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Before I get started on today's installment of this endless and baffling adventure, is there any aspect of the process that people particularly want to see today? I am open to requests. https://twitter.com/olliegerlach/status/1386009886039977985
Alright, it's time for today's instalment. Yesterday, we worked out that we need to introduce Juno Crispus, Pancake's intern, here. We've got an opening three pages, carefully constructed from Araki's guidelines, and it's time to get into things properly. First, scene setting:
We've got a whole page to introduce Juno. Let's go for smaller, denser panels to get more of a sense of nerves and energy. She's smaller and twitchier than Pancake, so she gets an introduction to match.
In that page, we've conveyed:
-Juno is unsure about the office space
-Juno is nervous
-Juno is excitable
-Juno knows who Pancake is, and heads towards him.
-Juno is unsure about the office space
-Juno is nervous
-Juno is excitable
-Juno knows who Pancake is, and heads towards him.
On page 5, we need to establish Juno's relationship with Pancake, as well as setting up her introduction of the plot.
We now have a single page in which to introduce the case Pancake's about to take. That means:
-> the setting
-> the situation
-> why Pancake should care
All of this needs to be in a single page. Araki usually handles this with expository dialogue, like in ROHAN KISHIBE.
-> the setting
-> the situation
-> why Pancake should care
All of this needs to be in a single page. Araki usually handles this with expository dialogue, like in ROHAN KISHIBE.
I've tried to find a more elegant solution than this, but elegance is secondary to efficiency in Araki's book, and I've got to follow the rules. So here's some exposition.
So, in the first seven pages, we've established a protagonist, his situation, how he's interesting, what he cares about, the basics of the setup for the plot, a supporting character, what her role is, and what her personality is, all while focusing on getting the reader hooked.
We've now got two pages to do a flashback. Araki doesn't say anything much about flashbacks at all, which surprises me. They're not on his list of forbidden things, and he doesn't talk about them as a useful tool. He uses them, though - usually for character backstories.
It's hard to tell how Araki paces these - I don't have access to any of the oneshots except in anime form, because they don't seem to be translated yet.
That being said, it's been a few pages since we did something stupid, so this flashback needs to get weird.
That being said, it's been a few pages since we did something stupid, so this flashback needs to get weird.
Flashback done, and we can now proceed to the second half of the KI segment of Araki's outline. It's time to move this story forwards and introduce a SETTING.
Let's pause and take stock of things. Have we broken any of Araki's four cardinal laws?
NEVER BREAK THE FOURTH WALL
NEVER MAKE THE PROTAGONIST BLUNDER INTO SITUATIONS THAT ARE HIS OWN FAULT
NEVER USE A COINCIDENCE FOR RESOLUTION
NEVER REVEAL THE ENTIRE PREMISE TO BE A LIE
NEVER BREAK THE FOURTH WALL
NEVER MAKE THE PROTAGONIST BLUNDER INTO SITUATIONS THAT ARE HIS OWN FAULT
NEVER USE A COINCIDENCE FOR RESOLUTION
NEVER REVEAL THE ENTIRE PREMISE TO BE A LIE
Pretty sure we're good on all four of those laws. I'm not planning to make the whole book all a dream or anything, so I think Araki would accept what we've got on paper so far.
