Chapter 212 – Volume 43 – The World of a Girl Who Never Grows Up (2)
“Is Nike asleep?”
“Yeah. Working from now on?”
“To do that. Well, at least it’s about Conti.”
Rosalia had put Nike to sleep, and when she came out of the bedroom, she poured out water and handed it to him.
Since the academy is starting soon, I’ll have to finish the continuity soon.
In particular, card performance must be determined quickly so that it can be supplemented while testing in advance.
“The work is good, but take care of your body too.”
“That’s right. Thank you for your concern.”
“I’m not worried, but I can’t help it. I can’t live without Kali, so I must live a long time?”
“I’ll try.”
I lightly kissed Rosaria and entered the studio.
In the studio, the storyboards I had been working on until yesterday were scattered in a mess, and I began to organize them briefly.
‘As expected, it feels good.’
No matter how you think about it, the setting of Peter Pan is very attractive.
The story of children who never grow up forever, I can’t help but adopt it from Inner Marchen, which has the concept of a fairy tale.
This new work, ‘The World of Girls Who Haven’t Grown Up’ is simply the story of a girl with the motif of Peter Pan.
Her name is Petra, and she has the same concept of not growing up in Peter Pan.
However, the biggest difference is that losing Marchen once made it impossible to become an adult.
It is not a child who does not want to grow up, but a child who cannot grow up.
There is a big difference between Peter Pan in the original work and Petra in ‘The World of Girls Not Growing Up’.
However, she creates a new Marchen that does not want to grow up, and creates a fantasy world called Neverland through the Marchen.
“It would be okay to put a red muffler on Petra…”
Of course, the cruel and worry-free childlike temperament is maintained.
An eternal child who has lived a long time, yet still looks like a child.
Because that’s also something close to the essence of Peter Pan.
Petra is dissatisfied with having to live as a child forever, so she wants to live as a child forever with her children by not allowing her other children to become adults like herself.
The Neverland she created was a world that prevented the people living there from fulfilling their dreams, preventing them from becoming adults.
She says that living as a child forever is the best thing, and she seduces the children who have awakened Marchen and brings them to Neverland.
‘The basic flow feels like that.’
Petra, who cannot grow up, does not have the ending of Merchen.
Therefore, she cannot win the game by reaching the ending of Merchen herself.
However, she is equipped with an offensive ability that allows her to intervene in her opponent’s Marchen and shatter their hand or deck with an attack.
It is a structure to win by using that ability to prevent the opponent from achieving Marchen forever.
In other words, the concept of Neverland is implemented in the form of preventing opponents from becoming adults in a card game.
In a game where everyone wins by completing their story, a unique deck form is added in which the winning method is to attack and destroy to become a water ghost.
A lot of children are brought to this Neverland, and they all live a life that does not become an adult according to the rules Petra made.
However, you must never become an adult, and at that time, Petra will try to kill her even if she does her Marchen battle.
As an adult, she can only survive by running away from Petra and fleeing outside Neverland.
“…Well, in this story, I’m going to draw like a hero as much as possible.”
It hides such behind the scenes as much as possible and draws Petra like a hero to her leader.
Actually, it can’t be helped that he has a cruel side, but apart from that, he needs to be an attractive character.
Originally, Peter Pan itself is such a story.
However, this is the story of the first volume where Petra is the main character.
In the second volume, where the other main character comes out, the evil side is also strongly revealed.
Basically, in this work, the characters of Volume 1 and Volume 2 are obviously the same, but depending on the point of view, I intended to have a form in which good and evil are completely overturned.
“The main character of Volume 2 is Captain Hook… Rachel.”
She was originally a child brought to Neverland by Petra.
She ends up becoming her grown-up, accidentally achieving her own Marchen.
Because Neverland will prevent her from attaining Marchen and prevent her from becoming an adult.
When she achieves her Marchen, she becomes an adult.
However, as soon as she does, she is surprised by Petra’s attack, which turns her back and causes her to run away.
Sharpen her own Marchen, if she ever had a kid growing up in Neverland.
To protect the child, she remains in Neverland.
Although in Volume 1, she appears as a powerful villain who torments Petra.
In the second volume, because she helps a child who has become an adult, Petra appears as her villain.
…And the most important thing is that it was drawn as a beauty with huge breasts for the concept of being an adult?
Anyway, the work I am preparing this time had this composition.
