[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"origin-literary-master-of-tokyo":3,"chapter-literary-master-of-tokyo-literary-master-of-tokyo-chapter-27":6},{"origin":4,"title":5},"chinese","Literary Master of Tokyo",{"chapter":7,"nextChapterSlug":19,"prevChapterSlug":20,"totalChapters":21,"novelImage":22},{"id":8,"novel_id":9,"title":10,"slug":11,"index":12,"content":13,"wordcount":14,"created_at":15,"updated_at":15,"volume":16,"translator":17,"content_hash":18},2354876,4607,"Chapter 27: The Young Lady and the Middle-Aged Man","literary-master-of-tokyo-chapter-27",27,"\u003Cp>Akiwara Yuto thought for a moment, fetched a pile of snacks, opened the packaging, and set them in front of Ikawa Akemi, signaling her not to be polite.\u003C\u002Fp>\n\u003Cp>Since his proposal had been affirmed, this beautiful college student before him must have put in quite a bit of effort, so he should reward her a little.\u003C\u002Fp>\n\u003Cp>Seeing her happily start eating, Akiwara Yuto greeted her and returned to his desk to begin pondering continuously.\u003C\u002Fp>\n\u003Cp>Which one would be better to adapt? He began to dig deep into the memories of his past life.\u003C\u002Fp>\n\u003Cp>In Japan, the content of stage plays is very broad, ranging from adaptations of 2D works—such as The Prince of Tennis, Bleach, Touken Ranbu, Black Butler, Naruto, Fate, etc.—to adaptations of classic works and original scripts. As for mystery works, it’s not that there aren't any, but the proportion is extremely small.\u003C\u002Fp>\n\u003Cp>Short stories like those by Otsuichi are among the mystery novels suitable for adaptation into stage plays; the stories are short and punchy, and they contain certain twists and explorations of human nature. Most importantly, because they are short, the time required for rehearsals is not high, and rehearsals can be completed before the school festival in mid-August.\u003C\u002Fp>\n\u003Cp>Having confirmed that this aspect was fine, he took paper and a pen from the drawer and thought about another issue—because of the copyright problem mentioned by Asano Aiko, the works he used must have already been published before the school festival.\u003C\u002Fp>\n\u003Cp>Calculating this way, there were only five pieces: \"Goth,\" \"SO-far,\" \"Seven Rooms,\" \"ZOO,\" and \"The Poem of the Sun.\"\u003C\u002Fp>\n\u003Cp>A thought struck him, and he walked back to the living room to ask Ikawa Akemi: \"Ms. Ikawa, how large is your drama club, and how many actors are suitable for performing?\"\u003C\u002Fp>\n\u003Cp>This point could not be ignored; if he wrote a work that required more than ten actors, but the other side only had a few members, wouldn't that be awkward?\u003C\u002Fp>\n\u003Cp>Hearing this question, Ikawa Akemi put down the snack in her hand and began counting on her fingers, \"Let me think, besides me, there's Risa-chan, Tomomi-chan, Rika-chan who have acting experience... and there are also Takanashi-san and Matsuno-san who work behind the scenes...\"\u003C\u002Fp>\n\u003Cp>Although her explanation was vague, Akiwara Yuto still gained a further understanding of the division of labor in the drama club: the director was their faculty advisor, and in addition to more than ten people working behind the scenes on lighting, props, costumes, etc., there were ten actors with skilled performance experience, totaling about fifty people.\u003C\u002Fp>\n\u003Cp>Akiwara Yuto pondered for a while; if the number of actors was this large, stories like \"Goth\" and \"SO-far,\" which only had a few characters, would certainly not be very suitable.\u003C\u002Fp>\n\u003Cp>Then, how about \"Seven Rooms\"?\u003C\u002Fp>\n\u003Cp>In terms of numbers, \"Seven Rooms\" required quite a few actors due to the plot setting, and at the same time, each actor could fully display the characteristics of their role.\u003C\u002Fp>\n\u003Cp>In terms of the tension and the degree of twists in the plot, \"Seven Rooms\" could also capture the audience's attention. Coupled with some thriller music and lighting, it could create a very good stage play effect.\u003C\u002Fp>\n\u003Cp>Having made up his mind, he prepared to return to the study to carefully sort out the outline. Just as he stood up, he felt his hem being grabbed by a hand reaching out.\u003C\u002Fp>\n\u003Cp>He looked down and found Ikawa Akemi looking at him with a wronged expression: \"Akiwara-sensei, it's already noon, and I'm a little hungry.\"\u003C\u002Fp>\n\u003Cp>Hearing her request, Akiwara Yuto had black lines on his face, complaining inwardly, aren't you eating snacks the whole time? Why are you still hungry? Did all that food go to waste?