*This article is a shortlisted entry for the sixth anniversary of the Youyan Society.
As of the moment I started writing, Fu Jian Yibo’s math class was in the second round, and he began to teach everyone to count the number 11.
Since he started Twitter at the end of last month and broadcast the progress of the draft, his Twitter has always had a sense of sight of Kafka’s novel “The Hunger Artist” – “Artist Fu Jian Yoshihiro who lives in an iron cage is carrying out his work. Hunger show. Every day he turns a page on the counting board and the crowd erupts into cheers.”
But I quickly realized I was wrong. Many days have passed, and Fujian has not done anything other than reporting the number (except for releasing a congratulatory picture), and the comment area has evolved into the appearance of a stage. The performances include: customized blessings from the African continent, serialization The news of the upcoming reopening is conveyed to the bento characters in “Full-time Hunter”, and the whole picture and new plot are supplemented by some draft lines exposed in the photos…
Thinking back to the pictures in the past, such as “The Hunter does not resume publishing for a day, the Japanese brother will give a thousand thanksgiving punches every day”, “The number of days the Hunter is off publishing is broadcast every day”, I realize:
It turns out that, from beginning to end, hunger is us, and so is the artist.
Fu Jiancai is more like a spectator off the stage, watching the hungry us dance and show our teeth and claws; occasionally re-publishing is like brushing “Rocket” and “Carnival” on the stage.
Damn it, we were once again played by the old thieves of Fujian. Although this feeling is quite…
enjoy.
1
The relationship between readers and Yoshihiro Tomi is a bit like Detective Qian Xing and Lupin in “Lupin the Third”, the latter always teases the former in every possible way, while the former is always “angry” behind him and chases each other with pleasure. (though never catch up). From a peach-colored perspective, this looks a lot like a “sadistic” relationship.
In this “sadistic” relationship, readers are not chasing after the author’s figurative body, but more inclined to the charm of the content of the work and the charm of the author’s personality revealed in it. Because the author believes that the author will constantly bring new surprises, the reader can enjoy the fun of anticipation in the constant “delayed gratification” and can easily “justify” his “masochism”.
The Japanese variety show “The Talk Show of the Expendables after the Poisonous Rain” has done a special episode of “Hunter”, and a paragraph in it vividly shows the mentality of loyal readers – in the face of the host’s doubts about JUMP publishing the draft of “Hunter”, The guest who is a fan made a bold statement: “It’s not Mr. Fu Jian’s fault, it’s because we want to see it and we took it out, it’s our fault.”
And Fu Jian himself is obviously enjoying it. From his point of view, it is not only the readers who are chasing behind him, but also his editor-in-charge and the JUMP Press behind him. As a result, his works always appear various plots to play tricks on everyone intentionally or unintentionally, and even use them as the backbone of the content.
The characters written by cartoonists always bear more or less the imprint of the cartoonists themselves. In “LEVEL E”, which began to be serialized in 1995, the protagonist is almost a portrayal of the character of Yoshihiro Fuki who likes to tease people.
At the beginning of “LEVEL E”, it explained the world view setting of the work: “On the earth now, there are hundreds of aliens mixed in it, and only the people on earth have no idea.” In other words, all people on earth are this The object being teased in the work.
The protagonist of the comic is the red deer (idiot) prince from the star of Douglas, with a handsome face and long smooth hair. During the creation of this work, Fu Jian is wearing long hair, so from the image, it is not an exaggeration that the prince is a 100 times more beautiful version of Fu Jian.
Don’t look at the prince’s appearance as harmless to humans and animals, but in fact it is not an exaggeration to say that he is a big devil with a bad stomach. The greatest joy in his life is to create trouble and set traps for others, laughing and enjoying the pleasure of teasing people.
He once stated his code of conduct: how to make people suffer without losing their support. In the eyes of readers, this sentence can be written again: how to torture them without losing their support.
“LEVEL E” is such a work that is completely based on bad taste. Whether it is the earthlings or aliens in the work, and even the readers in reality, they are all objects to be fooled.
In the chapter of primary color warriors, the prince kidnapped five elementary school students and gave them a transforming bracelet (in fact, it was just an improved toy), asking them to become partners of justice and defeat the devil. To put it bluntly, it is to play a nonsense live-action version of the second JRPG.
To this end, the prince even specially transformed a planet as an RPG stage.
With the evil intention of torturing children, the prince further magnified the secondary characteristics of JRPG, so that the transformation process was too shameful, and the children did not want to transform at all.
In exchange for such a humiliating transformation of the second, the more insulting skill of the ” Battle Pocari ” drink was created.