So, the characters who appear as good characters in Volume 1 are included in the deck in Volume 1.
The characters who appear as good characters in Volume 2 are in the form of decks in Volume 2.
“As expected, it’s better to divide the concept camp like this.”
Just as we divided them into hope and despair last time, this time we divided them into children and adults.
The characters included in the deck in Volume 1 represent ‘I’.
The characters included in the deck in Volume 2 represent the ‘adults’.
In this way, the main characters of each volume, Petra and Rachel, and supporting actors with the main characters will appear.
The supporting actors are thought of as a concept close to followers who are helped or saved by the main characters.
Originally, the representative and the follower who stand on the pole have completely different feelings.
‘And the remaining one… Actually, he’s the real main character.’
Although the story of Petra and Rachel comes out in books 1 and 2, respectively.
The flow that becomes the focus is carried out through other real protagonists.
Most of the main story flows from the point of view of ‘Wendy’, a newcomer to Neverland led by Petra.
A grown-up girl who hates becoming an adult more than anyone else, but knows the inside story of an adult.
Although she is practically a child she would have grown up in no time had she not gone to Neverland.
As she goes to Neverland, she is a character who becomes friendly with Petra as a child.
Naturally, this character was also influenced by Petra in Volume 1, and he played a role in being with Petra and binding her children to Neverland.
As such, in volume 1, a deck with a similar feeling to Petra is used.
Of course, the deck itself is completely different because the characters are different, but the mechanism of winning by interrupting the opponent is the same.
‘In contrast, unlike the other characters in Volume 1, he’s a bit more mature.’
She only wants to be a child, but the fact that she is already quite an adult conflicts with the nonsensical parts of other children.
I was thinking of incorporating that into the deck and making it different from other volume 1 decks with a similar concept.
Not a deck that is a child, but a deck that wants to be a child.
However, even that concept changes to a completely different story the moment Wendy goes to volume 2.
Of course she still hates growing up, but as she shares her story with Rachel, she learns the truth about Neverland.
Thus, he begins to object to Petra’s faulty way of running Neverland.
But, of course, Petra is disappointed with Wendy.
Her Wendy’s not taking her word for it, she’d rather kill her.
Looking at her like that, her Wendy finds her new dream – Marchen – that she wants to achieve more than her own desire to be her child.
So, it is a character who earnestly achieves her own matchmaking and depicts her process of becoming an adult as her matchmaking battle.
Thus, her deck is re-listed in Volume 2, where she is switched to her adult’s deck, which normally requires her to achieve her Marchen.
She is the only character in which both the child’s deck from Volume 1 and the adult’s deck from Volume 2 coexist.
“Ah, I can’t help but change the picture…”
Unlike Wendy in Volume 1, she didn’t take off her Haiti at all.
Wendy, who becomes an adult in Volume 2, she’s clearly showing the destructive power of her adult body.
“At this level, the basic configuration should be fine.”
Of course, I have to fill in the detailed incidents and missing parts from now on.
It feels like the basic concept and flow are all organized.
“At least, what needs to be refined is the setting for the Marchen battle?”
Although this work is made with the concept of an expansion pack, it is also a prequel to the existing work.
The concept of the early days, where the setting of the Marchen Battle is not yet complete.
There must be a rule or direction that can show the concept well.
Basically, the Marchen Battle feels similar to sparring based on fair chivalry.
Of course, there are examples of ignoring the chivalry and causing physical harm, but that’s not a normal situation.
As powerful as it is, Marchen battles are required to follow a certain degree.
However, at the point of the new work, Marchen is the exclusive property of children.
After reaching Marchen and becoming an adult, she no longer cared about playing cards.
However, the Merchen Battle, which I thought was a child’s play, was used in the meaning of life and death because of Petra’s misuse.
From then on, the perception that the power of the Marchen card is not light begins.
So, developing personal strength based on the Marchen card grows into a kind of swordsmanship.
It naturally transforms into a symbol of strength and power…
From the point of view of the new work, it is the point of starting to use that way, so it is necessary to draw it a little differently.
‘Of course, in the previous work, Märchen was also used for war, but it was all the actions of a restrained knight.’
He fights using powers he doesn’t know much about, and draws exposure to the side effects and dangers.
A powerful power that has not been studied, which is played by ignorant children…
It can give you a really dangerous feeling.
“Okay, from now on, Neverland will turn into a battlefield…”
Adults are cool off.
