CATDOLL: The sequel to "Grave Robbers' Chronicles"! The comic version of "Flowers of the Sea" is on sale

"Flowers of the Sea" is another best-selling work by Nanpai Sanshu after "Grave Robbers' Chronicles". The novel introduces the mystery of Zhang Qiling's (Little Brother, Menyouping) life experience and Wu Xie's growth. It has hundreds of millions of fans and has been reprinted with 1 million copies. The comic is currently serialized in "Manhuaxing" and is personally guided by the gold medal editor of Japan's "JUMP". It is deeply loved and praised by readers. The content quality has reached the level of classic Japanese comics.

In the fifth year after Menyouping entered the bronze door, Wu Xie found a sculpture of him crying in a temple deep in the snow-capped mountains. Since then, Brother's past, family and fate have begun to show a faint outline in the mist. "The Canghaihua" is a legend that belongs to Menyouping alone. It is a story that restores Brother from a "god" to a "human". The novel is exciting enough, and what surprises will the comic version written by Babu bring? The pre-sale of the comic is open, and the comic factory hereby presents the big revelation-the highlights of the interview with the chief writer, take a sneak peek.

The image of the male god is finalized

Q: Brother is the soul of the original novel. Please describe the feeling that Brother gives you. How do you present these feelings in the final picture?

Babu: When he is still, he is as still as a mountain, and when he moves, he is as fast as the wind. Fate and experience forced him to be a beautiful man quietly... Such characters are actually the type that people like, whether in two-dimensional works or in real life. Talk less, do more, and silently give to others. I don’t know why when I draw the little brother, I naturally think of Rukawa Kaede and Uchiha Itachi. Maybe it’s because they have similar temperaments or they are both carrying heavy burdens. I have always tried my best to draw the feeling of "not saying much, but there are thousands of words in it" in the picture... As for the appearance characteristics, the little brother was very popular before "The Lost Tomb of the Sea", and the symbolic settings of hoodies, black hair and long bangs are deeply rooted in the hearts of the people. It’s not that I don’t want or dare to innovate, but it may be counterproductive to abandon these inherent impressions and make a brand new character setting, so in the end, I still drew the little brother’s appearance according to the original setting to the greatest extent.

Q: Uncle San did not describe Brother's outfit in detail in Cang Hai Hua. How did you come up with Brother's Tibetan robe style outfit in this comic? Including the jar on the cover, where did this action come from and what is the meaning?

Babu: When I started to create "Tibet", I searched for some pictures of Tibetans and found that they were very particular about their clothes and had obvious ethnic characteristics - bright red beads, blue cloth as pure as the sky, and various combinations of animal patterns and floral patterns, which left a deep impression on me. I was also very curious about what new sparks these rich elements and the restrained oil bottle could produce, but comics are black and white, and it is often difficult to draw things that are too delicately carved, so I simplified it moderately. But!! The cover can be as gorgeous as you want~ So you can find out by comparing them that they are two sets of Tibetan clothes.

In fact, if we must talk about the meaning of the cover, we can understand that the black jar is a metaphor for the heavy burden and the sadness that cannot be escaped. Rather than being unable to escape, it is better to guard it tightly. As for the rest, readers who see this picture will have their own opinions. Different people have different opinions.

Q: What considerations did you take into account when conceiving your iconic Kirin tattoo and black gold ancient sword?

Bob: It all starts with collecting information. I would like to thank the Man Factory and Fanfan Comics editors for providing various reference materials and help. It is also very convenient to search for some pictures on the Internet. Based on this, various settings that are different but harmonious are created. When designing, I consider that it may appear repeatedly in the comics, so I simplify the details while maintaining the original characteristics to reduce the chance of mistakes such as "Ah, why is this unicorn fat, smiling, and has crooked teeth?"

Q: The image of the young Man Oil Bottle is very simple, without too many decorations. But his expression and body language show that he is a young man. How did you do that when you were creating it? What do you think the young man was like at that time? What are his characteristics?

Bob: Rather than decorating the background of the picture too meticulously, I prefer to work on the character's movements, eyes, and expressions. As I said before, the little brother has a very distinct temperament. He doesn't like to talk, but he makes a big splash. He has more information hidden inside than any chatterbox. As long as you remember this when drawing, you will know what kind of movements and expressions to use when designing the character. At this time, the little brother is in a crisis with his partner, but this is in conflict with his physical signs of being a child and his own personality. So my idea is that he seems to be indifferent on the outside, but his words can bring out the seriousness of the incident - from the perspective and tone of a child.

Adapted details and creativity

Q: How did you come up with the idea of ​​using nesting dolls to describe the Naren Lama?

Bob: The script teacher Yudan mentioned the concept of nesting dolls, and I agree with this metaphor very much. It is passed down from generation to generation, and it is the same identity. So I changed the Russian nesting dolls to Naruhito's nesting dolls (laughs), and now it seems to work well~

Q: Later on, the lama describes the scene of meeting the young man 50 years ago. The scene of the two overlapping time and space was handled very cleverly, with a very strong sense of camera. How did you come up with this composition at that time?

Bob: Thank you for the compliment. This is the charm of comic storyboards. It can connect the commonalities in different scenes. The conversation between the two of them feels like this: the one asking the question is eager to know the answer, and the one answering has experienced everything. And this state seems to be able to switch. I can't help but imagine irresponsibly: N years later, there are also curious juniors who ask Wu Xie about all these mysteries, and at this time, Wu Xie can already calmly tell the truth he knows... Everything has a cycle, and it is all happening inadvertently.

Q: How did you come up with the idea of ​​using the scene of the mantis stalking the cicada, while the oriole waits behind, to match the two sentences "What has happened will happen again. What has been done will be done again." Did you discuss this with the script teacher Yudan Kid?

Bob: Yes, this plot was thought up by Mr. Yudan, it's great. After communicating with him, the entire serialization workload was much easier, I am very grateful. What I can do in this point is to express this picture to the maximum extent, combining it with the context of "what has happened, will happen again".

A shared love for "Flowers of the Sea"

Because of the author's love, Uncle San's writing has a huge and self-contained world; because of the readers' love, the people living in the pages of the book will meet you again in "The Cang Hai Hua". For readers who are looking forward to the comic version, the chief writer Babu said:

“Thank you for your love. We will also use our best efforts to express our love for the work. Only by drawing better finished products can we give the most practical feedback to your support. Please continue to support the comic version of "Flowers of the Sea"~”