I Became the Villain's Mother
- Thread starter MangaDex
- Start date
- Joined
- Feb 9, 2020
- Messages
- 27
@grownbean I feel that. I should probably do that too because I feel like there's nothing happening and her naivety and obliviousness are starting to trigger me.
- Joined
- Mar 17, 2019
- Messages
- 137
This FL is really annoying, she can't be anymore naive than she is. I can't with her whole bs attitude about having the kid change, like no girl that kid ain't ever gonna change, its too late , and she should know this since she's a kid's care taker or something. This FL not enjoyable to read at all.
I rate 6/10
There are also other grievances i have with other characters, but none much so with this character.
I rate 6/10
There are also other grievances i have with other characters, but none much so with this character.
Group Leader
- Joined
- Jul 15, 2019
- Messages
- 57
I am always amazed about how Koreans cannot understand European aristocracy. Or naming. Or virtually anything. But are deeply inspired by it to produce absolutely ridiculous work.
And is it me or virtually every Korean artist uses the same plot, the same art and the same freakin' names for his/her characters?! But what amazes me even more is that people do not have an indigestion. They still favor isekai, art that came right out of a dollar store children's book and basic, painfully basic, characters. How do the readers do it?! I am honestly asking. HOW?! No overdose?! Nothing?!
And is it me or virtually every Korean artist uses the same plot, the same art and the same freakin' names for his/her characters?! But what amazes me even more is that people do not have an indigestion. They still favor isekai, art that came right out of a dollar store children's book and basic, painfully basic, characters. How do the readers do it?! I am honestly asking. HOW?! No overdose?! Nothing?!
Member
- Joined
- Jun 9, 2019
- Messages
- 234
I don't understand how the literal child would expect a mother figure in his life, like how old is he? 10? 11? There is no way for a kid to be like that in such a young age...but okay it's a manhwa I shouldn't be trying to make it make sense lol
- Joined
- Jul 9, 2019
- Messages
- 20
@Mims
Manga media has been infected by Isekai. This shoujo genre is the equivalent of the shounen protagonist gets booted into a fantasy world. Most aren't even bad, they're just predictable and over done.
It's a sad testament to society that the most popular genre, regardless of geographical location, is escapism.
Manga media has been infected by Isekai. This shoujo genre is the equivalent of the shounen protagonist gets booted into a fantasy world. Most aren't even bad, they're just predictable and over done.
It's a sad testament to society that the most popular genre, regardless of geographical location, is escapism.
Group Leader
- Joined
- Jul 15, 2019
- Messages
- 57
@Lguwo1
What is truly horrifying however is how the webcomic in itself has killed the manga, and to a certain extent itself. The webcomic has become a means of mass-producing a goods of consumption. Remember back in the days when manga was the sole format of Asian comic available to readers? The Chinese and the Koreans would more or less successfully copy that format. The point is, the readers had to wait for the artists to produce the work, however long that would take. Then, there was the advent of the internet. Established mangaka were then submitted to this sort of evolutionary pressure where they would be expected to produce weekly chapters for internet publishing (think of weekly Naruto, Bleach, One Piece, etc.)
But the internet also opened the door to a democratization of art. It made it possible for amateur artists to gain exposure and a great following and readership. Now, what was interesting there was that publishing websites realized they could bypass all the costs associated with production: the mangaka's contract, the production and editing team, etc. etc. Amateur artists did everything by themselves for free. These publishing companies then make it possible for the artists to lock their chapters and make a profit, taking their own cut in hosting proceeds (at a predatory percentage). Publishing websites like Webcomic, Naver, Bilibili, KuaiKan, name it, there are millions of them. The problem is, with this influx of amateur artists, there is yet another evolutionary pressure on them. They need to produce weekly (and I have seen Chinese artists produce bi-weekly) chapters to stay relevant. This is the evolutionary pressure they created on mangaka that is now transforming them into workers in a factory producing dollar store goods. Of course, quality of art and of plot needs to be cut. And the artists have 3 choices: 1) say no and do something by their own means against it 2) say no and fade 3) sell out.
Now, I am more interested in the Chinese webcomic scene (yes, there are complete idiots that will swim through the immense sea of garbage that the Chinese webcomic industry produces to drag out the rare gem - yours sincerely) and there are what I consider the big three of webcomics/manhua targeted towards women: (1) Xia Da, the prodige (2) FaJiTe/Zhang Jing, the whizz kid extraordinaire and (3) TUTU, the all-conquering underdog. Now these three represent the three options listed above.
(1) Xia Da was tortured by her former studio into mass-producing chapters to her globally popular "Chang Ge Xing/Song of the Long March". She ended up in the hospital, thanks to them (for what I know she had some wrist damage that needed surgery because of the strain of drawing - yes, people, drawing is tough on your body). She flushed her contract with that studio, de facto losing all her rights to "Chang Ge Xing/Song of the Long March", which is now on perpetual hiatus. However, she started her own studio and is producing "Song of the Sky Pacers" right now. One chapter every two weeks, with all the loss in readership that implies (it is an aberration that Chinese readers do not give "Song of the Sky Pacers" the time of the day - everything Xia Da produces is a classic).
