Novelist Kono Yu said that when he wrote a novel, he would prepare a file named “○○ ‘s cemetery”, which was used to place deleted articles. For example, the cemetery of “Restarting Takura” and the “step island” cemetery

When he was dissatisfied with the article he wrote, he would put the article in that “cemetery” first. Although the dead article would not be revived later, he felt that doing so would reduce his resistance to deleting the article

Kono started a new serial “Excause for Finding the Stars yesterday” on the Kakugawa Art and Literature e-magazine released last week, and thus created a “Star Cemetery Looking for the Days”, which sounds quite atmospheric of

(https://twitter.com/konoyutaka/status/1205109541387374592).

The horror cartoonist Yosuke Sees some people criticize horror works for saying “lack of madness”. He himself has always been paradoxical about this: is the crazy work really interesting? Would madness be unconditionally interesting even if it was not sublimated into an entertainment work? Is madness the supreme seasoning? Is the art of really crazy criminals interesting as a work? Isn’t the frenzy that has not been conditioned into entertainment works more than “uncooked raw meat”? Others say that only normal people can describe good madness. This has been the subject of his exploration

As a horror lover, Yosuke also found that if one is blindly watching horror works, it is easy to cause “furious inflation”, no matter how crazy, it is not enough, and the concepts of “terror” and “madness” in his heart Become blurred. It’s like climbing a mountain that doesn’t see the top (or not at all)

In addition, there are also cases where “the madness described by the author on the premise that he is a normal person” would be better, and the “pretended madness described by himself as crazy” would be easily exposed and discouraging

(https://twitter.com/yohsuken/status/1205778882265149441).

Yosuke concludes that there may be a paradox in creation: the more you want to express madness as a work, you must keep it normal in order to domesticate it

(https://twitter.com/yohsuken/status/1205779660677582848).

The Tokyo Industry and Commerce Research website reports that Next Batter ’s Circle, which operates animation studio Tear-studio, has ceased operations and will file for bankruptcy within this month. The company has about 43 million yen in debt, including about 8 million yen in wages owed to about 50 production staff

(https://www.tsr-net.co.jp/news/tsr/20191216_01.html).

Animator and performer Hiroshima Hiroshi sees the news and proposes: I hope that Tokyo Industry and Commerce researches and produces a special topic to calculate the reasons why the animation production company went bankrupt

He himself saw from the piecemeal news that the animation company went bankrupt for two main reasons:

• Due to the reform of working methods and the strengthening of supervision by the Labor Standards Supervision Office, the relative workload of unit prices has increased
• In order to make up for the shortage of manpower, it relies too much on outsourcing that is difficult to control and easily rise in unit price

If the company is not forced to increase its unit price because of its own business, but because of external factors, then the company will certainly be in trouble. The production company did everything possible to finish the work, but it will be difficult to continue. Of the Japanese companies that went bankrupt this year, nearly 85% were small-scale bankruptcies with a total debt of less than 50 million yen. The backbone of productivity breaks one after another. Hiramatsu predicts that this situation will probably continue or worsen in the coming year

The companies that have painstakingly resisted the deflationary economic depression caused by the Japanese government policy have fallen one after another. This is not only the animation industry, but a situation that occurs in all industries and enterprises of all sizes

Hiramatsu is not saying that the operators of unsuccessful companies have no responsibility, but he believes that the greater responsibility lies with the government. Due to the downturn in the economic situation, domestic demand has been dying, and the overseas market has also become cold. In this state, how should companies work hard? Hiramatsu is worried that people will lose the leisure time to enjoy culture and the cultural industry will continue to be lost

(https://twitter.com/Hiramatz/status/1206406868584652800)