In addition, in order to ensure the transformation of the children, the prince also set a malicious rule that the strength of the warrior is linked to the time to maintain the transformation – if you want to defeat the devil, you must become stronger; if you want to become stronger, you have to maintain a shameful transformation form.
Try to think about it in your own place, and it’s not hard to guess how much the children want to beat the prince. But the person who wants to kill the prince the most is the captain of the escort who shoulders the mission of protecting the prince.
As a direct subordinate who is closest to the prince, the number of times the captain of the guard has been tricked by the prince is beyond the reach of outsiders.
In the RPG game mentioned above, the prince arranges him to be a small boss who is to be defeated by the primary color warriors; or play a drama in which his own life is in danger to test whether the guards are willing to sacrifice their lives for the savior. The long-term teasing has made the captain a sick girl. When he gets the chance, he will make a morbid laugh and go after the prince. In my opinion, the captain is probably the incarnation of the resentment of Fu Jian’s editor and readers.
Once, the prince said that he had lost his memory, so the captain used the name of external force to restore his memory, and played a devastating blow on the prince. This scene may make readers and editors who want to beat Fujian secretly feel relieved.
When the story of “From the Darkness” was reached, the prince (Fujian) directly stretched his claws out of the screen. Four high school students living in a dormitory in the country witnessed a horrific scene of cannibalism by unknown students in the same school. They are in constant fear all day long, and they can only try to investigate the identity of the murderer, but they are greeted with terrible consequences- two of the four disappeared one after another . The rest of the people became more and more panicked, and had no choice but to turn to the eccentric detective who was investigating the mysterious incident for help.
After a lot of deciphering, the horrifying but sad story behind the incident emerged: the murderer is an alien, and the people of his planet reproduce through men eating women, and men will develop a strong desire to eat women when they are adults. The murderer hated his own nature, but he couldn’t get rid of it.
The peak of the tragedy was his uncontrollable appetite for the earth girl he loved so much. The empty school uniform inside, the raindrops wrapped in blood and tears drifted away from the lost eyes, and everything was irreversible.
Just when the reader was immersed in the gloom of the previous scene and had not yet pulled away, the next scene appeared a slapped face – the previous story was just the content of the prince’s submission, and it was rejected by the editor because it was too dark. Gan! No wonder the prince never appeared before. I don’t know how those editors who had rejected Fujian’s release would react when they saw this scene.
The consistency between the prince’s slick character and Fu Jian himself is revealed in many of Fu Jian’s daily life. The former assistant of Fujian, Akino, drew a comic called “Mr. White Book”, which recorded some anecdotes that happened between him and Fujian during his tenure as assistant to Fujian.
There is such a passage: Once the studio received a letter from a fan of Nobuhiro Hezuki (author of “Rurouni Kenshin”) by mistake, so Fu Jian had an idea and deliberately painted it in the signed cartoon of “Youyou White Book” that was given to his assistant. Rurouni Kenshin’s avatar.
Another example is the title page of the third, fourth, and fifth volumes of the “Hunter” comic, which together are a little puzzle of “guessing the wife”.
On the title page of Volume 4, Fu Jian posted a photo of himself wearing rabbit ears, with the text: I am married (details in Volume 5).
Title page of volume 5: The photo in volume 3 is me (the one who took the photo is my former girlfriend, now my wife).
Looking at volume 3 again, it is written: facing the sea like making an oath.
It turned out that the old thief Fujian made the vow of marriage at this time. After everyone knows that the answer is Naoko Takeuchi, the author of “Sailor Moon”, after reading 4 volumes, it will suddenly dawn on you: Fukien has hinted at the protagonist of “Sailor Moon” through the photos of the rabbit ears, and left a clue of his wife’s identity.
“Deception” is still Fu Jian’s favorite and good narrative technique, but this kind of deception is not “lie” but “trick”. “Lie” is to stand at a fork and intentionally point the reader in the wrong direction; while Fu Jian’s “trick” is to stand in the depths of a dead end and wait for the readers who are guided by the road signs, and then smile when the readers find out that the road ahead is dead. Press the button to open the hidden door on the wall, revealing the hidden passage.
For example, in the Jijingta exam in “Hunter”, the protagonist and his party of five face a choice between the “long and difficult five-person road” and the “short and easy three-person road”. There is not much time left, and it is forcing people to make a rational choice of the three-way road. Leo Li and Qi Yan are ready to eliminate two people by force, and weapons are also prepared on the wall, a fight seems to be happening everywhere. Inevitably.
Then the picture was given to the exit, and Oka, Qi, and Kurapika came out. The three of them were dirty, much like the marks left by the battle. Xiaogang’s words further prove that they walked the three-way road.
