>>290095891
>In most other media (film, literature, tv shows and even anime itself) well-known creators have multiple successful works. But in manga and light novels a lot of successful creators have only one hit work.
false, you don't know what you're talking about
>From the above list some creators basically worked on just one project their entire career, which ended up being a hit
>Toriyama
this has to be bait, nobody would write something this dumb
Japan loves Toriyama because of Dr. Slump and Dragon Quest, not Dragon Ball
>These are just works that I am familiar with.
>The two exceptions I can identify so far:
yup, you're a newfag

New Bisco Hatori manga when. I've liked all of her manga.

Interesting, bump

>>290095891
putting yonezawa there is ridiculous

>>290095891
My favorite Mangaka all have multiple good works.
>Dowman
>Oshimi Shuzo
>Asano Inio
When I try to think of "one hit wonders" all that comes to mind are mangaka who are either 1 serialization extremely long term
>Kaoru Mori
>Araki
Or doujin artists who have 1 decently popular serialization. What's more common is authors who are extremely terrible getting multiple serializations when they should have been canned after their first garbage story.
>Aka Akasaka
>Kotoyama
>Asaga Iori
>Paru Itagaki

>>290098098
>Oshimi Shuzo
>Asano Inio
If these are your favorite mangaka, I'm worried about your mental health.
>Kaoru Mori
>one-hit wonder
Wrong

One exception is Mizukami Satoshi. Spirit Circle, Biscuit Hammer, Sengoku Youko were all very popular and great manga. His other works are also very good and have a distinct Mizukami feel to them.

>>290098349
>Mental Health
I love their unique art styles, I balance depression stories with happier ones in between so it doesn't wear on my mental.
>Wrong
I actually didn't realize Emma was award winning so I guess I was.

>some creators basically worked on just one project their entire career, which ended up being a hit
I don't think those authors are necessarily one-hit wonders. You can't know because they've never worked on something other than their main work, Miura probably being the best example.

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>>290095891
>>Hajime Isayama (Shingeki no Kyojin)

>>290095891
no

>>290095891
I think the meta simply changed. The days of having beasts like Tezuka, Ishinomori and Yokoyama pump out series after series are gone because magazines realized that keeping one super-popular series running for as long as possible is better at retaining readership and attention around the brand. I think there might also be some popularity snowball effect, where a long series gets more popular than a shorter one because youre more likely to hear about it and think about getting into it through social osmosis during its long runtime whereas a shorter series can come and go before it even piques your interest.

>>290096000
fpbp pretty much exactly what i was gonna say

>Keiichi Sigsawa (Kino's Journey)
this one isnt true either gungale is currently flying high and allison series did well enough to get like 16 volumes

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>>290095891
I like manga
I like Chitanda
I didn't read your thread

>>290095891
>film, literature, tv shows
Don't those tend to be one hit wonders as well?

The answer is that writing is actually a really complex interconnected thing, even if you're genuinely great there's still a high luck factor, that is to say factors you didn't actively acknowledge for. Hence a lot of selling points actually being accidents mid development.

>Rumiko Takahashi cackling

>>290095891
The stars have to align to make a hit. Many people are known for only one thing that got popular. Most never got that much.

>>290095891
Most other media is full of industry plants and investors pushing someone who had success once until they are successful again

>>290095891
>>Toriyama (Dragonball)
Are you baiting here? Toriyama also wrote Dr. Slump, which was a respectable hit in its own right (although obviously not even close to DB).

Mixed expertises
Manga needs to write scripts, illustrate it, they need editors, assistants and a favorable publication + anime adaption marketing.
If you took quality assistants away the quality may take a hit, if the editor isn't helping out with ideas that help the success its harder to match what audience needs and get an anime.
Its often not the case that a guy just draws or only writes the script, so you have the balancing act going on where you dont spend the time to get good at one thing that someone else does. You may suffer from conflicting priorities like wanting to spend less time drawing.

The ones that make it big will suffer from burnout. The schedule to produce a weekly manga is inhumane. It incentivizes perhaps unhelpful shortcuts. Drawing less lines per character, simplify art, rely on photograph or 3d resources for tracing. Writing in a tournmanet arc because its easy.

If a guy who is a director makes it big, hes going to hone the craft of being a director and get repeated opportunities for the 1 thing they're really good at.
If someones book becomes a hit they'll keep trying to become better writers.
Mangaka may produce a worse work next time around because the topic isn't as marketable, their skills didnt improve for every aspect, their previous work took so much time each day they didnt get cultured by leisurerly reading books for fun or immersing themselves in a topic, their crew changed, they yearn for retirement due to overwork, their body fails to keep up.

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>>290095891
>Ritz Kobayashi (Saki)