Tokyo Literary Godfather

"Suddenly Looking Back" is a short work by the talented cartoonist Fujimoto Shu. Once it was published, it caused a sensation around the world. It also won the first place on the 2022 [This comic is so awesome] list.

The most famous work of this cartoonist is "Chainsaw Man", a work with a strong personal style and a mixture of kingly and evil ways. Although it is serialized in Shōnen Comics Weekly, its true positioning should be as a 16-ban youth manga.

In the era of declining print media, JUMP almost propped up its appearance.

To be honest, the new generation of cartoonists who are as famous as him cannot be compared with him in terms of painting skills or storytelling skills.

People who really understand anime, needless to say, should be able to understand the gap between the two popular anime "Demon Slayer: Kimetsu no Yaiba" and "Jutsu Kaisen" and "Chainsaw Man".

Neither the painting nor the plot is a high-level work.

One requires the cartoonist to kowtow to the animation team, and the other is waiting for the animation team to kowtow to him.

Fujimotoshu has been receiving great attention since his debut. The first comic "Fire Fist" explores nihilism and was written by a terminally ill man, and became famous in one fell swoop; the second comic "Chainsaw Man" has a somewhat restrained style and adopts some setting routines of the royal shounen manga, but the personal style remains the same. The rich ink and color directly attracted the attention of comic fans all over the world.

After two full-length works, Fujimoto began to re-create short works. As soon as "Looking Back" was released, it immediately topped the trending list on Twitter in Japan.

This comic is also regarded as a masterpiece because of its movie-like images, delicate emotions, and heartwarming and healing story. Some Chinese cartoonists even lamented that "Fujimoto trees are invincible."

More importantly, this comic was released on July 18, the second anniversary of the KyoAni arson attack. The plot in the comic commemorates the people who died as a result of the malicious arson attack.

Without saying a word, Fujiwara Kei began to write at his desk, pouring out all the stories in his memory on the paper.

Fujimoto's work itself is very suitable for adaptation into images. Each of his comics can be used as a shot in a movie. Direct adaptation into a movie script can be said to complement each other.

Ohno Nagaharu helped Fujiwara Kei turn on the desk lamp, watched him write furiously under the lamp, and sat behind him, waiting silently.

After finishing one can of beer, Ohno Nagaharu quickly took another can from the refrigerator, and also brought him potato chips and dried fish as snacks.

The window became dark and the lights in the room were dim. Ohno Nagaharu leaned against the wall and read comics. After an unknown amount of time, Fujiwara Kei stretched.

I drank two cans of beer, and ate all the potato chips and dried fish until only the wrapping paper was left.

Ohno Nagaharu closed the comic, walked over, looked at the words on the paper, and asked: "Is it finished?"

"Yes." Kei Fujiwara rubbed his face to keep himself awake. "This is just the first version. The lines are not precise enough, but the plot is complete. You can read it first and I will revise it tomorrow."

"good."

Ono Nagaharu continued: "You can sleep at my house today. The three guest rooms are empty. You can sleep anywhere. You have drunk today, so it is best not to drive."

Kei Fujiwara rubbed his somewhat messy hair, nodded, and walked out of the room.

After Kei Fujiwara left, Ono Nagaharu lit a cigarette, held it in his mouth, picked up the script Kei Fujiwara had just written and started reading it.

As the sparks at the cigarette butt alternated between light and dark, the cigarette in Ohno Nagaji's mouth gradually shortened until it burned to the holder, but Ohno Nagaji was completely unaware of it.

After a long time, Ohno Nagaharu put the cigarette holder in the ashtray and sighed: "Fujiwara-kun, you are indeed a genius..."

Early the next morning, Kei Fujiwara climbed out of bed early and took a taxi to the TV station.

The low pressure still enveloped the crew, and Yui Mizuhara worked hard to carry out her duties as a producer, but deep tiredness could still be seen in her brows.

"How was your day? Did the filming go well?" Kei Fujiwara asked Kobayashi Shuzo.

"It's okay. The actor's mood is much more stable than two days ago." Xiao Linxiu said.

"Teacher Fujiwara." During the break in filming, Inoue Mori found Kei Fujiwara again, "Can you take me home today?"

"What's wrong?" Kei Fujiwara asked.

Mori lowered his head again, crossed his fingers and said: "I want... to go to Toani after finishing the filming to pay tribute to Miss Naomi and the others."

Fujiwara Kei touched her head and said with a smile: "Morimata is indeed a gentle child... Okay, no problem."

In the evening, Kei Fujiwara took Mori to a nearby flower shop and bought daisies.

The flower shop owner, an old woman over sixty years old, watched them buying daisies and asked, "You two, are you doing this to commemorate those who lost their lives in the fire?"

Mori nodded again.

The old woman sighed, pulled out a cluster of small white flowers from behind, and inserted it into the light yellow bouquet in Morimata's hand. "This is for you. Please bring my condolences to the deceased as well."

"Thank you."

The two walked near Dongani Company, and when they looked up, they could see the burnt corner of the building. People were standing outside the company's outer wall, and a row of bouquets and souvenirs were placed at the base of the wall.

There are many pictures drawn by children, mounted in picture frames and erected in the corners. Although the paintings are immature, you can see that they are filled with emotion, and the paintings are all the works of the deceased painters of Toani.

The corner outside Toani was already filled with gifts from people who came to pay their respects. I didn’t know where to place Morimata’s bouquet, so I walked around Toani Company before I found a stone step suitable for placing the bouquet. .

Mori bent down again and placed the bouquet on it, and then took out a manga he had carefully drawn, which was Ms. Naomi who had given the painting to Mori Mata, and laid it under the bouquet.

Mori stood up again, clasped his hands together, but didn't know what to say for a while, and after thinking for a long time, he said softly, "Miss Naomi, I wish you a happy day..."

She suddenly turned around: "Teacher Fujiwara, isn't that inappropriate?"

Kei Fujiwara touched her head and said, "There is nothing inappropriate. Miss Naomi will appreciate your feelings."

Just when Kei Fujiwara and Morita were about to leave, a figure came over, and Oshii-an stumbled over.

His complexion was very bad, and his body still exuded the sour smell of alcohol fermentation. He glanced at Kei Fujiwara with tired eyes, and said, "Fujiwara-san, you are here too."

"Oshii..." Kei Fujiwara looked at Oshii-an, "Are you okay?"

"It's not good." Oshii An said, "I'm in a bad mood right now, and there's always something coming up from the bottom of my heart, like dirty water in the sewer. So I have to drink all the time, so that I can feel better a little."

After saying that, Oshii-an staggered away.

Fujiwara Kei stared at him and couldn't say a word for a long time.

"Teacher Fujiwara, is he really okay like this?" Mori asked again worriedly.

"This is a necessary process... Just wait until you get through it." Fujiwara Kei said, "Before that, don't disturb him."