Quote:
Originally Posted by haguruma
The story was published in 2005 just a short while before Higurashi was finsished and it only consists of two chapters. Well, published is a relative term. He made it into FAUST, an irregular Kodansha magazine which gives young pop-authors from the light novel and visual novel area a place to write, as well as releasing some more otaku'ish works of Mephisto winners like Nishio Isshin.
Kaidan to odorô soshite anata wa kaidan de odoru was never published outside of FAUST magazine (very few of those stories are) and it was more of an experiment than anything else.
But yes, he admitted himself that his wordiness is one of his biggest flaws and he hoped that it would be one he would learn to handle when writing short stories. Higanbana dares to imply he failed I think...  |
While he is definitely wordy, this is something which is not really a unique problem to him. Most Japanese authors, are, by western standards, "wordy". Japanese is a language where sentence length is essentially unbounded. You can have sentences which go on pages, though abusive use of 〜て and other verb endings. This problem is compounded in classical Japanese by the use of the form 〜たり as a normal verb ending rather than a set phrase, and its sole purpose is to allow the author to make sentences as long as possible. The fact that it was reduced in usage for modern Japanese is some consolation, but its still easy to get a Japanese sentence to seem like a paragraph if not a novel. The Tale of Genji makes Ryukishi's wordiness almost seem non-existent.