality, life, misfortune, love and the future.

Precisely because of this, after the initial uproar when it was released, the reviews of "That Snow" began to gradually stabilize from being polarized - regardless of how it is abroad, but in the island country that advocates the beauty of imperfection and the beauty of nature, the reputation of this comic is undoubtedly quite positive.

Even many writers have spoken out in support of comics, believing that the lines in comics are concise but not crude, and almost every sentence has a corresponding context, laying or revealing foreshadowing and metaphors, which is much better than many contemporary comics with inexplicable lines. Some people even specifically suggested that Fuyuo Kishikyu give up comics and directly transform into a script for a movie or TV series...

Just as among the stories that have been passed down since ancient times, the number of tragedies is overwhelmingly large, because no matter how high the artistic content of a comedy is, if it does not have a special memorable point, after the initial excitement, readers will quickly forget the plot, and eventually even the work itself will be forgotten.

But tragedy does not. If drama is to paint on the human heart to make it more light and beautiful, then tragedy is to use a carpenter's chisel to carve the human heart fiercely, leaving deep scars on it.

Paint will peel off and disappear one day, but scars will not. Perhaps with the passage of time and growth, it will change from its original deep appearance to a shallow mark, but it will still be there and will always be there.

The more difficult the plot is to let go, the easier it is to get addicted. You can't help but think in your mind, "If it was me at that time," "Why did the male protagonist do that at that time?" This kind of irresistible thinking will also deepen the impression of the work and imprint it deeply in your memory.

Human memory is actually a very ambiguous mechanism. It does not record your past truthfully, but will unconsciously beautify it. It's like when you go back to watch an animation that you thought was wonderful when you were a child, you will have a feeling of "that's it? It was much more wonderful when I was a child." Therefore, as time goes by, "That Snow" will eventually become a unique and beautiful landscape in their memories.

What's more, the painting quality of "That Snow" itself can support this position.

Not only that, from the perspective of the carrier, pictures are inherently easier for people to accept than text. For example, if a person who doesn't like reading very much has a comic and a light novel on his bookshelf, then the comic is much more likely to be read than the light novel. After all, compared to text that requires energy to read carefully, comics can be taken with you and read casually even when you go to the toilet.

As mentioned before, once a reader is attracted by the images of "That Snow", there is a high probability that he or she will become a fan or hater of Fuyuo Kishihisa...

No matter what, the appearance of "That Snow" was like a thunderclap, awakening the long-silent comics world and making everyone pay attention to a rising star named "Fuyuo Kishihisa".

Chapter 153 I Praise Myself

"That Snow" was published by the Snow Group of Maple Leaf Publishing House, and originally the editors of the Snow Group should have been responsible for the coordination with Fuyuo Kishihisa.

Now the first edition of "That Snow" has almost been sold out, and the printing factory is working overtime to prepare the stock. It can be said that as a good start, "That Snow" was indeed a hit, which directly laid a good foundation for the work of the Snow Group.

The new group was originally unknown and no one had ever heard of it. Few comic authors responded when they were asked to contribute. At most, they would give Maple Leaf Society a little face and chat with it, but it was obvious that they would not really hand over their masterpieces to Maple Leaf Society, which had never published a comic before. But now, as long as they reported that they were the comics society that published "That Snow", they immediately received enthusiastic responses, and even the number of submissions increased a lot, which made the staff of the Snow Group finally put down the heavy stone in their hearts.

But the problem is that the manuscript of "That Snow" was brought over by Shirakawa Kyo, an editor under the Hegumi group that is responsible for text publications...

This is not a big deal. At most, we can just ask the other party for Fuyuo Kishihisa's contact information. But when the person in charge of the snow team went to ask, he was completely paralyzed.

'Fuyuo Kishihisa' is a friend of the living national treasure 'Natsume Makuryu'. It was the great teacher Natsume who directly handed the manuscript to him. From beginning to end, the contact information of 'Fuyuo Kishihisa' himself was never mentioned. If you want to find the contact information, you have to bother the hot-tempered great teacher Natsume first...

The person in charge of the Snow Group thought to himself, this won’t do. What if they angered Natsume-sensei and he had some conflicts with Maple Leaf Publishing House? Then he would be the eternal sinner of the publishing house.

