Volume 1 Afterword
There is a novelist who is poor in writing afterwords. That is – me.
So hello, Yuri Shibamura here. For some it’s probably our first meeting and there are probably others who know me well. Anyway, what shall I say – I wrote a novel. Thank you for reading.
That’s all I should say. Oh no, too bad. I didn’t have even 0,01s of a problem with afterwords, making around 10 drafts. Huh, can I do this like that? – I thought and it passed through, so now we’re here.
That plan of doing this probably passed through more than I expected. You know why? Because I’m not the editor.
Editor can be a novelist, but novelist can’t become an editor. I understand it well through my experience so far. Hence I’m a novelist – not an editor, that’s why I give different ideas, but even with the ability to materialize them I apparently have weak intuition whether they will pass through or not.
Well, eventually I want to try to polish my editing skills as well. If I do this I will be able to make the current editor write a book and edit it myself.
I was writing 1 month, around 20 work days. If I had tried I think I would be able to shorten that time, but other than that I want to give you a quality product today.
I worked on iPad. That’s because when I was going back to my home town the project passed through and I didn’t have other writing tools, so I did this on iPad and it went surprisingly well.
I was progressing by 6000-8000 words per day.
But if I tell that story to other people from the same profession I’m treated as weirdo.
iPad is making only auto-corrections so probably it doesn’t have a good reputation with serious novelists.
In fact I have also tools like Pomera, and while making manga I’m mainly using it, but not this time. I’m glad I will be able to write on Pomera next time. When I’ll receive payment for this, I’m going to buy additional new Pomera.
So this work is a fiction. That’s obvious, but even in this story there are different fictions. Please do not take them seriously.
During this work there are various fictions. In reality there is no such job as an OO, armored vehicles can’t be transported by air at such scale (For setting of the novel: In Russia takes place unprecedented – while writing this – military operation with air transport and Arata just came across to take part in such in one scene. This operation is going through Russia and reaches even to Djibril’s village, which leads to guerrilla strikes).
One of the biggest fiction is the reward system, which in reality yearly amount is at 4 millions yens, yet I thought you can’t risk your life for that, so I decided to make it 6 millions.
Long ago during bubble time, novels didn’t even treat 1 million as worthy of risking life. Thinking about it in that sense makes me realize about the scale of deflation and at the same time rack my brain when I think about Japan’s future.
On the other hand there are parts that aren’t fiction too. Like pet bottles on Djibril’s tribe ceilings. Actually it was popularized in developing countries by American MIT. Initiated for starters in Philippines as indoor lighting during the day. Manufacturing method has been spreading to Central Asia in this story.
Since it’s day-time there are people who say that it’s better working outside, but for developing countries women, who tend to stay inside and do manual labor or study, it’s a handy invention and they treat that pet bottles with bleaching agent and water (during the day, pet bottle with water and bleaching agent reflects light from above and illuminate a room) as very important, even with enshrinement.
In this story America is taking on a villain’s role, but it’s from Arata and Djibril’s standpoint. However I think that in a different standpoint it would have been a different viewpoint.
I think about writing next about that different standpoint, but time is ending. I express my gratitude to Shizuma, who without complaints drew those fantastic illustrations (Do you go for a drink?), chief editor Furuta (Thanks), above all to Hiramura, editor in charge of this who I made work everyday to late hours and early at the beginning of new year, and finally to all readers who picked up this work. I’m going to end with this.
Thank you everyone.
I was able to reach that point because I wasn’t alone.
January 7th 2012, Yuri Shibamura