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A normal morning on the job

The first thing Nobuhiko Ogasawara did after getting out of bed that morning was go to the fridge and fish around for a turmeric and ginger concoction that had always served him well as a hangover cure. He’d been out late last night because a friend that worked as a foreign correspondent in New York was in town, a rare occasion. He always had stories to tell, and never wanted to go home until he’d told them all; there were a lot of them by this point. Nobu had heard most of them, but he sat through it anyway out of politeness, even though he spent most of the night counting just how many of those stories featured Italian Restaurants as a setting.

Most of the time when he’d gotten a raise Nobu he’d spent the extra money on his dwelling place. He preferred to be closer to work even if it meant living in a small space, but that was something that wasn’t a problem for him because he lived alone, never really managing to hold a relationship together for long enough to change that. At this point his condo was only a fifteen minute walk from the office, invaluable for those times when he stayed at the office or at the bar later than the trains ran. It wasn’t large, but unlike his last place it had a kitchen big enough to do some actual cooking in, which Nobu used to decompress and get work off his mind when he could.

Nobu had his tablet propped up on the table while he ate breakfast. A recording of the AmeriTel annual keynote was playing. All employees were encouraged to watch it, but because it happened on American time, Japanese employees were stuck with a recording that few would find time to sit through. The sheer number of times they mentioned 5G made him nauseous, even the part about the upcoming movies from their movie division managed to find a way to incorporate it. Watching made him realize just how big it all was, the whole book and magazine division didn’t even get a full two minutes in the presentation. The only other thing that caught his attention was the segment about their streaming service, bragging about the goldmine of intellectual properties that had the rights to develop. They talked about work on a live-action adaptation Martial Journey, a big win for the types of people that liked to talk about corporate synergies, and sure to be a massive headache for all the creative talent involved.

He took the bus to work that morning even though it was slower than walking. This way gave him the benefit of checking the emails during his commute. It was the usual stuff, mixed in with some amusing emails that were meant for accounts payable but CC’d him because they thought it’d get them to pay up faster. That trick never worked. One email was marked high priority, and it had a CC line full of names that Nobu only knew from big conference calls and looking at the org chart, people with titles like Global VP of Intellectual Property Development and Senior VP of Strategic Marketing. He couldn’t tell who was the most important, but he knew that when they asked him for something it was best to get to it as soon as possible. That task went to the top of his todo list that day. Everything else, like answering that email from the marketing department asking what an isekai was, was secondary.

Nobu walked into the double doors of the office a few minutes before nine and said hello to the secretary. He made one circuit of the desks in the main area before sitting down in his office. Nobu had a little block of time before the morning editorial meeting, which he used to fire off a short email to the entire creative department.

“Dear Authors,

Some executives who can’t be arsed to pick up a magazine or do a cursory google search want to know more about what we publish. They’ve asked us to give them a summary of our currently running series, their premises, and current and future merchandising/licensing opportunities for each of them. Presumably, they’re going to use this to leverage their strategic advantages synergistically, or whatever euphemism they’re using for trying to make a load of money. Anyway, if you want to do your own writeup instead of leaving in the hands the editorial team to squeeze in between meetings, please email it to the editorial mailing list by the end of the day. Who knows, maybe if something you write catches their eye you could be in for a nice windfall if you sign a deal with them.”

Nobu took a sip from his green tea and wondered what the next interruption would be, maybe he could make it all the way to the editorial meeting without anything coming up.

@Yankee@hatakekuro@c3p-0hAll you guys are approved. Feel freed to add them to character tab whenever.