So he decisively ran to discuss with the head of the Lotus Group, and finally decided to appoint Shirakawa Kyo as the common editor of the Lotus Group and the Snow Group, so that he could cooperate with the two groups at the same time.

This is of course not in line with the rules, but when a big thing is related to Mr. Natsume, it becomes a small matter - even the editor-in-chief of Maple Leaf Publishing has always felt that Maple Leaf Technology established this branch company simply to publish Mr. Natsume's works, and they just hit the jackpot for other authors, as if they were making dumplings for the sake of vinegar...

Therefore, Shirakawa Kyo's special position was quickly finalized. He was promoted to a higher level without doing anything, becoming a team leader with no one under him. His job only consisted of urging the other party to submit their manuscripts and going to the other party's home to urge them to submit their manuscripts.

This made the girl feel a little amused, but now that things had come to this, it seemed that it would be useless to think more about it.

Shirakawa Kyo specifically contacted Natsume Makureyu because during the last discussion, she felt that Natsume Makureyu was not as fierce as he looked. He seemed to be a very good person. He just liked to speak his mind about things he didn't like. So unlike other people, she was not that afraid of him.

As a result, Natsume Makuryu did not directly give her Fuyu Kishige's contact information, but gave her an address.

So the girl, who had just graduated from college, could only follow the map and finally found the Japanese-style two-story detached house not too far from the publishing house.

Then, almost a week after "That Snow" was released, the editor finally met the author she was responsible for in this room.

The other person's appearance seems to be very consistent with the impression of "That Snow", which is romantic yet a bit sad, like cherry blossoms that may wither at any time.

He looked exceptionally young, with short snow-white hair, bright red eyes that looked somewhat lifeless, and a face so pale that one wondered if he hadn't slept for several days.

The slightly loose grey sweatshirt made his figure look even thinner. Although there was a faint smile on his face, there was more of a sense of weakness that was difficult to conceal.

Although he is completely different from Natsume-sensei's rebellious temperament, he is also a beautiful boy, Shirakawa Kyo said to himself.

"Hello, Mr. Dongwei, it's the first time we meet, so I'm sorry to say that." The girl handed the other party the gift she had picked out in the shopping street, along with a small box of donuts.

"You're welcome."

Fuyu Kishige did not take any action, but just turned his face to the side. The girl in maid uniform behind him was stunned for half a second before she came to her senses and took the gifts from Shirakawa Kyo in a panic.

"It's almost time for afternoon tea. Put the donuts on the table and make a pot of black tea."

The boy then gave instructions to the maid.

The girl with a ponytail and a pretty face nodded and walked into the house.

"What is that?" Shirakawa Kyo asked curiously.

"My nanny," Dongwei Kishi spread his hands towards her, showing his weak side: "In my current condition, many things are not convenient for me to do, so I need to hire someone to help."

"Feel sorry……"

Shirakawa Kyo hurriedly apologized, feeling that he had inadvertently touched the other party's sore spot.

But Dongwei Kishiku just smiled and said, "It's okay. You want to talk about comics, right? Then come in first. I just bought some good tea."

After arriving in the living room and sitting on the fabric sofa face to face, Shirakawa Kyo first exchanged a few words with the other party, expressing his long-admiring impression, and then took the initiative to talk about Natsume Natsukura.

After all, the only connection between her and the other party was that national treasure teacher.

The girl tried to describe to Fuyuo Kishihisa that Natsume Makuryu admired his comics very much, and said a lot of good things about him, often praising his talent.

It was originally just a little trick to bring the two closer together, but for some reason, Shirakawa Kyo always felt that the half-smile on the other person's face after listening to what he said was a little strange.

But that's not the point.

After thanking the maid who brought the tea to him, Shirakawa Kyo began to talk about the real purpose of his visit to Fuyuo Kishihisa.

"First, regarding the reprint of 'That Snow', according to the previously signed contract, the Snow Group will send you the royalties for the reprint next month."

The girl took out a copy of the bill she had brought with her and handed it to the other party: "It's about this amount, please confirm if there is any problem."

"No problem. I still trust everyone in the Snow Group."

Fuyuo Kishige took the contract and passed it to the maid standing next to him without even looking at it. The maid secretly glanced at the number on it and took a breath quietly.

"Also, I'm personally curious about this question," Shirakawa Kyo breathed a sigh of relief and then asked, "I wonder if Mr. Dongwei has any ideas about the new work."