(2) Beginning of last month, FaJiTe/Zhang Jing announced what seems to be her retirement, at the age of 37, after 20 years of career. She was the one artist who produced her first best seller at the age of 17. A genius among geniuses. Every panel of her art is so detailed you will feel overwhelmed. What seems to be a 3D effect in her art is actually nothing but a game of shadows. She is potentially the best artist in all 3 Asian webcomic giants (whether Japan, Korea or China - not that China is a giant, more like a dump). She was crushed by the demand of readers to use her art - which according to them is more BL, to produce BL webcomics, by the lack of response of her readership to her webcomic that has been going for 3 years now. She was overworked, tired and desperate. So she dropped that work and retired. It was an overnight decision (and your humble servant is heartbroken).
(3) TUTU is a very young artist who made herself known for her psychological historical romance thrillers. And her absolutely flabbergasting art. She is the most webcomic-y of the 3. If BL lovers were right and male pregnancy was a thing, she would be the offspring of Dostoevsky and Machiavelli. She produced the hugely popular "Yi dai Linghou/The Queen". A first Season that tried to tackle ethnic cleansing, genocide and questioned how far one is willing to go to protect his/her people from annihilation. Readers complained about how tough it all was and how it hurt their little bunny feelings. She sold off, made a second season all about the hypocritical female lead and lost 80% (I actually calculated) of her readership. She didn't realize she was niche and had a cult following. And there goes her career.
What I think is that amateur artists forced a rhythm of production that is not viable and that condemns art to being mediocre in both the visual and literary components. Readers are only offered mediocre works. Thus they read mediocre works. And therefore, support mediocre work because that is the only work to be read. Which further pushes the production towards mediocre works. And in the end, readers only consuming garbage are unable to enjoy quality work. People who only read "Twilight" and "Fifty Shades of Grey" will most definitely have a harder time reading George Eliot, Trollop, Jane Austen, etc.
And now you wonder what you did wrong for me to torture you with this text-wall. Accept my most sincere apologies. Forcing people to interact with me is a sort of bullying, I feel.
What is truly horrifying however is how the webcomic in itself has killed the manga, and to a certain extent itself. The webcomic has become a means of mass-producing a goods of consumption. Remember back in the days when manga was the sole format of Asian comic available to readers? The Chinese and the Koreans would more or less successfully copy that format. The point is, the readers had to wait for the artists to produce the work, however long that would take. Then, there was the advent of the internet. Established mangaka were then submitted to this sort of evolutionary pressure where they would be expected to produce weekly chapters for internet publishing (think of weekly Naruto, Bleach, One Piece, etc.)
But the internet also opened the door to a democratization of art. It made it possible for amateur artists to gain exposure and a great following and readership. Now, what was interesting there was that publishing websites realized they could bypass all the costs associated with production: the mangaka's contract, the production and editing team, etc. etc. Amateur artists did everything by themselves for free. These publishing companies then make it possible for the artists to lock their chapters and make a profit, taking their own cut in hosting proceeds (at a predatory percentage). Publishing websites like Webcomic, Naver, Bilibili, KuaiKan, name it, there are millions of them. The problem is, with this influx of amateur artists, there is yet another evolutionary pressure on them. They need to produce weekly (and I have seen Chinese artists produce bi-weekly) chapters to stay relevant. This is the evolutionary pressure they created on mangaka that is now transforming them into workers in a factory producing dollar store goods. Of course, quality of art and of plot needs to be cut. And the artists have 3 choices: 1) say no and do something by their own means against it 2) say no and fade 3) sell out.
Now, I am more interested in the Chinese webcomic scene (yes, there are complete idiots that will swim through the immense sea of garbage that the Chinese webcomic industry produces to drag out the rare gem - yours sincerely) and there are what I consider the big three of webcomics/manhua targeted towards women: (1) Xia Da, the prodige (2) FaJiTe/Zhang Jing, the whizz kid extraordinaire and (3) TUTU, the all-conquering underdog. Now these three represent the three options listed above.
(1) Xia Da was tortured by her former studio into mass-producing chapters to her globally popular "Chang Ge Xing/Song of the Long March". She ended up in the hospital, thanks to them (for what I know she had some wrist damage that needed surgery because of the strain of drawing - yes, people, drawing is tough on your body). She flushed her contract with that studio, de facto losing all her rights to "Chang Ge Xing/Song of the Long March", which is now on perpetual hiatus. However, she started her own studio and is producing "Song of the Sky Pacers" right now. One chapter every two weeks, with all the loss in readership that implies (it is an aberration that Chinese readers do not give "Song of the Sky Pacers" the time of the day - everything Xia Da produces is a classic).
(2) Beginning of last month, FaJiTe/Zhang Jing announced what seems to be her retirement, at the age of 37, after 20 years of career. She was the one artist who produced her first best seller at the age of 17. A genius among geniuses. Every panel of her art is so detailed you will feel overwhelmed. What seems to be a 3D effect in her art is actually nothing but a game of shadows. She is potentially the best artist in all 3 Asian webcomic giants (whether Japan, Korea or China - not that China is a giant, more like a dump). She was crushed by the demand of readers to use her art - which according to them is more BL, to produce BL webcomics, by the lack of response of her readership to her webcomic that has been going for 3 years now. She was overworked, tired and desperate. So she dropped that work and retired. It was an overnight decision (and your humble servant is heartbroken).
