The recently attacked giant ushered in the ending, but the ending is undoubtedly unfinished. But after thinking about it a lot, many popular Japanese comics in the past almost ended in unfinished fashion. Such as Hokage, Reaper, Fairy Tail, Blade of Demon Slayer and so on. Even the pirate ending in the future may be unfinished.

Is it really because the plot can’t be closed, leading to unfinished? Or do you have to make the ending like this for some reason? Does anyone analyze it?

It’s not just comics: whether it’s novels, movies, TV shows…Most stories are easy to end, and the longer the story, the easier it is. why? I wrote so many answers about screenwriting and story creation. Perhaps the following is the most important but most easily overlooked point. Friends who are interested in story creation can come and have a look! 1. The sequence of story creation Many stories are conceived like this: the author thinks of an interesting setting, and then writes it down excitedly. It was written that it was originally an A-level setting, and I couldn’t make it anymore. I could only learn from the stories of the works I’ve seen before. In this way, the story was slowly reduced to B-level… In the end, in order to change the original setting , And these put on the stems rounded up, only a C+ ending is left… However, a good ending is more important than a good setting* (For different types of stories, this sentence has different meanings , Explained below). Therefore, a good story is often written like this: first think of an A-level ending, and then push the story forward. There is a saying: A powerful ending is like a magnet, all content sucks in its direction, sucking faster and faster, until the most inevitable but most powerful ending. There is also a saying: “A powerful beginning already contains its end”. If you reverse the story from the end, you can guarantee these two points. Of course, the creative story is not that mechanized, but even if you think of an A-level setting, you must first think of an at least A-end, and then fill in the middle part. With the end point, you won’t get lost. 2. The structure of the two story types *I will (conditionally) overturn what I said above, and also answer the questioner’s “unfinished” question: for different stories, the relative importance of setting and ending are different. Simply put: the shorter the story, the more important the end point, the longer the story, the more important the process. Short story structure Short stories, including big movies (not to mention short films), are about one thing: its end. From its end, it has its meaning and its value. The ending of a good short story and a good movie is thought-provoking. For the word-of-mouth of a movie, the sense of departure provided by the end is more than anything else. Short story, film structure. The x-axis is time, and the y-axis is drama conflict. The above words are: “reveal”, “upward trend”, “climax”, “downward trend”, “end” long stories, including novels, serial comics, TV series, and more about the development of its setting, also In other words: its meaning lies in the process. As long as the process is interesting enough, it can attract the audience to keep watching. The name of this structure is “episodic” (I translate as “diversity”). Diversity structure; “Episodic structure” Diversity structure. Each episode is a small story, and the whole is wrapped by a big story arc. Going back to the original question: serial comics and TV series are easy to be unfinished, because these are stories with a diversity structure, and the author puts the focus on the process. The above-mentioned “reverse end” method is more suitable for short-structured stories such as movies and short stories in practical operation. If you want to write a true classic, it is best to maintain the level of A set in the setting, process, and ending. It sounds easy, but every story has its laws, its strengths and weaknesses, and its destiny. Even for master creators, stories without shortcomings are unavoidable!

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By stockin

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helpmekim
5 months ago

It doesn’t matter whether it’s top flow or not. The difference between serialization and short stories is equivalent to TV dramas and movies. Think about whether American TV shows are almost unfinished. The splendor of the plot is compared. For a movie, you can only enter the venue by buying tickets. Even if the pace is slow, you can at least hold on for more than half an hour. After all, the tickets are bought, and it will be a loss if you don’t finish it. Therefore, the film can proceed step by step, eloquently, by gradually increasing the degree of conflict, so that the film reaches its climax in the final stage. And serial works, just can’t do that. Whether it is an American drama, a Japanese manga or even a starting point novel, if you can’t hold the audience firmly a few minutes before the first episode, the audience will just turn off and watch others. Even in order to ensure that the audience does not abandon the pit, the conflict intensity of serial works must be maintained at all times. This leads to the ending that should have been at the climax, which is not as high as imagined, because the author is pushing the climax throughout the work in order to retain the audience, so that the audience sees that they have developed resistance to the climax at the end, even if it is a Very fierce conflicts, without a stable period of contrast, will also appear dull. The essence is what readers expect. Serial works are like life. A wonderful process is enough. It is a pity that death is absurd. People are inherently dead, and the ending is not much different. Therefore, in order not to be sprayed by readers who are too expected, many authors just dug the hole without filling it and let it live forever.

