tokyo writer

At this time, the only female writer on the field asked a question: "Takada-sensei, if possible, can you invite that Akihara-sensei to briefly talk about the creative concept of Xinbenge's works."

Not all writers are interested in reasoning orthodoxy, and she is one of them.

In contrast, she wanted to know how Hiroto Akihara wrote the trick in "The Astrological Murder Case".She would like to learn more if she could.

Takada Tomohisa replied in an apologetic tone: "Sorry, I invited Mr. Akihara before, but the other party said that the lineup has been full recently."

When everyone on the field was disappointed, Takata Tomohisa took out a letter paper and put it on the table, "But he wrote some of his thoughts about the new book on this paper."

After saying this sentence, everyone gathered around and looked carefully, only to see 30 nouns written on this piece of paper.

"Island Killing, Long Distance Killing, No Footprint Killing, Closed Room Killing, Mimic Killing, Headless Corpse, Corpse Decoration, Corpse Swapping, Corpse Disappearance, Swapping Killing, Pilot Killing, Physical Trick (Mechanical, Mirror), Narrative Trick , biological tricks (colorblindness, handedness), animal tricks, character tricks (gender, multiple identities), twins, detective-murder swaps, secret codes, diaries, suicide notes, interplay, anagrams, alibi, lost rings, Misleading, leave a message before you die."

After reading the whole thing, everyone was amazed, and after hesitating for a while, the female writer showed admiration: "How did Teacher Akihara think of this!"

Among these nouns, except for the secret room murder that represents the traditional original style, the other killing methods are full of "novelty" elements at first glance, and these novel elements are closely related to the trick creation concept of the new original style. At the same time, make sure the story is interesting.

Takada Tomohisa shook his head and sighed, "Ms. Akihara only sent me this letter, but didn't say much."

When he saw these killing methods, he was also very surprised and admired, and thought from the bottom of his heart that it was definitely not a moment of good luck that Akihara Hiroto wrote the book "Astrology".

But to his regret, Akihara Hiroto didn't give any further explanation.

He thought about it, and said in an uncertain tone: "Maybe he doesn't want his views to have too much influence on us."

Others on the field also accepted this point of view and continued to ponder with their heads down. Some even took out pens and paper and copied word by word in their notebooks.

But there is one issue that no one has considered, that is, Hiroto Akihara himself doesn't know much about "New Benge".

In fact, Hiroto Akihara does have "a little knowledge" of the new book, or doesn't know much about it.

In the previous life, Xinbenge could be regarded as the youngest genre (originated in 1987). Not only that, but the styles of each writer in it are also very different.

Some love to play with mechanism design, and even draw a lot of drawings in their works; some like to talk about monsters killing people, and even the protagonists are not necessarily human.

As the representative figures, Shoji Shimada and Ayatsuji pedestrians have different ideas about the new book, and even the design technique called "the seven rules of the new book" has a lot of nonsense.

Who knows which idea is right or wrong.

In order not to lead the new standard of this world astray, Hiroto Akihara avoided the invitation this time, and just used the "Thirty Elements of Reasoning" written in "Joker Old Testament Detective Myth" by Liushui Qingliangyuan in his previous life. Take it out to fool people.

But what he doesn't know is that the things he uses to fool people are far beyond this era, and have shocked the "New Benge" genre so much that everyone is even more convinced by him!

If he really wants to join the new version, he can probably become a god like Shimada Shoji—the so-called "god of reasoning"!

[Chapter 252.251 Box office share]

Hiroto Akihara didn't know about the fact that the members of the Neobenge faction had become his flock, in fact he didn't care even if he knew.

Compared with these things, he now pays more attention to his next work, such as the film company that came to him after the phenomenon of "Akihara Hiroshi".

"Mr. Akihara, about the work "The Devotion of Suspect X", we at Dong Ying Pictures are very interested."

in Ann

"Tokyo Writer" Chapter 251 box office share

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[Chapter 253.252 Applause is not a hit]

An excellent movie often needs to take into account two aspects, namely the artistry and commerciality of the movie itself.

But in essence, these two factors are contradictory—for example, from the point of view, artistry is an expression of the author's self, and commerciality is a performance that pleases the audience.

A film that allows the two to cooperate and complement each other is undoubtedly a masterpiece in the history of film. For example, Akira Kurosawa's "Seven Samurai" is one of the representatives.

But the movie Hiroto Akihara is watching now called "Five Stories to Live" (adapted from the Zoo series) is more than artistic but not commercial.

From beginning to end, this film tells five stories of the Zoo series "Zoo", "Little Jewelry and Yoko", "So far", "Seven Rooms", and "Poetry to the Sun".

But unlike Yiyi's original work that I "copied", a very large degree of "magic reform" has been carried out.

For example, "Zoo" tells the story of a murderer who kills his girlfriend but insists that the murderer is someone else, thus repeating the story day after day.

But in this movie version, a lot of H content such as the inner monologue of the murderer and the obsession with the girlfriend's body have been added, and the scale is breathtaking.

Another example is "Poetry to the Sun", which simply tells the story of a robot girl discovering the beauty of life.

Instead, a lot of memories of "death in the last days" are added, and the value of life is highlighted by the comparison between "death" and "new life".

As for "Xiaoshi and Yoko", "So far", and "Seven Rooms", they have all been changed more or less.

After thinking about it, Hiroto Akihara found that these adaptations also have some advantages, that is, they deepen the conception and depth of these stories.

But the disadvantages are not without it, that is, there are too many prohibited elements in this movie.

This is not a good thing, because of the Japanese movie rating system, all movies need to go through the rating review of the Japanese Film Ethics Committee.

And this modified version of the movie will definitely be labeled as R-18 because of too many prohibited elements.

In this case, audiences under the age of 18 are excluded.

But for audiences who pursue violence and H plots, the large number of inner monologues portrayed in the "stream of consciousness" technique are very "boring".

By the time he saw the ending, Hiroto Akihara could already see what would happen to the movie's box office.

After more than 100 minutes of film screenings, the lights in the auditorium were turned on, the director stepped onto the stage and bowed to thank him, and many audience members applauded—but in Akihara’s view, there was more to being polite.

The trial screening is not the premiere, so there is no thank you banquet after the end.

However, Hiroto Akihara, as the author of the original work, and also as the person with the highest social status on the stage, was warmly received by the crew members.

As the director, Weidou Nishitani came up and said in a polite tone: "Mr. Akihara, what do you think of this movie?"

He was a little uneasy. After all, because of a series of changes before, he replaced the original director candidate halfway through, and he was not well-known in the industry.

Moreover, the script of the movie itself has changed a lot from the original work.

If Hiroto Akihara expresses his disapproval through public channels, it is estimated that the film will be even more "unfortunate" later on.

Hiroto Akihara smiled and said, "I think this movie will be praised by many critics."

Although he is not optimistic about the box office of this movie, he has to admit that this movie is very representative in terms of artistry.

For such art films, there are still many film critics who like to come and "join in the fun".

After hearing Hiroto Akihara's compliment, Weidou Nishitani felt "relieved", and then asked, "Mr. Akihara, can you highlight your name on the poster of the movie?"

Akihara Yuto weighed it, and agreed to the request.

In any case, this is not a bad movie, so don't worry about it affecting your reputation.