It seems that Leo Li and Dongba have been eliminated, there is no way, they are the weakest. Just when the reader was convinced of the above conjecture, on the next page, Leo Li and Dongba came out. What he did just now was just a trick, the truth is that Oka has opened up a path he never imagined—breaking down the wall between the five-person road and the three-person road.
A similar technique was used in the “From the Darkness” story of LEVEL E mentioned above. After the cannibalism, Dongwei among the four was particularly interested in investigating the identity of the murderer, and his companion advised him to stop to avoid causing trouble. Dongwei seemed to agree, but he was obviously unwilling. The next day, Dongwei disappeared. Could it be that he secretly went to investigate and was killed?
The remaining three went to see the weird detective. The detective said that his assistant was killed because of a similar commission, which is equivalent to confirming what happened to Dongwei. The eccentric offers an expensive investigation fee, leaving the trio in a tangle between paying and saving their lives. The next day, another person disappeared.
The remaining two panicked, and they thought of collecting money and submitting the commission. Detectives placed them in a closed apartment to ensure their safety during the investigation. The two opened the apartment door, but the scene inside made people laugh and cry: the missing two were playing cards in the house – they both chose to entrust an investigation.
It is mentioned in the book “Fujin Yoshihiro’s Correct Answers and Misreadings”: The essence of narrative trickery is to create a sense of surprise purely by means of narrative skills, not by the substance of the story. That is to say, what is reversed is not the plot itself, but the reader’s perception of the plot . The author never said that there are no lies, the plot and the readers’ understanding are logical, but the logic can also extend to another less obvious result. This is why bluffing with the truth is more “cheater” than bluffing, and more convincing to the victim.
2
Although the old thief Fujian was famous for his tricks, he also caused misunderstandings. One of the most common misconceptions is to attribute his submission of drafts to his laziness because he was addicted to playing mahjong or to tease readers.
In this regard, the most common objection is that Fu Jian worked hard in his early years and suffered from serious back problems, so he cannot overwork now.
But there is a deeper reason, involving Fu Jian’s creative concept. Manga critic Nobuta Nobuo pointed out, ” Fujien willfully completes the original manuscript by himself, even if the picture becomes extremely scribbled. In fact, he is confirming that the work belongs to him. When he realizes that the editor controls the direction of the story. When I am not myself, the only way I can think of to confirm that the work belongs to me is to “destroy it” by painting alone . “
The earliest draft sign of Fujian appeared in the Pufan VS Xianshui part of “Youyou Baishu”. At that time, Fu Jian was at the peak of his doubts about his works.
The character growth of the protagonist has been completed, so why continue to draw? Why does the protagonist have to keep fighting? What is the reason for fighting?
Most of Uraba’s previous battle targets were demons with evil intentions, so he could destroy them without any burden under the protection of the great righteousness of “protecting human beings”. This is not only a victory of combat power, but also a victory of “justice” against “evil” values. The latter is the premise of the former’s legitimacy.
But fairy water is not. Not only is Xian Shui and Urfan the same human being, but his motive for trying to destroy the world is to witness too many dark sides of human nature. So Pu Fan’s righteousness went wrong, and he couldn’t deny Xian Shui’s motive-because the darkness of human nature does exist. Even though Xianshui was finally defeated in the physical battle, Urfan’s values did not achieve a synchronized victory for the first time.
And the blood of the demons that Urfan revealed in the battle made the tone of “devil = evil” shaky, turning the battle into pure violent catharsis.
Yoshihide Fujie once said: “What I can do with the characters of Youyou Baishu has come to an end under the principle of business. Next, I will either destroy these created characters, or I will make it easier for readers to There’s no such thing as turning the same thing over and over before you get tired of it.”
The “business principle” in the sentence refers to the idea of JUMP Magazine – ” Friendship, Effort, Victory “. In Nobuta’s view, “The so-called friendship, effort, and victory are based on the battlefield and the battles that take place on the battlefield. In other words, it is the victory of the battle, the effort made for victory, and the opponent who embodies the battle, that is, the so-called enemy and the enemy. A friendship that is emphasized by our differences.”
The battle itself is nothing but a manifestation of the conflict of desires between different subjects, and does not contain a priori justification. Therefore, in order to give the protagonist a legitimate reason to fight, the author needs to keep putting gold on the protagonist’s face, such as “protecting the companion”, “fighting for freedom” and so on.