\u003C\u002Fp>\n\u003Cp>Seeing Akiwara Yuto's unpleasant expression, Ikawa Akemi felt that she might have gone a bit too far and worried that she would drive away the \"writer-screenwriter\" she had worked so hard to invite, so she stood up as well and revealed a brilliant smile: \"Akiwara-sensei, you don't have anything to do at noon, right? Give me a chance to treat you?\"\u003C\u002Fp>\n\u003Cp>Akiwara Yuto looked up at the clock and found that it was almost time for lunch. He thought for a moment and agreed.\u003C\u002Fp>\n\u003Cp>The two went downstairs, changed their shoes at the Xuanguan, and walked for more than 20 minutes to reach a nearby family restaurant with a sign that read \"Garden.\"\u003C\u002Fp>\n\u003Cp>A Japanese family restaurant is a type of restaurant that mainly creates a family atmosphere and provides a variety of dishes, somewhat similar to Saizeriya and Pizza Hut.\u003C\u002Fp>\n\u003Cp>Its price is relatively popular, with the cost of a meal being between 500 and 2000 yen (25-100 RMB), which is considered cheap and good quality relative to the cost of living in Japan.\u003C\u002Fp>\n\u003Cp>The two walked into the shop, were led to a window seat by a waitress who looked like a high school student, and after looking at the menu, they ordered a beef bowl and a chicken cutlet curry rice.\u003C\u002Fp>\n\u003Cp>While sitting and waiting, Akiwara Yuto also kept thinking in his mind about how to design the dialogue. Because the art form of a stage play is different from a novel, the script is basically actors + actions + dialogue.\u003C\u002Fp>\n\u003Cp>Taking \"Seven Rooms\" as an example, it would be what actions and expressions the older sister made and what she said, and what corresponding actions and expressions the younger brother made and what he said. At which plot point, what kind of voice-over should be matched.\u003C\u002Fp>\n\u003Cp>Ikawa Akemi did not know that Akiwara Yuto was thinking about the script; she saw his eyebrows knitted together and thought he was thinking about something distressing.\u003C\u002Fp>\n\u003Cp>What should I do? Akiwara-sensei's expression looks so serious; why not distract him? Right, let's do that.\u003C\u002Fp>\n\u003Cp>Ikawa Akemi's brain started working; she observed her surroundings and pretended to say \"exaggeratedly\": \"Akiwara-sensei, have you noticed that the waitress who just took our order seems to go very well with that handsome chef over there?\"\u003C\u002Fp>\n\u003Cp>Akiwara Yuto was thinking about the dialogue design and didn't expect to be interrupted by her words. He felt a bit impatient and didn't even look; what does it have to do with you whether others are a match or not? Just eat the meal and leave.\u003C\u002Fp>\n\u003Cp>Seeing that Akiwara Yuto was not interested, Ikawa Akemi said with a bit of disappointment: \"Akiwara-sensei, shouldn't writers usually observe the people around them to get material for writing?\"\u003C\u002Fp>\n\u003Cp>Akiwara Yuto subconsciously glanced at her and was a bit surprised. He had thought that there was nothing in her head except for food; he didn't expect her to be able to say something like that.\u003C\u002Fp>\n\u003Cp>He thought for a moment and felt that what she said was indeed reasonable; any excellent writer must learn to observe other people and things and distill them into their own material.\u003C\u002Fp>\n\u003Cp>So he pretended to look, but the more he looked, the more he felt something was wrong.\u003C\u002Fp>\n\u003Cp>From the appearance, Ikawa Akemi was not wrong; the waitress and the chef were indeed a handsome man and a beautiful woman, but unlike the look in the waitress's eyes when she chatted with the handsome chef, her look at him was completely cold and professional. Her eyes, however, would occasionally glance at the shop manager next to them.\u003C\u002Fp>\n\u003Cp>Akiwara Yuto took another look at the shop manager who was at the register: he was in his 40s, with a head of messy hair, and even had a bald spot on the back of his head.\u003C\u002Fp>\n\u003Cp>What is this? A love triangle + a crush on an older man? Learned it, learned it; art really does come from life.\u003C\u002Fp>\n\u003Cp>While he was sighing, another waitress with fluffy short hair served the dishes they had ordered. Akiwara Yuto put aside his wild thoughts, said \"Itadakimasu\" together with Ikawa Akemi, and picked up his chopsticks.\u003C\u002Fp>\n\u003Cp>After lunch, he thanked Ikawa Akemi, agreed to contact her once the script was finished, and then said goodbye and left.\u003C\u002Fp>\n\u003Cp>He prepared to find a place to collect some script examples to use as a reference for himself.\u003C\u002Fp>",1352,"2026-06-21T03:58:01.347Z",1,"Gemini 3.1 Flash Lite","49be5cef56313d7f2838cef2a20c18219b9beb4221ce8da3d0a92475ad8d09d6","literary-master-of-tokyo-chapter-28","literary-master-of-tokyo-chapter-26",334,"https:\u002F\u002Fnovelzhen.com\u002Fimages\u002Fcovers\u002Fliterary-master-of-tokyo-cover.jpg"]