(3) TUTU is a very young artist who made herself known for her psychological historical romance thrillers. And her absolutely flabbergasting art. She is the most webcomic-y of the 3. If BL lovers were right and male pregnancy was a thing, she would be the offspring of Dostoevsky and Machiavelli. She produced the hugely popular "Yi dai Linghou/The Queen". A first Season that tried to tackle ethnic cleansing, genocide and questioned how far one is willing to go to protect his/her people from annihilation. Readers complained about how tough it all was and how it hurt their little bunny feelings. She sold off, made a second season all about the hypocritical female lead and lost 80% (I actually calculated) of her readership. She didn't realize she was niche and had a cult following. And there goes her career.
What I think is that amateur artists forced a rhythm of production that is not viable and that condemns art to being mediocre in both the visual and literary components. Readers are only offered mediocre works. Thus they read mediocre works. And therefore, support mediocre work because that is the only work to be read. Which further pushes the production towards mediocre works. And in the end, readers only consuming garbage are unable to enjoy quality work. People who only read "Twilight" and "Fifty Shades of Grey" will most definitely have a harder time reading George Eliot, Trollop, Jane Austen, etc.
And now you wonder what you did wrong for me to torture you with this text-wall. Accept my most sincere apologies. Forcing people to interact with me is a sort of bullying, I feel.
Member
- Joined
- Apr 11, 2019
- Messages
- 703
Yo.. What the fuk is happening down there?!
All in all things is just something people create, genre becomes a genre because people ask for more. Who would have thought people asking "is there a comic like this one" and a bunch of views count become something.
Btw isn't giving somethings a genre is stereotyping?
All in all things is just something people create, genre becomes a genre because people ask for more. Who would have thought people asking "is there a comic like this one" and a bunch of views count become something.
Btw isn't giving somethings a genre is stereotyping?
- Joined
- Jul 9, 2019
- Messages
- 20
@Mims
"If BL lovers were right and male pregnancy was a thing, she would be the offspring of Dostoevsky and Machiavelli."
Haha nice.
I read the entire thing, very interesting. I agree with everything you said. Some more problems I have with most webtoons/manga and Chinese webcomics.
1. The art is generally subpar and expressionless. Webtoons use a ton of CGI for their backgrounds. The amount of hideous CGI horses I've seen is astounding. For manga, it's usually just a vast wasteland/Antarctica.
2. There seems to be an underlying theme of sexism and xenophobia that the authors embrace. The main character's apparently want to defy fate and do so through marriage (or contract marriage where they are dependant on a male)
3. The main character is never the bad guy. They've never made a mistake in their life and there's a reason for their actions.
I mean, I could write an entire novel about how I hate shoujo and shounen isekai.
"If BL lovers were right and male pregnancy was a thing, she would be the offspring of Dostoevsky and Machiavelli."
Haha nice.
I read the entire thing, very interesting. I agree with everything you said. Some more problems I have with most webtoons/manga and Chinese webcomics.
1. The art is generally subpar and expressionless. Webtoons use a ton of CGI for their backgrounds. The amount of hideous CGI horses I've seen is astounding. For manga, it's usually just a vast wasteland/Antarctica.
2. There seems to be an underlying theme of sexism and xenophobia that the authors embrace. The main character's apparently want to defy fate and do so through marriage (or contract marriage where they are dependant on a male)
3. The main character is never the bad guy. They've never made a mistake in their life and there's a reason for their actions.
I mean, I could write an entire novel about how I hate shoujo and shounen isekai.
Group Leader
- Joined
- Dec 6, 2018
- Messages
- 122
Here is from DMS:
We will be dropping i became the villain’s mother, just giving a heads up for those who are following us. But our staff has spoken, we decided to give the entire thing to MissMystery's team, don’t worry we didn’t have any drama with them or any sorts. I'm sorry but it is how it going to be..... anyhow, in summary, we are dropping this series. thank you all for supporting us in this trip.
We will be dropping i became the villain’s mother, just giving a heads up for those who are following us. But our staff has spoken, we decided to give the entire thing to MissMystery's team, don’t worry we didn’t have any drama with them or any sorts. I'm sorry but it is how it going to be..... anyhow, in summary, we are dropping this series. thank you all for supporting us in this trip.
Here is from DMS's head:
I'm sorry to betray everyone's expectation..... I'm really sorry...I'm so bad at writing, just kill me now.
I'm sorry to betray everyone's expectation..... I'm really sorry...
Member
- Joined
- Jan 21, 2019
- Messages
- 138
Dropping this, tired of the shotacon MC.
- Joined
- Aug 6, 2019
- Messages
- 18
It gives me headache everytime i read it. For me it's okay to have slow pace but the characters aren't good enough and the story... just no.