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Nobuhiko "Nobu" Ogasawara | 60 | Editor in Chief at Shonen Spirit
Tell Me About Yourself
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It takes a lot to get Nobuhiko to talk or react. He's a subtle man and wears a shell of grumpiness most of the time, a feeling of resignation that stops much from affecting him decently. He's polite when he has to be, blunt when he can be, but he isn't pushy from the outset. He has a long fuse but the few times it's ran out his temper has been described as explosive. All of this has left him with a few solid friends and a string of unhappy relationships, but even those who don't get along with him admit he sticks to his convictions. When he really trusts someone he's willing to open up a little and talk about both frivolus and deep subjects, but to get him in that mode you've either got to be lucky or a good friend of his.
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Work History
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Nobuhiko's first work in the publishing world came when he was in college, studying literature. He and his friend Takashi were broke and fighting off a hangover when they got an idea for how to make some extra cash. Taking cues from cheap pulp novels and alternating chapters, together they wrote a book called Isao the Tiger, a simple action story about a former terrorist turned hired killer. It got published and did well enough that the publisher asked for a sequel. Takashi and Nobuhiko worked on a few more until they graduated, thorooughly sick of churning out potboilers by that point. While Takashi tried to put that behind him and become a serious artist, Nobu just wanted a steady paycheck. His grades weren't very impressive but he had enough rapport with Torishima Publications that found a spot for him as a junior editor at a manga magazine. He worked on some of the seinen titles where he got a reputation for keeping the authors on schedule and helping them with longterm plotting. After a good run there, he arrived at a dilemma. He'd been doing good so far, but Torishima's seinen magazines were a mess and staying with them for too long could be a career killer. The staff at Shonen Spirit reached out to him after hearing good things and Nobuhiko took them up on the offer. He made splash there because two thing immediately became apparent, the first was that he never minced words, and the second was that no one could figure out if he even liked Shonen manga. He rode the wave of more mature titles and was part of the editorial team during the glory days of the 90s, editing several of their big hits. Nobuhiko's reputation is more of a turnaround artist, helping struggling series, rather than someone who has an eye for the next monster hit. He stayed on into the 2000s, rising to the position of deputy editor and holding that for several years. The declinging sales and the AmeriTel buyout led to a very messy process of finding the next Editor in Chief of Shonen Spirit in the late 2010s, but the job eventually fell to Nobuhiko because he was seen as a safe bet. All of his peers who were better at playing office politics had managed to find their ways into other, more prestigious roles within the corporate goliath, sometimes leaving him feeling as though he is the captain of a ship that might not be sea-worthy. So far he's kept a conservative hand on things, but that may be changing soon.

References
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(List characters they know and have some kind of relationship with. Can be PCs or NPCs)
Character: Relationship

Customize the colors however you want


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Premise  
Premise

You ever meet anyone whos never read a copy of Shonen Spirit? It might aimed at hyperactive kids but theres a reason its the countrys most popular manga anthology; go out on the street and you can see housewives picking up an issue on a trip to a convenience store or salarymen on the subway reading one theyve hidden underneath pages from a financial newspaper. Even if you dont read it you cant escape the franchises that were born from it, theyve been made into anime, toys, merchandise, games, stage plays, even theme parks. Thats the way its been for decades now and for most people under fifty, manga from Shonen Spirit isnt just part of pop culture, its part of their childhood, tied to nostalgic memories. Its gone international, too; thanks to international licensing people all around the world from the Americas to Europe have come to know and love series from Shonen Spirit, to the point that creators from all over the world have dreams of joining the team at the magazine.

The public laps up the drama within the pages of Shonen Spirit, but few know about the drama that happens behind the scenes. Even during its best years the people behind it could only be described as eccentric and poorly organized, now things are even stranger. Sales have been dropping after their most popular title just ended its long run, and pressure from the corporate leadership is not letting up. The magazine is hungry for new talent, eager to see if anyone can meet their high expectations. One thing that is still true is how the staff get along. Shonen Spirit and the other manga periodicals published under its umbrella not a place of bland corporate dogma, it operates like a family, a big, screwed-up family, but a family nonetheless. From the artists to editors to the marketers to the accountants, theyre all along for the ride, wherever it may go.




A Brief History Lesson

Shonen Spirit is going through an interesting time these days. Circulation peaked in the early 90s, and while that golden era ended, it left the magazine on solid ground. They didn't have the string of hits that they had from the 90s, the days when every kid was buying an issue on the way to school, but they did have one monster, one manga that became a pop culture phenomenon. Martial Journey lasted for 22 years and broke sales record after sales record, carrying the magazine even when other series failed to get the same momentum. The finale was the highest selling issue in the fifty year history of Shonen Spirit. The only problem is what is finding a path for the magazine in a post-Martial Journey world. There have been sales slumps before, like the infamously bad period in the 70s, but times are different. Shonen Spirit was started by a small, family run, publishing company called Torishima Publications, and they didn't care much about how much money their manga magazines made as long as it was more than they cost to run. In the 90s Torishima got bought by a electronics company that went on a buying spree, and just a few years ago that electronics company was absorbed by AmertiTel, a giant multinational media telecom conglomerate, always on the hunt for new pieces to add to it's empire. There's been little change to how the place is run at the daily level, but every quarter new financial goals come, and the feeling is sinking in that any freedom the management has now is conditioned on meeting these strict goals.