heloword
5 months ago

The top stream you mentioned must be limited to the top stream in business. Most of the top-rated works of artistic level are novellas (less than 10 volumes) and generally will not be unfinished. The unfinished story is purely a commercial issue and has little to do with the author’s level. If the novel is not particularly popular, you can’t know it. If the novel is popular, it must be modified in accordance with the commercial needs of the publisher and the needs of migrant readers. The longer the serialization time, the more serious the problem will be. In fact, this problem is very contemporary. The problem of unfinished endings caused by the infinite length of the long story was not particularly serious before the 1990s. It really became a serious problem because of the huge unfinished end of the late Dragon Ball. The success of Dragon Ball’s business has caused Shueisha’s mentality to become unbalanced, and she always wants to find a long-term meal ticket like Dragon Ball. Only then will the sea of ​​death continue to extend. Like Gui Zhenghe, the early movie girls, the shadow goddess, and the DNA are all very short, and they are all short. It is precisely that the IS after Dragon Ball has the problem of dragging the plot. You can look at the works of juvenile JUMP before the Dead Fire era, usually serialized for 5 years. Although the plot is not very good, most of it is because the level of the industry is not high, and rarely because of dragging the plot. Even if it does not involve changing the plot midway, as long as the serialization time is long enough, the author’s own thinking will change. The most typical one is the Five Star Story. Originally, this story was completely risk-free. The readers have been told from the beginning. The author only needs to fill in the details slowly. Who would have thought that after 20 years of serialization, the author started to work, and even overthrew the previous setting, and the story half-restarted! So what’s the difference between you and Marvel’s tattered one? Attacking giants and sword wind legends belong to special circumstances. The attacking giant planned from the beginning to destroy everything in the last sentence. If you remove the 139 words and change the ending written by the reader, it will not be unfinished at all. Jianfeng’s serialization time is too long, the author can’t keep up with the physical energy, and it’s really not easy to write the story behind. And they are all monthly comics, which are not the same thing as weekly magazines, just like a bus is not related to a car. I think the problem of unfinished popular comics will soon be changed. The reason is the success of Demon Slayer and the mainstream of late-night animation. A medium-length comic with a serialization period of less than 5 years, its commercial value surpasses a super-length comic of more than 10 years. A large number of works such as spells, Neverland, and Chainsaw that have emerged in the past five years prove that as long as the commercial hype is appropriate, ordinary long-form commercial income can fully support the development of the industry. In this case, let the editor interfere with the author and change the setting to extend the plot, and the gain will not be worth the loss. It is ridiculous to say that the plot of Gui Mie itself is very typical of editing settings and scripts in the middle under the influence of the editor, but Gui Mie did not develop into a super long story afterwards, and it ended at its own pace. The success of Gui Mie allowed Shueisha to get rid of the superstition of long-length stories, and later works will have a more relaxed creative environment. Then there will inevitably be authors whose level is much higher than that of crocodile, who will draw works of about 20 volumes with a complete plan. I think for weekly comics, 20~30 volumes is a relatively suitable length. The author can control the plot trend and has a complete plan. Animation companies can easily arrange the construction period without affecting commercial operations.

helpyme
5 months ago

This is the same as Marvel movies are prone to unfinished, commercialization and the original author itself have irreconcilable contradictions. If you want to make a good work, you must have enough time to conceive and polish it. For example, Jin Yong’s novels have been revised many times before and after. Another example is Fu Jian Yi Bo, and now I basically don’t do anything other than ideas. Another example is Anno Hideaki’s eva, a theater version conceived for one and a half years. The serialization of comics must serve the publishing system of the magazine. Most comic magazines are weekly. There must be new works every week, there must be hot spots every week, and suspense must be left every week. The author only has enough time per day to think about the plot of the next week, and he can’t build a sophisticated structure and grand ending at all. And the magazine will ask the author to make adjustments based on reader feedback. It can be said that all the energy of everyone is concentrated on the short-term. As for the ending of this comic, in fact, no one can say that it is bad. Unfinished products in this environment are simply the norm. Not only is it unfinished, but there are also many interesting things. For example, a series of works that an editor is responsible for are all a routine.

sina156
5 months ago

Top flow does not mean that the level is high. Some Qingman writers have high-quality works but are destined to miss the top stream. The comics that have become the top-ranked have a strong commercial atmosphere and will be more constrained. The length of the long story is also more difficult to grasp than the average novelette. Even a very high-level author, such as Naoki Urasawa, is still unfinished, isn’t it? There is an inverse relationship between artistry and commerciality. Of course, you can have both, but it is impossible for both to reach the top. The commerciality is at the top, and the artistry must be flawed.

yahoo898
5 months ago

Those that are not top-notch are also easy to end, but Chinese readers may not be exposed to it. The essential question should be why commercial works tend to be unfinished. It has nothing to do with traffic or country, only the degree of commercialization. The answer to the question is that capital is profit-seeking. It will squeeze out all the remaining value of any work. If the author’s level is not good, he will take the dregs and burn them again, so that only sewage and rotten tea dregs remain. This is the same as the sequel that American dramas like most, and then there is always a season of badly filming the story.

