shinichi1977 wrote:I try to reply as composed as possible, you bring up good points
I try my best.
shinichi1977 wrote:I did bring up The Departed for that exact reason, and it'd work with Rei, but he's stingy on giving out new information. Scotch on the other hand... unless his older brother enrolled to be a cop later on, which is sheer impossible in Japan due to honor and tradition, bound to firstborn sons, to put it mildly, Gin would have always suspected he has the stench of a cop on him and had gotten the boot faster than Rye. That being said, with sensei working 100 hour weeks to literal exhaustion, I don't think he fleshed it out so far as you mention it, my best guess is he wanted to emulate Beat Takeshi and his yakuza movies.
Yeah, it seems to be criminal logic to avoid having those with police familial connections in their ranks—again, unless the BO’s explicit intent with these two in particular was to have people with such background and potential conflict of interest on their side, and they believed that Rei has been on their side from the start (and, until his cover was blown, believed that Hiromitsu was on their side), it seems obvious that they would be under more risk of being found out than Hidemi/Rena/Kir, and that the BO would be ready to pull the trigger on them at any provocation (and something indeed did happen with Hiromitsu). And even if there was an attempt with these two in particular to create double agents from the early stage, it’s still quite a risky venture for the secrecy-based BO to attempt this—and in the end, it’s going to bring about their downfall.
shinichi1977 wrote:My thoughts on why he's holding on multiply folded and doesn't get me liked among fans. We know that he hates writing in English (even though he just has thousands of eager fans who'd readily jump at a chance), and I'm guessing as he gets older, he likes the toll it takes creating complex stories less and less. If Shinichi were real, we were the same age, so I do get how demanding it is. Almost like a natural high where working on the idea gets you on on the uphill slope on the rollercoaster, but the crashing down phase comes earlier year by year. He still deserves to be called Superman though. I've only worked an 80-hour week once in my life and was exhausted.
I just wonder what exactly this new work schedule is doing for him—when he’s now coming out with less than 20 files per year and less than 7 cases per year. Will the decreased output reduce fatigue?
shinichi1977 wrote:The story I initially started out with was a quite simple affair and I didn't plan further than one book. Then I encountered DC and as my way of thinking expanded, so did the universe in which it plays. Not every character is already physically written, some are still stored in my "brain palace". In short, it's about a former military investigator turned insurance detective who makes it his mission to find and neutralize a syndicate responsible for his fall from grace and his conviction for murdering his wife. Some clandestine operatives within the matrix model of the syndicate try to erode it to support their own plans, so the protagonist has an on again off again relationship with them while also being on the run (part of his betrayal was that he now has the face of a traitor who used to be an agent of the syndicate). I plan to place it somewhere between a consultant, a traveling helper and a right previous wrongs type of person in a non-linear storytelling fashion. The catch is though of course, that publishing isn't an easy business so to get the in, I do commission work.
Well, best of luck in navigating that business to see if you can forge progress towards getting the story out there, in such a format. How long have you been working on this, and how long do you think you are from reaching the next big stage of the process?
shinichi1977 wrote:On a personal level, I dislike dangling plot threads. At least with American shows, I know that overarching plot will move forward in a midseason or a season finale. It might be I'd return to something a hundred stories later, except that's something I plan to do from the get-go. I surmise that Gosho, like 19th-century writers who also published chapter by chapter, actually does come up with something for that story and then moves on. I think it was Singapore interview, where he was reminded Akemi sent a P.S. to Akai and if we will get to see it. I'm not a betting man, but I doubt he wants to feign incompetence and he genuinely forgot he needs to write that. Of course, seasoned writers know, if you leave it vague enough, you can fill the content and connect it to something else. That's pretty much what the new showrunners of Lost did when American Gosho (J.J. Abrams) left them after setting up mysteries to which he did not leave answers to.
I've always thought Heiji was brought in so that Shinichi can prove he's a better detective, but also further Shinichi's trial to become better than his father. Alongside him, other regular characters started to appear less, but yet others like Genta and co got promoted to darker storylines. The Raven Chaser played it for laughs, but yes, Shinichi does indeed already know so many characters that even one Freudian slip would suffice to confirm he's no kid. That kind of progress is amiss here.
Yeah, it seems like a moment to moment kind of approach, with him, in one moment, deciding to address one or more long running elements that he last addressed a while ago, and, then, in another moment, addressing another long-dangling plot thread. He may get the idea, one month, to finally focus on one element, tie that to the main plot of the arc, only to then switch gears in the next month.
I do hope, though, with what he’s done since DC hit quadruple digits (Shinichi & Ran; Reyna Karasuma; the Miyanos; and what appears to be setup for a confrontation between Rum and Shinichi’s/Conan’s oldest (his parents) and newest (Security Bureau) allies), that we start seeing an even more increasing raveling together of even more elements that haven’t been addressed in a while.