The process of affixing gold is equivalent to the process of the character growth of the protagonist. The defects of the protagonist are filled with virtues, and the character growth will come to an end. Continuing on is nothing more than repeating the old tune of the past righteousness, with no gain. The only growth that the battle can bring to the protagonist is to kill Matt’s shape, ah no, the increase in combat power.
But the strength of the fighting force means justice, and does it mean that the battle is justified? The undocumented rider galloped over on a bicycle to express NONONO. At this point, the hypocrisy of the hot-blooded young man’s essence is fully exposed – once the fig leaf of righteousness is lifted, the protagonist is nothing more than a fighting machine fighting for the sake of battle.
At the end of the fairy water chapter, Fu Jian used the mouth of the tree to express his tiredness of this hypocritical value: “We are tired. You can find other enemies and continue to fight.”
Fu Jian is well aware that the protagonist of the comic, like himself, has been at the mercy of the commercial mechanism and cannot act according to his own will. One can only fight for the sake of fighting, and one can only be serialized for the sake of serialization. In this way, creation is reduced to “turning the same thing over and over before the reader gets bored” (Fujian).
So in the midst of strong self-doubt, Fu Jian chose not to use assistants, but to write his own writing to strengthen his control over his works. Afterwards, in order to completely regain his ownership of the work from Juvenile JUMP, Fu Jiankou destroyed “Youyou Baishu” before Juvenile JUMP and ended it hastily.
Not only that, Fu Jian also drew the doujinshi of “You You White Book” by himself, blowing up the characters: The characters in “You You White Book” are actually the actors who appeared in the play “You You White Book”, the real Pufan. He is a frivolous approaching guy, Sang Yuan is an intellectual with glasses, and Hiei is a child with a weak appearance.
It can be said that Fu Jian used Nitro-style self-destruction to achieve the ultimate mockery of the juvenile JUMP mode:
“JUMP, you don’t understand at all, the bottomless self-will of cartoonists…”
Everyone knows the story later. JUMP encountered a sales crisis, and the screenwriter department bent down and asked Fu Jian to come out to save him, on the condition that he was given a lot of creative freedom. Fujian, who broke free from the shackles, turned his previous self-destruction into unbreakable and unbreakable, and ushered in a creative evolution by re-establishing himself. The doubts that once troubled him before, presented the answer in “Full Time Hunter”.
There are two contrasts that impress me.
The first is the two retired characters in “Youyou Baishu” and “Hunter”. The first-generation spiritual detective in “You You White Book” lived in half seclusion with her husband in the mountains after marriage. The reason for her retirement was not explained, perhaps because she wanted to return to her family.
And the retreat of the real leader of Dongguo Tuo in the ant chapter of “Hunter” is not only a simple retreat, but a practice of cynic philosophy after penetrating human nature. He abandoned the desire for power, power, wealth, etc. that would lead to fighting, and returned to the tranquility of eating and drinking—
“For the so-called human beings, they drink it all together. It is not called good and evil, life and death, all reincarnation. Short is poor, and long is regretful in studying. This is the turbine of time. Therefore, you want to give. The so-called life is enough to sing and sing after the sun.”
Following the famous scene of Jiulianhei, the appearance of the commander unexpectedly added a profound footnote to the racial battle of the entire chapter that was no less shocking than Jiulianhei. The protagonists who threw themselves into the battle were just to satisfy their own selfish desires.
Another comparison is between Sensui VS Uraba and Oka VS Pito.
The questioning of the protagonist’s justice that began in the fairy water chapter has evolved into a complete reversal of the positive and negative perceptions that readers are accustomed to . Fujian pulled all the characters to the same moral level, in exchange for a deeper characterization.
Originally regarded as a cruel and ruthless chimeric ant, he stood up to protect the weak in front of Xiaogang, and even willingly bowed his knees and self-harmed for this. In contrast, Xiaogang, who is full of killing intent, relentless, and angered at Qiyi, is more like a villain in the traditional sense.
So, Fu Jian, who uses narrative tricks to create wonderful stories, and Juvenian JUMP, who squeezes authors and overdraws works in the name of “friendship, hard work, and victory”, which is more like a liar in the traditional sense?
Deception can be deceived, very deceitful. Fu Jian’s deception is addictive, based on the fact that it can always bring surprises, which is also the charm of the manipulative red deer prince and Parisstone.
Now “Hunter” is about to resume publication and continue to tell the story of the dark continent chapter. It can be expected that Paris Stone is bound to disrupt the situation and create new surprises.
I look forward to this, just as I always trust Fujian:
Mr. Fujian, you will always lie to us in other ways. Right?
References:
“Fujian Yoshiba Lun” – Wildfire Shinta
“Fujian Yoshihiro’s Correct Solutions and Misunderstandings”
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