The heart of Shonen Spirit is an office building deep in the Chuo ward of Tokyo. It houses the offices of Shonen Spirit and two other manga publications under the same umbrella. Shojo Weekly targets a different audience than Shonen Spirit, and has never enjoyed the same level of success, struggling to maintain the third place position among Shojo magazines. It's showing some growth lately as they've done strong on the digital end and international licensing, outpaces larger rivals in those area even if print circulation isn't as impressive. The other magazine is weirder than it's siblings. Monthly Comic Ace came about when several floundering magazines aimed at adult men and women were combined into one umbrella. Despite the word monthly in the title, it actually comes out every week, but the manga in it are still on a monthly schedule. The series in it rotate out depending on which week of the month it is, it remains to be seen if this experiment will hurt or help reader retention. The office itself has space for permanent staff, as well as open desks for occasional visitors, like artists that want to do some work outside the house. The employees work hard to put out a good product, you can see people in the office at all hours. Everyone has a different view on what it takes to succeed, what kind of character you need to make great art, but there's one thing everyone at Shonen Spirit can a appreciate, and that is determination.


Orientation










OOC

Rules
1. Be kind to everyone. If you have a dispute, work it out in a civil way.
2. Keep in mind the slice of life feel. There'll comedic antics but this is still supposed to be the real world, and make characters that fit with that
3. Be part of a group. Try to work with people to make the RP happen, give people the opportunity to decide where the plot goes. Also, if you end up leaving the RP, it's all fine, just let us know if you can.

Character sheet format is on the Character tab
@Fiber How is the ooc coming along?


Thank you for the continued interest! Most of the OOC is done, final edits should be coming soon, so keep watching this thread. I should have it posted this week.
Thank you guys for the interest! I'll be working on an OOC over the next few days.

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Premise  
Premise

You ever meet anyone whos never read a copy of Shonen Spirit? It might aimed at hyperactive kids but theres a reason its the countrys most popular manga anthology; go out on the street and you can see housewives picking up an issue on a trip to a convenience store or salarymen on the subway reading one theyve hidden underneath pages from a financial newspaper. Even if you dont read it you cant escape the franchises that were born from it, theyve been made into anime, toys, merchandise, games, stage plays, even theme parks. Thats the way its been for decades now and for most people under fifty, manga from Shonen Spirit isnt just part of pop culture, its part of their childhood, tied to nostalgic memories. Its gone international, too; thanks to international licensing people all around the world from the Americas to Europe have come to know and love series from Shonen Spirit, to the point that creators from all over the world have dreams of joining the team at the magazine.

The public laps up the drama within the pages of Shonen Spirit, but few know about the drama that happens behind the scenes. Even during its best years the people behind it could only be described as eccentric and poorly organized, now things are even stranger. Sales have been dropping after their most popular title just ended its long run, and pressure from the corporate leadership is not letting up. The magazine is hungry for new talent, eager to see if anyone can meet their high expectations. One thing that is still true is how the staff get along. Shonen Spirit and the other manga periodicals published under its umbrella not a place of bland corporate dogma, it operates like a family, a big, screwed-up family, but a family nonetheless. From the artists to editors to the marketers to the accountants, theyre all along for the ride, wherever it may go.

OOC Information


The concept for this is a slice of life RP about a manga magazine. It’ll focus more on character interaction and hijinks, any plot stuff is just there in case people are looking for some additional inspiration. I’m hoping for a variety of characters, there’s a lot of potential roles at the magazine, related periodicals, and characters who are in that circle. It’s going to be set in Japan but characters from any country are welcome, the magazine’s parent company is a multinational conglomerate. If this gets some interest I’ll make an OOC for this RP.


I’m going to say that my least favorite writing advice is anything that falls into the category of an absolute rule that is given without an explanation. The worst of this usually comes from people trying to give advice for business or academic writing, whether it’s the omnipresent “NEVER USE PASSIVE VOICE” or the comical, crackpot theories of the E-Prime crowd. I will defend the value of rules in writing, but in writing rules are things to notice, ways a writer can train themselves to be more aware. They aren’t any good on their own without an intention behind them; writing can serve so many different functions no rule could apply to every single piece of prose. What is universally valuable to a writer is a well-honed intuition, to think deeply about writing and care about the even the smallest aspects of it; through that the writer gains more tools for whatever goal they choose.