She knew very well that authors were a group of people who liked to coo, so it was important to urge them as necessary.

But to the girl's surprise, the other party did not answer her perfunctorily with "I'm drawing, I'm drawing (new folder.jpg)", but answered her seriously.

"I already have a rough idea."

"Really?" The girl was a little surprised. "What's the subject matter? Is it a pure love comic like "That Snow"?"

"No, this time I'm going to try a crime theme, and I've already thought of a name."

Dongwei Kishi said softly.

"It's called Death Note."

Chapter 154 Reasons for Choice

In fact, for the pseudonym Fuyuo Kishihisa, Shiki's original plan was to draw about three books first to brush up his drawing skills, and then consider making a debut as a cartoonist.

As a result, plans could not keep up with changes. For various reasons, the second comic "That Snow" after "Transformation" was directly published in the form of a youth comic.

This made Shiki consider what to draw in the third comic.

Should he continue the previous style, put on some Sese-related skins, and use the book to tell a profound story, or should he give up Sese and go the orthodox route and make a "Ninjago", or should he bring out the "Yu○Oh" that he mentioned before, so that his flying card skills can no longer use strange things like blank business cards.

But after thinking for a while, Shiki decided to move "Death Note" here.

The first half of the original work is quite perfect, with unique settings, bold and avant-garde character design, suspenseful psychological collisions and repeated plot reversals, which are so wonderful that they take your breath away.

However, due to the death of L, a very well-portrayed character, the second half lost the thrill of the climax of the peak showdown in the early stage to a certain extent. But even so, it is still an insurmountable mountain in the comics before the four-season battle of wits.

Coupled with the plot's exploration of utopia, portrayal of human nature, and criticism of society, although some parts are only touched upon briefly, the work itself still possesses a unique charm and depth. Even after the erosion and test of time, it is still a unique classic in the history of comics.

Shiki had no idea how long his vests would last, and if they needed to be reduced that day, the 'seriously ill and weak' Fuyuo Kishi would definitely be the first one to be cut off.

In this case, Shiki knew that his vision could not be limited to long novels such as "X-Ninjago" or "Yu○Oh".

It is true that they are quite classics and the economic benefits they generate are far higher than "Death Note", but Shiki is not short of money now. It can even be said that money is one of the smallest factors affecting his decision now.

Therefore, it is not surprising that he chose "Death Note" to break the inherent impression he left on readers in "That Snow" - it is not to cut off Sese. As a physiologically normal male, he naturally does not dislike Sese and those who touch on the edge, but as a cartoonist, Sese cannot be the only one who leaves the deepest impression on people under his pen.

After all, when it comes to explosive openings, the crazy opening of "Kami of the New World" can probably only be compared to the level of "Attack on Titan".

Perhaps he would never be able to finish porting all three of the profitable comic books, Death, Fire and Sea, in his lifetime, but if he switched to porting those classic short and medium-length comics, he could complete quite a number of excellent works - and he could even further delete and modify the original works, extract the essence, and then add his own understanding, while retaining enough of the original works' advantages, turning them into another work that belongs to him alone.

Just like "Death Note", most of the first half can be kept, and the second half can be sped up, and a total of about 5 volumes will be required to complete it.

And compared to the original work, Fuyuo Kishihisa's version can discuss topics that he is more interested in, such as dystopia and religious views, in more depth. As for social issues and the dark side of human nature, Natsume Natsukuryu's pseudonym has discussed too much, and now I am tired of it. In fact, when the mainstream society discusses these things now, it can't avoid Natsume Natsukuryu's set. Once it goes a little deeper, many times it is just a babbling for a long time, but when you look back, you find that it is all just repeating what he said...

However, in this case, the later part of Fuyuo Kishihisa's version of "Death Note" will definitely be a bit dull compared to the previous part.

At this time, the advantage of directly reading a single volume in one go is revealed. Readers can finish it in one go and will not abandon the book because of the hassle of following updates. The author will not forcibly interrupt the plot development due to negative reviews from readers in the middle.

Moreover, Shiki is also confident that he can write the second half of Death Note well. For most readers, the first reading may be a bit boring because the first half is too exciting, but the plot itself will become more charming and lasting, which will give people new insights into the plot when they reread it after a period of time.