leexin
5 months ago

Top stream does not mean that the quality of the work is good. The giant is a ghost in the author’s heart. It is absolutely okay to draw a passing level ending with JSC, just click the post to understand Wang’s drawing 80+. There is also the giant blowing brain too much, too high expectations for the giant. After seeing the giant, I untied my knot for many years and chose to forgive Hokage. Naruto can only be said to be anticlimactic, not very bad. Grim Reaper, the problem of 98’s not good at making stories started from the beginning, but the start was not so fast. In the case of Gui Mie, if you look at the blood, you may see that its complex is a bit tired. I didn’t expect it very much, so I didn’t think it was a mess. The degree of unfinished is less than that of Hokage. I can only pin my hopes on the pirates.

greatword
5 months ago

The real reason is that Japanese manga must serve politics. Japan is the country that launched the war of aggression. Justice is naturally distorted for Japan, and Japanese manga must clean up Japanese war crimes. Therefore, the top stream means greater influence, the more you have to endorse the Japanese war crimes, and in the end it will basically end unfinished. Japanese culture is based on Japan’s not guilty, so the distortion of justice is natural, and it is a burden caused by the Japanese government’s not guilty. Hokage even slaughtered the whole clan as heroes, Uncle Snake was also for peace, so was the One Piece, Ming Ge Sha’e was painted as a glamorous side, no matter evil or good, it was all for peace-this is a Japanese manga whitewashing Japan A common problem of war crimes. So most of them have to end unfinished.

loveyou
5 months ago

I have seen comments that many top-rated cartoonists are affected by capital. Even if they can’t draw, the plot is difficult to unfold, and there is no inspiration for the time being. I don’t have the power to end it when it’s good or stop the publication for inspiration. As a result, the only thing is to bite the bullet and drag the plot, bite the bullet and inject water, which will eventually lead to the collapse of the combat power, the distortion of the manpower, the inability to fill in the big holes, the inconsistencies, and the unfinished work. Thinking about it the other way round, the old thief is neither short of money nor status. In the Japanese comics industry, although he does not cover the sky with his hands, he still has the right to suspend the publication at will. It is entirely because of his interest. Therefore, our hunter fans are very lucky, at least not like the giant fans, eating the finale. Just keep lying down and wait for the old thief to update

strongman
5 months ago

As for the works I’ve seen, let’s rank the degree of unfinished: high to low, in order of the long story: Giant-Reaper-Demon Tail-Gintama-Ghost/Youbai/Hokage The unfinished long story: Dragon Ball In the end, the following dbs is just a hook 8), steel, and Saint Seiya short stories. There are actually many unfinished and unfinished short stories. Without examples, we can see that the story mode of Dragon Ball and Saint Seiya is very simple. , It’s really difficult to make it unfinished, it can basically maintain the level, but I want to draw a different plot size climax while serializing, digging holes, and collecting almost all the foreshadowings at the end and ensuring that I don’t eat books. This is Very difficult, few people can do it, why? Because most of the top-level works are weekly updates, the author has to think about how to draw cooler, how to make the picture more impactful or charming, and how to set the foreshadowing and how to make a climax every day. The early stage of the work may be possible. The thinking is fairly clear, but the later thinking is exhausted, what can be done? As for the pirates, I actually feel that the story mode of the pirates is quite fixed. With the new map entered in each chapter, there is always a chance to dig pits and fill pits. To put it bluntly, it means digging while venturing to save the people of xx countries. /Fill the pit. After digging the pit, change to a map and fill it up. However, recently, the excitement of the story has declined due to the exhaustion of wt’s thinking, or it has been shown since the Tokushima chapter, which caused everyone’s attention. All can only be placed on the collapse of combat power (in fact, the combat power of the pirates has always been purely for the plot, especially in the battle of Luffy. Basically, the blood is locked and opened again and again to become crazy). To put it bluntly, WT has a lot of big Conceive the time for what one piece is and what the ending will be. After all, this is the story of being a One Piece. You can slowly think about it from the hundred years when Judiciary Island has established the dark side and blankness of the world. More than ten years have passed. , I don’t think wt can have a bad ending for more than ten years. As for other works where the protagonist’s location is relatively fixed, it will be very difficult to dig and fill the pit, and it will be more likely to cause collapse.

zhiwo
5 months ago

You brought a bag of snacks to the company, and the group informed them that you brought delicious foods today, but you didn’t tell them what they were delicious. Then the time you were on the road was what they expected and unlimited possibilities. When you arrived at the company, Some people see what they like to eat, while others see nothing they want. The process is an infinitely possible imagination, and the result is the disappointment of personal expectation. Without a sequel, a drama, a movie, is over, it really ends, with everyone’s satisfaction, unwillingness, anger, and surprise.

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