To illustrate a frequent rule and try to give it context, I’ll talk about using said to tag dialog. The use of said is an example of a deliberate choice which is not flashy but is respected even among the most highbrow literary circles today. If someone went to Iowa Writer’s Workshop, the closest thing American Literature has to a factory for acclaimed authors, and submitted a story that was otherwise conventional but avoided using said, I guarantee that the instructor and fellow writers would look at them like they had three heads. Said is a word that is so common even in literary fiction because its ubiquity makes it invisible, it lets readers focus on the words around it. The more you move away from said the more you break the flow, and while some avant-garde writers like Donald Barthelme make stories that are intentionally difficult to parse, the audience for that kind of fiction is limited, even in MFA programs. More importantly, it makes it difficult to focus on other aspects of the prose. Like everything, this used to be different; in earlier times avoiding said became something that writers took to comical lengths, with JI Rodale even publishing “The Said Book”, listing words that worked as alternative ways of tagging dialog. There’s a reason “The Said Book” is now only mentioned as a punchline.

A second line of thought that I dislike is the idea that taking writing quality seriously is something only reserved for some ivory tower elite. It’s even worse when people hold up examples of great writers with simple styles as proof of this rule, reasoning that because George Orwell wrote sentences that were clear and readable he must’ve chosen a path far removed from dense writers like Tolstoy or experimenters like Samuel Beckett. Orwell was a man who took his craft seriously. He wrote an essay about why he wrote, the first sentence of which reads “From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. “ He talked at length about the conscious choices he made when writing, most famously in Politics and the English Language, but the concern he has over language and its impact on the reader’s minds in constant, you can see it in 1984 when that work talks about Newspeak and its role in enforcing tyranny. Orwell would write for three hours every night even when he held a full-time job, revised drafts to obsessive degree, and kept everything close to his chest until he had gone over it many, many times. Even when he was starting out and writing unremarkable poetry, he had the same seriousness to his process. I’m not advising everyone copy him (I wouldn’t want anyone else dying at the age of 46), but to suggest he wasn’t someone who looked at writing as a serious art form is absolutely false. Hemingway, the only writer of the 20th century more famous for a sparse style of prose than Orwell, had a famous quote about why he wrote the way he did, said in response to William Faulkner’s claim that he lacked courage because he had “never been known to use a word that might send the reader to the dictionary.” Hemingway said

“Poor Faulkner. Does he really think big emotions come from big words? He thinks I don’t know the ten-dollar words. I know them all right. But there are older and simpler and better words, and those are the ones I use. “

Lastly, I’d like to talk about the role of editors and their influence on the writing process. Editors aren’t schoolteachers or parole officers, assigned to writers to correct bad habits and fashion them into a more respectable person. They are intermediaries, chosen for their discernment and to act as a gatekeeper before a wider release. Editors are chosen either by the writer or by the publisher, and in each case their employer has placed an immense amount of trust in them, often chosen them specifically because they know that editor can see exactly what the publisher or the writer is aiming to achieve. Most often serious, irreconcilable disagreements between the writer and the editor are a case of bad match; either between the editor and the writer or the writer and the rest of the publisher’s output. The solution to that isn’t to declare one party right or wrong, it’s to try and see if both can find better matches elsewhere. Rewrites and corrections can be a powerful thing when people actively seek them out; Gordon Lish, Raymond Carver’s editor, famously edited his stories so heavily that Carver’s signature style owes almost as much to him as it does to Carver. If a writer’s intentions aren’t aligned with an editor's, the whole process becomes awkward. If JD Salinger came back from the dead and rewrote something I'd written I would be impressed, and the end result would doubtlessly be better than my original, but ultimately I would be left feeling unsatisfied, because I don't want to write like JD Salinger (Borges is welcome any time though).

The subject of feedback has deep links with the practice of editing. Feedback is not the same thing as soliciting suggested changes. At its core, it is giving them more data, more context, and more insight from a source other than their own perspective. Think of it like a pilot in airplane high above the clouds on a dark night. They can’t get much from their eyes, but thanks to instruments like the altimeter, the airspeed gauge, and navigational aids, they can get where they are going safely. Just like the pilot, the writer decides what to adjust, checks in again, and through that process maintains their course. Modern planes have autopilot systems, that will not only gather feedback but actually complete some of the work for them, but engaging or disengaging them is a conscious decision of the pilot. When we offer feedback we must always respect the role of giving information, and be aware of when the writer wants to solve a problem themselves and when they want to see the specific solutions others have in mind. As Ursula LeGuin said:

“Even if you’re sure you see just how it ought to be changed, this story belongs to its author, not to you”

Some of the most important feedback an author can get is about the broad strokes of a work. We can obsess over individual sentences or paragraphs, but it’s always in pursuit of a greater goal, of triggering some emotion or conveying some theme. That is the kind of thing that benefits a lot from hearing other voices. Not to get into epistemology, but we’re all flawed human beings, one thing we're very good at it is providing subjective experiences and one thing we're pretty bad at providing an objective point of view. Even when we try, we'll get far more of the first than of the second.
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