Not only that, his level 8 painting skills can also add a lot of color to the comics. The original artist is Obata Takeshi, who is also a cartoonist known for his exquisite style full of texture. The full-strength Fuyuo Kishi can be regarded as Obata Takeshi with comprehensive enhancements in some abilities. In addition, perhaps influenced by Eriri, Fuyuo Kishi is better at portraying female characters than Obata Takeshi. In addition, although it is not something particularly worth boasting about, he has also mastered the style of cute works...

In short, after having a good chat with Fuyuo Kishi, Shirakawa Kyo left the comic studio with satisfaction, leaving behind only Fuyuo Kishi, who seemed to have expended some energy in entertaining the other party and began to close his eyes to rest, and Aoyama Nanami standing beside him.

After a few days of recuperation and rest, the girl no longer had the fragile feeling she had after being overworked. Instead, she became energetic and had a bit of the sunny aura of a sporty girl.

Although Nanami Aoyama knew that Fuyuo Kishihisa was a cartoonist and that he made a lot of money from his comics, because of the previous accident, she didn't have a very good impression of "That Snow", so she had never read it until now. It was not until now that she saw the numbers on the receipt that she personally felt how popular the comic was.

This made her think of Mashiro Shiina, whose submissions were repeatedly rejected, and she always had an inexplicably complicated feeling in her heart.

"Your performance today was not very good." Just as the girl was trying not to disturb Fuyuo Kishiku and was tiptoeing to clean up the table, Fuyuo Kishiku's voice suddenly rang out: "For a maid."

"I've been trying to adapt."

Nanami Aoyama, who was frightened by him and almost dropped the teacup, managed to steady the plate in her hand and said unhappily.

The girl, who had worked in many catering service industries, had combined her experience as a waitress and tried her best to show her best side, but she was still disliked by Fuyu Kishi, which made her feel a little aggrieved.

"You can't be considered a real maid if you're only this level," Fuyuo Kishi opened his eyes and looked at the girl. His calm eyes made Aoyama Nanami feel a little flustered for some reason: "You are also a student of Fengzhizaki, right? There happens to be someone you can learn from and learn how to be a maid."

Chapter 155: Miss Fairy's Big Plan

When he returned to Washimiya Ryoku, Shiki did not see the Yamada fairy, which made him feel a little strange - usually, as soon as he got home, the fairy would run out to greet him happily like a puppy hearing the movement of its owner.

This made Si Ji a little worried.

However, he learned from the lesson of the previous lucky pervert and did not rush to the other person's room rashly. Instead, he found a high stool in his own room, stood on the stool to shorten the distance between himself and the ceiling, and then released his Stand, Heaven's Gate, to pass through the ceiling to check the situation of the Yamada Fairy.

After a moment, the stand returned to Si Ji's body and conveyed what he observed to Si Ji.

Fairy Yamada was not missing, but was in the bedroom of her house, seemingly changing clothes. However, due to the range of the stand, the only thing she could see was the half-open door of the bedroom, and she could not get a glimpse of what was going on.

However, Shiki himself did not intend to use a stand-in to peep. After confirming that nothing happened to the girl, he felt relieved and prepared for today's dinner.

In fact, many dishes that are said to be difficult or time-consuming to prepare often refer to the pre-processing of the ingredients.

Some have complicated pre-processing steps. For example, the simple-looking nigiri sushi seems to be just a piece of fish on a ball of rice, but in fact, for any more sophisticated sushi, the fish itself needs to be scaled and cut into three pieces, then the black film is scraped off, the internal organs are processed, and then cut into parts such as the red belly, middle belly, and large belly. Then it is sliced ​​into a shape similar to sashimi, and a little mustard or chopped grapefruit is put on it according to the customer's taste. It may even need to be grilled or other additional steps are added. Finally, it is placed on the vinegar rice that has been pinched in advance with just the right strength so that it will not fall apart nor be too solid.

Some of them require marinating, which is a time-consuming and laborious prerequisite. For example, in the classic deep-fried pork chop in Japanese cuisine, the pork chop is marinated with egg white and starch for half an hour before being breaded to make the kids next door cry. The final taste will be quite different.

For most dishes of most cuisines, the step of putting them into the wok is actually the simplest and fastest - except for Chinese cuisine. The practical skills such as tossing the wok, turning the wok, controlling the heat and the heat of the wok are enough for an ordinary chef to learn for half a lifetime.